Realness is one of the most malleable and fetishized concepts in 21st century popular music. And nothing's revered as realer in the country-punk scene that Lydia Loveless emerged from than the contrarian rawness listeners found in her first two albums, The Only Man and Indestructable Machine. She's been justly celebrated for the unfiltered, eruptive quality of her expression — and much more unsettlingly depicted as some sort of hot young roughneck, a perception she's poked at with weary bemusement in interviews.