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Episode Recap Featured New Broadcast News

Ms. Lauryn Hill’s ACL debut and a Season 42 preview

Austin City Limits presents a rare hour of television with hip-hop/R&B icon Ms. Lauryn Hill.  The special broadcast airs as a preview of the iconic PBS music series’ upcoming Season 42, which premieres October 1st with an hourlong episode featuring the legendary Paul Simon in his ACL debut. Ms. Lauryn Hill’s episode will encore in January during the second half of ACL’s new broadcast season.  

In a performance for the ages, the trailblazing Ms. Lauryn Hill dazzles the Austin crowd with a career-spanning  set culled from her landmark release The Miseducation of Lauryn Hill and her pioneering work with the Fugees, one of the best-selling hip-hop acts of all time. Opening the emotional set with her solo hit “Ex-Factor,” the multiple Grammy-winning singer and songwriter performs stunning versions of her biggest hits and fan favorites. One of the greatest MCs of all time, Hill has the crowd on their feet with the opening notes of “Fu-Gee-La” for an explosive take on the Fugees classic, weaving “Austin, I love you like no other before” into the lyric. Hill commands the stage, backed by a 12-piece band and performs a gorgeous cover of Nina Simone’s “Feeling Good” before closing out her unforgettable performance with the crowd-pleaser “Doo Wop (That Thing),” proving she’s still one of the most powerful artists in music today.  

“Every Lauryn Hill performance is special,” says ACL executive producer Terry Lickona, “and an hour of Ms. Hill on the ACL stage is nothing less than historic. She pours her heart and soul and every ounce of energy into every minute, and it shows. There’s nobody else quite her!”

photo by Scott Newton

The upcoming Season 42 is filled with musical highlights, including the first-ever appearance by punk icon Iggy Pop, ACL debuts from acclaimed singer-songwriters James Bay, Rhiannon Giddens, Andra Day and Latin Grammy-winner Natalia Lafourcade and highly-anticipated return appearances from music giant Robert Plant, My Morning Jacket, Florence + The Machine, Ben Harper and Latin funk orchestra Grupo Fantasma.  

Ms. Lauryn Hill Episode Setlist:

EX-FACTOR

FINAL HOUR

LOST ONES

FU-GEE-LA

HOW MANY MICS

READY OR NOT

KILLING ME SOFTLY

FEELING GOOD

DOO WOP (THAT THING)

 

Season 42 | 2016 Fall Broadcast Schedule (seven additional shows to be announced)

Oct. 1   Paul Simon

Oct. 8   James Bay / Rhiannon Giddens

Oct. 15    Robert Plant

Oct. 22   Florence + The Machine / Andra Day

Oct. 29    Iggy Pop

Nov. 5     Natalia Lafourcade / Grupo Fantasma

Nov. 12   My Morning Jacket / Ben Harper

The complete line-up for the full 14-week season, including seven new episodes to air beginning January 2017, will be announced at a later date. Check the news section of acltv.com for additional episode updates.

Tune in this weekend for this episode, and, as always, check your local PBS listings for the broadcast time in your area. Go to the episode page for more info, and don’t forget to click over to our Facebook, Twitter and newsletter pages for more ACL info. Tune in next week for an encore featuring Los Lobos and Thao & the Get Down Stay Down.

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Featured News Taping Announcement

New taping: Cyndi Lauper

Austin City Limits is pleased to announce a new taping with a pop culture icon: the one and only Cyndi Lauper. We’ll be taping this special performance on Friday, Sept. 9th.

The New York native scarcely needs any introduction. She’s a two-time Grammy-winning, multi-platinum selling singer and songwriter with a string of instantly recognizable hits: “True Colors,” “She Bop,” “I Drove All Night,” “Change of Heart,” “Time After Time” and, of course, the immortal “Girls Just Want to Have Fun.” She’s also a recent Tony-winning Broadway composer for the smash musical Kinky Boots as well as an Emmy-winning actress for her role on Mad About You. Her current project, however, blazes a new trail. Detour, her eleventh album, takes an unexpected Southern turn, as Lauper puts her signature spin on a dozen country classics. Detour showcases Lauper’s unmistakable voice on tunes from the 40s, 50s and 60s, and features guest performances from some of country music’s finest: Vince Gill, Emmylou Harris, Alison Krauss and Willie Nelson. She recorded the album in Nashville alongside a band comprised of the city’s top session players. “When I was a really young kid, country music was pop music, so this is what we grew up listening to,” Lauper says. “These songs are part of some of my earliest memories.” Magnet calls the record “a great showcase for Lauper’s vocal range and prowess,” while Uncut asserts that “she flexes both empathy and interpretive might.” People says “that New Yawk spunk and those frisky, agelessly girlish vocals are…even more charming when paired with a steel guitar’s whine.” Lauper will showcase both Detour and her catalog of hits in an ACL performance sure to be one for the ages.

Want to be part of our audience? We will post information on how to get free passes about a week before the taping. Follow us on Facebook and Twitter for notice of postings.

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Featured News Taping Announcement

New taping: Ben Harper & the Innocent Criminals

Austin City Limits is delighted to announce the return of an ACL favorite: Ben Harper & The Innocent Criminals. Revered singer, songwriter and multi-instrumentalist Harper is set to return to the ACL stage on Thursday, September 1st, 2016. Harper will be joined by The Innocent Criminals, who recently teamed with Harper to release, Call It What It Is, their first record together in nine years.

Since his 1994 debut, Ben Harper has amassed worldwide acclaim as a genre-spanning singular talent with an unmatched ability to blend the personal and political. The Innocent Criminals – percussionist Leon Mobley, bassist Juan Nelson, drummer Oliver Charles and keyboardist Jason Yates – reunited with Harper for a tour in 2015, but quickly discovered that he had more in mind than simply revisiting the group’s prodigious collection of hits. In fact, Harper had been quietly amassing material for a new record with his long-time band mates. “I thought we would be more energized and revitalized by thinking outside the box and starting with new material in the studio before we dug into the old stuff,” explains Harper. “It was meant to be a signpost that we’re here to forge new ground musically and personally. Because of that, the older material started to sound brand new too.”

Released via the legendary Stax Records in April 2016, Call It What It Is explores themes of deep cultural and emotional resonance. Plaudits have poured in from around the world. Uncut called the album “a well-honed primer in what Harper does best, fusing blues, rock, folk, country, R&B, gospel and reggae with politically conscious lyrics into a dynamic stew.” And Entertainment Weekly raved, “A welcome homecoming…his most diverse collection in years. Grade: A-.”

“I gave everything I could to it,” says Harper. “To be able to say that we’ve left no stone unturned just feels great.”

Want to be part of our audience? We will post information on how to get free passes about a week before the taping. Follow us on Facebook and Twitter for notice of postings.

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News Taping Recap

Grupo Fantasma and family’s delirious groove

Few bands on Earth bring the party like Grupo Fantasma. The Austin-based Latin funk orchestra throws down its irresistibly danceable grooves like no other, as evidenced by a lively global fanbase that included the late genius Prince, who often jammed with the band. The music icon wasn’t Grupo’s only famous friend, however, as evidenced by this second taping for our hometown heroes. Jam-packed to the tune of twenty-two musicians with special guests, family and alter egos, the show, which we livestreamed around the world, never let up on delirious groove.

Taking the stage to enthusiastic applause, the nine-piece Grupo Fantasma kicked things off with a surprise – a cleverly salsafied take on Led Zeppelin’s groover “Immigrant Song,” with the horns subbing for Robert Plant’s iconic wail. The band then hopped into its own catalog for “Nada,” an acid-dipped cumbia that’s a highlight of its latest acclaimed album Problemas. The first of the group’s guests, Los Texmaniacs accordionist Josh Baca and former Grupo founding member Adrian Quesada arrived to add rippling squeezebox and crackling guitar to the conjunto-flavored “Esa Negra.” “Ausencia” put the rhythm back in salsa time, the groove augmented by Beto Martinez’ psychedelic guitar solo. The rubbery cumbia “Otoño” followed, as did the roiling salsa “Descarga Pura Y Dura,” with dueling trombone licks and ringmaster Jose Galeano’s skittering timbales.

Jazz/funk guru Karl Denson joined the band on stage, adding his flute to the infamous Grupo Fantasma horns for the slinky funk rock of“L.T.” With Denson still onstage, a barrage of polyrhythmic handclaps from band and crowd signaled the beginning of the ambitious, multi-faceted “Solo un Sueño,” which added Afrobeat and a Sweet Lou conga solo to the groovy stew. After that triumph, Galeano and fellow singer Kino Esparza left the stage and Quesada rejoined, allowing Grupo Fantasma to transform into its funk alter ego Brownout. In that configuration, the band laid down some serious jams. Bassist Greg Gonzalez powered the soul-inflected “Aguilas and Cobras,” as Sweet Lou rocked the congas and Martinez and Quesada their guitars. Percussionist Alex Marrero took the mic for a new song, the hard rocking “The Blade,” an outgrowth of Brownout’s well-received covers of Black Sabbath.  “You didn’t expect me to stay back there all night,” joked Marrero as he came to the front of the stage for another new Brownout tune, the free-flowing “ThingsYou Say (Denver Funk).”

Galeano and Esparza returned and the band transmuted back into Grupo Fantasma. Joined by Austin’s preeminent mariachi ensemble Mariachi Estrella, the group essayed the gorgeous “Porque,” a Spanish cover of the Beatles’ “Because.” As Estrella exited, Denson and Los Lobos saxist Steve Berlin, who produced Problemas, came on for the flute-enhanced “Cayuco.” Berlin remained, manning the keyboard for the Esparza-crooned cumbia “Roto.” Grupo then launched into the title track of Problemas, with Galeano giving dance instructions to the front row and Mark “Speedy” Gonzales laying down a powerhouse trombone solo. The high-energy salsa of “Montañozo” got hips swaying hard before running directly into the hyperspeed of “Caña Brava,” a song going all the way back to the band’s first album in 2002.

Berlin, Denson, Baca and Quesada came back for the final song, a tribute to the band’s friend and champion Prince. Galeano was at a loss for words – “There’s not much we can say. We’re just gonna play.” And so they did, 15-strong across the stage, with Denson joining in on vocals for the Purple One’s discofied early hit “Controversy.” Solos were traded all around, with the guitars going to the accordion going to the saxophone and the groove burning a hole in the stage. The crowd went appropriately nuts, yelling for more. Grupo answered the call, returning with Baca in tow for “Salsa Caliente,” a  favorite that had the audience dancing and singing along. After bringing the house down and the show to a close, Grupo Fantasma quit the stage and the lights came up. It was a marvelous show by one of Austin’s best bands, and we can’t wait for you to see it when it airs this fall on PBS.

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Featured News

New tapings: Band of Horses, Margo Price and Foals

Austin City Limits is pleased to announce three new tapings from artists featured at this year’s ACL Music Festival: indie rock staples Band of Horses on Oct. 2, rising country queen Margo Price on Oct. 3 and British alt.rock sensations Foals on Oct. 6.

Returning to our stage for the first time since 2010, Band of Horses is riding a wave that saw their latest album Why Are You OK hit the Billboard 200 chart at #9. The sixth album from the Seattle, WA-born/Charleston, SC-based quintet, Why Are You OK was written in leader Ben Bridwell’s garage in Charleston and recorded with producer Jason Lytle (Grandaddy). The result is a record informed by experience and at the same time retaining the vulnerability that birthed their greatest songs. Creating capsule worlds populated by the strange but true cast of characters from Bridwell’s hometown, Why Are You OK‘s songs combined universal sentiments with Bridwell’s patented knack for storytelling—all wrapped in the lush melodic textures that have long been the bedrock of Band of Horses’ signature sound. Putting a finer point on it, Record Collector calls the album “a shimmering thing of beauty; a fresh summer breeze blowing in full of character and heart,” while The Guardian calls it “beautifully moving…the place where wistfulness and euphoria collide.” Following a triumphant set at Bonnaroo, BoH is taking their intimate show back on the road, playing crowd-pleasing sets that perfectly showcase a band that, as Rolling Stone says, “always find[s] a way to make the mythic feel down to earth.”  

photo by Angelina Castillo

A staple of East Nashville’s thriving music scene, Margo Price has made one of 2016’s biggest splashes with her debut album Midwest Farmer’s Daughter. Price grew up in Aledo, Illinois, and after dropping out of college, moved to Nashville in 2003. She soon met bass player/future husband Jeremy Ivey, and formed a band called Buffalo Clover. They self-released three records and built a local following, but it was personal tragedy that brought Price’s calling into even sharper focus. “I lost my firstborn son to a heart ailment,” Price says, “and I was really down and depressed. I was drinking too much. I was definitely lost. I thought, ‘I’m just going to write music that I want to hear.’ It was a big turning point.” Recorded at Memphis’ legendary Sun Studios and funded by Price pawning her wedding ring and selling her car, Midwest Farmer’s Daughter (released on Jack White’s Third Man label on his personal invitation) adds fresh twists to classic Nashville country, with a sound that could’ve made hits in any decade. From the honky tonk comeuppance of “About To Find Out” and the rockabilly-charged “This Town Gets Around” to the weekend twang of “Hurtin’ (On The Bottle)” and the hard-hitting blues grooves of “Four Years of Chances,” “Price’s sensibility is modern, turning these old-fashioned tales of heartbreak, love, loss, and perseverance into something fresh and affecting,” says All Music. “Price’s excellent debut wastes absolutely no energy trying to address her place in the country-music ecosystem,” says Exclaim, “and gets right to telling us who she is, rather than who she ain’t.” “I hope that the record helps people get through hard times or depression,” explains the artist herself. “That’s ultimately what music did for me in my childhood, and especially in my early adult years. It’s about being able to connect personally with a song, and hopefully, it makes you feel not so lonely.”

Foals have become one of the U.K’s most acclaimed rock acts. Hailing from Oxford, England, also home to Radiohead and Ride, the band formed in 2005, and released their first single the following year. Enlisting Dave Sitek from TV on the Radio as producer, Foals released its full-length debut Antidotes in 2008. The band’s widescreen alternative rock sound reached full flower on the follow-ups Total Life Forever (2009) and Holy Fire (2013), both nominated for the Britain’s prestigious Mercury Prize. All of the band’s success and experience has led up to its biggest and best LP to date, last year’s What Went Down, featuring the hit “Mountain At My Gates.” Uncut called it “their most fully realized yet,” while Exclaim marked it as “a varied and textured offering that will add depth to their high-energy live shows.” “Foals consolidate their position here by continuing to do what they do best,” noted Mojo,”namely expressing big emotions loudly through fizzing rock anger or unbridled, danceable joy.” “It’s unfettered communication,” says singer and songwriter Yannis Philipakkis. “Before, there’s always been that gap between the imagination, the romance and fantasy about what we wanted to create, and the actual reality, and that disparity has been difficult. But on this record, we’re the closest we’ve ever been to the vision in our heads. One thing that we really take pride in is that, through a series of beautiful accidents, we’ve got to the position where there’s no tethering to any preconceived idea of what we should do. So it feels like we can do anything.”

Want to be part of our audience? We will post information on how to get free passes about a week before the taping. Follow us on Facebook and Twitter for notice of postings.

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Featured News

Ralph Stanley R.I.P.

Austin City Limits mourns the loss at 89 of a true musical giant: Ralph Stanley. The Virginia native was not only a bluegrass titan as a performer, but as an innovator. Along with Flatt & Scruggs, his brother Carter and Bill Monroe, Stanley could lay claim to helping create one of America’s most distinctive musical forms. His high, lonesome singing, virtuoso clawhammer banjo picking and vast repertoire had a tremendous influence on bluegrass, folk, country, gospel and Americana. Though he didn’t write them, Stanley’s renditions of old-timey tunes “Little Maggie,” “Pretty Polly,” “O Death,” “Angel Band” and “Man of Constant Sorrow” (re-popularized by the film O Brother Where Are Thou) made them standards in the American songbook.

“Ralph Stanley was the last of the living bluegrass legends, after Bill Monroe and Earl Scruggs,” remarked ACL Executive Producer Terry Lickona. “Like the others, he invented his own sound, his clawhammer banjo style came straight out of the hills, and his voice sounded like it had been around since the beginning of time itself. He was a gracious gentleman, with a gentle spirit. His appearance on ACL with Bill Monroe in 1986 was historic, a rare performance by the two bluegrass giants. Another important part of America’s musical past is gone.”

Here is Stanley with his Clinch Mountain Boys in 1980 with his signature song “Little Maggie.”