One of our famous food trailers, and one of Krystal's nicknames.
Dinner at The South Congress Cafe
Outside the Austin penis sign, er I meant the Austin Hotel.
Lounging at the Lagoon
Austin City Limits Theatre – Austin TX
Wednesday May 30th, 2012
Hot Hot Hot
1 One Particular Harbour
2 You'll Never Work In Dis Bidness Again (last played 08-12-1990: East Troy, WI)
3 It's Five O'Clock Somewhere
4 Growing Older But Not Up
5 Son Of A Son Of A Sailor
6 Come Monday
7 Knee Deep
8 Changes In Latitudes, Changes In Attitudes
9 Swingin’ Hula Girl
11 Sea Of Heartbreak (last played 05-29-2004: Texas Stadium – Dallas, TX)
12 Cheeseburger In Paradise
13 Give Henry the Receipt (first time in concert)
14 Piece Of Work (Acoustic w/ Peter, Jim, Mac, Eric, Nadirah and Tina)
15 Pencil Thin Mustache (Acoustic w/ Peter, Jim, Mac, Eric, John, Nadirah and Tina)
16 Southern Cross (Acoustic w/ Peter, Jim, Mac, Eric, Nadirah and Tina)
17 Mermaid In The Night (last played 06-30-1989: Auburn Hills, MI)
Written in Austin!
19 A Pirate Looks At Forty
20 Who's The Blonde Stranger? (last played 03-17-01: San Jose, CA)
21 Why Don't We Get Drunk and Screw
22 All Night Long
First (and only) Encore
23 Jolly Mon Sing
24 Gulf Coast Highway (last played 04-21-2008: Houston, TX, Jimmy and Tina)
25 Scarlet Begonias
26 Brown Eyed Girl
Jimmy Buffett brings an intimate beach party to ACL Live
"If there’s such a thing as an under-the-radar superstar, it’s Jimmy Buffett. He’s sold tens of millions of records, his concert tours sell out
amphitheaters around the country in minutes and he’s released exactly one single since 1980 that charted on Billboard’s Top 100 since 1980.
(He’s been more successful on the Country charts, especially as a guest artist recording with the Zac Brown Band and Alan Jackson.)
Any comprehensive history of the biggest acts in rock and roll would be incomplete without Buffett receiving a chapter with color plates, but the
odds are that whoever would be doing the writing would be content to leave him a mere footnote. He’s never exactly been what you might call a critical
That’s not something that seems to have bothered Buffett, who’s had to reconcile himself to a life of boating, flying airplanes, partial ownership
of the Miami Dolphins, sold-out tours to massive crowds packed with people in goofy hats and loud shirts and other such consolation prizes. Still, when
he took the stage at ACL Live on Wednesday night — a rare performance for a man who famously only plays on Tuesdays, Thursdays and Saturdays — it was
easy to get a glimpse of the sort of performer Buffett might have been if the dice on his career had rolled slightly differently.
Any comprehensive history of the biggest acts in rock and roll would be incomplete without Buffett receiving a chapter with color plates, but the odds
are that whoever would be doing the writing would be content to leave him a mere footnote.
The venue was packed (tickets, priced at a below-usual cost for Buffett at just around $100, sold out in a brief two minutes the morning they went
onsale) for the kickoff show on Buffett’s “Lounging At The Lagoon” summer tour. Buffett explained that the ACL Live date was something of a warm-up,
“a big surprise in a little package,” as a theater show for an artist who usually plays venues with ten times the capacity. (ACL Live’s already-famous
sightlines, incidentally, are still sufficient to overcome sitting behind people wearing eight-inch foam shark fin hats.)
For all the arena-readiness of Buffett’s band and material, though, the set scaled nicely to the ACL Live stage. The thing that’s easy to forget about
the man’s material — especially the ones he wrote during his prime as a songwriter in the mid-70’s — is how personal and introspective it is.
After the ten-thousandth time you’ve heard a drunk warble “Margaritaville” at a karaoke night somewhere, it’s easy to lose track of the song’s lyrics,
but Buffett’s greatest hit — as well as other songs from the 1973-1977 apex of Buffett’s writing career that he played on Wednesday night, including
“Come Monday,” “Changes In Latitudes,” “A Pirate Looks At Forty” and “Son Of A Son Of A Sailor” — is one of the bleaker odes to a wasted life that has
ever been sung-along to by a crowd of thousands. Often, that’s easily lost in the beach party context in which his music is usually framed.
At an intimate show — still a party (at one point, there were sixteen beach balls either on the stage or being passed around the crowd), but a much
smaller one than usual — that aspect of Buffett’s work was easier to identify. Jimmy Buffett sings a lot of songs about wasted youth, feeling like
you belong to another time, finding peace mostly in a bottle, being lost in a world that doesn’t understand you, and a contemporary world that makes
you feel like you’ve drowned.
But his perspective on those things isn’t tragic, and he doesn’t romanticize them in the way that, say, Townes Van Zandt — who became a legend for
writing about those same themes in a way that treats despair as glory — used to. Buffett’s songs about those things tend to lead to someplace that
says, “But then I got drunk with some friends” or “at least I got a really good cheeseburger,” and celebrates those distractions from sadness, rather
than plumbing the depths of despair.
Buffett’s songs tend to lead to someplace that says, “But then I got drunk with some friends” or “at least I got a really good cheeseburger,” and
celebrates those distractions from sadness, rather than plumbing the depths of despair.
Most Americans tend to do the same thing — but not the ones who pen paeans to the genius of tortured artists. Which helps explain both why Buffett’s
flown under the critical radar for most of his career, and why there were so many people in Hawaiian shirts who just wanted to make fins with their
hands and shout, “Salt! Salt! Salt!” during “Margaritaville.”
For his part, Buffett, too, seemed to treat the opportunity to make the show a more intimate sort of beach party as a special occasion. In between
leading the sing-alongs, he treated the crowd to some unique moments and reflections of Austin – not just the usual shout-outs to Barton Springs
(but, sure, those too), but also reminiscing about Jerry Jeff Walker, covering Nanci Griffith and playing a handful of songs that had been out of the
perennially on-the-road band’s rotation for over a decade.
At this point in his career, Buffett’s obviously well-settled: he plays the nights of the week that he wants to, he’s able to enjoy the freedom to
fly his airplanes and pack massive venues, he owns his own beer company, restaurant chain, and part of a football team. At 65 years old, any internal
struggles he’s had over his lifetime about his role in music as a fan-favorite and critical non-entity have probably been resolved. Still, give him a
few more nights in venues like ACL Live, and maybe even the critics will have to give him a second look."