Dealing with tragedy after the fact is something that takes time and a whole lot of coping skills. It's one thing to be in the moment, running on adrenaline and baked apple pie, but what happens when the funeral goers leave and all you're left with are yesterday's crumbs? How does one deal with the life after the loss and become a fully functioning person again?
Gary Allan put everything on display when his wife committed suicide in 2004, crafting a slow burning tribute to her/snapshot of his thoughts in the moment (the criminally underrated Tough All Over) before retreating to presumably work on himself and take care of his children. 2007's Living Hard does a fine job of putting a face to the young widower, covering just about every aspect of a man still trying to put the pieces back together.
Wistful and pensive, first single Watching Airplanes is deceptively down, its noticeable tempo increase from Tough All Over and soaring hook disguising a song that explores the depths of longing and loss. I can see why this midtempo was made a single (the sunlit hook soars under Allan's grizzled guidance), but it still doesn't ruin the consistency of a cohesive, subtle set of self-aware country/rock. Wrecking Ball restores the aggression that Allan does so well, his delivery showcasing some serious range (it's the most that he's tested his range, from what I can recall). From the seething verses to the explosive hook, it's an anthem about a destructive female that is simultaneously a tribute and a cautionary tale. Allan's rock influences are heavier here, the foot tapping percussion and heavily posturing guitars creating a nice place for some serious catharsis. Album closer Living Hard plays up Allan's troubled troubadour image a bit with its imagery, as it serves as a snapshot of the hectic road life. Though he may be forthcoming about his personal life, you never really know what Allan thinks about fame/singing and it's nice to hear how he approaches his craft. It feels concert-made (the background vocals preview this, a'la Garth Brooks' I've Got Friends in Low Places), though Allan doesn't simply tailor the song for arenas. It's still the type of weathered soul searching that you're used to from the veteran, complete with rousing woo-hoos and stripped production.
Trying to Matter is a lot more uptempo/optimistic than I personally anticipated, based simply on the title. I figured it'd be the type of dark introspection that Allan does so well, but it's his version of an anthem considering the relatable subject matter (the message: we're all just trying to matter but we should focus on the ones who matter most). Brisk guitars (that solo! goodness...), streamlined production, and Allan's hearty vocal all help to shape this feel good (on a Gary Allan album? Yeah, I know...) track with a silver lining. Previously cut by Jace Everett (y'know, that guy who sings the True Blood theme song) on his fairly decent self-titled debut album from a few years back, Half of My Mistakes feels like the best representation for the album. While Everett's version was competent, Allan's version is lived in, real, and believable, both through his back story and his delivery. It's the type of smoky midtempo discussing one's failures and how they would change things that country music loves to trot out, but this one is actually extremely well-written and continues a non-cringe inducing silver lining that feels more like something for him than for the audience.
She's So California is about as throwaway of a track that Gary Allan can make, but that's not saying a whole lot. It follows the same type of lyrical theme that Wrecking Ball had, but it just doesn't feel like anything new. Granted, it's a moderately catchy uptempo that warrants pretty decent repeat spins, but it feels like something that was more for country radio than for artistic reasons (I don't know, it just feels too "clean" in its production - a Gary Allan song shouldn't be tidy). There's nothing wrong with that (especially since this "filler" beats a heck of a lot of great material from some people); you just expect more. As Long as You're Looking Back (as in "you can't see tomorrow...") faces a similar problem (well, not a problem) that Watching Airplanes did but in reverse. It sounds like a depressing little number, but it's more of an advisory track about trust, forgiveness, and honesty. Though I may beat the point home in his reviews, I still believe that Gary Allan is at his best on tracks like these, as his raw persona and unfettered delivery bring out the best in downbeat material. You ache with each turn of phrase, but it's nice to see a little positive energy now and then. Yesterday's Rain may have an occasional clunker of a line (and follow one of Allan's most successful singles, Songs About Rain), but it's still a stunning ballad. Stripping away the brashness of the guitars, there's a newfound sensitivity to Allan's sound (the fiddle is glorious) that falls in line with his pensive lyricism. It's not as lonesome as some of Allan's material (it seems the louder he goes, the more distant he becomes), but it's such a thoughtful, well dressed ballad (it has enough elements to be a full listen but it's not typical ballad hokey-ness) that it's an immediate highlight.
Gary Allan continues to show why he's the most fascinating artist in country music. He doesn't beat his chest and scream about how country he is, he doesn't feel the need to try to prove how funny he is, and he stays true to himself, despite whatever trend may be riding high in his genre. A Gary Allan album is sonically straightforward yet everything else about it is tangled, flawed, and beautiful; you see a man grappling with his inner demons, whether it be loneliness, fears, and his own self-worth, all presented with Allan's trademark rugged growl. Living Hard is the calm after the storm of Tough All Over, a second consecutive introspective, highly personal account of loss, love, and self that is nothing short of brilliant.
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