Absolute Ani

Ani DiFranco swept into Raleigh last Sunday, sporting classic spunk, goofy wit and a political edge that charmed the sweltering Ritz crowd.

In an age where women in music mostly suffer as marginal metal vixens or vapid teen queens, DiFranco remains a monument to the earnest, honest and the pure, pushing her own product without the assistance of major record labels, MTV or other promo scams.

Like many a female folkie, Ani is a fan of "telling it like it is," her id apt to run roughshod over any penchant for self-censorship. Some of her political statements-such as the post-Columbine, anti-gun rant that accompanies the song "Hello Birmingham" at many shows-have an impassioned clarity. At other times, Ani's angst can sound childish and her fingernail-gnawing, girly self-consciousness can come off just plain silly.

Unfortunately, it wasn't Ani that was blowing most of the hot air Sunday night.

Somewhere between her recent commercial success and her newfound association with Maceo Parker, DiFranco seems to have latched onto the misguided notion that trumpets, saxophones and keyboards a more mature artist make. While the more robust band has been a feature on recent tours, this show leaned even more heavily on their talents, even indulging in a gratuitous "jam" toward the end of the set. While there's much to be said for artistic maturity, it's a factor Ani never lacked. She's at her most jarring when she stands alone with her guitar, staccato strumming breaking the air between words.

Worse, it seems that Ani's recent marriage has gotten the best of her political side. Judging by the new songs she played, Ani's love songs have deteriorated from irony to google-eyed co-dependency.

Respect is still due-Ani still charms like few others and her instincts haven't all gone awry. But you can't help but hope she puts a little more strife back in her life before she goes too soft.