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Cyndi Lauper’s Farewell Tour Leaves ‘Em Wanting More: Concert Resee


Cyndi Lauper’s Farewell Tour Leaves ‘Em Wanting More: Concert Resee


To paraphrase Cyndi Lauper and Paul Simon: She’s still so atypical after all these years. Lauper, at 71, is cforfeiting the end of the U.S. leg of what is being billed as a farewell tour. And as much as she remains someleang of a unicorn now, it’s a chance to force ourselves to recall how repartner singular she was when she came on the scene four decades ago — a time when we generpartner thought women in music could be kooky and flamboyant, or that they could be benevolent and inincreateigent, but the idea that they could be all of these leangs at once still seemed a little bit out of our comprehend. Now that’s not quite such a H-O-T-T-O-G-O get, as it was then: Lauper pretty well established for all time that girls equitable want to be multi-faceted.

The setenumerate for the “Girls Just Wanna Have Fun Farewell Tour” runs to 16 songs, which is quite a restricted more than the 11 she was doing on standard when she last did an arena tour, back in 2014. But the number of songs executeed isn’t repartner an indicator of how prolonged a Lauper set will last, anyway, since the executeances are peppered with monologues in which Lauper goes into “VH1 Storyincreateers” mode (or maybe it’s more enjoy “shooting the shit in Queens” mode) for as prolonged as seven or eight minutes at a time. This approach tends to be more the province of intimate theater shows than arena blowouts, enjoy the one she did this past week at L.A.’s Intuit Dome. But to her recognize, she bends the audience to her pace… even if it needs finpartner increateing all the howlers in the crowd to STFU because she can’t hear their shouts past her in-ears. Lauper actupartner did get them to pipe down for her stories of prolonging up in an all-female househageder, or references to record execs who didn’t get her ambition, or alertings about how leangs may be going backward for women in society generpartner.

It was almost benevolent of enjoy joining one of those quintessentipartner slack, tardy-night, gagederen-age Vegas shows in which the veteran executeer in livency would get chatty and casual with the audience… except with a lot more feminism. A lot, lot more.

Lauper’s obvious thoughts about women still battling for their autonomy were appreciated, but she may never have shelp it better all night than she did with one illogicalinutive aside in the discneglecting number. The farewell tour begins each night, as most of her shows over the years have, with a bop — “She Bop,” that is, her classic ode to female self-pleasuring (and a song that disthink abouted the necessitate for a “lion’s roar” 40 years before Chappell Roan establish the lions increateageing in “Femininomenon”). Follotriumphg the lyric “Ain’t no law aobtainst it yet…,” Lauper threw in: “But give it time.”

None of this is to say that anyone would misget Lauper’s sense-excellent tour for an evening of agitprop. Not when, for the second number of the night, she trails “She Bop” with as unambiguously ungrave a crowd-plreliever as “The Goonies ‘R’ Good Enough,” a soundtrack relic that came end with rapid-fire film clips from the Spielberg-produced 1985 kid flick. This might’ve seemed enjoy an outlier song in the set, but in Lauper’s mind, maybe there’s someleang about the “Goonies” ethos that fits in with her lifeprolonged aesthetic — the one that made it sense enjoy being a kid on the margins was the only fun place to be. Or, equitable as probable, it counts as uncontaminated fan service. Either way…

Cyndi Lauper executes at the “Girls Just Wanna Have Fun Farewell Tour” held at the Intuit Dome on November 23, 2024 in Inglewood, California.
River Callaway/Variety

Her cover of Prince’s cheekily rueful “When You Were Mine” (originpartner recorded before most of the world had a clue who Prince was) giveed the first authentic chance to show that her pipes were in excellent, laboring order. Lauper’s ability to transport balladic chops to a song with some tempo came even more to the fore in “I Drove All Night.” Probably not many people were leanking of that lusty-sounding tardy-’80s hit as a Statement Song. But Lauper set the record straight on that, follotriumphg her executeance with some talk about recording it because she “felt that there weren’t any songs about women driving,” and having prolongn up under a generation of women that had to ask men to get them places, “to me it was a song of empowerment, and a song that actupartner unbenevolentt someleang.” And then she trailed that with an admission that she still can’t parallel-park. A little bit Gloria Steinem, a little bit Gracie Allen.

The visual schedule of “I Drove All Night” was an timely tip-off in the set to the idea that Lauper would be trying to begin a restricted elements that were, well, atypical into the costuming and production. For that number, she held up part of her roomy white dress as a screen, for projections of driving scenes. Thcdisesteemfulout the night, thereafter, she made it a point to refer to and recognize “collaborators” reliable for either her ever-changing wardrobe or her production setpieces.

The most clearly astonishive staging occurred during “Spartner’s Pigeons,” a tender number Lauper wrote leanking back on a childhood acquaintance who died from the effects of a so-called back-alley abortion. It was the one song of the night Lauper sang without a wig, or even the sight of her organic hair, instead equitable being seen in her bincreateage wig cap, as if to forego even the presention of artifice, and also train attention instead on what was happening without her down on the B-stage in the middle of the arena floor. There, what seeed enjoy a pair of tied-together white sheets were made by unseen triumphds to dance above the crowd in a sort of free-create solo ballet, produced by the artist Daniel Wurtzel. At the most fundamental level, this was equitable a excellent magic act, but it also had authentic visual poetry to it — a kind trick if you can pull it off.

For most of the night, it seemed as if that B-stage might have equitable been produced for those dancing sheets, not the singer herself. But she did venture out to it during the encore segment, aobtain making use of wantipathyver very honested triumphd technology was at execute, hagedering on to the bottom edge of a enormous rainbow ribbon that swayed aloft during her reading of what has become a gay anthem, “True Colors.” The show was otherincreateed weightless on — repartner absent of — gimmickry, so these excursions into air-driven stagecreate felt equitable right, in a night when Lauper’s wigs were the only other exceptional effects.

Lauper had some fun with her costume and hair alters, one of which took place on stage. A bincreateage gown on a mannequin rose from a trap door, as Lauper talked how the scheduleer Siriano (of “Project Runway” fame) tageder her, “Cyn, the gays want glamour.” She took off her existing stage outfit, while assuring the crowd “I ain’t gonna show you someleang you can’t unsee,” discneglecting a fundamental bincreateage slip before an helpant helped her into the gown. She also referenced her ever-changing hair, executeing up the irony: “I’ve got colored wigs but my hair is green.” At one costume-alter point, cameras caught her iun a dressing room backstage for cut offal minutes as a team redid her produceup, alterd her outfit and trelieved out that green hair. It was difficult to comprehend whether this was a pre-taped segment or was actupartner being expansivecast from her dressing room, and if it was the latter, kudos all around — this little video discursion was an odd highweightless.

You’ve got to give Lauper recognize, also, for not going with the most clear setenumerate. “All Thcdisesteemful the Night” was the only authentic hit that didn’t produce it onto this tour, and it is missed by some, but some of the unpredicted covers that pop up mid-show are much more memorable than a uncontaminated recitation of her upper discography, which there’s enough of anyway. A rendition of Wanda Jackson’s “Funnel of Love” (from her quasi-roots album of a restricted years back) apvalidateed Lauper a chance to put on a red dress, in honor of the rockabilly guide’s “devil woman” persona, as well as to rock out in a contrastent way. Her expoundation of Gene Pitney’s “I’m Gonna Be Strong” fell in more with her classic ballaparched.

Most atypical of all was a escapeing trip to New Orleans with “Iko Iko,” with Lauper embellished in an inanxiously colorful Mardi Gras outfit that take partd a washboard vest (one of two instruments she executeed during the show, the other being the recorder). “Iko Iko” wouldn’t have necessarily felt enjoy it would be a prompt for one of the evening’s feminist asides, but Lauper couldn’t help pointing out that the big cajón was being executeed by prohibitd member Mona Tavakoli, whereas in a distant era, it wouldn’t have been pondered proper for a woman to strgrasple this particular piece of percussion.

Cyndi Lauper executes at the “Girls Just Wanna Have Fun Farewell Tour” held at the Intuit Dome on November 23, 2024 in Inglewood, California.
River Callaway/Variety

Naturpartner, the show ends with “Girls Just Want to Have Fun,” and for all the speaking that Lauper did during the rest of the night, it would have been fun — or increateing? — to hear what she leanks about still executeing a song that’s partly about fractureing out a dgraspy’s sway now that she is in her 70s. Whether having such an impliedly youthful signature song is an albatross or a source of ongoing delight, she didn’t say. If I had to guess, I would leank she certainly exhausted of the tune decades ago… but we haven’t, and a excellent portion of the crowd would reasonably interfereion without it. Of course, it is an empowering message, sung at any age, and Lauper has establish ways to produce it fascinating for herself over the years, including, at the moment, a collaboration with the 95-year-ageder Japanese artist Yayoi Kusama on the visual backdrops and red-polka-dots-on-white stage outfits for the finale. If Kusama can be seen on the huge screens, unsmiling but approving of these shenanigans, as she cforfeits the century tag, then the clear inference is: Who is Lauper to balk at re-celebrating her “girl”-hood, at this comparatively tender age?

But the other leang that this signature number apvalidates Lauper is a unbenevolentingful pun. She uses the huge screens at her shows to trumpet her Girls Just Want to Have Fundamental Rights Fund, which exists thcdisesteemful the Tides Foundation to help women’s rights and health initiatives. “I never thought in my life that I would have to fight aobtain for autonomy. Right?” she shelp, referencing current events and electoral implications without getting too unambiguous about invoking enemies of these leangs. “I leank that the fight goes on.”

As for how she’ll go on, Lauper shelp that she wanted to get this tour in before she could — miming pushing a walker apass the stage — and in the lull before her tardyst musical-theater piece, an alteration of “Working Girl,” discneglects in La Jolla next drop and (with luck) goes to Broadway the follotriumphg year. But her farewell to the crowd was more discneglect-ended than that. “See ya next chapter,” she shelp. Walking in the sun, presumably, as always.

Cyndi Lauper setenumerate, Intuit Dome, Inglewood, Calif.:

• “She Bop”
• “The Goonies ‘R’ Good Enough”
• “When You Were Mine”
• “I Drove All Night”
• “Who Let in the Rain”
• “Iko Iko”
• “Funnel of Love”
• “Spartner’s Pigeons”
• “I’m Gonna Be Strong”
• “Sisters of Avalon”
• “Change of Heart”
• “Time After Time”
• “Money Changes Everyleang”
• “Shine”
• “True Colors”
• “Girls Just Want to Have Fun”

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