{"data":{"id":"e2cde1a5-98f9-4d73-8f0a-39052e5b46a2","originKind":"SYNDICATED","title":"Remembering Dolly Parton: Revisiting the Queen of Country's Edmonton visits","summary":"News of Dolly Parton’s death Tuesday has left many Edmontonians in mourning.\n\nThe Queen of Country has performed many times in Edmonton. From her early days carving out a solo career on the stage of the Jubilee Auditorium to filling our hockey barns, Parton never failed to live up to Edmontonians’ expectations.\n\nDuring her last appearance in Edmonton, a 2016 concert at Rogers Place, Edmonton Journal reviewer Sandra Sperounes described Parton as the “ultimate glittery grandma” full of sassy and heartwarming stories.\n\n“Backed by a handful of musicians, simple white drapes and lights that glowed like patio lanterns or insects, Parton took the almost sold-out crowd on an in-depth journey through her six-decade career – from her very first composition, Little Tiny Tasseltop, to the title track off Pure Simple, her 43rd album.”\n\nThe two-and-a-half-hour show featured “no screens, flashy choreography or moving stages,” only “her bubbly personality, exquisite one-of-a-kind pipes, rhinestone costumes and sweet tales about home, love and a naughty redhead who tried to take her man.”\n\n“Unlike some artists, who rush through their catalogue and can’t wait to get offstage so they can hit an after-party, Parton took her time, savouring every memory and musical number,” wrote Sperounes.\n\nRead the full review of Parton’s 2016 Rogers Place concert.\n\nDolly in the 1970s In one of her earlier visits to Edmonton, Parton found herself opening for Jerry Reed at the Jubilee Auditorium in 1974. An Edmonton Journal reviewer described her as a “very quiet performer” who sings in a “soft, delicate country voice.”\n\nDecked out in a green and glitter-spangled outfit, she “smoothly worked her way into the hearts of the country fans” in the crowd.\n\n“And in so doing, she stole the show from Reed before he even got out there on stage.”\n\nReturning to the Jubilee as a headliner in 1976, the Journal review paints a picture of a musician fully embracing her public persona.\n\nWith descriptions of her “glass-studded jumpsuit” and “open-toed, silver high heels,” the reviewer described Parton as a “very talented lady” who possessed a “natural, beautiful soprano” with “good” guitar skills.\n\n“Parton, in her delicate, yet perfectly clear singing style, entertained with original compositions like Jeanie’s Afraid of the Dark, Jolene, Me and Little Andy, Tennessee Mountain Home and others.”\n\nIn an interview promoting her 1978 performance at the Coliseum, Parton addressed the sneering criticisms of her appearance she was experiencing from members of the press.\n\n“I know I’m not in style. I know I’m gaudy. I know it’s not attractive. But it doesn’t matter. It’s a self-inflicted image that’s so ridiculous you have to laugh at it,” she’s quoted in an interview with the Journal.\n\nParton’s cunning self-awareness was evident back then.\n\n“The image was something I created for attention and so they’d notice me,” Parton continued in the interview. “I still wear all that stuff and I still enjoy it. People have come to accept and expect that image of me.”\n\nIn the 1978 concert review, Parton “did a fine show,” according to a Journal writer, rolling out her country music tunes alongside her more pop-leaning songs.\n\n“She does crying-in-your-beer country about how, if she had pennies for all the teardrops and gold for the heartaches, she’d have ‘all the riches my pockets could hold.’\n\n“Minutes later, she’s extolling the joys of getting sexy, when both she and her lover-in-song know it’s wrong.”\n\nNotably, the reviewer tapped into Parton’s feminism.\n\n“She even strikes a blow for women’s rights, as odd as that might seem coming from her. In her ballad, To Daddy, her housewife subject puts up with unbearable suffering from an obviously inconsiderate husband. But she put in her dues, raised the family. Instead of having angels come and take Super Wife to heaven (a usual exit for such country song predicaments), she has the housewife take the big walk out of the house to freedom.”\n\nLater visits By the 1980s, Parton had found success teaming up with fellow country crooner Kenny Rogers. One of their co-headlining shows, a 1990 show at Northlands Coliseum, was extolled as “one of the most entertaining shows to hit town.”\n\n“And when Parton picked up her banjo and waded into her bluegrass chestnut Applejack, yelling: ‘Eat your heart out Barbara Mandrell.’ Rogers just grinned, stepped back, picked up a double bass, and never missed a note,” the Journal reviewer noted.\n\n“After that, Parton was on her own. And based on sheer musical integrity, she scored a points decision over her partner due to the diversity of her program. It ran the gamut from the out and out crossover pop of 9 to 5 (complete with clips from the movie on a big screen) to the beautiful a cappella tune, Do I Ever Cross Your Mind. Of course, she sang the superb Jolene and her emotional Coat Of Many Colors. Only on over-polished ballads such as I Will Always Love, did she come unhinged.\n\n“But Parton’s most endearing aspect is her brilliant rapport with her audience. She’s a natural comedienne with a sparkling wit.”\n\nIn 1993, one of the more interesting Edmonton venues Parton performed in was Clarke Stadium, in what was then dubbed the Clarke Country Jamboree. In the open-air venue, she performed to around 7,000 people that summer.\n\n“Parton cannot be faulted for the way the jamboree came off,” wrote a Journal reviewer. “She was, as always, a hard-working entertainer. Before and after the acoustic set, she delivered a well-rounded overview of her catalogue of hits. Between songs, she plied the audience with comedy to lighten things up.\n\n“But Clarke Stadium provided an unsuitable atmosphere for the 47-year-old singer. The sound system was adequate and the sight lines OK, but the place couldn’t have looked great from the stage. Security staff hustled a few stragglers out of the east grandstands, leaving them completely bare of people. The west grandstand was about 75 per cent full, and people in lawn chairs occupied about half of the grassed field.”\n\nchuculak@postmedia.com\n\nRelated Country music legend Dolly Parton dead at 80\n\nStage Notes: James Joyce and Dolly Parton influence upcoming productions\n\nPortal walkway at Rogers Place closed following Dolly Parton concert for safety concerns\n\nBookmark our website and support our journalism: Don’t miss the news you need to know — add EdmontonJournal.com and EdmontonSun.com to your bookmarks and sign up for our newsletters here.\n\nYou can also support our journalism by becoming a digital subscriber. Subscribers gain unlimited access to The Edmonton Journal, Edmonton Sun, National Post and 13 other Canadian news sites. Support us by subscribing today: The Edmonton Journal | The Edmonton Sun.","url":"https://edmontonjournal.com/entertainment/music/dolly-parton-edmonton-concerts-jubilee-coliseum-clarke-stadium","imageUrl":"https://smartcdn.gprod.postmedia.digital/edmontonjournal/wp-content/uploads/2026/08/edm-_80960264.jpg","publishedAt":"2026-08-25T20:41:32.000Z","sourceLabel":"Edmonton Journal Music","tags":["Celebrity","Entertainment","Music"],"authorName":"Chad Huculak","contentHtml":"\"Dolly

News of Dolly Parton’s death Tuesday has left many Edmontonians in mourning.

The Queen of Country has performed many times in Edmonton. From her early days carving out a solo career on the stage of the Jubilee Auditorium to filling our hockey barns, Parton never failed to live up to Edmontonians’ expectations.

During her last appearance in Edmonton, a 2016 concert at Rogers Place, Edmonton Journal reviewer Sandra Sperounes described Parton as the “ultimate glittery grandma” full of sassy and heartwarming stories.

“Backed by a handful of musicians, simple white drapes and lights that glowed like patio lanterns or insects, Parton took the almost sold-out crowd on an in-depth journey through her six-decade career – from her very first composition, Little Tiny Tasseltop, to the title track off Pure Simple, her 43rd album.”

\"

The two-and-a-half-hour show featured “no screens, flashy choreography or moving stages,” only “her bubbly personality, exquisite one-of-a-kind pipes, rhinestone costumes and sweet tales about home, love and a naughty redhead who tried to take her man.”

“Unlike some artists, who rush through their catalogue and can’t wait to get offstage so they can hit an after-party, Parton took her time, savouring every memory and musical number,” wrote Sperounes.

Read the full review of Parton’s 2016 Rogers Place concert.

Dolly in the 1970s

In one of her earlier visits to Edmonton, Parton found herself opening for Jerry Reed at the Jubilee Auditorium in 1974. An Edmonton Journal reviewer described her as a “very quiet performer” who sings in a “soft, delicate country voice.”

Decked out in a green and glitter-spangled outfit, she “smoothly worked her way into the hearts of the country fans” in the crowd.

“And in so doing, she stole the show from Reed before he even got out there on stage.”

\"

Returning to the Jubilee as a headliner in 1976, the Journal review paints a picture of a musician fully embracing her public persona.

With descriptions of her “glass-studded jumpsuit” and “open-toed, silver high heels,” the reviewer described Parton as a “very talented lady” who possessed a “natural, beautiful soprano” with “good” guitar skills.

“Parton, in her delicate, yet perfectly clear singing style, entertained with original compositions like Jeanie’s Afraid of the Dark, Jolene, Me and Little Andy, Tennessee Mountain Home and others.”

\"

In an interview promoting her 1978 performance at the Coliseum, Parton addressed the sneering criticisms of her appearance she was experiencing from members of the press.

“I know I’m not in style. I know I’m gaudy. I know it’s not attractive. But it doesn’t matter. It’s a self-inflicted image that’s so ridiculous you have to laugh at it,” she’s quoted in an interview with the Journal.

Parton’s cunning self-awareness was evident back then.

“The image was something I created for attention and so they’d notice me,” Parton continued in the interview. “I still wear all that stuff and I still enjoy it. People have come to accept and expect that image of me.”

\"

In the 1978 concert review, Parton “did a fine show,” according to a Journal writer, rolling out her country music tunes alongside her more pop-leaning songs.

“She does crying-in-your-beer country about how, if she had pennies for all the teardrops and gold for the heartaches, she’d have ‘all the riches my pockets could hold.’

“Minutes later, she’s extolling the joys of getting sexy, when both she and her lover-in-song know it’s wrong.”

Notably, the reviewer tapped into Parton’s feminism.

“She even strikes a blow for women’s rights, as odd as that might seem coming from her. In her ballad, To Daddy, her housewife subject puts up with unbearable suffering from an obviously inconsiderate husband. But she put in her dues, raised the family. Instead of having angels come and take Super Wife to heaven (a usual exit for such country song predicaments), she has the housewife take the big walk out of the house to freedom.”

Later visits

By the 1980s, Parton had found success teaming up with fellow country crooner Kenny Rogers. One of their co-headlining shows, a 1990 show at Northlands Coliseum, was extolled as “one of the most entertaining shows to hit town.”

“And when Parton picked up her banjo and waded into her bluegrass chestnut Applejack, yelling: ‘Eat your heart out Barbara Mandrell.’ Rogers just grinned, stepped back, picked up a double bass, and never missed a note,” the Journal reviewer noted.

“After that, Parton was on her own. And based on sheer musical integrity, she scored a points decision over her partner due to the diversity of her program. It ran the gamut from the out and out crossover pop of 9 to 5 (complete with clips from the movie on a big screen) to the beautiful a cappella tune, Do I Ever Cross Your Mind. Of course, she sang the superb Jolene and her emotional Coat Of Many Colors. Only on over-polished ballads such as I Will Always Love, did she come unhinged.

“But Parton’s most endearing aspect is her brilliant rapport with her audience. She’s a natural comedienne with a sparkling wit.”

\"

In 1993, one of the more interesting Edmonton venues Parton performed in was Clarke Stadium, in what was then dubbed the Clarke Country Jamboree. In the open-air venue, she performed to around 7,000 people that summer.

“Parton cannot be faulted for the way the jamboree came off,” wrote a Journal reviewer. “She was, as always, a hard-working entertainer. Before and after the acoustic set, she delivered a well-rounded overview of her catalogue of hits. Between songs, she plied the audience with comedy to lighten things up.

“But Clarke Stadium provided an unsuitable atmosphere for the 47-year-old singer. The sound system was adequate and the sight lines OK, but the place couldn’t have looked great from the stage. Security staff hustled a few stragglers out of the east grandstands, leaving them completely bare of people. The west grandstand was about 75 per cent full, and people in lawn chairs occupied about half of the grassed field.”

\"

chuculak@postmedia.com

Related

Bookmark our website and support our journalism:Don’t miss the news you need to know — add EdmontonJournal.com and EdmontonSun.com to your bookmarks and sign up for our newsletters here.

You can also support our journalism by becoming a digital subscriber. Subscribers gain unlimited access to The Edmonton Journal, Edmonton Sun, National Post and 13 other Canadian news sites. Support us by subscribing today: The Edmonton Journal | The Edmonton Sun.

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