Category: Featured

Episode premiere: Allison Russell/The Weather Station

Post author By michael
Post date October 19, 2022

Allison Russell and band tape Austin City Limits, May 2022. Photo by Scott Newton.

Austin City Limits showcases a pair of breakthrough Canadian singer-songwriters: Montreal native Allison Russell shares the hour with The Weather Station, the performance name of Toronto’s indie-folk singer/songwriter Tamara Lindeman. Russell makes her show debut with a radiant set featuring songs from her 2022 Grammy-nominated solo debut album Outside Child; while The Weather Station presents a hypnotic set highlighting selections from Ignorance, an album that topped many 2021 year-end-best-of lists. The new Season 48 installment premieres October 22 at 8pm CT/9pm ET. The program, recorded live at ACL’s studio home in Austin, Texas, continues its extraordinary run as the longest-running music television show in history, providing viewers a front-row seat to the best in live performance for 48 years as the music institution nears a remarkable half-century milestone. ACL airs weekly on PBS stations nationwide (check local listings) and full episodes are made available to stream online at pbs.org/austincitylimits immediately following the initial broadcast.

After years of collaborations with like-minded artists, Allison Russell released her debut solo effort Outside Child to much critical acclaim, earning a trio of 2022 Grammy nominations, including Best Americana Album; it was recently named 2022 Album of the Year by the Americana Music Association. The starkly beautiful breakthrough deals with the abuse Russell suffered as a child and her subsequent survival. Now based in Nashville, the singer/songwriter and multi instrumentalist begins a magnetic set with the folk rocker “The Runner,” joined by a six-piece all-female band; the number soars with exquisite backing vocals and strings. She picks up her banjo for the powerful “All of the Women,” an attempt to find survivor’s joy despite continued societal injustices and senseless tragedy. “We believe that music, shared like this, is creative communion, an essential service that helps build up our empathy,” Russell tells the crowd. A co-founder of the supergroup Our Native Daughters, Russell closes with the stunner “You’re Not Alone,” from the 2019 album Songs of Our Native Daughters.

Tamara Lindeman and her band The Weather Station perform on Austin City Limits, 2022. Photo by Scott Newton.

Tamara Lindeman, leader of the Toronto outfit The Weather Station, has earned critical acclaim for the thoughtful, soulful songcraft showcased on her 2021 breakthrough Ignorance, a commentary on climate change issues. Ignorance was named a Top 10 Album of 2021 by Pitchfork, The New Yorker, Spin, New York Times, Uncut, The Guardian, and several others. In a captivating set centered on the album and accompanied by her five-piece band, Lindeman opens kneeling for the riveting single “Robber,” as the tempo and urgency increase, amplified by saxophone and keyboards for dramatic, atmospheric effect. The musically inventive performance draws from elements of jazz, folk and indie-rock. A highlight is the mesmerizing “Stars,” the main track from her stripped-down companion album, 2022’s How Is It That I Should Look At the Stars. Backed only by keyboards, Lindeman’s voice rings out with pure grace, with the crowd remaining intensely hushed for the entire song.

“No artist can sing or express a song better than the writer, and Allison and Tamara are living proof of that,” said ACL executive producer Terry Lickona. “Their emotional evocations cover the deeply personal to the global, and their songs resonate with meaning as we try to navigate the world around us.”

Allison Russell:

THE RUNNER

ALL OF THE WOMEN

POISON ARROW

YOU’RE NOT ALONE

The Weather Station:

ROBBER

ATLANTIC

PARKING LOT

STARS

TRIED TO TELL YOU

BETTER NOW

Season 48 Broadcast Line-up (first half of season)

October 1 Brandi Carlile

October 8 Japanese Breakfast/Arlo Parks

October 15 Sylvan Esso/Lucius

October 22 Allison Russell/The Weather Station

October 29 Parker McCollum/Robert Earl Keen

November 5 Lyle Lovett and His Large Band

November 12 Cimafunk and The Tribe

Watch live, stream anytime, The complete line-up for the full 14-week season, including seven new episodes to air beginning January 2023, will be announced at a later date. Viewers can visit acltv.com for news regarding live streams, future tapings and episode schedules or by following ACL on Facebook, Twitter and IG. Fans can also browse the ACL YouTube channel for exclusive songs, behind-the-scenes videos and full-length artist interviews.

Austin City Limits

Austin City Limits (ACL) offers viewers unparalleled access to featured acts in an intimate setting that provides a platform for artists to deliver inspired, memorable, full-length performances. Now in its 48th Season, the program is taped live before a concert audience from The Moody Theater in downtown Austin. Austin City Limits is the longest-running music series in television history and remains the only TV series to ever be awarded the National Medal of Arts. Since its inception, the groundbreaking music series has become an institution that’s helped secure Austin’s reputation as the Live Music Capital of the World. The historic Austin PBS Studio 6A, home to 36 years of ACL concerts, has been designated an official Rock & Roll Hall of Fame Landmark. In 2011, ACL moved to the new venue ACL Live at The Moody Theater in downtown Austin. ACL received a rare institutional Peabody Award for excellence and outstanding achievement in 2012.
Austin City Limits is produced by Austin PBS and funding is provided in part by Dell Technologies, Workrise, the Austin Convention Center Department, Cirrus Logic and AXS Ticketing. Additional funding is provided by the Friends of Austin City Limits. Learn more about Austin City Limits, programming and history at acltv.com.

Tags Allison Russell, Our Native Daughters, The Weather Station

Featured Hall of Fame News

ACL Hall of Fame 2022 adds new talent for next week’s ceremony

Post author By michael
Post date October 18, 2022

Austin City Limits proudly announces additional guest performers for the 2022 ACL Hall of Fame Inductions & Celebration on October 27. Acclaimed act Lucius and country legend Rodney Crowell will join the previously announced line-up of music luminaries slated to perform: Brandi Carlile, Jason Isbell, Brittney Spencer, Marcia Ball, Jimmie Dale Gilmore and Butch Hancock. We regret to announce that Mavis Staples will no longer be appearing at this event due to unforeseen circumstances. The all-star line-up will salute a pair of American originals—superstar singer-songwriter Sheryl Crow and legendary Texas music pioneer Joe Ely—with one-of-a-kind music performances and tributes as they are inducted into the ACL Hall of Fame. The star-studded ceremony takes place on Thursday, October 27th, 2022 at ACL’s studio home, ACL Live at The Moody Theater in downtown Austin. Musical highlights and inductions from the celebration will air as a special Austin City Limits on January 7, 2023 on PBS.

All-star guests will handle induction honors on this epic night: Americana great and six-time Grammy Award winner Brandi Carlile will induct nine-time Grammy Award winner Sheryl Crow and perform in tribute along with celebrated songwriter Jason Isbell, power vocalists Lucius and country breakout Brittney Spencer. Texas music legend Joe Ely will be inducted by Pulitzer Prize-winning author Lawrence Wright along with a musical salute featuring revered Lone Star musicians: Ely’s longtime collaborators in Texas supergroup The Flatlanders, Jimmie Dale Gilmore and Butch Hancock, will salute the pioneer; joining the musical tribute are country music trailblazer Rodney Crowell and blues legend and ACL Hall of Famer Marcia Ball. Inductees Sheryl Crow and Joe Ely will perform at the celebration.

ACL Hall of Famer, renowned steel guitarist and producer Lloyd Maines, returns as Music Director, leading the ACL All-Stars house band featuring guitarist David Grissom, keyboardist Chris Gage, bassist Bill Whitbeck and drummer Tom Van Schaik.

The event is open to the public and a limited number of tickets are on sale at acltv.com/hall-of-fame. Sponsor packages are available now at acltv.com/hall-of-fame. All proceeds benefit Austin PBS.

The eighth class of inductees features two iconic acts: Celebrated singer-songwriter Sheryl Crow has made two classic hourlong appearances on ACL in her remarkable three-decade career, starting with her debut on Season 22 in 1997 and returning in 2004. She also co-hosted ACL’s 40th anniversary special in 2014, the same year the Hall of Fame was established. An icon of Texas music, Joe Ely has made 11 appearances on ACL: including as a headliner five times beginning with his 1980 ACL debut in Season 5; also joining Los Super 7 in 1999, Texas supergroup The Flatlanders in 2002, and a Songwriters Special with Lyle Lovett, John Hiatt and Guy Clark in 2008. The influential artist has made guest appearances with multiple acts, including Kevin Welch in 1992, Ryan Bingham in 2009 and joined Steve Earle and the Dukes in 2019 for a tribute to Guy Clark.

Established in 2014, the Austin City Limits Hall of Fame celebrates the legacy of legendary artists and key individuals who have played a vital part in the pioneering music series remarkable nearly half-century as a music institution. The Hall of Fame has inducted over twenty artists at seven previous ceremonies including Willie Nelson, Stevie Ray Vaughan & Double Trouble, Lloyd Maines, Asleep at the Wheel, Loretta Lynn, Guy Clark, Flaco Jiménez, Townes Van Zandt, Kris Kristofferson, Bonnie Raitt, B.B. King, Roy Orbison, Rosanne Cash, The Neville Brothers, Ray Charles, Marcia Ball, Los Lobos, Lyle Lovett, Buddy Guy, Shawn Colvin. The seventh annual Hall of Fame in 2021 welcomed Lucinda Williams, Wilco and Alejandro Escovedo to its ranks.

Austin City Limits and the Austin City Limits Hall of Fame are produced by Austin PBS. Austin PBS is a non-profit organization providing public television and educational resources to Central Texas as well as producing quality national programming.

Austin City Limits

Austin City Limits is produced by Austin PBS and funding is provided in part by Dell Technologies, Workrise, the Austin Convention Center Department and Cirrus Logic. Additional funding is provided by the Friends of Austin City Limits. Learn more about Austin City Limits, programming and history at acltv.com.

Tags ACL All-Stars, ACL Hall of Fame, ACL Hall of Fame 2022, Bill Whitbeck, Brandi Carlile, Brittney Spencer, Butch Hancock, Chris Gage, David Grissom, Flatlanders, Jason Isbell, Jimmie Dale Gilmore, Joe Ely, Lloyd Maines, Lucius, Marcia Ball, Rodney Crowell, Sheryl Crow, Tom Van Schaik

Taping recap: The War on Drugs

Post author By michael
Post date October 17, 2022

The War on Drugs on Austin City Limits, 2022. Photo by Scott Newton.

The War on Drugs is one of those bands whose music sounds familiar, yet contemporary, all at once. Led by singer/guitarist Adam Granduciel, the Philadelphia outfit has deftly blended gritty heartland rock with motorik-influence rhythms and sparkling analogue synthesizers on a series of beloved albums, culminating in 2017’s Grammy-winning A Deeper Understanding and last year’s highly acclaimed I Don’t Live Here Anymore. Following their first appearance on Austin City Limits back in 2015, TWOD returned to our stage with a seasoned live show that drew heavily from those albums.

Taking the stage to enthusiastic applause, the band opened with IDLHA‘s “Old Skin,” a lush ballad that evolved into a dynamic rock anthem, its heart on its glistening sleeve. The septet followed with the more overtly rocking “Pain,” a cut from Deeper that perfectly highlights their ability to blend bright melodies with brooding synth textures and uplifting Granduciel guitar solos. For “An Ocean in Between Us,” drummer Charlie Hall leaned hard on the vibrant repetition of the motorik beat, laying down a skittering propulsion for the band to ride – one painted by near-ambient baritone sax moans from keyboardist Jon Natchez and an especially powerful Granduciel solo. The song melted into a haze of synth washes, which resolved into the gentle waves of “I Don’t Wanna Wait,” one of IDLHA’s most bluntly emotional tunes. “We’re honored to be here,” noted the bandleader as the group went into the beat-driven rock of “Victim.”

As the band set up for “Strangest Thing,” Granduciel mentioned that the tour began in Austin, and was ending with this ACL performance (which explained both the ultra tight performance and the giddy energy). So he dedicated the evening to TWOD’s hard-working crew, who made their presence felt with a dramatic light show near the end of the atmospheric ballad. Granduciel then led the band into one of their most representative songs: “Harmonia’s Dream,” combining the sparkling synthesizers and vocoder-style vocals implied by the title’s citing the eponymous pioneering electronic band, with the acoustic guitar and soaring melodies of the heartland rock that they love equally. The fingerpicked guitar of Anthony LaMarca and the beautiful piano riffs of keyboardist Robbie Bennett heralded the arrival of “Living Proof,” another of IDLHA’s most earnest emotional explorations, TWOD kept that vibe going with the dreamier, but still affecting, “Occasional Rain.” As a familiar synth ‘n’ guitar intro of “I Don’t Live Here Anymore” began, the crowd began to cheer – Granduciel used the good will to introduce the band (including keyboardist/guitarist/harmony vocalist Eliza Hardy Jones, who had the unenviable task of subbing for Lucius), before diving into a magnificent performance of what has probably become the band’s signature song. The audience made its appreciation known loudly.

“Thinking of a Place” indulged in more lush textures, with guitarist LaMarca providing subtle slide, keyboardists Bennett and Natchez layering on the ear candy, and Granduciel cutting through with an industrial strength Jazzmaster solo. “Thanks for having us on the legendary Austin City Limits,” Granduciel remarked. “Growing up without cable TV, this is one of the only things I grew up watching.” Following a brief tech fix, a wave of heavenly synthesizers essayed the beginning of “In Chains,” a tune that deftly mixed shimmering dreampop and anthemic rock that earned ardent huzzahs. Granduciel donned an acoustic guitar for the first time this evening for the lovely ballad “Rings Around My Father’s Eyes,” in honor of his dad’s ninetieth birthday. The War on Drugs ended their set with “Under the Pressure,” the epic lighter-waving opener from their breakthrough LP, 2014’s Lost in the Dream. The song ended in walls of tremelo, looped feedback and electronics, the audience going wild with their hands in the air. It was incredible end to an incredible show, and we can’t wait for you to see it when it broadcasts this winter on your local PBS station as part of our Season 48.

The War on Drugs tape Austin City Limits, October 16, 2022. Photos by Scott Newton.

Tags Adam Granduciel, The War On Drugs

Episode Recap Featured New Broadcast News

Episode premiere: Sylvan Esso and Lucius

Post author By michael
Post date October 13, 2022

Sylvan Esso on Austin City Limits, 2022. Photo by Scott Newton.

Austin City Limits returns with an entertaining hour you can dance to, featuring two different dynamic duos: electro-pop stars Sylvan Esso along with the versatile vocal powerhouses known as Lucius. Sylvan Esso present songs from their 2022 album No Rules Sandy and their Grammy-nominated Free Love; Lucius perform numbers from their recent album Second Nature alongside career highlights. The new Season 48 installment premieres October 15 at 8pm CT/9pm ET. The program, recorded live at ACL’s studio home in Austin, Texas, continues its extraordinary run as the longest-running music television show in history, providing viewers a front-row seat to the best in live performance for 48 years as the music institution nears a remarkable half-century milestone. ACL airs weekly on PBS stations nationwide (check local listings) and full episodes are made available to stream online at pbs.org/austincitylimits immediately following the initial broadcast.

Durham, North Carolina-based electronica duo Sylvan Esso, composed of singer/lyricist Amelia Meath and keyboardist/producer Nick Sanborn, make their ACL debut performing songs from their new album No Rules Sandy as well as favorites from 2020’s Free Love and 2017’s What Now, both of which received Grammy nominations for Best Dance/Electronic Music album. The pair create rapturous sounds with 21st century sensibilities, as Meath sings the irresistible hooks with a playful magnetism. Opening with two songs from their acclaimed Free Love, the duo shine on their pop-groove hit “Ferris Wheel.” They perform a suite of songs from the experimental No Rules Sandy, a platform for partner Sanborn’s animated manipulation of his electronics, triggering beats and sounds in the moment, even remixing Meath’s vocals live on the buoyant “Look At Me.”

Lucius on Austin City Limits, 2022. Photo by Scott Newton.

Los Angeles-via-Brooklyn indie act Lucius’ versatility is on full display with their fourth album, 2022’s acclaimed Second Nature, as they shape-shift through synth-pop, country, melodic folk and dance-groove funk. Produced by pals Brandi Carlile and Dave Cobb, the album was made for joyful dancing through life’s unpredictable tangents — which has always been Lucius’s sunny mission in their decade-long career. Lucius leaders Jess Wolfe and Holly Laessig deliver a highly stylized visual presentation that’s as much a part of their identity as their sound, sporting matching green ensembles and identical hair styles. Accompanied by a four-piece band, they open with a pair of highlights from Second Nature, first donning blinged out keytars and synchronized stage moves for the discofied “Next to Normal,” then stunning a rapt crowd with their entwined vocals on “The Man I’ll Never Find.” Wolfe and Laessig thrill with the early career gem “Dusty Trails” as they unite their soaring sopranos in perfect harmony, stepping back from the mic to sing in a capella glory. They close with highlights from 2013’s Wildewoman, the album that first brought them to wide attention. The duo stroll into the audience for a powerfully intimate moment on “Two of Us On the Run,” a tribute to their friendship and collaboration, for a shimmering set-closer.

“Both Sylvan Esso and Lucius represent what musical female empowerment is all about in the 2020’s,” said ACL executive producer Terry Lickona. “Amelia, Holly and Jess write and sing about all the raw emotions of life, from darkness to light, sadness to joy, and ACL captures their electric live shows. You won’t be able to sit still for this hour!”

Sylvan Esso

WHAT IF

FERRIS WHEEL

DIE YOUNG

SUNBURN

LOOK AT ME

SOUND

COFFEE

ECHO PARTY

Lucius

NEXT TO NORMAL

THE MAN I’LL NEVER FIND

DUSTY TRAILS

TEMPEST

TWO OF US ON THE RUN

Season 48 Broadcast Line-up (first half of season)

October 1 Brandi Carlile

October 8 Japanese Breakfast/Arlo Parks

October 15 Sylvan Esso/Lucius

October 22 Allison Russell/The Weather Station

October 29 Parker McCollum/Robert Earl Keen

November 5 Lyle Lovett and His Large Band

November 12 Cimafunk and The Tribe

Austin City Limits

Austin City Limits (ACL) offers viewers unparalleled access to featured acts in an intimate setting that provides a platform for artists to deliver inspired, memorable, full-length performances. Now in its 48th Season, the program is taped live before a concert audience from The Moody Theater in downtown Austin. Austin City Limits is the longest-running music series in television history and remains the only TV series to ever be awarded the National Medal of Arts. Since its inception, the groundbreaking music series has become an institution that’s helped secure Austin’s reputation as the Live Music Capital of the World. The historic Austin PBS Studio 6A, home to 36 years of ACL concerts, has been designated an official Rock & Roll Hall of Fame Landmark. In 2011, ACL moved to the new venue ACL Live at The Moody Theater in downtown Austin. ACL received a rare institutional Peabody Award for excellence and outstanding achievement in 2012.

Austin City Limits is produced by Austin PBS and funding is provided in part by Dell Technologies, Workrise, the Austin Convention Center Department, Cirrus Logic and AXS Ticketing. Additional funding is provided by the Friends of Austin City Limits. Learn more about Austin City Limits, programming and history at acltv.com.

Tags Amelia Meath, Holly Laessig, Jess Wolfe, Lucius, Nick Sanborn, Sylvan Esso

Taping recap: Pavement

Post author By michael
Post date October 11, 2022

Pavement on Austin City Limits, Oct. 2022. Photo by Scott Newton.

It’s no exaggeration to say that Pavement is one of the most influential bands in indie rock since the days of the Velvet Underground. The five-piece from Stockton, California rewrote the rules of how rock & roll could be presented, using a slacker veneer suffused in irony to disguise superior songcraft and musicianship, scoring underground hits with “Cut Your Hair,” “Range Life” and “Harness Your Hopes,” among others. The band’s influence even went so far as to have their late-period tune “Spit On a Stranger” covered by Nickel Creek during their 2002 ACL taping. So we were pleased to have the original band on our stage, as the band continues its recent reunion tour marking the 30th Anniversary of their seminal debut Slanted & Enchanted with their first-ever ACL taping.

Coming onstage to wild applause, the quintet – singer/guitarist Stephen Malkmus, guitarist Scott “Spiral Stairs” Kannberg, bassist Mark Ibold (last seen on our stage with Sonic Youth in Season 36) and drummers Steve West and Bob Nastanovich, plus guest keyboardist Rebecca Cole – opened with “Grounded,” a languorous rocker from the band’s third album Wowee Zowee. “Summer Babe,” a near-perfect example of Pavement’s patented tight-but-loose approach to guitar rock, followed, revealing what caught the ears of rock cognoscenti with the release of Slanted & Enchanted, their 1992 debut album from which the tune hails. The band kept the engine running even hotter with “Stereo,” a blazer from Brighten the Corners that revels in discordance as much as tunefulness and earned huge cheers. Malkmus turned up the jangle with the intro to “Black Out,” his laconic singing offsetting the song’s inherent prettiness, before the crunch returned with the rock anthem “Embassy Row,” during which Nastanovich wandered the stage, blurting into his microphone. The brief “Zurich is Stained” was followed by the power popping “Trigger Cut,” one of those songs you don’t realize you know until you find yourself singing along.

Nastanovich then took the mic for the ranting, raving “Two States,” one of the group’s not-too-subtle nods to British postpunks the Fall, one of Pavement’s chief inspirations. After that short sharp shock, Malkmus brought the band back to (relative) sanity with the dreamy, psychedelic “Type Slowly,” which let the bandleader take an extended guitar solo. Fan favorite and streaming champ “Harness Your Hopes” arrived next, its laid back pop melody inspiring loud noise from the crowd. The hits kept coming with the equally catchy “Spit On a Stranger,” another late period Pavement perennial. “Unfair” once again featured the stage-prowling Nastanovich, providing more unhinged shouting to contrast with Malkmus’ languid croon. Pavement then went into the less frenetic “We Dance,” before giving Kannberg the spotlight for the rock ‘n’ rolling “Painted Soldiers,” the band’s contribution to the Kids in the Hall’s film Brain Candy that elicited some surprised cheers. That led into “Fin,” another dynamic ballad that lulls us into a false sense of calm before the guitars take over.

That served as a palette cleanser, however, for the final round. The band launched into its penultimate song, and one of its biggest faves, with “Range Life,” a sort of reworking of pastoral country rock that took shots at more famous nineties rocker of their era. There was only one way to close the show, as became obvious with the familiar “whoo-hoo-hoo-hoo-hoo” that begins “Cut Your Hair,” the band’s Crooked Rain, Crooked Rain favorite that garnered fevered applause from the audience. This wasn’t so much a nostalgia show as it was proof that great songs hold up over time, and we can’t wait for you to see it when it airs early next year as part of our Season 48 on your local PBS station.

Pavement tapes Austin City Limits, Oct. 10, 2022. Photos by Scott Newton.

Tags Pavement

Taping recap: Adrian Quesada’s Boleros Psicodélicos

Post author By michael
Post date October 10, 2022

Adrian Quesada performs with Girl Ultra on Austin City Limits, Oct. 2022. Photo by Scott Newton.

We all found different ways to pass the time during the pandemic. Famed Austin guitarist and producer Adrian Quesada spent his time listening to classics from the balada movement of the 1970s Latin music world, becoming so enchanted he decided to record an album of songs in that style himself. Boleros Psicodélicos – literally “psychedelic boleros” – features guest vocalists from across the spectrum of contemporary Latin music, from indie rock to grand pop, garnering accolades across the board. For this special ACL taping, which is only the second time this music has been performed live, Quesada welcomed eight sensational guest vocalists to the stage, nearly every singer from the album, to bring to life their album performances, plus some special additional songs.

Dressed in variations on basic black, Quesada and his nine-piece band (including strings, horn, vibraphone and keyboardist Jaron Marshall from Quesada’s other band Black Pumas) opened the show with “Starry Nights,” a lush and funky instrumental taken from Jaguar Sound, his forthcoming LP that draws inspiration from library music, hip-hop, psychedelia and Italian film scores. Following that scene-setter, Quesada brought on Mireya Ramos, the leader of New York’s all-female mariachi Flor de Toloache, for the first song from Boleros Psicodélicos: “Tus Tormentas,” a ballad with a laidback hip-hop backbeat and spectacular singing and violin from Ramos. Marshall then laid down some ethereal organ as an intro to “El León,” a swaying, melodramatic bossa nova featuring Chicago rocker Rudy de Anya. Mexico City’s sultry R&B Latin singer Girl Ultra took the stage for a pair of tunes: the original ballad “El Payaso,” which featured a ringing solo from vibraphonist Carolyn Trowbridge, and a cover of the groovy “Trigal,” a 1969 hit for Argentine singer Sandro.

“How does this happen? You’re all here singing along to boleros at ACL Live,” noted Quesada happily, mentioning the chills he gets from playing in front of the iconic ACL backdrop. He then welcomed potent singer Angelica Garcia for another combo, starting with the opulent “Puedes Decir De Mi,” from the catalog of Cuban superstar La Lupe that earned a wave of applause, and ending with the sweeping, sensual original song “Ídolo.” Subbing for the absent Gabriel Garzón-Montano and carrying a colorful parasol, Mexico-to-Austin vocalist and Jumbo frontman Clemente Castillo joined the band for “El Paraguas,” an acid-tinged ballad in waltz time with a dynamic Quesada guitar solo. Explaining the concept of the album, Quesada welcomed to the stage Argentinian singer and Thievery Corporation associate Natalia Clavier, the first singer to grasp Quesada’s concept by recording “Esclavo y Amo,” a drama-filled 1975 hit from Pervuian/Mexican band Los Pasteles Verdes. She also performed the sprightly, synth-frosted, rock-accented tune “¡Adios!,” which she previously recorded with another of Quesada’s projects, the Echocentrics. Rising young Guatemelan singer Tita then came on to perform the sentimental, seductive “El Muchaco De Los Ojos Tristes,” a 1982 hit from Spanish singer Jeanette.

Quesada closed the show with a back-to-back dose of star power, as vocalist iLe – former frontwoman of Puerto Rican powerhouse Calle 13 and sister of ACL veteran Residente – took the stage for a stirring take on Cuban singer and queen of bolero Olga Guillot’s 1967 hit ballad “Bravo,” to huge audience reaction. She and the band closed the show with the lively Quesada/iLe original “Mentiras Con Cariño,” the opening cut of Boleros Psicodélicos, on which Ramos returned to add her emotional violin soloing. As a coda, Quesada introduced the band and the singers, leading them all in a final bow. It was an incredible show, one not likely to happen again anytime soon, and we can’t wait for you to see it when it airs early next year on your local PBS station as part of our Season 48.