Author: michael

Categories
Featured News Taping Recap

Edward Sharpe & the Magnetic Zeros deliver communal magic

The best rock concert is a communal experience, as much about people coming together for a shared goal as it is about entertainment. Edward Sharpe & the Magnetic Zeros show a deeper understanding of that concept than just about any other group on the scene. Led by singer/songwriter Alex Ebert, the fast-rising indie folk band has spread its eccentric gospel on two acclaimed records that encourage listener identification, whether or not one buys into Ebert’s concept about the messianic figure Edward Sharpe. That special, communal magic was in full effect during the band’s debut Austin City Limits taping.

Working without a setlist, the band opened with “Man On Fire,” the first track on its latest LP Home. Beginning with a low-key vocal thrum, the song revved up to a sort of indie rock hoedown, as instruments got added along the way and Ebert made the first of several trips out into the audience. By the time the song was over, Ebert and the crowd, already pumped to see the band play, had bonded.

The interaction between audience and the band was no surprise, given the obvious influence of old-time gospel on the music. “That’s What’s Up” (with its funky synth riff), “I Don’t Wanna Pray” (a pro-spirituality/anti-organized religion polemic) and the downright inspirational “Up From Below” made good use of gospel’s dynamics, with celebratory melodies and group vocals that rose, fell and rose again. “If You Wanna,” “40 Day Dream” and the radio hit “Home” became exercises in call-and-response, as Ebert engaged the crowd so they became part of the performance. On “Janglin’,” an audience request, Ebert left the stage once again, climbing into the mezzanine and sharing a drink with a fan. Music aside, the most important thing Edward Sharpe & the Magnetic Zeros have borrowed from gospel music is its inclusiveness – the idea that we’re all in this together, so let’s sing!

Not everything was indie rock hosannahs. “Fiya Wata” was full-throated folk rock, as well as a showcase for Ebert’s onstage/vocal foil Jade Castrinos. The pretty indie folk of “Mayla” manifested orchestral pop trappings, as if the band was listening to Sgt. Pepper’s Lonely Hearts Club Band while recording. The atmospheric “Desert Song” floated like nothing else in the set, while the lovely “Child,” sung by guitarist Christian Letts, proved a respite from the otherwise high energy.

The show climaxed with “Om Nashi Me.” Ebert explained that the song grew out of nonsense syllables, but that the title was Sanskrit for “Oh infinite nakedness.” Whether or not it’s true, the tune’s undeniable spiritual dimension fully engaged both band and crowd, as the latter eagerly contributed clapping in 6/8 time and the former lost themselves in the “And I love you forever” message. “Om Nashi Me” not only brought the show to an undeniable peak, but served as almost a statement of purpose for the band itself.

Edward Sharpe & the Magnetic Zeros delivered one of the most unusual yet accessible shows we’ve ever had the privilege to record. We hope you’ll tune in early next year to see for yourself.

Categories
News Taping Recap

The giddy energy of Delta Spirit’s ACL taping debut

It’s always fun for us to see the giddy energy of a first-time ACL performance, and Delta Spirit simply buzzed with it during its debut taping. “It’s so good to be here – oh my god!” exclaimed singer Matthew Vasquez before a note was struck. Then it was off into “Empty House,” the kind of anthem at which this band excels. Born in San Diego but based in Brooklyn, the quintet channels the spirit of Americana, particularly folk, through a modern indie rock prism. It’s a sound that will no doubt lead to the “Great American Record” that the group desires to work toward.

In the meantime, Delta Spirit gave us all it had with “Children,” “California” and “Bushwick Blues.” “Tear It Up” married a McCartneyesque melody to roots rock energy, as pretty harmonies and ringing guitars floated over pounding drums. “People C’mon” began with a classical piano flourish before expanding into a minor-key country rocker with a noisy ending. “Trashcan” found Vasquez playing a dissonant piano solo with his feet, before exhorting the crowd in a chorus of “Na-na-nas.” Indeed, it’s Vasquez’s rapport with Delta Spirit’s audience that’s at the heart of the band’s performance. “Money Saves,” “White Table” and “People C’mon” all featured audience participation, from the “Whoa-ohs” of “Money Saves” to the clapping of “White Table.”

It wasn’t all widescreen rock, however. Bringing it down in intensity (but not in quality), Vasquez paid tribute to his grandmother in the tender “Vivian” with just two guitars and a soulful vocal. The set-closing “People, Turn Around” channeled the folk spirit of Woody Guthrie, mixing a humanist message with indie rock energy. The encore “Crippler King,” from the band’s first EP, blazed at a frisky country rock pace, absorbing Blind Willie Johnson’s “John the Revelator” along the way and bringing the evening to a crashing close.

The Delta Spirit show was a testament not only to the continued resilience of American rock & roll, but also the power brought on by the excitement of playing ACL for the first time. We know you’ll enjoy this episode when it airs early next year.

Categories
News Taping Recap

Bob Mould brings the thunder to ACL

Not every innovator is a household name – there are plenty of artists who shape entire genres without becoming giants in the public eye. Such is the lot of Bob Mould. The New York-born/San Francisco-based singer/songwriter/guitarist rewrote the rules of punk and set the template for alternative rock with his ’80s band Husker Dü and 90s outfit Sugar. His powerful songwriting and distinctive guitar style have had an influence far beyond that suggested by name recognition. Without Mould, there would have been no Pixies, no Green Day, no Foo Fighters – all artists who acknowledge his influence.

We were thrilled to welcome Mould, the day before his set at Austin’s Fun Fun Fun Fest, to ACL Live at The Moody Theater for his debut taping. The alt.rock icon brought the thunder with a set high in both energy and volume that spanned across the decades of his 30-year career.

Bob Mould KLRU photo by Scott Newton

He started the set with the chugging power chords of “The Act We Act,” the first tune on Sugar’s classic debut record Copper Blue. Unsurprisingly, given that Mould and his sidefolks are currently touring that LP in its entirety, he then slammed immediately into a fierce “A Good Idea,” followed in short order by “Changes,” “Helpless” and “Hoover Dam” – in other words, side one of Copper Blue. Mould windmilled his Stratocaster between muscular vocals and nimble solos aided by bassist Jason Narducy (formerly of Mould production client Verbow) and drummer Jon Wurster (also of Superchunk).

After a brief pause to allow band and audience to catch their breath, Mould then drew from his brilliant new record Silver Age with the snarling “Star Machine,” the driving “Round the City Square” and the masterful “The Descent,” updating his Sugary approach while remaining true to its spirit. Mould then made a startling side trip, dipping into his acclaimed 1989 solo debut Workbook. Running the primarily acoustic songs through his power trio filter, Mould maintained the intensity by turning “Wishing Well” into a powerhouse anthem, “Sinners and Their Repentances” into a pounding rocker and “See a Little Light” into a crunchy example of the sound he does so well.

Bob Mould KLRU photo by Scott Newton

To round it out, Mould cranked out a quartet of Husker Dü classics. “I Apologize,” “Chartered Trips” and “Could You Be the One?” blasted pop/punk fury, their hooks enhanced by the psych/noise ending of “Trips.” But it was the rarely-performed “Hardly Getting Over It,” dedicated to Mould’s late father, that had the most emotional weight. The only slow song of the evening, it had the feel of real catharsis.

The trio closed the set by roaring straight into “Keep Believing,” a tribute to the music that moves Mould to continue creating. But their time offstage was brief. “I’ve waited a long time to do this,” said the songwriter as the band returned to the stage, “so thanks a lot.” After that simple statement, the band launched into Sugar’s “If I Can’t Change Your Mind,” again translating a formerly acoustic tune into electric fury. The encore concluded with a pair of Husker Dü numbers – the dynamic, magnificent “Celebrated Summer” and “Makes No Sense at All.”

This episode will be one to remember. We can’t wait for you to see it when it airs early next year.

Categories
Episode Recap New Broadcast News

Season 38 goes acoustic with The Civil Wars and Punch Brothers

Join us this weekend for a night of intimate and supremely talented performances from The Civil Wars and Punch Brothers. With zero percussion assistance for each performance, one acquires a clear picture of the depth of musicianship and delicately crafted songs that both of these artists brought to our stage earlier this year. What you’ll find from both artists is nothing short of moving, inspiring, and wildly intriguing.

With open arms and a bare stage, we welcomed the Civil Wars back in February to open Season 38. The Grammy Award-winners proved to be a perfect start to the newest season on so many levels. Their minimalist set with the ever-so perpetual Austin skyline in the background highlighted the voices of Joy Williams and John Paul White as they played hits off their Grammy-winning 2011 release Barton Hollow. Included in this performance are two very intense, but true to the original spirit, renditions of Michael Jackson’s “Billie Jean,” and Smashing Pumpkins’ “Disarm.” At one moment you realize that Williams and White had the entire audience in their hand when Williams remarked about how quiet and attentive the audience was reacting. It’s true – at many points during this episode you become so captivated by Joy’s sashaying and John’s guitar playing that you forget where you are and immediately realize why these two are garnering the much deserved appraisal they’ve gotten in the last year.

photo by Scott Newton

“When you start a band this is all you ever really want to do…play Austin City Limits.” mentioned Chris Thile in the middle of their set. Thile, who is no stranger to the ACL stage (this is his third appearance on the show), debuts his all-star band that formed back in 2006 in this episode. Again there is no percussion, but unlike the simple quietness that we get from The Civil Wars earlier, we get an influx of sound from the mandolin, fiddle, banjo, guitar, and bass. The progressive rock stars of the bluegrass world take us through their 2012 release of Who’s Feeling Young Now? with a few sprinkles of the 2010 album Antifogmatic. This group’s genre jumping and incredible musicianship will have you tapping your toes and wishing you had taken up banjo back in 10th grade.

For those of you in Austin that are attending Fun Fun Fun Fest this weekend, this episode will be an alternative to the chaotic excitement on the Black, Orange, and Blue stages. For those in other parts of the country, this is something you will not want to miss, but don’t take our word for it – see it for yourself! You can check here for local listings and times in your area. Also, be sure to check out our Facebook, Twitter, and Tumblr for all things Austin City Limits.

Categories
Episode Recap New Broadcast News

Season 38 continues with the Shins and Dr. Dog

After a magnificent celebration of soul with Bonnie Raitt and Mavis Staples, we’re shifting gears this week to give you some of the best the indie rock world has to offer. In this all-new episode, the Shins return for their second ACL episode, while Dr. Dog makes its debut appearance on our stage.

The last time Albuquerque-to-Portland band the Shins appeared on ACL was in 2004 (Season 30). Eight years later, singer/songwriter James Mercer brings a brand new crew in support of the group’s acclaimed fourth LP Port of Morrow. The quintet samples the latest record with “September,” “It’s Only LIfe,” “The Rifle’s Spiral” and the appropriately catchy single “Simple Song,” hitting a real sweet spot between rich, melodic hooks and Mercer’s clever, literate lyrics. But the band also digs deep into the Shins catalog, bouncing through “So Says I,” from breakthrough record Chutes Too Narrow, and reaching all the way back to its debut by closing the set with “New Slang.” It’s a masterful performance by a band hitting the peak of its powers.

For its first appearance on ACL, Dr. Dog proves why it’s a favorite on the live circuit. Adding a dash of jam band spice to its psychedelic indie rock batter, the Philadelphia sextet knows how to have a good time playing, while still keeping its songs catchy and concise. The band opens this episode with “Lonesome,” the tune that begins its much-heralded seventh LP Be the Void, kicking off the show to rollicking effect. “Jackie Wants a Black Eye” and “Vampire” keep the party going, and by the time the Dog hits a trio of tunes from its fan-favorite LP Fate, ending with “The Rabbit, the Bat and the Reindeer,” Dr. Dog lets us know just why it’s been such a popular concert draw in its decade of existence. As executive producer Terry Lickona says at the beginning of the show, “Great songs and live energy make for a winning combination.”

photo by Scott Newton

To get info on when and where to tune in to this excellent episode, check here for local listings. Also, don’t forget to “Like” us on Facebook or follow us on Twitter or Tumblr for more updates about tapings, giveaways, and sneak peeks. Tune in next week for another Season 38 debut with the Civil Wars and Punch Brothers.

Categories
Episode Recap New Broadcast News

Bonnie Raitt and Mavis Staples keep ACL’s new season rolling

So far this season we’ve brought you two groups (Radiohead & Bon Iver) that we’ve looked forward to having on our stage for years, this weekend is no exception. For the first time ever we bring you both Mavis Staples and Bonnie Raitt, two legends and soul sisters for the perfect combination of soul, R&B, blues, and gospel.  “We come this evening to bring you some joy, some happiness, inspiration and some positive vibrations,” declared Miss Staples back in June for our soul sister duel, and boy, did they deliver! This was a night full of smoky voices, sassy guitar playing, audience hooplah, and ardent exhibition.

This is Bonnie’s third appearance on Austin City Limits and although it’s been ten years since we’ve seen her last, she couldn’t have been welcomed more warmly. The audience greets the nine-time Grammy Award winner and bestselling artist with much love and admiration. She predominantly plays off of her 2012 album Slipstream, including “Down to You,” “Used to Rule the World” and a bluesy take on the Bob Dylan song “One Million Miles.” She finally exclaims, “Awww man! I love John Hiatt!” before ending with her Nick of Time hit “Thing Called Love.”

Mavis Staples is a clearly a legend. This lady has seen it all from singing songs on the forefront of the Civil Rights movement to being inducted in the Rock and Roll Hall of Fame. Joined onstage with her three backup singers and backing band, Mavis’ energy and famous low register voice charm the audience like we’ve never seen on classics like “Creep Along Moses” and “Freedom Highway.” At the end of the set, Mavis invites her lovingly coined “baby sister” Bonnie Raitt onstage for a couple of songs. On the emotional duet “Losing You,” dedicated to their fathers, Mavis and Bonnie share a moment where they hold hands and look at each othe – it’s one of the incredibly touching moments of the evening. They end the night with a rendition of “Will the Circle Be Unbroken” a version that had the entire audience clapping and dancing.

Don’t miss this inspiring and heartfelt episode – you won’t regret it. To find out when and where you can catch this episode check here for local listings. Also, don’t forget to “Like” us on Facebook or follow us on Twitter or Tumblr for more updates about tapings, giveaways, and sneak peeks! Tune in next week for the The Shins and Dr. Dog!