Austin City Limits is excited to announce that we will be live streaming our upcoming Season 49 taping with acclaimed singer-songwriter, violinist, and producer Sudan Archives for her ACL debut on August 10 at 8pm CT. We welcome this innovative artist to the ACL stage on the heels of her buzzed-about performances at Glastonbury and Coachella. ACL offers fans worldwide the unique opportunity to watch this taping live in its entirety free here on our ACLTV YouTube Channel.
Sudan Archives breakthrough second album Natural Brown Prom Queen is an epic record that is also her most personal, taking in race, womanhood, and the fiercely loyal, loving relationships at the heart of Sudan’s life with her family, friends, and partner. Born Brittney Denise Parks, Sudan burst onto the scene in 2017 with “Come Meh Way,” back when she was a violinist and loop maker producing beats in her Ohio bedroom. While her 2019 debut album Athena drew inspiration from divine Black feminine power, on Natural Brown Prom Queen Sudan is in character as Britt, the girl next door from Cincinnati who drives around the city with the top down and shows up to high school prom in a pink furry bikini with her thong hanging out her denim skirt. From first listen, it’s immediately apparent that Natural Brown Prom Queen is the one-woman instrumentalist’s most ambitious work to date, spanning 18 tracks – from the disco-influenced R&B of “Home Maker” to Afrocentric anthem “Selfish Soul,” hip-hop banger “OMG Britt,” the wild ride of “NBPQ (Topless)” and the ballad “Homesick (Gorgeous & Arrogant).” The acclaimed release was named an album of the year by Pitchfork, The New York Times, The Guardian, The FADER, The Needle Drop, NPR, Vulture, Time Out, CNN, Slate, Paste, SPIN, Pop Matters, and many more; “Home Maker” was chosen by Barack Obama for his Favorite Songs of 2022, and Sudan Archives was handpicked by superstar Bad Bunny for Rolling Stone’s Future of Music issue. Fittingly for an album named for a homecoming event, Natural Brown Prom Queen is all about home: both Sudan’s adopted hometown of L.A. and Cincinnati, where she was raised. It’s intimate in all senses of the word, with Sudan unafraid to be vulnerable, tender and open about her insecurities. “Natural Brown Prom Queen is an album of many movements and ruminations, but almost all of them trace back to the multiple ways that a person can find and re-find home,” writes poet and Sudan’s fellow Ohio native Hanif Abdurraqib. “In flimsy, shifting geography, in the fights and triumphs that filter into interactions with beloveds and kinfolk, and, of course, the mighty work of home-making within oneself.” But the record is also about finding pleasure – after all, this is the artist who played violin upside-down on a pole in a music video. On Natural Brown Prom Queen, Sudan Archives invites you to join in and embrace shared joy.
Join us here on August 10 at 8 p.m. CT for Sudan Archives; the broadcast episode will air on PBS this fall as part of our upcoming Season 49. Tune in to your local PBS station on Saturday nights for fan-favorite encore episodes of Austin City Limits; watch live on PBS, or stream anytime at PBS.org.
Jorge Drexler performs on Austin City Limits, July 31, 2023. Photo by Scott Newton.
A giant in the world of Latin music, celebrated singer/songwriter Jorge Drexler arrived at Austin City Limits bearing his most successful album yet, the seven-time Latin Grammy winning Tinta y Tiempo. We’re always excited to showcase South American and Spanish sounds on our stage, and the Uruguayan-born/Spain-based Drexler did not disappoint, incorporating a pantheon of global sounds into not only his first taping but his first-ever show in Austin, one that we live streamed around the world to his legions of fans.
Following a pre-recorded intro from Drexler’s own cousin, whose thoughts inspired the award-winning Tinta y Tiempo, the charismatic, white-suited bandleader and his half-dozen strong band opened with the groovy pop number “El Plan Maestro,” also the opening cut on Tinta y Tiempo. Drexler followed up with the slinky “Deseo,” noting that he and the band had spent the previous evening learning to two-step at famed Austin honky-tonk the White Horse. The musicians got even friskier on “Transporte,” a song that surely fills up dancefloors everywhere. “I wish you all to be beginners,” Drexler remarked before the sleep? pop tune “Cinturón Blanco,” a nod to the white belt in martial arts – i.e. the beginner’s rank.
The gregarious Drexler introduced “Universos Paralelos” to cheers, explaining its concept about expressing yourself in both conscious and subconscious ways. The foot mover also served to showcase his ace backup singers Alana Sinkëy and Miryam Latrece. “Telefonía” zeroed in on an even tighter pop melody while keeping the rhythm infectious. That led into one of the set’s tour de forces: the remarkable “¡Oh, Algoritmo!” Accompanied only by grooving guitarist Javier Calequi, Drexler both sang and rapped irony-saturated lyrics about the conflict between what we want and what we’re sold by algorithms and A.I. – joined by the eager audience. The maestro then introduced his band before letting drummer Borja Barrueta and percussionist Gala Celia preface the sparse, atmospheric “Tinta y Tiempo” with a percussion duet. With his band taking a break, Drexler performed the next song a capella. Of course, that song was the Oscar-winning song “Al Otro Lado Del Rio” from the film The Motorcycle Diaries – a song he performed for the movie.. His improvised unaccompanied version as he accepted his award inspired the version he sang tonight, with the audience accompanying him on the soaring chorus. Donning his guitar but still onstage alone, Drexler played “La Milonga Del Moro Judio” – “The Milonga of the Jewish Moor” – a folkish nod to his own Arabic and Jewish heritage and a commentary on the continuing conflict in the Middle East that, like so many of his other tunes, found the crowd singing along.
Following the basic sonics of “La Milonga,” Drexler vaulted into the twenty-first century, strumming his guitar with accompaniment from the band directly behind him on electronic beats and chords. Starting with the vocoder-enhanced “La Edad Del Cielo,” he went directly into the half-spoken/half sung “Guitarra y Vos,” yet another crowd singalong. The people joined the band in the rhythms, providing clapping percussion for the final electronic number, the sensual “Tocarte.” A distinctive and rewarding mini-set.
As the musicians retook their normal instruments, Drexler told the story of his German-born Jewish father fleeing Germany in 1939 to Bolivia, the only country in the Americas that would issue him a visa. That led, of course, to “Bolivia,” a dub-frosted, minor-key groover that induced claps in the audience and a delighted grin on Drexler’s face. Noting that it had been “a beautiful night,” the songwriter ended the main set with “Sea,” one of his early-career tunes and, from the audience’s reaction, one of his most beloved.
Of course, that wasn’t the end – Drexler had already told the crowd to call the band back for more music, and barely left the stage before coming right back on. He kicked off a three-song encore with the epic, energy-spewing medley of “Bailar En La Cueva” and “Moviemiento.” Drexler ended the night with the jaunty, irresistible “Todo Se Transforma,” transforming eighteenth century chemistry into a twenty-first century pop song. With big smiles, the musicians took a bow to huge cheers from the audience. Drexler gave us a history-making show that everyone can see this fall on your local PBS station as part of our Season 49.
Jorge Drexler and band on Austin City Limits, 2023. Photos by Scott Newton.
Jenny Lewis hits the ACL stage for the third time on July 26, 2023. Photo by Scott Newton.
Singer/songwriter Jenny Lewis returned to the ACL stage full of joy – more specifically, Joy’All, her acclaimed fifth album. With a pair of previous shows under her belt (with her solo band in Season 40 and her indie rock band Rilo Kiley in Season 31), she clearly felt at home on our stage, decking it out in shiny red streamers and red lighting. Dressed in Western shirts and boots and coming onstage to a cover of Elvis Presley’s “Don’t Be Cruel,” Lewis and her four-piece, all-women band treated the audience to a finely crafted, heartily performed set of smartly-written, rootsy pop rock.
The last time Lewis was here, almost a decade ago, she was supporting her third album The Voyager. She kicked off her latest ACL appearance with a gem from that album: “Just One of the Guys,” a delightful pop rocker that warmed up the crowd nicely. She followed with the pedal steel-laced, playfully melodic shuffle “Do Si Do.” “What a joy to be back here,” she exclaimed. “What a treat!” The sturdy rocker “She’s Not Me,” on which Lewis ascended the circular platform stage in the middle of the main stage, seemed to be an audience fave as well. “I want to clarify something about that song,” she said wryly. “She’s chill and I’m not!”
The band then banged out “Late Bloomer,” another melodic tour de force that achieved a certain Fleetwood Mac-like grandeur before drummer Megan Coleman and bassist Ryan Madora struck up an infectious groove for “Joy’All,” the irrepressible, irresistible title track of the new LP, with Lewis in constant motion on her mini-stage. Cranking back up, the band returned to straightahead rock for “Red Bull & Hennessey,” a love-to-loss number with epic solos from guitarist Nicole Lawrence. Augmented by keyboardist Jess Nolan on the organ, Lewis sat at her electric piano for the soulful “Heads Gonna Roll,” allowing the crowd to regain their energy while still appreciating the emotion behind the song.
“Head Underwater” returned to the overtly frisky hooks and alluring tunes (as evidenced by the audience taking a verse), before Lewis and the band performed a pair of songs from the new album, injecting a healthy dose of country into “Apples and Oranges,” with Lawrence doing her best pedal steel imitation on her Telecaster (despite her actual steel guitar being right there). To the people’s delight, Coleman laid down another groovy beat for “Cherry Baby,” which added a melancholy feel to its loping guitar pop. Contrary to what one might expect from the title, “Little White Dove” was not a fragile ballad but a husky groove, with a stop-start rhythm supporting Lewis’ mysterious lyrics about mother and child. “Psychos,” too, belied its title with a lush melody and a steel guitar-frosted rock arrangement.
As the next number began, the rotary phone atop Lewis’ piano rang. She answered and carried on a conversation with her dog, allegedly backstage, who demanded a joke. (“Why is it so hot at a Grateful Dead concert? Because their fans don’t work.”) That led to the sprightly new number “Puppy and a Truck,” dedicated to the pooch with whom she bonded during the pandemic. Following a directly rocking, melodica-spiced cover of indie rock band Girls’ “Lust For Life” (no relation to Iggy Pop’s classic of the same name), Lawrence returned to the pedal steel for “Essence of Life,” a glistening new ballad that really reinforced what a special songwriter Lewis is.
As the set started winding to a close, the band rode Coleman’s pounding beat for “Love Feel,” a joyous rock tune that earned rapturous cheers from the crowd. “A little shout-out to John Prine there,” Lewis noted. “Here’s one from way back when.” Accompanied only by Lawrence and Madora, Lewis climbed atop her platform once again to deliver the final address: a lovely cover of her former band Rilo Kiley’s “With Arms Outstretched.” She held the second to last note long enough to drive the audience into a frenzy of love and appreciation. Lewis waved to the crowd and exited in triumph. It was a killer return for a killer artist, and it’ll make a marvelous episode that will air this fall on your local PBS station as part of our Season 49.
Jenny Lewis on Austin City Limits, 2023. Photo by Scott Newton.
Austin City Limits is thrilled to announce that we will be live streaming our upcoming Season 49 taping with global music powerhouse Jorge Drexler in his ACL debut on July 31 at 8pm CT. The celebrated superstar swept the 2022 Latin Grammy Awards with a record seven awards, including top honors of Record of the Year and Song of the Year. ACL offers fans worldwide the unique opportunity to watch this taping live in its entirety free here on our ACLTV YouTube Channel.
Jorge Drexler is an Uruguayan musician and singer-songwriter with a storied professional career—over the course of three decades, he has recorded fourteen studio albums and has toured all over the world. The widely-acclaimed and decorated artist is the recipient of an Academy Award (2004) and thirteen Latin Grammys (2014, 2018, 2021, 2022). In 2022 Drexler released the acclaimed Tinta y Tiempo (Ink and Time), his fourteenth studio album, earning an astonishing seven awards at 2022’s Latin Grammy Awards, including top honors of Song of the Year and Record of the Year for the album’s breakout single “Tocarte” (To Touch You).
The sweeping and cinematic Tinta y Tiempo focuses on nature’s invention of love as a survival mechanism. “It was the thematic vector that informs the entire record, the kind of discourse that comes up when you emerge from a pandemic,” says Drexler. “Dealing with fear and the possibility of death makes you ponder the importance of life. Love as driving energy, life’s dynamo. This is why I believe the album is filled with color.” Anchored on his trademark poetic cosmovision and quirky wordplay, the collection is boosted by exquisite orchestral arrangements. Guest artists including Panamanian songwriter Rubén Blades, Spanish rapper C. Tangana, Israeli rapper/singer Noga Erez and Uruguayan singer Martín Buscaglia add color to a sophisticated songbook that finds Drexler’s voice—a wondrous instrument, capable of evoking vulnerability, hope and wistfulness within a single verse—in a state of grace.
Rolling Stone calls the album “One of the most whimsical and free-spirited albums of his 30-year career.” The New York Times remarks that “Tinta y Tiempo is Drexler’s 14th studio album in a recording career filled with richly poetic, ingeniously constructed songs, delivered with amiable understatement.” This is an album of classic elegance and, at the same time, the overall sound vibrates in a very contemporary frequency, combining elements of candombe, pop, bossa nova, flamenco, bolero, Carioca funk, hip hop, trap, zamba, soul, Panamanian mejorana, or baguala, filtered through the sound of the orchestra, samples, percussive textures, female vocals, bass, drums, electric guitar and keyboards.
The conceptual song cycle of Tinta y Tiempo sums up Drexler’s lush take on popular song, its ability to uplift and enlighten. “We have just emerged from a very difficult experience [the pandemic],” he adds. “Our capacity to love and our zest for life have been tested. The act of loving involves a certain sense of confusion, of losing control, and there’s nothing wrong with that. We should not lock ourselves in a world fueled by fear and self-oppression. We must keep our hearts thirsty for more, much more – against all odds.”
Join us here on July 31 at 8 p.m. CT for Jorge Drexler; the broadcast episode will air on PBS this fall as part of our upcoming Season 49. Tune in to your local PBS station on Saturday nights for fan-favorite encore episodes of Austin City Limits; watch live on PBS, or stream anytime at PBS.org.
Austin City Limits is pleased to announce a trio of highly-anticipated tapings for our upcoming Season 49 to amplify your summer. On August 10, we welcome the ACL debut of innovative violinist and singer-songwriter Sudan Archives on the heels of her buzzed-about performances at Glastonbury and Coachella. On August 24, five-time Grammy-winning producer and musician Robert Glasper brings his groundbreaking, award-winning and genre-shattering Black Radio to the ACL stage alongside special guests including multiple Grammy-nominees rapper D Smoke and singer/guitarist Emily King, along with Grammy-winning R&B singer and songwriter Yebba. On August 28, acclaimed Grammy-and Americana Award-winning bluegrass iconoclast Molly Tuttle makes her ACL debut with her band Golden Highway.
Sudan Archives breakthrough second album Natural Brown Prom Queen is an epic record that is also her most personal, taking in race, womanhood, and the fiercely loyal, loving relationships at the heart of Sudan’s life with her family, friends, and partner. Born Brittney Denise Parks, Sudan burst onto the scene in 2017 with “Come Meh Way,” back when she was a violinist and loop maker producing beats in her Ohio bedroom. While her 2019 debut album Athena drew inspiration from divine Black feminine power, on Natural Brown Prom Queen Sudan is in character as Britt, the girl next door from Cincinnati who drives around the city with the top down and shows up to high school prom in a pink furry bikini with her thong hanging out her denim skirt. From first listen, it’s immediately apparent that Natural Brown Prom Queen is the one-woman instrumentalist’s most ambitious work to date, spanning 18 tracks – from the disco-influenced R&B of “Home Maker” to Afrocentric anthem “Selfish Soul,” hip-hop banger “OMG Britt,” the wild ride of “NBPQ (Topless)” and the ballad “Homesick (Gorgeous & Arrogant).” The acclaimed release was named an album of the year by Pitchfork, New York Times, The Guardian, The FADER, The Needle Drop, NPR, Vulture, Time Out, CNN, Slate, Paste, SPIN, Pop Matters, and many more; “Home Maker” was chosen by Barack Obama for his Favorite Songs of 2022 and Sudan Archives was handpicked by superstar Bad Bunny for Rolling Stone’s Future of Music issue. Fittingly for an album named for a homecoming event, Natural Brown Prom Queen is all about home: both Sudan’s adopted hometown of L.A. and Cincinnati, where she was raised. It’s intimate in all senses of the word, with Sudan unafraid to be vulnerable, tender and open about her insecurities. “Natural Brown Prom Queen is an album of many movements and ruminations, but almost all of them trace back to the multiple ways that a person can find and re-find home,” writes poet and Sudan’s fellow Ohio native Hanif Abdurraqib. “In flimsy, shifting geography, in the fights and triumphs that filter into interactions with beloveds and kinfolk, and, of course, the mighty work of home-making within oneself.” But the record is also about finding pleasure – after all, this is the artist who played violin upside-down on a pole in a music video. On Natural Brown Prom Queen, Sudan Archives invites you to join in and embrace shared joy.
Celebrated multihyphenate Robert Glasper is the leader of a new sonic paradigm with a career that bridges musical and artistic genres. With boundless innovation and elite technique as his signature, it’s no surprise that Glasper has an avalanche of accolades, awards, and achievements to his name—his contributions to music and culture span over two decades with 5 career Grammy wins and 12 nominations across 11 categories, along with a 2017 Emmy Award and a 2022 Peabody Award. The Houston native’s body of work is a masterclass in hip-hop, R&B and jazz fusion that sonically has influenced the decades to come. His breakout 2012 crossover album Black Radio changed the face of the genre and set a new expectation for what popular music could be. The album earned Glasper his first career Grammy for Best R&B Album and established him as the musician of choice for some of the world’s most iconic artists, notably playing keys throughout Kendrick Lamar’s landmark To Pimp A Butterfly, winning another Grammy for the elastic track “These Walls.” One of the most respected collaborators of his generation, the ongoing Black Radio series has since become Glasper’s calling card, upholding a place at the heart of a trailblazing community. In 2023 Glasper earned his fifth Grammy Award for Best R&B Album for Black Radio III. The album’s debut single “Better Than I Imagined,” featuring H.E.R. and Meshell Ndegeocello, previously won a 2021 Grammy Award for Best R&B Song. Black Radio III celebrates Black joy, love and resilience with a host of special guests, including Common (with whom Robert Glasper appeared during ACL Season 44 as part of their supergroup August Greene), Killer Mike, Esperanza Spalding, Q-Tip, Ty Dolla $ign, De La Soul’s Posdnuos and Jennifer Hudson. For this special ACL appearance, Glasper will be joined by Black Radio III family including a pair of triple Grammy-nominated acts, rapper D Smoke, and singer/guitarist Emily King, along with Grammy-winning R&B singer-songwriter Yebba. Glasper has formed an exceptional legacy that permeates contemporary art and advocacy. Above all, Robert Glasper is an artist at the heart of a moment – and a movement – to champion Black music, Black people, and the possibility of a better future. We welcome him back to the ACL stage in his second headlining appearance.
Grammy Award-winning singer, songwriter, musician and performer Molly Tuttle and her band, Golden Highway, make their ACL debut with the release of the highly-anticipated new album City of Gold, out July 21. The new record follows Tuttle’s acclaimed 2022 album, Crooked Tree, which won Best Bluegrass Album at the 65th Annual Grammy Awards in 2023 and also led to a Best New Artist nomination. NPR Music calls her “a female flat picker extraordinaire with agility, speed and elegance who distinctively brings American roots music into the spotlight.” Produced by Tuttle and bluegrass legend Jerry Douglas and recorded in Nashville, City of Gold,—written primarily by Tuttle and Ketch Secor of Old Crow Medicine Show—captures the electric energy of Golden Highway’s live shows. Reflecting on the project, Northern California native Tuttle tells it best firsthand: “When I was a kid, we took a field trip to Coloma, CA to learn about the gold rush. I’ll never forget the dusty hills and the grizzled old miner who showed us the nugget around his neck. Just like gold fever, music has always captivated me, captured my heart, and driven me to great lengths to explore its depths. On my new album I dug deep as a songwriter and co-producer and surfaced with a record that celebrates the music of my heart, my life, the land where I grew up, and the stories I heard along the way. I made this record with my band Golden Highway after playing over 100 shows across the country last year. On the road and in the studio, we are inspired by artists such as John Hartford, Gillian Welch and Peter Rowan to name a few, whose records are like family albums to us. Just like them, on this album we chart some new territory along some old familiar ground. The songs span from breakdowns to ballads, fairytales and fiddle tunes, from Yosemite up to the Gold Country and out beyond the mountains. That visit to Coloma, site of California’s first gold strike is where I first heard about El Dorado, the city of gold. Playing music can take you to a place that is just as precious.” Tuttle moved to Nashville in 2015 and in the years since, the celebrated artist has been nominated for Best New Artist at the 65th Annual Grammy Awards, won Album of the Year at the 2023 International Folk Music Awards, Female Vocalist of the Year at the 2022 International Bluegrass Music Awards, Instrumentalist of the Year at the 2018 Americana Music Awards and Guitar Player of the Year at the IBMAs in both 2017 and 2018, the first woman to receive the honor. Tuttle has performed around the world, including shows with Sam Bush, Béla Fleck, Hiss Golden Messenger, Jason Isbell, Old Crow Medicine Show and Dwight Yoakam, as well as at major festivals including Bonnaroo, Newport Folk Festival and Pilgrimage. In celebration of the new music, the band will tour throughout the summer including dates supporting Dave Matthews (who guests on the new record), Tommy Emmanuel, Greensky Bluegrass, Charley Crockett and Marcus King.
We’re thrilled to welcome these music innovators to the ACL stage. Want to be part of our audience? We will post information on how to get free passes a week in advance of the taping. Follow us on Facebook and Twitter for notice of postings. The broadcast episodes will air on PBS this fall as part of our upcoming Season 49.
Tanya Tucker returns to Austin City Limits on July 11, 2023. Photo by Scott Newton.
Last seen in these parts in Season 11, country icon Tanya Tucker has never slowed down, racking up hits since the seventies. Riding yet another career high thanks to the 2022 documentary The Return of Tanya Tucker and the Grammy-winning Tucker/Brandi Carlile co-write “Bring My Flowers Now,” the Seminole, Texas native – who’s finally getting inducted into the Country Music Hall of Fame this year – returned to the Austin City Limits stage at full power, bringing with her a new acclaimed record, Sweet Western Sound.
Before we got that LP, however, Tucker – decked out in a green leather fringed jacket and polka-dotted scarf – and her six-piece band dug into that bucket of hits, opening with the frisky top tenner “If Your Heart Ain’t Busy Tonight.” “I just wanna thank y’all for hangin’ in for so many years,” she declared – a broad hint of the next song, the old school honkytonker “Hangin’ In.” Minus drummer Toby Caldwell, the musicians then gathered at the front of the stage for an acoustic pickin’, mandolin and fiddle-powered take on her late eighties #1 hit “Strong Enough to Bend.” The hits kept on coming with 1976’s “Don’t Believe My Heart Can Stand Another You,” a good choice for the audience’s mid-song clapping.
The repertoire leapt forward in time to While I’m Livin’, the 2019 Brandi Carlile-produced LP that brought Tucker back to prominence. Driven by her gritty vocals, “Hard Luck” rang out with energy and swagger to big cheers. Then came the Grammy-winning killer: co-write “Bring My Flowers Now.” Backed only by piano and harmonies from singer Presley Tucker and bassist Dino Villanueva, Tucker explained the origins of the song, then delivered it with quiet dignity and expertly controlled passion as only someone feeling the weight of the years could. “If your heart is in them flowers,” she sang, “Bring ‘em on.” From the audience’s standing ovation, their hearts were deep in that garden.
That would be a tough song for anyone to follow up, but Tucker did it by dipping into Sweet Western Sound for “Kindness,” a song that fit the tenor of its predecessor, but with a faster tempo and wry humor. She followed with “When the Rodeo is Over (Where Does the Cowboy Go),” a song Carlile sent to Tucker over the phone, and the kind of classic narrative ballad only a singer of Tucker’s experience (plus co-writer and Tucker paramour Craig Dillingham on harmony) could pull off with the proper gravitas. That went doublefold for “Ready As I’ll Never Be,” a farewell to loved ones performed with solemn soul. “Losin’ your friends is hard enough,” she explained, “but when your friends are your heroes, it’s even harder.” If there was a dry eye in the house, we’d be shocked.
The mood then changed for the rowdier, as Tucker shared a tequila with an audience member and launched her classic anthem “Texas (When I Die),” as much a showcase for her band as it was an audience party, earning her another standing O. Another tough act to follow, but once again she managed it with her early nineties bluesy strut “It’s a Little Too Late.” “It’s never too late to do the right thing,” she said. “I’m proof of that.”
Tucker commented on how much she and the band had anticipated this ACL taping, thanked her friends and family for being there, and touched on her illustrious past, including having met Elvis Presley. Then, of course, she closed the show the only way she could. “I’m sincere when I say I love this song,” she smiled. The familiar piano chords floated in the air, then she sang the words: “Delta Dawn/what’s that flower you have on.” Needless to say, the crowd took a chorus on their own, before Tucker ended the song with a gospel flourish. She left the stage to a final standing ovation, as well she should’ve. There’s nothing like seeing a living legend still in her prime, and Tanya Tucker lived up to the legend. You’ll see for yourself when this episode airs this fall as part of our 49th season on your local PBS station.
Tanya Tucker on Austin City Limits, 2023. Photos by Scott Newton.
