Grand Finale with Vince Gill
and the Lancaster Festival Orchestra
8:15pm • Wendel Concert Stage - Ohio University - Lancaster Campus
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For Down to My Last Bad Habit, his 18th studio album, it would have been easy for Vince Gill to kick back a bit. After all, when you’ve sold more than 26 million albums, won 20 Grammys, and earned 18 CMA Awards (including two Entertainer of the Year trophies), you’ve done it all, right?
Not a chance, says this musician extraordinaire, who produced his new album with engineer Justin Niebank. Down to My Last Bad Habit, available February 12, is his first solo album as part of a new deal with MCA, the label he joined in 1989.
“Forty years into this, it’s still as much fun as it’s ever been to play music,” says Gill, sitting in his home studio in Nashville. “At the end of the day, what I get excited about is doing something I haven’t done before. When I record a song, I feel successful if I’ve accomplished something new.”
That’s no small feat, considering that on his first solo album since 2011’s Guitar Slinger, Gill returns to his favorite theme, love in all its incarnations: Love sweet and celebrated (“Me and My Girl,” “My Favorite Movie”), love on fire (“Take Me Down,” “Make You Feel Real Good”), love denied (“I’ll Be Waiting for You,” “Down to My Last Bad Habit”), and love lost and mourned (“I Can’t Do This,” “Reasons for the Tears I Cry”).
The Oklahoma native wrote or co-wrote all of the songs on the album. “I love the diversity of the songs. Some of them are brand new, and some of them have a lot of years on them,” he notes. Gill took two years to make the record, during which he co-produced the second of two albums (Like a Rose, The Blade) with the old-soul vocalist Ashley Monroe. And with steel guitar wizard Paul Franklin, he recorded Bakersfield, an album composed of the hard-country songs of Buck Owens and Merle Haggard.
The new album likewise acknowledges country’s deep roots with the steel-guitar laced “Sad One Coming On (A Song for George Jones).” Gill, who approximates Jones’ clench-jawed vocal, sang at Jones’ funeral in 2013, but he was so broken up that he could hardly get through it. He wrote the new song as a way to assuage his own pain, and to give the King of Broken Hearts his due as perhaps the greatest country singer ever.