Show Review: Cunningham Bird @ Paramount Theater (01.25.25)
“Do you always trust your first initial feeling?”
This seemingly innocuous, yet thought-provoking question speaks to the nature of foresight and perception. Humans, by nature, are notoriously bad at predicting the future. Listen to your gut, the saying goes but our big brains often get in the way.
America in 1973, an unknown and somewhat unlikely duo, Stevie Nicks and Lindsey Buckingham were musical upstarts, scrounging for work and scraping together a living. The line above would eventually greet listeners on Crystal, the third track from their debut (and only) album together, Buckingham Nicks. However, whether due to collective ignorance or a lack of press, the album was largely ignored at the time. It came and went without much fanfare before the duo eventually found success as part of Fleetwood Mac. Most people, except for the strange outlier of Birmingham, Alabama, dismissed the album, trusting their first initial feeling that this unknown duo would not amount to much, if they heard it at all. But history had other plans.
Luckily, in the modern world, artists like Andrew Bird and Madison Cunningham have helped rectify this lack of exposure to this classic album, reintroducing the music to a new generation with their own unique spin. And history, as always, will be the true judge of what lasts.
Austin was fortunate to experience this reinterpretation firsthand when the award-winning duo, Bird, a master multi-instrumentalist, and Cunningham, a folk singer-songwriter of exceptional depth, took the stage at the Paramount Theater, delivering a night of musical paradise and catharsis.
But before we get to them, we need to rewind to 1980, to a McDonald’s not far from the Paramount, in the basement of the University of Texas at Austin Dobie Center. There, another unfamiliar musician was forging his own path through the oft soul-crushing music industry in a way only he could. Armed with a tape recorder, a pen, and a handful of songs, Daniel Johnston was bringing his craft to the streets, spreading his music through word-of-mouth and homemade recordings passed out to people he met.
With his raw songwriting and lo-fi aesthetic, Johnston built a loyal local following. Over the next decade, he gained recognition in niche communities before finding broader fame partly thanks to Kurt Cobain, who famously wore a Johnston T-shirt, catapulting his work into the public eye. But we Austinites, already understood the true nature of Johnston’s artistry. In 1993, a commissioned mural outside the long-gone record store, Sound Exchange, at 21st and Guadalupe, introduced the world to Jeremiah the Innocent, Johnston’s now-iconic frog painting, forever linked to his legacy.
Fast forward to present-day Austin, where the City now celebrates Hi, How Are You Day in honor of Johnston. Created by the Hi, How Are You Project, a 501(c)(3), the event raises awareness for mental health literacy and support services for students and communities worldwide. Now in its eighth year, the day is observed on January 22, Johnston’s birthday, honoring both his music and his well-documented struggles with mental health. More than anything, the day serves as an opportunity for compassion, understanding, and the kindness of empathy. A reminder to accept and celebrate what makes each other unique.
And it all starts with a simple question: Hi, how are you?
How often do we ask this of our friends and family and receive the automatic, dismissive response: “I’m fine.”? But beneath that, the truth is often much deeper. We must push past the surface past our initial feeling to truly connect, listen, and support one another.
With this heavy yet unifying theme setting the tone, the audience at the Paramount Theater was ready for whatever might come. And true to form, the evening’s performances delivered offering a sense of hope, unity, and authenticity in stark contrast to the chaos of the world outside.
First Course: Cunningham Bird
After a brief introduction, Andrew Bird and Madison Cunningham emerged from stage left, joined by drummer Ted Poor and multi-instrumentalist Mike Viola who handled keys, bass, and album production. With no opener, the nights setlist was structured like a carefully curated three-course meal: Cunningham Bird, Cunningham and Bird, and Daniel Johnston. And we were famished.
The quartet launched straight into Crying in the Night, the opening track from Cunningham Bird, giving the first taste of the sheer magic this duo creates. Their harmonies were pitch-perfect, effortless yet striking. Bird, already one of the most diverse and accomplished songwriters in the game today, finds an undeniable chemistry with Cunningham together…they are a goddamn cheat code.
As he demonstrated on his 2014 release Things Are Pretty Great Here, Sort Of…, which reinterpreted songs by The Handsome Family, Bird does not just cover songs, he reshapes them. He and Cunningham take the foundation of Buckingham Nicks, break it down, and rebuild it into something unmistakably their own, all while preserving the original confidence and youthful spirit of Stevie Nicks and Lindsey Buckingham.
Following Crying in the Night, they moved seamlessly into Stephanie, the first of several instrumental interludes that showcased their musicianship. These short instrumental moments have become a signature for Bird, who has found creative freedom in projects like Outside Problems the free-flowing, outdoor counterpart to his latest album Inside Problems as well as his recent jazz reinterpretation collection, Sunday Morning Put-On.
Next came Don’t Let Me Down Again, with Cunningham’s voice soaring, adding new layers to the song. As the set progressed, their performance felt like a celebration of musical history and creative reinvention. By the time they played Frozen Love, it was clear this was not just a tribute, it was a living conversation between generations of musicians.
Second Course: Cunningham & Bird
A short intermission allowed the crowd to stretch their legs and collectively lament the Paramount’s less-than-ergonomic seating. As bar queues swelled and merch booths bustled, the rest of us settled in for the second course.
With the 70’s behind us, we drifted into the “swirling hypnotic” era of the 1980’s. Bird paid homage to one of his favorite Daniel Johnston tracks, Bloody Rainbow from Johnston’s 2000 release, recounting how hearing Johnston play it live had “knocked his socks off”. The first of several Johnston covers, this opener merely whet the collective whistle for what was to come; a taste of something pure and raw.
As the set continued, Bird, Cunningham, and company traded songs from their individual repertoires. Several selections from Bird’s My Finest Work Yet made an appearance, a fitting nod to the album where Cunningham first collaborated with him in 2019. Bloodless for Now was a standout, offering a sobering reflection on political disillusionment. Bird acknowledged the state of affairs in the U.S., lamenting that the songs message remained painfully relevant: “We’re all still being played”.
Cunningham stepped forward to share selections from her Grammy-winning Revealer. Life According to Rachael, a touching meditation on love and loss, carried a quiet emotional weight, while In from Japan showcased her sharp songwriting and lyrical depth. Her voice, steady and evocative, felt like both a whisper and a declaration, an artist fully in her element.
Together, they performed Some Things Last a Long Time, taking the stark and melodic Johnston song to new heights. Here was Johnston at his most vivid, a beautiful song about the contrast of permanence and memory reinterpreted with haunting beauty.
Finally, they returned for a special duet, stepping up to a single microphone to perform Left Handed Kisses and Pulaski at Night, a breathtaking finale.
Dessert: Always Love
Thunderous applause brought them back for an encore. Cunningham performed Broken Harvest, her contribution to NPRs Morning Edition Song Project, a song of loss and rebirth.
And to end the night, a simple but profound reminder: True Love Will Find You in the End. Johnston’s 1990 ballad closed the show with a final message, one that echoes the heart of the Hi, How Are You Project: Love, acceptance, and the belief that no one is ever truly alone. Because, in the end, “you’ll find out just who was your friend.”
To love, with love.
Always love.
-jon
Having a little fun with sketches in the style of Daniel Johnston by J. Wagner.