Tag: Season 42

Icon, pop trailblazer, Tony Award-winning Broadway composer, Emmy-winning actress and prolific hitmaker, Cyndi Lauper has made a career of defying expectations. A musical omnivore with a thirst that’s led her to drink deeply of genres like blues, standards and country music in recent years, she brought all this and a series of lively anecdotes from throughout her three decade-career to her first-ever performance on the Austin City Limits stage, and it was as spectacular and entertaining as one could imagine.

Primed by Lionel Richie’s “All Night Long” on the sound system, the crowd welcomed the band as they kicked into the rollicking “Funnel of Love,” the Wanda Jackson tune on Lauper’s latest album Detour. The singer herself strutted onstage in a black hat over hot pink hair, carrying a small suitcase and belting the song. Star and band jumped right into her bucket of hits, lighting into “She Bop,” Lauper doing call-and-response with the audience and contributing a recorder solo. She returned to Detour, explaining the genesis of this LP of country covers with a hilarious monologue that covered Nashville, Seymour Stein, Dolly Parton, Ethel Merman and a very large cockroach. A faithful cover of Ray Price’s “Heartaches By the Number” followed, with fiddle provided by Andy Burton’s synthesizer and pedal steel player Jon Graboff contributing a traditionalist solo. Then it was into “I Drove All Night,” the propulsive late 80s hit from A Night to Remember.

Lauper then stepped onto a platform on stage right shaped like a vinyl LP. Sure enough, it began to spin, serving as the perfect setting for Skeeter Davis’ show-stopping ballad “The End of the World.” She revisited her rockabilly roots with the band Blue Angel by swaggering confidently through Patsy Cline’s immortal classic “Walkin’ After Midnight.” Using a stick pony as a prop, Lauper talked about seeing both Cline and serial Westerns on TV as a child, and how it inspired her to be a singer and to discover country music. It was a lead-up to her faithful cover of Patsy Montana’s Western Swing hit “I Want to Be a Cowboy’s Sweetheart,” featuring frisky solos from Burton and guitarist Alex Nolan, harmony yodeling from Lauper and backup singer Elaine Caswell and the stick pony (which remained silent). She then went back to her own catalog for “You Don’t Know,” an anthemic shoulda-been-hit from her overlooked LP Sisters of Avalon.

Lauper revisited her breakout debut She’s So Unusual for “When You Were Mine,” Prince’s heartbreaking pop tune that she’s made her own. As drummer Sammy Merendino provided a backbeat, Lauper introduced the band, before said backbeat led into the rockin’ “Money Changes Everything,” the Brains song she took into the top 30 in 1984. That was the end of the main set, but not the end of the night. After giving the audience plenty of time to work themselves into a frenzy, the band retook the stage and started “Misty Blue,” the Bob Montgomery ballad recorded by Eddy Arnold, Ella  Fitzgerald and others. Using the handset of a prop payphone as a mic, Lauper added her name to the list of luminaries who put their stamp on the song.

As Lauper talked about watching ACL while on the road, the crew brought up a mountain dulcimer on a stand. Strumming the familiar chords of “Time After Time,” Lauper invited the audience to sing along, letting them have the song’s final note to themselves. That earned a standing ovation. The big hit followed – you know the one. Lauper started the song accompanied only by Graboff’s steel, and that first verse was all it took to make the crowd go wild. Then that familiar guitar riff kicked in, and “Girls Just Want to Have Fun” brought the audience to their feet and Lauper into their midst. One massive call-and-response singalong later, the house came down and the band quit the stage. Lauper came back alone for a stunning closer: an a cappella take on her inspirational ballad “True Colors,” once again with the crowd as her backup. It was a moving performance, with a lot of tears in the audience. We can’t wait for you to see it when Cyndi Lauper’s episode airs early next year on your local PBS station.  

Ben Harper and the Innocent Criminals staged their triumphant return to Austin City Limits supporting the brand new album Call It What It Is. Thirteen years after their first appearance in Season 29 (and seven since Harper’s last visits in Season 35 with Relentless7 and as a guest of Pearl Jam),  Harper and the six piece Criminals showcased the new LP with a diverse performance.

The band opened with the rocking “When Sex Was Dirty,” a sardonically nostalgic look back at a more repressive time. The Les Paul-wielding Harper then jumped back to the Criminals classic Burn to Shine for the blues-rocking title track. The group stuck with the same album as percussionist Leon Mobley brought out a cajon for the percolating groove of “Steal My Kisses,” augmented by crowd clapping and bassist Juan Nelson’s baritone asides. Harper took a moment to thank ACL – “it’s the most incredible music institution I know” – before moving into “Finding Our Way,” a tribute to music in a reggae style from the new album.

Settling onto a chair with his lap steel, the instrument for which he’s best known, Harper then launched into the soulful, upbeat “Shine,” adding some liquid solos. He introduced the band, including Austin’s own Jason Mozersky on guitar, before moving into the slow burning “Call It What It Is,” an explicitly political kick against the darkness. Strapping on an acoustic guitar, Harper brought on violinist Rebecca Schlappich and guitarist Kyle Crusham for a brand new, unrecorded song: the honky-tonkin’ “Bottle Wins Again.” Another reconfiguration found drummer Oliver Charles coming from behind his kit to man a set of congas, keyboardist Jason Yates on acoustic guitar and Harper himself shaking a maraca for the Latin-styled “How Dark is Gone,” enlivened an organ/guitar duel by Yates and Mozersky that drove the crowd wild.

Harper then went all the way back to There Will Be a Light, his 2004 collaboration with the Blind Boys of Alabama. Mining deep soul and gospel roots, he pulled out all the vocal stops for “Where Could I Go,” even singing part of it off- mic with little loss of power or passion. It was a show-stopping moment, and the audience loved it. Harper strapped a Telecaster on for the set-ending “Goodbye to You,” the gently melancholic closer of Call It What It Is. But the band didn’t leave it like that, returning for the title track of Harper’s 1995 second album. The funky “Fight For Your Mind” blended its defiant stance with an excerpt of Buddy Miles’ “Them Changes” and extended call-and-response solos from Nelson’s bass and Harper’s lap steel. “It really is the greatest stage in the world,” Harper said as the crowd applauded wildly. It was a fitting closer for a show that ran the gamut of Harper’s musical expression, and we can’t wait for you to see it when it airs this coming winter on your local PBS station.