Author: michael

While the West Coast got all the press in the 60s, music lovers often forget that psychedelic rock has its roots as much in the Lone Star State as in California, thanks to acid rock heroes the 13th Floor Elevators, who were the first band to apply the term “psychedelic” to rock & roll. As Eddie Contreras commented on Twitter, Austin’s own Black Angels “are keeping up the tradition of legends like Roky Erickson at #acltv right now – good ol psychedelic music from Texas!”

If any band could be described as being bathed in a sea of reverb, it’s The Black Angels. (Their record label is called the Reverb Appreciation Society, after all.) With a few whammy barred chords drenched in cavernous echo, the band launched into “The Sniper,” swirling together melody and drone. That blend defines the band’s aesthetic, which was in full flower on the ACL TV stage. The set leaned most heavily on the band’s later, more melodic work on Phosphene Dream and this year’s Indigo Meadow – gems like “Evil Things,” “I Hear Colors” and the overtly 60s-worshipping “Yellow Elevator” moved the band close to pop without compromising its essential psychedelic brood. But The Black Angels indulged in plenty of its signature drone rock, as the dark, propulsive brooding of “Mission District,” “You On the Run” and “Black Grease” (the song that put the band on the map seven years ago) set the controls for the heart of the sun. “Twisted Light” ended the main set with layers of guitar and organ compote.

For the encore, they kicked off with “Telephone,” the poppiest song in its repertoire, sounding almost like a lost Small Faces classic. Then it was into the sardonic drone of “Bad Vibrations,” before bringing it all back home with the mysterious and powerful “Young Men Dead,” the first song on their first album Passover. The Black Angels took Austin City Limits into the psychedelic heart of darkness and back out into the light. We can’t wait for our fans to see them in action this fall – stay tuned.

Here at Austin City Limits, we love to showcase artists on the rise. Dawes is definitely that – the Los Angeles quartet made waves almost immediately with its 2009 debut album North Hills, and has kept its upward momentum going since.

Taking the stage to a subtle organ bed, Dawes launched into “From a Window Seat,” the first single from its latest LP Stories Don’t End. The sharply melodic, harmony-rich tune set the standard for the rest of the set, which draws from the folk/country rock of the 70s. “If I Wanted Someone” and “Fire Away” rode a midtempo groove, emphasizing the song’s natural tunefulness, while “Someone Will” added a fingerpicked country & western vibe. “Just Beneath the Surface” added some classic pop melodicism, while “Most People” highlighted the brotherly harmonies of leader Taylor Goldsmith and drummer Griffin Goldsmith for some stunning counterpoint vocals. The band was at its best when it folded an epic feel into its songs – the widescreen “Time Spent in Los Angeles” and “When My Time Comes.”  The slow-burning “A Little Bit of Everything” brought the show to a close with a conversational saga that crossed narrative storytelling with stadium folk rock.

Though Dawes left the stage following that crowd-pleaser, it wasn’t done yet. Encore “From the Right Angle” multiplied the grandeur times ten, maintaining the epic feel and letting some unruly rock & roll take the performance into the stratosphere. The crowd understandably went wild. We can’t wait for the rest of you to see how Dawes got the audience fired up when this episode airs this fall. Stay tuned!

“I try my best to have a lot of fun playing really sad songs,” declared singer/guitarist/songwriter Jason Isbell from the Austin City Limits stage.”It’s kinda what I do.” Brooding melancholy isn’t usually a recipe for onstage success, but in the hands of Alabama native and former Drive-By Trucker Isbell, it’s the fuel for a mighty musical engine – what Facebooker Odam Hunt calls “an unstoppable force.” That talent powered a cool ACL debut, as Isbell brought his soulful voice, stinging guitar and acclaimed catalog of tunes to ACL in celebration of his stellar new record Southeastern.

Isbell and his band the 400 Unit opened with blasts of loud, Crazy Horse-style rock & roll, as “Flying Over Water” and “Go It Alone” served notice that this wasn’t going to be an easygoing country/folk show. Then it was straight into “Alabama Pines,” a wistful walk down memory lane that won the 2012 Americana Music Association Song of the Year award. He travelled that lane even further into the past, resurrecting his DBT classics “Decoration Day” and “Outfit,” the latter’s gorgeous waltz-time meditation on fatherly advice reiterating how early Isbell fulfilled his songwriting promise.

Once Isbell strapped on his acoustic guitar, the creeping darkness came to full flower. “Live Oak” and “Different Days” looked back at shameful days gone by with the hope that current loved ones won’t notice the craggy lines left on the character’s face. The jaunty but subtly disturbing country rocker “Codeine” (“One of my friends has taken you in and given you codeine”) induced shivers of unease as much as two-stepping. But the most poignant piercing of our collective heart came from the lovely, quietly devastating “Elephant,” a recollection of death and the difficulty of facing its facts. Despite its somber subject matter “Elephant” brought the biggest crowd response – acknowledgement of an amazing song beautifully performed.

It wasn’t all sad songs and waltzes, though. The atmospheric ballad “Cover Me Up” and yearning folk song “Traveling Alone” invited new love into a hard life, acknowledging the good influence a partner would have – apt, given the presence in the 400 Unit of Isbell’s wife, singer/violinist (and Lubbock native) Amanda Shires. He ended the main set with the sardonic “Super 8,” a greasy rocker in the Stones/Faces mode. Isbell and the band encored with “Danko/Manuel,” another of the songwriter’s noteworthy DBT tracks, and a blazing, guitar-fueled take on the Rolling Stones’ Sticky Fingers gem “Can’t You Hear Me Knocking.” “Unreal ending,” noted John Raffaele on Facebook, “I am shivering.”

Blurring the lines of country, rock and folk, Isbell proved that he’s earned every inch of ink spilled on behalf of his excellent songwriting and confident performance. “Jason’s not just a musician, he’s a wordsmith…and a new favourite,” Stacye Carroll declared. “So glad you showcased him here!” We can’t wait for ACL fans to see this show and experience it for themselves.