Bon Iver Taping at Austin City Limits

Currently in taping for its 38^th season, Austin City Limits is a stalwart, monolithic television program unlike any other.  The fact that the program has achieved this with unwavering dedication to music has garnered them The Peabody Award and the National Medal of Arts—both highly deserved.  Truly, their over 900 tapings and impressive, diverse docket of artists is staggering, and playing ACL has become an indicator of status.

As such, it surpasses, say, winning a Grammy, an award from a program that lumped into the same category Bon Iver’s bleak and beautiful “Holocene” and Bruno Mars’ trite and garish “Grenade.” Certainly, we were proud to see Bon Iver win Best Alternative Music Album, but playing Austin City Limits is a much more significant honor than winning a Grammy.

When Bon Iver took the ACL stage in the newly constructed facility in the bottom of the W Hotel last Wednesday night, the band was great in number.  Two full drum sets perched on platforms at either end of the stage oversaw an entourage of musicians playing a wide range of instruments including: guitar, bass, keys, violin, trumpet, trombone, soprano and baritone sax, clarinet, French horn, chimes, triangle, and shaker. What more to say than—wow?

Bon Iver fittingly kicked off the set with “Perth,” the opener from their most recent and eponymous album, and the crowd was enthralled from the beginning.  With a television taping environment, fans are more polite than ever, which allows the performing artist to focus on molding the song exactly as they see fit, not worrying about loud chatter or the lull of a slower song.  The latter might have been a legitimate concern for Bon Iver, whose songs, nuanced and layered with many instruments, still register as quiet, delicate even, on recordings.  However, true to form, Justin Vernon proved his deep understanding of music by displaying his awareness that what works on a recording will not work live.  Almost all of the songs Bon Iver performed Wednesday night saw more rocking and faster-paced renditions than in their initial incarnations.  When this was not the case, the quiet beauty still transfixed the crowd and additional instrumentation and crescendo builds aided the new arrangements.

Though “Perth” felt remarkably full, as did “Minnesota, WI,” with which the band followed, it was the third song, “Brackett, WI,” released on an AIDS awareness compilation, that really brought the rock full-force. The band played 19 of their repertoire of only about 25 songs, good news for fans who got to hear almost everything for which they could hope.  The result was an even mix of songs from their first and second albums, as well as their EP.  The title track from the latter, “Blood Bank,” topped my highlight list for the night as a personal favorite.  The driving and loud version of the song eventually dissolved into frenetic noise in the most wonderful way possible.

“Hinnom, TX” and “Holocene” elicited longer than usual applause from the crowd, and when the band started “Skinny Love,” fans audibly responded at the first note.  As the set wound down, you could see the band joking and laughing with enjoyment and relaxation during “Calgary.”  It’s always delightful to see bands at ease with one another and clearly enjoying making music.

Returning for the encore, Vernon said, “I woke up this morning…in Texas,” having to pause for the ruckus applause to dwindle before finishing, “and decided I should play this song.”  The song happened to be Patty Griffin’s “Nobody’s Crying.”  With Griffin’s ties to county and folk that clearly invoke the traditions of Texas music, the choice makes sense.  However, I think Vernon’s connection to Griffin may extend further.  Griffin, who has also graced the ACL stage, was born in the stark, cold of Old Town, Maine, which lies at the exact same latitude (44°N) as Vernon’s hometown of Eau Claire, Wisconsin.  In addition to both being from remote, frigid locales, their penchant for eloquently expressing loneliness and isolation and their unexpected success define them—perhaps as true kindred spirits.  Needless to say, attendees responded with warmth and affection to the gentle, heartrending performance of the song.

The band ended the night with “For Emma,” sending the crowd out undoubtedly humming the somber brass notes still buzzing in their minds.  At one point during the encore, Vernon complimented the achievements of Austin City Limits, saying, “This is the only good, perfect, wonderful music show that we have.”  We agree, Mr. Vernon, especially when it involves a performance as captivating and awe-inspiring as yours.

Photos below courtesy of KLRU/Scott Newton