Kinky Friedman records Austin City Limits, 1975. Photo courtesy Austin City Limits/Austin PBS.
Novelist, columnist, gubernatorial candidate, raconteur, cigar aficionado, and, of course, singer/songwriter Kinky Friedman left this earth on June 27, 2024 at the age of 79. According to the Texas Tribune, the cause was Parkinson’s disease.
Kinky Friedman sings “Amelia Earhart’s Last Flight,” from an unbroadcast episode produced in 1975.
After stints with the Peace Corps and in Nashville, Kinky (who, like his pal Willie Nelson, is on a first-name basis with the universe) became the quick-witted provocateur of seventies outlaw country, writing or covering songs (“Get Your Biscuits in the Oven and Your Buns in the Bed,” “Sold American,” “They Ain’t Making Jews Like Jesus Anymore,” the notorious “Okie From Muskogee” lampoon “Asshole From El Paso”) that raised the hackles of the satire-impaired and restricting his audience to connoisseurs with a certain sense of humor. He reached a bigger crowd in the eighties when he began writing bestselling novels, many of them starring himself as a hard-boiled private detective, as well as contributing a long-standing column to Texas Monthly. Kinky became a national icon when he ran for governor of Texas in 2006, earning 12% of the vote – not nearly enough to win, of course, but not too shabby, either. Following a second, equally unsuccessful campaign, he returned to writing books and songs, as well as founding the Utopia Animal Rescue Ranch in 1998.
Kinky Friedman sings “Wild Man From Borneo,” 1975, for an episode of Austin City Limits that was never broadcast.
Kinky also recorded an episode of Austin City Limits in 1975 for Season 1, but it famously never aired. There’ve been many reflections on why – in the press at the time, in one of Kinky’s memoirs, and in Clifford Endres’ 1987 history of ACL. Suffice to say that PBS executives of the time previewed the episode and decided it would be best for it to stay in the can, even when Austin PBS (then KLRN) offered to let it be a “soft feed,” i.e. a free program to be used at individual stations’ discretion. Fortunately, while it was never broadcast, the show was released in 2007 by New West Records.
Kinky Friedman records ACL, 1975. Photo courtesy of Austin City Limits/Austin PBS.
Of course, any story like this only serves to make the life in question even larger, as Kinky himself acknowledged. “In any case, when the producers of ACL, in their infinite wisdom, decided not to air the show, the legend only grew,” he wrote in his TMT column. “Had they gone ahead and run it, I’d undoubtedly be playing a beer joint tonight on the backside of Buttocks, Texas. I’d never have had the chance to become a best-selling novelist, a friend of presidents, and a candidate for governor. The truth is I wouldn’t even be writing this column, which would be a real shame, since it’s the only job I’ve ever had in my life. So God bless Austin City Limits.”
We’ll miss you, Kinky. You kept Austin – and Texas – weird before the phrase was ever coined. Rest in peace.
Terry Lickona receives the PBS Beacon Award, 2024.
Today, PBS announced it has honored AUSTIN CITY LIMITS executive producer Terry Lickona with the 2024 Beacon Award for his work leading the iconic live music institution. The highest honor in public television, the Beacon award pays tribute to individuals whose work inspires Americans and enriches our nation, in keeping with the mission of PBS.
PBS President and CEO Paula Kerger presented the award to Lickona at PBS’s Annual Meeting of Member Stations along with Catherine Robb, General Vice Chair of the PBS Board; Luis Patiño, President & Executive Officer of Austin PBS; and musician Dave Grohl.
“Terry is a legend,” said Kerger. “He has grown Austin City Limits from a small regional showcase into the longest-running music series in television history. I am proud to present PBS’s highest award to him for the extraordinary contributions he, and ACL, has made to our country by bringing so many legendary performances to a national audience.”
Since 1978, Lickona has been the producer/executive producer of AUSTIN CITY LIMITS. He is also co-producer of the Grammy Awards telecast on CBS, and the Latin Grammy Awards broadcast on Univision. Celebrating its 50th year on PBS, ACL gives viewers a front-row seat to the best in live performance. In 2003, AUSTIN CITY LIMITS was awarded the National Medal of Arts, and in 2012 received a rare institutional Peabody Award for excellence and outstanding achievement. The program and its original Studio 6A were designated an official Rock and Roll Landmark by the Rock and Roll Hall of Fame in 2009. The series presents a wide variety of musical styles and genres. Lickona has worked with artists ranging from Ray Charles and Johnny Cash to Kendrick Lamar, B.B. King, Dolly Parton, Willie Nelson, Stevie Ray Vaughan, Brandi Carlile, Foo Fighters, Rosalía, Jon Batiste, Ed Sheeran, Bonnie Raitt, Billie Eilish, Olivia Rodrigo, and countless more.
A monument to music, ACL has showcased iconic performances from legends and innovators in every genre of popular song for a half-century. Produced by Austin PBS, the show remains a required stopping point for the finest acts to deliver stellar performances from the venerable ACL stage in Austin, Texas. On October 17, 1974, the notoriously TV-shy Willie Nelson taped the pilot episode; the trailblazing series then premiered on PBS in 1975. This renowned program has earned its place in history and will salute its golden anniversary and incredible legacy with a yearlong celebration featuring archival gems, all-star tapings, a primetime PBS special, live concerts, and much more.
PBS is proud to honorLickona with the Beacon Award for his many cultural contributions, impact, and leadership across public media.
The PBS Beacon Award, formerly known as the Be More Award, was established in 2004. Last year’s recipient was FRONTLINE. Other former awardees include Fred Rogers (2004), Jim Lehrer (2005), Bill Moyers (2006), Neil DeGrasse Tyson (2008), Ken Burns (2009), Joan Ganz Cooney (2010), Rebecca Eaton (2011), Gwen Ifill (2012), Alberto Ibarguen (2013), Miles O’Brien (2014), David Fanning (2015), Newton Minow (2016), Bill Isler (2017), Stanley Nelson (2018) Judy Woodruff (2019), Professor Henry Louis Gates, Jr. (2021), Sonia Manzano (2022).
ABOUT PBS
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Austin City Limits is proud to announce new summer tapings from a stellar slate of American originals for our golden anniversary Season 50: critically acclaimed producer/songwriter/performer Maggie Rogers returns on May 30 with songs from her new album Don’t Forget Me; celebrated singer-songwriter Kacey Musgraves returns for her third headlining appearance on June 3 to showcase her acclaimed new release Deeper Well; powerhouse act The War And Treaty return to the ACL stage on June 28 for their second feature slot; and 2024 Grammy Best New Artist nominee Gracie Abrams makes her ACL debut on July 30 with new music from her upcoming sophomore album The Secret of Us.
Maggie Rogers. Photo by Maddy Rotman.
GRAMMY® Award-nominated producer/songwriter/performer Maggie Rogers recently shared her third studio album,Don’t Forget Me, out now via Capitol Records.Rogers co-produced her new album with Ian Fitchuk (Kacey Musgraves, Maren Morris) at Electric Lady Studios in New York City, writing eight of its 10 songs with him and penning two alone. Shawn Everett (Brittany Howard, The War on Drugs) mixed and the album was mastered by Emily Lazar (Beck, Coldplay), who has mastered all of Rogers’ albums to date.Praising the album’s “transcendent songwriting,” SPIN said, “with Don’t Forget Me, Rogers sounds fully confident.” Rolling Stone said, “For such a heavy emotional lift, the album is an easygoing listen, perfect for a Sunday-afternoon drive.” In this feature, The New Yorker praised the album as “the loosest and most elemental music she’s made…burly, coltish, tender, fun,” while Pitchfork declared, “the singer-songwriter’s third album is her strongest yet, the sounds of a wise, clear-eyed melodious prodigy coming into her own voice. Originally from Maryland, Rogers released her breakthrough EP Now That The Light Is Fadingin 2017. Widely hailed as an artist to watch, Rogers released her critically acclaimed Capitol Records debut album Heard It In A Past Life in January 2019 and immediately found tremendous success: entering Billboard’s Top Album Sales chart at No. 1 and debuting at No. 2 on the Billboard 200. The album earned praise from the likes of NPR, The New York Times, Rolling Stone, Pitchfork, TIME Magazine, Vogue, and many more. Heard It In A Past Life also landed Rogers a nomination for Best New Artist at the 62nd GRAMMY® Awards and led to performances on major TV shows including Saturday Night Live, The Tonight Show Starring Jimmy Fallon, The Late Show with Stephen Colbert, Austin City Limits, Today, and more. The album, which contains the platinum hits “Light On” and “Alaska,” has amassed over one billion combined global streams and is certified Gold in the U.S. In 2022, Rogers released her follow up album, Surrender, to widespread acclaim and embarked on two sold-out headline tours across Europe and North America including her Summer of ’23 Tour, which included stops at legendary venues like Red Rocks Amphitheatre in Colorado, Forest Hills Stadium in NYC and the Hollywood Bowl in Los Angeles. Rogers kicks off her “Don’t Forget Me Tour, Part 1”May 23 at Gallagher Square at Petco Park in San Diego, CA, and will perform two nights at Red Rocks Amphitheatre in Colorado (May 27 + May 28). The “Don’t Forget Me Tour, Part II” — Rogers’ first-ever arena outing — will launch on October 9th at Moody Center in Austin, TX and include shows at New York City’s Madison Square Garden (October 19) and the Kia Forum in Inglewood, CA (November 2).
Kacey Musgraves. Photo by Kelly Christine Sutton.
Kacey Musgraves has always been a little bit magic. From the tumbling sparkle of Laurel Canyon acoustics that cascade into “Cardinal,” the swirling opener on the seven-time Grammy winner’s fifth album, Deeper Well, the metaphysical and incandescent are even more present and powerful from a woman whose songs have cast a glow on how evolved people live since her first single “Merry Go ‘Round” charmed the world over a decade ago with its hypocrisy-skewering appeal. If there’s one thing Musgraves has done across one of modern music’s most expansive and adventurous creative journeys, it’s trust her gut. Glistening folk-pop and country explorations with just enough bluegrass to spin the modern arrangements organically, she wears these songs like a second skin. For Deeper Well, the introspective writer found herself drawn to NYC’s legendary Electric Lady studio. Working with longtime co-producers Ian Fitchuk and Daniel Tashian, the music on Deeper Well is almost chimeric: rolling acoustic guitars, puffy clouds of strings and synth, warm bass punctuations, layered harmonies, moments of Celtic melody and plenty of room on the tracks for Musgraves’ silvery vocals. On the bright, almost folky title track, the 30-something songstress surveys her life and priorities, recognizing what feeds her, drains her and even examines the Texas childhood she’s left behind on her way to now. “Sonically, I’ve been craving classic American songwriting,” she says. “Real songs. No gimmicks. The color palette of where those songs came from was everything I felt pulled to. New York is one of the places that kind of record came from. Simon & Garfunkel, the Greenwich Village clubs, fingerpicking and James Taylor. Social commentary. Storytelling. I always look for honesty in terms of the songs, and this record is no different. Unconsciously, I think that’s part of what drew us to taking our stories to New York City.” Deeply personal, universally true, Deeper Well is a coming of enlightenment song collection that embraces fear, vulnerability and the joy found beyond the doubt most sentient people wrestle. “Love is the prism,” says the sloe-eyed songwriter, “and my role in it. I make sense of the world around me by looking for balance and I’d like to think this album is for anyone who’s living life and paying attention.”
The War And Treaty. Photo by Austin Hargrave.
Founded in 2014 by the husband-and-wife duo Michael Trotter Jr. and Tanya Trotter, The War And Treaty has emerged as one of the most electrifying new acts in American music. The Nashville-based pair recently garnered their first-ever GRAMMY nominations for Best American Roots Song and the all-genre Best New Artist, along with a 2024 Duo of the Year nomination from the Academy of Country Music. This follows an exciting year of honors for the pair including their first-ever Duo of the Year nomination from the Country Music Association and nominations for this year’s CMT Music Awards for Duo/Group Video of the Year and for CMT Performance of the Year. Further recent recognition has come from the Country Music Hall of Fame, the Rock & Roll Hall of Fame, the Grand Ole Opry, and the Americana Music Association. With a lionhearted sonic blend, both roaring with passion and tender to the touch, The Tennessean notes, “they are unlike any other act in music.” The War And Treaty’s 2023 major label debut album Lover’s Game (Mercury Nashville) was met with critical praise, with the Associated Press claiming, “The colossally talented pair continue their commando, no-limits journey to the top of the music world.” Drawing respect across the board, they have gone on to appear as top-flight collaborators, including the latest “Hey Driver” with Zach Bryan. The group also just released their first new single of 2024, “Stealing A Kiss” – a seductive envelope of country soul that they are becoming well known for. The War And Treaty has captivated audiences across the globe from North America to Europe, Australia and beyond, while headlining their own shows and opening for a diverse group of living legends: Al Green, Brandi Carlile, Chris Stapleton, Jason Isbell, John Legend, Lauren Daigle, and Van Morrison among them. The War And Treaty made their ACL debut in Season 46 in 2020 during ACL’s limited audience pandemic tapings, and we are thrilled to welcome them back to light up the ACL stage, this time with a full live audience.
Gracie Abrams. Photo by Abby Waisler.
Gracie Abrams returns with the highly-anticipated new album, The Secret of Us, out June 21st on Interscope Records. The album’s newly-released lead single “Risk” was met with an outgoing of support and excitement from fans online as well as raves from Rolling Stone, Billboard, Nylon and more. The 24-year-old songwriter co-wrote the bubbly yet incisive new track with longtime friend Audrey Hobert and took a hands-on role producing the new single alongside her friend and frequent collaborator, the National’s Aaron Dessner. The Secret of Us will come nearly a year since her debut album, Good Riddance, which Gracie released in February 2023 and Rolling Stone hailed “one of 2023’s Best Debuts.” Good Riddance earned Gracie her first ever Grammy nod at the 66th Annual Grammy Awards with a nomination for the highly coveted Best New Artist. Since making her debut in 2019, Gracie Abrams has emerged as one of the most compelling singer-songwriters of her generation, earning the admiration of such like minded artists as Taylor Swift, Lorde, Billie Eilish, and Olivia Rodrigo. A consummate songwriter who names Joni Mitchell as her most formative influence, she penned her first song at age eight, then went on to amass a devoted following on the strength of her emotionally intimate lyrics and DIY sensibilities. With the arrival of her breakout debut project minor in summer 2020, she received glowing reviews from the likes of NME, who praised her “painfully honest tales of heartbreak draped in delicate melodies that carry much more intrigue than the usual run-of-the-mill singer-songwriter.” The seven-song effort features her beloved singles “21,” “I miss you, I’m sorry,” and “Long Sleeves.” In late 2021, Abrams returned with This Is What It Feels Like, a 12-track project exploring such complex emotional experiences as self-betrayal, insecurity, and failed attempts at connection. Soon after completing her sold-out North American headline tour for This Is What It Feels Like, she set to work on her debut album. Abrams kicked off 2022 with a headline tour of North America followed by a support slot on Olivia Rodrigo’s tour and reconnected with Dessner to release two songs “Block me out” and “Difficult.” In early 2023, Abrams released her debut album, Good Riddance, followed by a North American headline tour that sold out in under one hour. Gracie toured with Taylor Swift as the opening on select dates of her blockbuster Eras Tour and will continue as direct support when the Eras Tour returns to North America later this year.
We’re excited to welcome these stellar acts to the ACL stage for our milestone 50th season. Want to be part of our audience? We will post information on how to get free passes a week in advance of each taping. Follow us on Facebook and Twitter for notice of postings. The broadcast episodes will air on PBS this fall as part of our anniversary Season 50.
Iconic live music series Austin City Limits launched in the fall of 1974 with Willie Nelson as the featured performer for the pilot. That episode became the cornerstone for 50 years of groundbreaking, award-winning music television and a dispatch to the world declaring Austin’s place as a pioneering music city. For his performance, Nelson wore a “Gaucho” style western shirt featuring multi-color Thunderbird embroidery. Now Austin menswear brand Howler Brothers commemorates Austin City Limits’ five decades and the Willie performance that started it all with the release of a golden anniversary capsule collection.
A pair of Austin originals, Howler Brothers and Austin PBS’ Austin City Limits have teamed up again for a limited-time collaboration featuring a trio of new designs; including a long sleeve snap shirt, cotton tee and snapback hat. The collection pays homage to the shirt worn by Austin’s most famous music maker during the October, 1974 taping of the pilot episode. Taking inspiration from Willie’s historic appearance, Howler brings the iconic “Pilot Bird” shirt back to life with a celebratory black and gold rendition. “We are thrilled to once again partner with Howler Brothers to celebrate local music and the musicians that made this the live music capital of the world,” said Luis Patiño, Austin PBS CEO. “Not only is Austin City Limits a quintessential part of the musical heritage and cultural fabric of Austin, its reach has impacted fans and musical artists across the entire country for decades,” says Chase Heard, co-founder and CEO of Howler Brothers. “Partnering with ACL on this exclusive 50th anniversary collection is an honor and privilege for Howler Brothers. While this pays homage to the beginnings of the show, it is without question a celebration of the fans.”
Music fans will have a chance to own a piece of history and to preview and shop this collection on Tuesday, March 26 at Austin City Limits’ Season 50 taping with another Austin-bred original, Gary Clark Jr. Austin PBS and Howler Brothers are celebrating the launch today with a Happy Hour at @3tenaustin on Willie Nelson Blvd. Festivities kick off at 5:30pm to be among the first to shop the new collection, grab a drink, and at 8pm rock out to a simulcast of Gary Clark Jr.’s ACL taping. The free event is open to the public, and entry is subject to capacity. The capsule collection will also be available to shop online.
A monument to music, Austin City Limits has showcased iconic performances from legends and innovators in every genre of popular song for a remarkable five decades. October 17, 2024 will mark 50 years since Austin City Limits began with Willie Nelson taping the pilot episode; the trailblazing program then premiered on PBS in 1975. The series is the flagship of the popular ACL Music Festival and has earned countless accolades including a Peabody Award, a Rock & Roll Hall of Fame designation and remains the only TV series to ever be awarded the National Medal of Arts. As ACL turns 50, the revered music institution continues its extraordinary run as the longest-running music television show in history, providing viewers a front-row seat to the best in live performance. Produced by Austin PBS, and recorded live at ACL’s studio home in Austin, Texas, the show remains a proving ground for legendary artists and innovators of all genres to deliver stellar performances from the venerable ACL stage. Austin City Limits has earned its place in history and will salute its 50th anniversary and incredible legacy with a yearlong celebration featuring archival gems, collaborations, fan activations, all-star Season 50 tapings, a PBS special, live concerts and much more.
Juanes on Austin City Limits, March 2024. Photo by Scott Newton.
“We can’t believe we are here again!” Juanes took the stage at ACL TV for the third time on Monday, having previously performed on season 32 and 39. For his third taping, Juanes presented a hits-packed set drawn from his entire career, and how fitting to welcome him back in celebration of ACL’s 50th anniversary. Bearded, tattooed, wrapped in a sleeveless denim jacket, the Colombian superstar took the stage like the international rock star he is. For his third taping, with songs drawn from his entire career, hopping from jangly guitar pop (“Gris”) to blues rock cumbia (“Mala Gente”) to romantic balladry (“Nada Valgo Sin Tú Amor”) – and that was in the first ten minutes. Backed by his five-piece band, the singer/songwriter not only emphasized the breadth and depth of his catalog, but also his own musicianship, with several extended guitar solos.
But the heart of the show was the interplay with the adoring crowd of diehard fans who turned out to literally cheer him on. Juanes encouraged singing along starting with “Mala Gente;” by the time he got to “Fotografia,” the eager audience needed little prompting, cheering loudly at the first note. Other giddily-received fan favorites included “Es Por Ti,” “La Paga,” “La Camisa Negra,” and the call-and-response powered “La Noche” and “A Dios Le Pido.” But two moments especially stood out. For “Para Tu Amor,” Juanes planted himself in the center of the floor with a mic stand and an acoustic guitar, performing the folky ballad surrounded closely by his loving crowd. In salute to the Mexican contingent of the audience, Juanes performed “Querida,” a classic Juan Gabriel ballad that Juanes recorded with its creator a few years ago. He ended the show with back-to-back monsters: “Me Enamora” and “La Luz,” which gave the crowd plenty of opportunity for call-and-response.
At one point during the show, Juanes talked about coming to Los Angeles in 1996 in order to make it in music, and how hard those years were. “But you know what?” he shrugged. “I made it – Austin City Limits!”
Juanes performs on Austin City Limits, March 4, 2024. Photos by Scott Newton.
Setlist:
Gris – Vita Cotidiana
Mala Gente – Un Día Normal
Amores Prohibidos – Vita Cotidiana
Nada Valgo Sin Tú Amor – Mì Sangre
Volverte A Ver – Mì Sangre
Lo Que Me Gusta A Mi / Fuego / Hermosa Ingrata – Mì Sangre/Mis Planes Son Amarte/
W.C. Clark on Austin City Limits, 1989. Photo by Scott Newton.
W.C. Clark, the Godfather of Austin Blues, passed away on March 2 at the age of 84. Part of the bedrock of the Austin music scene, Clark performed on Austin City Limits in 1989 in celebration of his fiftieth birthday, joined by his friends and devotees Stevie Ray Vaughan, Jimmie Vaughan, Kim Wilson, Lou Ann Barton, and Angela Strehli. He was part of the ACL family and we will miss him.
W.C. Clark, Stevie Ray Vaughan, and Double Trouble drummer Chris Layton improvise a jam on Austin City Limits.
Singer, songwriter, guitarist, and bassist Clark became a professional musician at the age of 16, performing his first gig at the legendary Austin venue the Victory Grill. That led to gigs with other Texas blues and soul peers and pioneers, including T. D Bell, Blues Boy Hubbard, and Houston soul star Joe Tex. He also formed his own bands, taking other rising blues and R&B artists under his wing in the likes of the Storm (with Jimmie Vaughan), Southern Feeling (wth Angela Strehli), and the groundbreaking Triple Threat Revue (with Lou Ann Barton and Stevie Ray Vaughan). Other mentees included members of the Fabulous Thunderbirds and Sextons Charlie and Will. Beginning in the eighties, Clark led his own band, the W.C. Clark Blues Revue, for nearly forty years, touring the world and releasing eight albums along the way.
W.C. Clark and Friends perform “Take Me to the River.”
“W.C. was a class act and a gentleman,” said ACL executive producer Terry Lickona. “He was loved and respected by many, but fame and fortune were not his goals. He epitomized the best of the Austin music scene, and there are none others quite like him.”
Clark played his final gig at Giddy Ups on February 20, a mere thirteen days before his death, leaving behind an enviable legacy. He will be greatly missed.
W.C. Clark and Friends on Austin City Limits, 1989. L-R: Angela Strehli, Stevie Ray Vaughan, Jon Blondell, W.C. Clark. Photo by Scott Newton.
