Leaning to the Write

Fame and fortune are nice distractions, but the lasting value of popular music is most often found in the barest of essentials, in this case, songwriting.

Steve McClintock, Karen Staley and the Nelson brothers joined forces in an evening on the subject hosted by Victoria Shaw.

Shaw, writer of country hits for Garth Brooks and John Michael Montgomery, stood behind a keyboard, guiding listeners through new songs and old hits without a planned set list or full band accompaniment (though bits of percussion were provided by Glen Thomas, who played on an upturned garbage can).

Matthew Nelson, one-half of the early-’90s pop-metal act Nelson, summed up the joys of penning a tune: “The thing about writing songs is that not only are they great memories for you, but if you do your job right, they’re great memories for other people.”

With their chart-topping pop-metal days behind them, Matthew and Gunnar Nelson performed smooth romantic ballads built on warm harmonies reminiscent of the Everly Brothers. The twins split their time between Los Angeles and Nashville, where they have developed a more organic approach to their music, with songs that are often simple but earnest.

It’s an unlikely musical turn for the Nelsons, whose career peaked early with the 2-million-selling “After the Rain” debut album. Back in the early ‘90s, they were flaxen-haired teen idols with their names and faces on bubble gum and puzzles.

When that fame disappeared with the rise of grunge, the Nelsons turned to Nashville and rediscovered the music of their father, rock ‘n’ roll pioneer Rick Nelson. On Sunday, the Nelsons performed new compositions alongside a handful of pop chestnuts by their father, including “Travelin’ Man.”

“Aren’t they just dreamy?” Staley asked the crowd, half serious. If the Nelsons enjoyed the strongest name recognition of the night, the most dynamic presence was often Staley, who shared the same romantic subject matter, but with an edge.

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Staley, in long blond hair and ripped jeans, sang with soaring emotion, just enough twang and a delivery that was raw and direct. Staley songs have been hits for other country artists, but her own renditions were free of slick Nashville arrangements and filled with telling emotional details.

“Faith Hill has cut so many of my songs that I named my farm Faith Hills,” she jokingly told the crowd. “God bless that woman.”

Much of Shaw’s material reflected the slick emotionalism of Nashville but was performed without melodrama. Her “Just to Say We Did” looked at the loss of spontaneity in romance with the passing years; another song suggested that a bouquet of flowers is not enough to save a troubled relationship.

Of her subject matter, she took a songwriter’s philosophical stance. She said: “I took the pain to the bank.”