ACL's 35th Anniversary Season: M. Ward Charms Again

In accordance with his longtime practice, Ward strode upon the stage alone, immediately launching into a stunning instrumental arrangement ("Duet for Guitars #3") in which his one guitar takes on the voices of two guitars plus percussion. From that lonesome, gifted beginning, the stage gradually became more and more crowded, as Ward’s approach evolved from über-coffeehouse solo work to incorporate harmonica (for Transistor Radio slowburner “Fuel for Fire”) to a drummer (entering for 2003’s Transfiguration of Vincent thumper “Sad, Sad Song”) to a second guitarist and eventually to a full band including a trio of (somewhat awkward) backup singers. One thing notable about Ward’s accompaniment was its degree of experience—these set musicians weren’t all the most blessed (burdened?) by youth, and the result was a flawless if rarely standout performance. But that’s just fine, because Ward’s effortless versatility kept the audience’s attention, and in fact, his solo virtuosity overshadowed the comparatively conservative guitarwork of his full band arrangements.

The set’s first half was dominated by the more relaxed songs in Ward’s thickening catalog, and it was fitting that “Hold Time,” the beautifully somnambulant title track of his most recent album, saw Ward take the piano for the first time, and mark the shift to the more rocking side of Ward’s music. The shift worked out well, and demonstrated how far Ward’s come as an artist—just when one mode began to lose its thrill, a new one was waiting just around the bend.

Acting as pillars for the set were the stunning “Requiem,” in which Ward ably combined the best of his own ability with the full breadth of his band’s talents, and a full-bodied version of country jam “Poor Boy, Minor Key.” But the song that garnered perhaps the most pleasure from the audience was the one that catapulted the perpetually hard-working Ward from afterthought to foreground: Post-War single “Chinese Translation,” which chugged along in pleasantly contemplative simplicity.

The only mild let-down of the evening was that no surprise guests made their way to the stage—there was no Deschanel cameo (though “Never Had Nobody Like You” minus Deschanel’s vocals, was, according to one audience member, better for not having the distinctly-voiced actress on mic), there was no free jam by Ward’s longtime friend Jim James, and there was no star turn on vocals by former tourmate Norah Jones or collaborator Lucinda Williams. But that’s just fine, because this night wasn’t for anyone else but Ward. And he ended it well, closing the satisfying set with a perfect nod to the city of Austin: an exceptional cover of Daniel Johnston’s “To Go Home,” which left the audience, and Austin City Limits, with a performance worthy of the venerable program’s 35th anniversary season.

M. Ward [MySpace] [Official]
Austin City Limits [PBS Official]

*note: photo and video previously captured—you'll have to wait a while for the real thing!