Jake Owen

Jake Owen reveals star quality during exciting concert at the fair

There’s nothing more fun than being knocked off your feet, musically speaking, when checking out a recording artist for the first time. Monday night marked Jake Owen’s debut on a Lubbock stage, and he owned it.

Owen is one of eight artists headlining over nine nights at the Fair Park Coliseum at the Panhandle-South Plains Fair.

Vocally, he was strong throughout, but that sort of information could be ascertained simply by listening to his two recordings. Watching a live performance by Owen, however, allows one to see not only how he interacts with an audience, but also how much effort is put into making his show something memorable.

Owen clicked on all cylinders, aided in no small way by drummer Myron Howell and lead guitarist David Wallace.

There is a healthy sampling of rock in his country rock tunes, and just enough blues in Owen’s bloodstream to allow a few detours. What’s more, he surprised fans more than once with a tip of the hat — although this young vocalist does not wear one — to country legends who served as inspiration.

How many members of Monday’s predominantly female audience walked in expecting to hear music made famous by Conway Twitty, one wonders?

Suffice it to say that Owen was no clock-watcher Monday, taking detours and letting band members know when he was changing his set list, eventually playing well past the 90-minute mark.

That allowed more extended versions of his songs, more opportunities to share the spotlight with band members Wallace; Howell; Robbie Emerson, bass guitar; Joe Arick, keyboards; and Kyle Everson, steel guitar.

Wasting no time introducing hits, Owen opened with a sly rendition of “Yee Haw,” and quickly had the not-quite-capacity crowd in his pocket.

Owen records a lot of his own material and manages to come across as an original voice, even in an industry where heartbreak and tears are songwriting staples.

Consider his borderline opening to one song: “I had a one night stand with my best friend’s baby sister. And to this day he still won’t speak to me.”

It turns out to be a song more about regrets, and Owen sells it by letting listeners know that he’d like to change a lot of things. “Startin’ with Me,” he sings.

He made “Slow Hand” sound positively contemporary, even after saluting Conway Twitty, whose version of the song (originally recorded by the Pointer Sisters) became his last chart-topping hit.

And kudos to Owen for knowing how to juggle tempos, never letting listeners get too down even after capturing all of the rejection and sadness in a Mark Chesnutt hit, “Too Cold at Home.”

Mind you, the introduction was strange. Owen said he had just played in Beaumont, then applauded Beaumont for being the home of George Jones (he moved there at age 11) before singing a tune by Chessnutt, who is from Beaumont. There is a symmetry there somewhere.

Highlights were numerous; indeed, ask any person present to name his favorite moment, and the answers probably vary. That said, it’s not that often that percussion stands out to the extent it did Monday. Howell, who also has played drums for the BarKays and Patti LaBelle, told reporters that he views Owen as the football game and the band as cheerleaders. This band, however, offers more than support, with Wallace stepping forward for guitar solos several times and Howell’s beautifully choreographed pounding of his kit rarely more impressive than when Owen was singing “The Bad in Me.”

Monday’s audience enjoyed an unexpected treat when Owen gave his band a break and invited Nashville songwriter Phillip White to join him at center stage.

White has written hits for artists ranging from Reba McEntire to Rascal Flatts, and his decision to sing “If It Wasn’t for Texas” and “I’m Movin’ On” earned huge cheers from Owen’s fans.

I’m not sure why White was present. Obviously, he and Owen are co-writing, and White evidently is traveling for a while with the band. Regardless, his appearance was a treat, and Owen appeared to be having just as much fun with their cleverly titled “Help Me Help You Get Him Off Your Mind.” Now, that’s country.

Several parts of the show easily could have segued into a farewell, but Owen appeared to be having way too much fun. In fact, he also delivered a medley that included, but was not limited to, Hank Williams Jr.’s “Country Boy Can Survive” and Alabama’s “Mountain Music” and “Feels So Right,” leading right into Owen’s own “Eight Second Ride.”

Owen is used to fans rushing the stage at times. He even tried to open a conversation with a security person standing in front of the stage, asking facetiously, “You know you’re scaring the women away?”

No matter. Owen jumped off the stage to greet as many fans as possible and, after the show, ran from the bus to yet another group of fans to give autographs and pose for pictures.

I haven’t witnessed his level of enthusiasm since meeting Garth Brooks, back when he was playing clubs. Owen has star quality.