Tribute acts are a strange little corner of the music world. Out in the barrens (such as where I live) where major musical artists rarely travel, they are indeed a suitable and cheap alternative to experiencing the real thing. And especially for older folks, fans of artists either very aged or deceased, there’s a nostalgic pleasure to seeing people dressing up in 60s or 70s clothes and singing the songs of their youth. But this is not a steady or particularly lucrative demographic, and there is something unavoidably cheesy about tribute acts, especially of the boomer music variety. They tend to embody the has-been nature of the subjects incredibly starkly. And they’re typically not really thought of as musical artists in their own right, relying on songs by other people (that are often easy enough for a competent musician to learn) rather than taking a risk on anything new or personal. A movie at the scale and style of Craig Brewer’s Song Sung Blue would be more likely to feature a tribute act as the lowly start or tragic end of a musician’s career, not the career itself.
This film however focuses on a particularly successful tribute act to Neil Diamond, called Lightning & Thunder, that got as far as opening for Pearl Jam in 1995 and were the subjects of a 2008 documentary also called Song Sung Blue. And the most interesting aspect of this movie (of which there are relatively few) is perhaps how effectively it reflects, even in its construction and casting, the ethos of music tribute acts.
Based on aesthetics alone, which had some convinced this film was a straight biopic, you might not know when exactly it is set but it begins in the late 1980s in Wisconsin, where recovering alcoholic and music enthusiast Mike Sardina (Hugh Jackman) makes ends meet doing gig work primarily as a Don Ho impersonator. He meets Claire (Kate Hudson), a Patsy Cline singer who suggests he reinvents as a Neil Diamond act instead. Already a fan of Diamond, Mike does so and with Claire accompanying him they become a professional partnership called Lightning & Thunder -as well as a romantic partnership. Gradually their reputation grows beyond the small clubs and events they freelance to becoming local celebrities, though with admittedly a very severe casualty along the way.
Jackman and Hudson are very well-matched for these characters. Both are roughly two decades older than their real analogues when they started, but it makes them more convincing in the parts, and Brewer leans into their age in an appropriately effective way that similarly-themed moves might not. These aren't glamourous would-be stars, they look weary and amateur -whether intentionally or not. In their forties and fifties, it is easier to buy them each as single parents of teenagers. And let's face it, the market they are in has never been known for its youthful energy. Thankfully, this movie doesn't pretend otherwise.
However, being a reasonably accurate depiction of the world of the tribute music gig economy, doesn't make the movie itself necessarily more interesting or less formulaic. Brewer follows the conventional structure of the music biopic to a tee and doesn’t much flavour the aesthetics of the movie, which looks and plays very dryly. There’s a very typical contrast in Mike and Claire’s approach to what they do -Mike is more concerned with a notion of some artistic integrity, with a preference for more obscure Diamond songs and a general dislike of having to perform “Sweet Caroline” again and again (in fairness, a pretty vapid song I would agree). While Claire is more about having a good time, up until the point her narrative is thrust into a dramatic new direction (and in probably Brewer’s only real use of genuinely engaging filmmaking).
The depression that Claire is left with in the aftermath of this incident is the dramatic meat of the character, which Hudson takes to decently enough. The Mid-West mom with a passion for singing and a bit of a dippy though thoroughly optimistic personality works well for Hudson -and in fact it's a role that could easily have been played by her mother Goldie Hawn. But the more dramatic storyline for her character in the second act is a little outside of Hudson's usual wheelhouse. Jackman is also a decent fit for Mike, if his arc isn't quite so eventful and his relationship with his alcoholism and heart issues isn't explored as much as it could be. Though Jackman the grandiloquent showman feels a touch out of place in the humble venues, he organically conveys the character's washed-up demeanour. Both performances are solid though not necessarily exceptional. Jim Belushi's loud-mouthed manager and Michael Imperioli's Buddy Holly impersonator turned band guitarist are just as interesting figures with far less to do.
Brewer doesn't look for unique ways to showcase either the progress of Lightning & Thunder's career or the drama of their personal life. Each play out with a rather mundane air and little visual imagination. Some curious corners of their life, such as their mixed family, the unstable nature of their finances (gig work doesn't pay) and a period of time in which Claire has left the home are underdeveloped and not particularly convincing where they are addressed. Much as the movie does try in aspects of its tone, production, and script, there is a disconnect between these actors and their humble working-class characters.
One might expect a lot of this to be offset by the musical performances of the film, but they also are pretty underwhelming in structure and staging. The music doesn't inform at all the rhythm of the scenes leaving only the songs themselves to carry the momentum. Both Jackman and Hudson are good singers more than capable of performing the songs well, but no performance is quite complete and they are often lacking an energy. Plus, while Mike insists that Neil Diamond is more than a surface-level artist, neither he nor the film do enough to relate that depth to the audience, making the passion difficult to engage with if you're not already a Neil Diamond fan. I don't care what Eddie Vedder says.
The subjects of Song Sung Blue -both the characters and the tribute music circuit itself- are fairly interesting on simply their own terms, but Brewer's movie doesn't really do justice by either of them. The effort is made, especially in some of those honest depictions of this world, the kind of people who move in it, and connecting that if accidentally to aspects of the film's very production and actors. But for the most part it doesn't deliver in a way that sets itself apart in a manner its material would demand. At most it is like Lightning & Thunder, a novelty -and with a hell of a lot less staying power than they had.
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