Mellencamp Offers a Fine Stretch of His Imagination

IRVINE — For years, veteran rocker John Mellencamp seemed an unlikely candidate to age gracefully or with much dignity.

Seemingly devoted to the party life, his personal life was frequently a mess. He’d had two divorces, and his heartland rock fell into a creative rut after “Big Daddy” was released in 1989. Three years ago, he suffered a heart attack, and one had to wonder whether the chain-smoking rocker formerly known as John Cougar had anything left to give or say musically.

Yet sometimes people do change, and the good news is that Mellencamp has bounced back in a big way.

His latest release, the sarcastically titled “Mr. Happy Go Lucky,” has gone platinum. But even more important than its commercial popularity, the album has stretched Mellencamp’s artistic reach by bringing modern-sounding elements of hip-hop to his more traditional rock-, blues- and folk-based style.

That in-studio success has spilled over to the concert stage too. It was this new and improved version of an old (he’s now in his 40s) rock star that held forth at Irvine Meadows on Saturday night.

Displaying both a sure-handed, well-practiced touch and an experimental edge, Mellencamp and his seven-piece band’s impressive, career-spanning concert featured many inspired, exceptional moments.

Among the new wrinkles unveiled was a sound that is more contemporary, urban and even soulful. The prime new ingredient here is Long Beach-based keyboardist Moe 2 MD, who contributed plenty of dance moves as well as his rhythmic instrumental grooves. Plus, longtime backing vocalist Pat Peterson--whose duet with Mellencamp on Van Morrison’s “Wild Night” was nearly a show-stealer--provided a spicy, sultry counterpart to Mellencamp’s “aw shucks” demeanor and meat-and-potatoes vocals.

This hot new mix also worked its way into a couple of Mellencamp classics, as Moe 2 MD led the crowd through a rap-ified version of “Jack and Diane,” while “Small Town” opened the show sounding much crunchier and bottom-heavy than in the past. Bob Seger and Bryan Adams this ain’t.

Still, Mellencamp understands that some things shouldn’t be messed with.

A stretch of consecutively played radio hits proved Mellencamp can still flat-out rock with the best of ‘em. Driven by the twin guitar attack of Andy York and Mike Wanchic, “Crumblin’ Down,” “R.O.C.K. in the U.S.A.,” “Hurt So Good,” “The Authority Song” and “Pink Houses” were rousing, crisply played testaments to the enduring quality of catchy, feel-good rock ‘n’ roll.

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Earlier, fans were treated to songs that were just as melodic but had far greater emotional impact. At his best, Mellencamp writes vivid, very human sketches of everyday people’s lives, like Jack and Diane sucking down chili dogs at the local Tastee Freeze, or the simple pleasures of growing up in a small, rural town.

His most fully realized statement, though, is “Rain on the Scarecrow.” Sung by Mellencamp with a desperate but defiant edge--and featuring the ominous violin playing of Miriam Sturm and the stinging guitar leads of York--this tense, chillingly sad ode to the plight of the American farmer provided the evening’s most captivating experience.

The concert’s only disappointment was that Mellencamp played just two songs (“Key West Intermezzo” and “Just Another Day”) from his excellent new album. (In particular, “Jerry,” “Circling Around the Moon” and “The Full Catastrophe” all stand up to his best work.) But that is a minor quibble when you can still deliver a show as convincing and rewarding as this one.

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Opening act Amanda Marshall is blessed with a powerful voice, but at this point, the young Toronto-based singer lacks the experience and finesse needed to use it effectively.

Her unwavering sledgehammer approach, coupled with the generic sound of her hard rockin’ band, made for a rather dull, one-note affair.