Widespread Panic has spent time on the ACL stage before, visiting us in Seasons 26 and 31. But we never had a show quite like this. Not only was the Georgia band on a tour celebrating its 25th anniversary, but this Season 37 gem was recorded on St. Patrick’s Day during Austin’s venerable South By Southwest Music Festival. In other words, this episode treats fans to a retrospective show recorded in a party atmosphere. The south’s most resilient jam band performs not only recent material like “Dirty Side Down,” “Up All Night” and the salutatory “May Your Glass Be Filled,” but also reaches deep into its sizeable catalog. Highlights include the choogling “Pigeons,” from its 1991 self-titled second record, the Junior Kimbrough cover “Junior,” from its reputation-solidifying 1994 LP Ain’t Life Grand, and the concert staple “Chilly Water,” from all-the-way-back-in 1988’s debut Space Wrangler. Add a feisty take on Tom Waits’ “Goin’ Out West” to the party and we’ve got a special Widespread Panic show.
It’s amazing to think that the loosely defined umbrella “alternative rock” now stretches past the quarter century mark. In celebration of its endurance, this week Austin City Limits presents a veteran of the style and a fast-rising newcomer. Bob Mould pioneered the loud/fast guitar pop style with both his 80s punk band Hüsker Dü and his 90s power pop trio Sugar, while Delta Spirit carves its own path by blending Americana and indie rock. This episode will get your heart pumping and your air guitar flailing.
Joined by longtime bass foil Jason Narducy and Superchunk/Mountain Goats drummer Jon Wurster, Bob Mould wastes no time getting to the point, opening with the bludgeoning power chords of Sugar’s “The Act We Act.” It’s the start of a blazing career retrospective that ranges from the romping Sugary power pop of “Changes” and “If I Can’t Change Your Mind” to the raging power rock of “Star Machine,” the lead-off track from Mould’s highly acclaimed LP Silver Age. Hüsker Dü classics bring down the house, including the nuclear powered folk rock of “Celebrated Summer” and the irresistible hooks of “Makes No Sense at All.” While it’s hard to pick a highlight in a show packed with so many goodies, the epic, elegiac version of the rarely-performed Hüsker gem “Hardly Getting Over It” elevates the episode from simply excellent to truly magnificent.
From the intensity of the veteran we go to the enthusiasm of the newcomers, as Delta Spirit takes the stage. The Brooklyn-based quintet revs the energy up immediately with the rumbling “White Table,” before irrepressible singer Matt Vasquez sparks the crowd into overdrive with the anthemic “Money Saves.” The band brings things back down with “Vivian,” a lovely song about former Austinite Vasquez’s grandmother, performed with his own mama in the audience for a touching moment. Then it’s more palate-cleansing with the lilting, melodic “California,” before bringing the house down with the band’s explosive standard “Trashcan,” probably the only song in the ACL catalog that features a metal trashcan lid as a main instrument.
photo by Scott Newton
More details can be had on the episode page here. Don’t forget to check in with our Facebook and Twitter pages or sign up for our newsletter for more ACL news. Next week: Widespread Panic.
As a bandleader, Jack White has visited the Austin City Limits studio before, ripping it up with the Raconteurs back in 2006. Now Jack White returns to our stage as a solo artist to demonstrate exactly why he’s one of today’s most exciting musicians.
Ever the risk-taker, White hits the stage bathed in blue light and accompanied by not one but two bands comprised of Nashville’s best musicians. Working without a net, White eschews a set list and draws from nearly every project of his prolific career. So this episode treats you to some White Stripes (“I’m Slowly Turning Into You,” “We’re Going to Be Friends,” “Dead Leaves and the Dirty Ground”), a little Raconteurs (“Top Yourself”), a pinch of Dead Weather (“Blue Blood Blues”), a blues cover (Blind Willie Johnson’s “John the Revelator”) and White’s contribution (“You Know That I Know”) to The Lost Notebooks of Hank Williams, a collection of Williams lyrics set to music by contemporary songwriters.
Of course, much of the show is dedicated to songs from Blunderbuss, White’s much-acclaimed solo debut. Watch him burn through “Freedom at 21” and “Missing Pieces” with his all-male group the Buzzards, then blaze through “Hypocritical Kiss” and “Love Interruption” with his all-female band the Peacocks. The mostly acoustic title tune serves as the transition point, as Buzzards give way to Peacocks before the guitars finish feeding back and “Love Interruption” begins.
photo by Scott Newton
See more about the show here, then check your local PBS listings to find out when to tune in to see for yourself. Next week: our new season premiere, featuring the return of Juanes and the debut of Jesse & Joy.
This weekend, ACL presents two game-changers bringing modern blues and soul to a new generation: Gary Clark Jr. and Alabama Shakes. The power of live performance is front and center as Austin’s own rock ‘n’ soul phenomenon Clark and soulful rockers Alabama Shakes take the ACL stage in separate showcases.
“I’ve been wanting to do this for sixteen years” says a stoked Gary Clark Jr. from the stage. “It feels so good to be here right now.” Long Austin’s favorite son, the twenty-eight year old bluesman exploded onto the international music scene when he delivered an incredible performance at Eric Clapton’s 2010 Crossroads Guitar Festival. Born and raised in Austin, Clark began playing guitar at age 12, tearing up hometown stages since he was a teenager. He made a name for himself across the globe with the release of his critically-acclaimed 2012 major label debut Blak and Blu, and kicked off 2013 with a performance for President and Mrs. Obama at The White House. Clark has earned across-the-board raves for his singular talent, with The New York Times hailing Clark as “a guitarist of deep magnetism and tremendous feel.” The guitar virtuoso flaunts his six-string chops in his ACL appearance, thrilling the audience with a bold mix of blues, rock, soul and funk. Clark made his auspicious ACL debut back in Season 33 as part of the Tribute to Bluesman Jimmy Reed, with Jimmie Vaughan and Omar Dykes, and with his own set Clark proves he’s the one to watch.
“He’s already shared the stage with the likes of the Rolling Stones, Paul McCartney and Eric Clapton, but Gary is the essence of what his hometown Austin’s music is all about,” says executive producer Terry Lickona. “He learned from the best in every genre from the age of 12, and remains true to his heart and his roots. He’s our pride and joy.”
photo by Scott Newton
Raucous newcomers Alabama Shakes combine the old and the new to create gritty, joyous and soulfully raw music. Muscle Shoals-inspired and hailing from Athens, Alabama, the foursome enthusiastically blend rock with soul, country, blues and roots. The rock quartet has attracted widespread praise, including their recent Grammy nomination for Best New Artist. Alabama Shakes’ style is marked by lead singer Brittany Howard’s powerful vocals—which have been compared to those of Janis Joplin and Otis Redding—and the group’s irresistible energy. Performing tracks from their breakthrough release Boys & Girls, the band open their ACL debut with the breakout hit “Hold On,” and launch into an ecstatic, transcendent, rafter-shaking set.
“There’s a reason Grammy voters nominated them for Best New Artist of the Year, the same reason we taped this show before they had even released their first record,” declares Lickona. “Raw talent is hard to miss, and a vocal talent like Brittany Howard comes along once in a decade – if that.”
This weekend Austin City Limits presents one of our most electrifying encore episodes featuring Sonic Youth and the Black Keys. Guitar heaven!
After sixteen studio albums and receiving critical acclaim in both the indie and mainstream worlds over the course of more than a quarter century, Sonic Youth really needs no introduction. The NYC quartet’s distinctive blend of avant garde experimentation and punk rock fires on all cylinders in one of its final TV appearances before its recent hiatus. With songs predominantly from what may have its final album, The Eternal, the band takes no prisoners in this episode taped in 2010. Ending with a molten take on “‘Cross the Breeze,” from its landmark LP Daydream Nation, Sonic Youth proves why it’s one of the most exciting and influential bands in alternative rock.
Although not sharing in the same expansive catalog (yet), the Black Keys – with seven studio albums under their belts – are most certainly on their way to the same immortality. The Akron duo revitalized blues rock with youthful energy and a command of classic riffs beyond most of its peers. Playing in support of their 2010 album, Brothers, the band plays most of the hits off this record, including the swampy “Howlin For You” and the amazingly catchy “Tighten Up.” But the Keys also dig deep into their bag of tunes, resurrecting “I’ll Be Your Man” from their first album and ending with their traditional closer, the incendiary “I Got Mine.”
photo by Scott Newton
While differing in genres and style, both Sonic Youth and the Black Keys have redefined the traditional sound of the guitar and have earned special places in rock history. Be sure to check your local listings for showtimes to see this special episode and be sure to follow us on Facebook, Twitter, orour newsletter to keep up with Austin City Limits happenings. Next week: Gary Clark Jr. and Alabama Shakes.
Mumford & Sons are featured in this weekend’s encore presentation of Austin City Limits, airing November 17 on PBS. The British folk band with a huge stateside following are riding high with the bestselling Babel, one of the biggest releases of 2012. The episode, which originally aired in October 2011, finds Mumford & Sons making their ACL debut and is a must-see for fans and a primer for those new to the band’s cathartic live shows. Highlights include a performance of their current single “Lover of the Light,” which at the time had not been recorded. Viewers are treated to a high-octane night of contemporary music’s best folk rock practitioners, including a set by Celtic folk-punkers Flogging Molly.
Blending acoustic instrumentation, vocal harmonies and a tireless work ethic, Mumford & Sons have earned an international reputation as one of the best live bands, winning over audiences with their masterful, melancholy voices and musical skills. Mumford & Sons’ inspired set features tracks from their career-making debut Sigh No More, and the blockbuster follow-up Babel. The energy on the night of the taping vibrated the walls at The Moody Theater, and it translates directly to the screen. The band perform fan favorites “The Cave” and “Roll Away Your Stone” and poignant ballads “Timshel” and “Awake My Soul.” A highlight is an early televised performance of “Lover of the Light,” previously unrecorded, and now featured on Babel.
“The first time this show aired, Mumford & Sons did not have the biggest-selling record in the world (like they do now),” says ACL Executive Producer Terry Lickona. “But today they still capture the hearts and souls of young music fans better than anybody else around – and this amazing performance shows why. They do it the old-fashioned way, with authentic songs that speak to real life, and they play their asses off!”
Speaking of energy, Flogging Molly doesn’t disappoint in their ACL debut. The band storms the stage with tuneful melodies and puts on a magnificent show with their unique brand of Celtic folk/punk. Tune in for lively renditions of “Requiem For A Dying Song,” “Tobacco Island,” and “Devil’s Dance Floor.” Bandleader Dave King called their ACL taping “the most important live performance they’ve ever done.”
“A live Flogging Molly show is an experience as much as it is a show,” hints ACL’s Terry Lickona. “When you’re watching, crank up the volume and buckle up for the ride!”
Check the episode page for more info, photos and clips. Click over to our Facebook and Twitter pages or sign up for our newsletter for up-to-date news on all things Austin City Limits. Next week: jazz bassist/singer/composer Esperanza Spalding.
