Category: Featured

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Episode Recap Featured New Broadcast News

Rodrigo y Gabriela’s dazzling hour

For guitar fans, Austin City Limits has been home to legions of blues and country-soaked guitar slingers, from Stevie Ray Vaughan to Eric Johnson to Jerry Reed. This week, however, we will feature the dazzling skills of Rodrigo y Gabriela. Joined by Cuban orchestra C.U.B.A., the Mexican duo puts its patented blend of flamenco, jazz and rock through its paces for a thrilling 60 minutes.

Driven by C.U.B.A.’s infectious accompaniment, the pair rockets through “Santa Domingo,” “11:11” and “Tamacun,” with their impressive guitar work riding the lush Cuban motion of their collaborative album Area 52. Gabriela’s traditional flamenco technique, often augmented by a wah-wah pedal, keeps time as much as the drums and percussion, while Rodrigo’s fleet-fingered leads head to the stratosphere – he even pays tribute to his heavy metal roots by strapping on an electric guitar for “Hanuman” and cranks some distortion on “Diablo Rojo.” Longtime fans wanting to hear the duo’s talent unadorned will be thrilled by the middle segment, as C.U.B.A. takes a break to allow Rodrigo y Gabriela to showcase what they are known for: two guitars, chemistry and flying fingers. Each picker takes the spotlight solo as well, in which Rodrigo zooms up and down his fretboard with sizzling leads and Gabriela proves herself as much percussionist as guitarist.

You can get a sample of Rodrigo y Gabriela and C.U.B.A.’s danceable virtuosity by visiting the episode page, which should be enough to entice to check your local listings for the broadcast time on your PBS station. Don’t forget to visit our Facebook and Twitter pages or sign up for our newsletter for more ACL info. Next week: Norah Jones and Kat Edmonson.

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Episode Recap Featured New Broadcast News

Jack White kicks off Season 38’s second half

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. 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.

Jack White “Blunderbuss” from Austin City Limits on Vimeo.

White is already riding high, as Blunderbuss garners Grammy nods and appears on numerous year-end top 10 lists. Now he’s got one more reason to celebrate: a landmark episode of Austin City Limits. 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: the ACL debut of Rodrigo y Gabriela.

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Encore Broadcast Featured News

Encore: Tom Waits

The Tom Waits episode of Austin City Limits is one of the most requested shows in our 37-year archive. In the spirit of the holiday season, we’ve put this Season 4 delight back on the air for the first time in over a decade. Tune in this Saturday 12/22 to see this classic episode once again.

Recorded in December 1978, the show came in through the back door, so to speak. Terry Lickona, who became producer that year, was trying to book singer Leon Redbone. Redbone and Waits shared a manager, who promptly requested that Terry book his other client as well. In order to make sure the Redbone show happened, Terry agreed, even though he was nervous that the roots-oriented audience ACL had already built in its previous three seasons might think that Waits’ avant-garde gutter poetry was too radical for the show.

The rest is, well, you know the cliche. Supporting his classic LP Blue Valentine (but aren’t they all classics?), Waits was deep in the transitional phase of his career, evolving out of the jazzy beat poetry of his early work (“I Wish I Was in New Orleans”) and into the bluesier, more dissonant sounds (“Sweet Little Bullet From a Pretty Blue Gun”) for which he became known in the 80s and beyond. He acknowledged the season with the streetwise but lovely “Christmas Card From a Hooker in Minneapolis,” which incorporates a few bars of a better-known Xmas hymn. And he debuted “On the Nickel,” one of his greatest ballads, and which wouldn’t be released on record until Heartattack and Vine in 1980.

You can check out the episode page for pics, the set list and the original liner notes for the episode. Don’t forget to visit our Facebook and Twitter pages and/or sign up for our newsletter for the latest news on ACL happenings, or to go to our Tumblr blog for a look back at ACL’s photographic past. Next week: Sonic Youth and the Black Keys.

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Featured News

ACL Salutes the 2013 Grammy Nominees!

The nominations for the 55th annual Grammy Awards were announced last night, and we’re happy to note that many ACL artists got the nod. Congrats to the Black Keys for their five nominations (including Record of the Year and Album of the Year), Jack White for his three (including Album of the Year), Mumford & Sons for their four (including Album of the Year), Alabama Shakes for their three (including Best New Artist) and Esperanza Spalding for her three (including Best Jazz Vocal Album). We also tip our hat to alumni Bonnie Raitt, Jimmy Cliff, Florence + the Machine, Coldplay, Miranda Lambert, Tom Waits, John Legend, The Roots, Dr. John, the Civil Wars and the Avett Brothers for their Grammy nods.

If you want to see some of these fine folks in action, we have a repeat of the Black Keys’ episode with Sonic Youth on December 29, and new episodes featuring Jack White on January 5, Alabama Shakes on February 16 and Esperanza Spalding on February 23. Plus Mumford & Sons’ episode with Flogging Molly is streaming at PBS Video here. Please join us in cheering on our nominees – the Grammy Awards ceremony airs live on February 10.

And speaking of good vibes, we also want to give a shout out to our own Terry Lickona – ACL’s executive producer is also, for the second year in a row, co-producer of the Grammy telecast, as well as the former Chairman of the Board of Trustees of the Recording Academy, the Grammys’ parent organization. The Grammys are in good hands!

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Featured News

Darrell K. Royal – in memoriam

We here at ACL were saddened to learn that legendary University of Texas football coach Darrell K. Royal passed away this morning at the age of 88. Not only was Royal the “winningest coach in University of Texas history,” as noted by the Austin-American Statesman, but he was also a longtime friend of Austin City Limits. He helped us grease the wheels with the many artists he knew personally, including Merle Haggard and George Jones. The “guitar pulls” at his house that featured his buddy Willie Nelson and veteran and up-and-coming writers inspired our Songwriters Specials. And we also remember him as being one of our most loyal fans. His friend Terry Lickona, ACL executive producer, had this to say:

“Darrell Royal – or just Coach, as we called him – was one of the best friends Austin City Limits had back in its early days. He would come to many, if not most, of the tapings in the original Studio 6A. In fact, we saved a special seat for him at practically every show, ‘just in case.’ It was in the corner of the back row of the middle bleacher, where everyone entering could see him and he could greet the fans as they came in. In fact, he actually helped us book Merle Haggard during Season 3, at a time when most major artists had never even heard of the show. He had a passion for music, especially songwriters, a quick wit, an iron-grip handshake and an ear-to-ear smile. There are few, if any, Austin icons like him left.”

Goodbye, Coach. May you rest in peace.

Coach and Willie Nelson at the Austin Opry House, 1977. Photo by Scott Newton. Copyright 1977 Scott Newton.
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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.