Lucinda Williams at the Pageant, 10/12/11: Review and Setlist
Lucinda Williams | Over the Rhine
Lucinda Williams' 2009 show at the Pageant. Photo by Jon Gitchoff.
October 12, 2011
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Better Than: Just about anything short of having her come play for you in your living room.
Lucinda Williams passes through St. Louis with reassuring regularity, so it was a little disconcerting when her itinerary in support of Blessed, the CD she released on Lost Highway back in March, didn't route her within 250 miles of here.
Maybe that explains why Williams went out of her way during last night's show at the Pageant to give the audience a few special keepsakes to hold tight to till the next time comes around.
Though it unfolded as a slow burn, the evening propelled itself along on a "We Shall Overcome" undercurrent. "I'm riled up!" Williams announced midway through the set after delivering a rambling shout-out to the Occupy Wall Street Movement, which she hailed as "the greatest thing that's happened in this country in a long time."
Referencing the previous night's Republican presidential candidates' debate, she blasted the party's efforts to deter likely Democratic voters with Draconian photo-ID legislation and ridiculed both Herman Cain's "9-9-9 Plan" and Michele Bachmann's anti-Satanist "6-6-6" rejoinder. "Don't believe the lies of the GOP circus," Williams exhorted, urging her fans to tune in CNN or, better yet, MSNBC, in order to stay informed. "You've got to educate yourself, or else you're going to be trampled! These are dangerous times," she warned.
Then she and her three-piece backing band launched into a blazing rendition of "Joy" -- perhaps her best-known song and one that, in light of its introduction, took on fresh resonance:
I don't want you any more
You took my joy
The two-hour set had begun at nine o'clock and meandered around in the artist's thick songbook (which covers more than 30 years), gaining momentum as it went and indulging in a few side trips through unfamiliar -- and, on two occasions, essentially uncharted -- territory.
The first of the night's big surprises came early on, when Williams introduced "a song I wrote for Blessed that didn't make it on the record -- it'll be on the next album" and let on that "this is the first time. We just worked it up at soundcheck."
Titled "Stowaway in Your Heart," the new song is a stripped-down declaration of love addressed to the singer's husband (and manager), Tom Overby. Though unabashed, "Stowaway" avoids mawkishness in melody and lyric alike, a welcome contrast to "Sweet Love," an ode to Overby that stands out as one of Blessed's few weak cuts.
Williams didn't include "Sweet Love" in last night's set, but it may be no coincidence that, once the band had stepped up the pace some, she reached back for 1998's "Changed the Locks," providing an illuminating counterpoint to "Stowaway" in its insistent, repetitive structure and parallel imagery. One's about coming and the other going, but both songs build force in the same fashion, and then close by cutting loose a litany of each verse's first line:
I changed the lock on my front door
I changed the number on my phone
I changed the kind of car I drive
I changed the kind of clothes I wear
I changed the tracks underneath the train
I changed the name of this town
I changed the name of this town
Between them, Blessed and Car Wheels on a Gravel Road (the album that pushed Williams from relative alt-country obscurity to object of near-universal critical acclaim in 1998) provided nine of the evening's twenty-two songs -- half the material if you subtract the set's three covers.
One of those covers provided the show's second singular moment, as Williams performed a gorgeously unadorned "Tryin' to Get to Heaven Before They Close the Door," explaining that she'd recently recorded the song as her contribution to a forthcoming Bob Dylan tribute CD that will benefit Amnesty International.
The other two covers closed the show: One was a smoking version of the early Allman Brothers Band blueser "It's Not My Cross to Bear" that tested the lowest reaches of Williams' vocal register and showcased the striking talent of the band's new guitarist. Over the course of the evening, the many skills of Blake Mills had not gone unrecognized by audience members, a number of whom marveled at the 24-year-old's mastery. The lights came up after Buffalo Springfield's "For What It's Worth," a song that doubly suited Williams' purposes, melding well with her worn-in singing voice and providing ample 1960s-style sing-along fodder to drive home the artist's voluble rabble rousing.
Opener: Over the Rhine joins Williams for this leg of her tour. Husband-wife team Linford Detweiler and Karin Bergquist took their name from a then-downtrodden neighborhood near downtown Cincinnati. That was more than twenty years ago. They've been recording ever since, to consistent indie acclaim. This year they released The Long Surrender on their own label, Great Speckled Dog, with funds provided by their fans. It's produced by Joe Henry and includes a vocal visit from Lucinda Williams. If you like her (and Joe Henry), you're bound to like them.
Notes and setlist are on the next page.