Category: New Broadcast

Austin City Limits closes out Season 43 with a scorcher: country superstar Chris Stapleton, riding country’s hottest hand with a trio of acclaimed, chart-topping albums and a trio of newly-minted 2018 Grammy Awards, sharing an episode with one of roots music’s most revered acts, red-dirt country-rockers Turnpike Troubadours.

After years penning hits for some of Nashville’s biggest acts, singer, songwriter and guitarist Chris Stapleton took the country world by storm in 2015 with his multi-platinum, double Grammy-winning debut Traveller. Just three years later, Stapleton is the reigning CMA Male Vocalist of the Year, and a five-time Grammy winner, taking a trio of top honors at this year’s ceremony, including Album of the Year for From A Room: Volume 1. The Kentucky native delivers a powerhouse ACL debut with a blistering six-song set fueled by his show-stopping voice, searing guitar and stellar songwriting. Opening with “Hard Livin’,” from his latest, the companion album From A Room: Volume 2, Stapleton follows with an early hit, the crowd-favorite folk-rambler “Traveller.” Joined by wife Morgane on harmony vocals, the couple wrap their voices around each other for the spellbinding gut-punch “Fire Away,” revealing a powerful onstage intimacy, and the pair dazzle on blowtorch stunner “Second One To Know.” Standing solo and acoustic for “Whiskey and You,” the country outlier brings the room to hushed silence pierced only by scattered whoops from the audience between verses. Stapleton closes out the masterful set with the breakout hit from his debut, Southern soul-burner “Tennessee Whiskey,” unleashing the full power of his scorching vocals and earning multiple standing ovations from the can’t-get-enough crowd.

Road-tested country rockers Turnpike Troubadours topped the red-dirt touring circuit this past decade, earning legions of fans the old-fashioned way, through word-of-mouth for their rousing live shows anchored by frontman Evan Felker’s singular songwriting. Their acclaimed new release A Long Way From Your Heart has launched the Oklahoma sextet onto the national stage, and the band opens their ACL debut with the album’s lead song “The Housefire.” The Troubadours perform a six-song, career-spanning set with Felker’s trademark character-driven tunes exploding behind rowdy strings. Throughout their four albums, the band has used a running cast of characters to weave a narrative for their dedicated fans with songs that chronicle the highs, hangovers and heartbreaks of Middle America. “Tell everyone in Austin I love y’all to death” yells Felker during the blazing crowd-pleaser “Before the Devil Knows We’re Dead.” Steel guitarist Hank Early switches to a Dobro for an acoustic duet with Felker on “Diamonds and Gasoline.” Felker calls out to bring the band back for set-closer “Something To Hold Onto,” as the ace musicians ignite in a three-way solo blaze of glory with Early, lead guitarist Ryan Engleman and fiddler Kyle Nix.

“We take pride in bringing the best of the best of every genre to our audience, and Chris Stapleton is at the top of his game right now,” said ACL executive producer, Terry Lickona. “Few bands on the scene, if any, deliver a better live experience than Turnpike Troubadours, and this show makes you feel like you’re right on the front line.”

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. Join us next week for a special encore episode, featuring Ms. Lauryn Hill.

Austin City Limits presents a feel-good hour featuring Black Keys superstar Dan Auerbach, performing songs from his acclaimed solo album and joined by a stellar band of legendary Nashville musicians, in a double-bill with Austin’s country-soul juggernaut Shinyribs.

Singer/guitarist Dan Auerbach takes a break from his main outfit, the eight-time Grammy-winning Black Keys, and returns to the ACL stage to showcase songs from his radiant solo release Waiting On A Song. Conceived in his adopted hometown of Nashville with an all-star cast of Music Row’s finest musicians, NPR raves “Each track on Waiting On A Song sparkles like a long-lost gem of early-’70s AM radio.” The restless creative and his ace seven-piece backing crew, featuring many of the record’s legendary silver-haired sidemen, perform a blissed-out seven-song ACL set.  Highlights include a pair of timeless tunes co-written with songwriting icon John Prine: the buoyant set-opening title track and an unrecorded gem, “Somewhere Between Eau Claire and East Moline.” In old-school soul revue style, Auerbach introduces his own Easy Eye Sound label signee, 63-year old soul singer Robert Finley, who takes center stage to deliver a dose of his show-stopping “Medicine Woman.” Auerbach closes out the sparkling set with the sunny, melodic delight “Shine On Me” and the crowd is happy to sing-along.

Swamp-pop band Shinyribs keep the party going, delivering a high-energy, full-throttle four-song tour de force in one of the most entertaining performances on the ACL stage. Flamboyant frontman Kevin Russell, aka the “shaman of soul,” is no stranger to legions of music fans as the former leader of beloved Austin band The Gourds (who appeared on ACL in 2007). Russell has ramped up the showmanship in Shinyribs, and the East Texas rockers have become one of Austin’s favorite live acts since forming in 2010. The eight-piece outfit is a party machine, complete with horns, back-up singers and dancers. Performing songs from across their four albums, powerhouse singer Russell is a bigger-than-life force of nature with stage theatrics as lively as the music, delivering delightful repartee, guitar solos, enviable dance moves, call-and-response with back-up singers the Shiny Soul Sisters, all while whipping up a brew of Texas country soul with a side of hip-shaking swamp-funk. The band’s trio of onstage dancers –  dubbed the “Riblets” – drape the frontman in a glittery silver robe tricked-out with colorful flashing lights for the roof-raising set-closer “East Texas Rust” as Russell wails on electric guitar. You in Texas baby.

“You can’t not watch this show without feeling good afterwards,” said ACL executive producer Terry Lickona. “Dan Auerbach has five times more creative energy than anyone with half his credits! And ‘seeing is believing’ with Shinyribs. Kevin Russell goes above-and-beyond to ‘Keep Austin Weird’!”

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. Join us next week for another brand new episode, featuring the ACL debut of country superstar Chris Stapleton and Americana powerhouse Turnpike Troubadours.

Austin City Limits showcases one of today’s most thrilling live acts, LCD Soundsystem, for an electrifying hour. The dance-rock band make their first-ever appearance on the program with a victory lap of beloved hits alongside new classics.

LCD Soundsystem perform songs from American Dream, its first new release after a five-year hiatus and the first #1 album in their decade-long run. Called “a party album for the end of the world or an apocalypse album for the end of the party,” by Rolling Stone, the album earned wide acclaim and landed on many “best of 2017” lists. The New York City band, formed by leader James Murphy in 2002, launches a spectral Austin City Limits set with a pair of songs from their acclaimed comeback: the synth-popping beat of album-opener “Oh Baby” and charging bass and cathartic guitar of dance-floor magnet “Call the Police.” Murphy clutches his signature retro mic and promises the audience a mix of songs old and new as they kick into fan-favorite “I Can Change,” a perfect balance of romantic woe, disco rhythm and pop melody from 2010’s This Is Happening. Murphy’s lyrical wit and soaring vocal is the band’s trademarks and together they dive into the wry melancholy of “New York, I Love You But You’re Bringing Me Down” from 2007’s Sound Of Silver.  LCD’s penchant for mixing rock anthems with dance rhythms is in full force on the rock ‘n’ roll disco opus “Tonite,” the newly-minted 2018 Grammy-winner for Best Dance Recording, the band’s first career Grammy win. The fascinating hour allows viewers an immersive glimpse into LCD’s artistry, with seven band members onstage to recreate the electronic-based parts of their catalog, layering a potent mix of sounds with free-wheeling electro-pulse synth. A staccato piano riff signals “All My Friends,” an endorphin rush ode to slowing down time that closes out the hour as Murphy gets into the spirit, stepping into the crowd to shake hands with all his new best friends in the front row.

“When LCD played their ‘last show’ at Madison Square Garden in 2011, I thought we’d missed our chance,” explained ACL executive producer Terry Lickona. “Then I was excited to hear James had decided to revive the band, make a new record and hit the road again. They were a must-get for ACL! LCD’s sound has a way of washing over you and carrying you away. They make music like nobody else can!”

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. Join us next week for another brand new episode, featuring the solo ACL debut of Black Keys singer/guitarist Dan Auerbach and the debut of former Gourds member Kevin Russell’s party favorite Shinyribs.

Austin City Limits presents a series highlight: a career-spanning hour with one of the world’s most celebrated artists, jazz legend Herbie Hancock, in his first-ever appearance on the program.  

Hancock opens the hour with an early gem, “Cantaloupe Island,” from his 1964 album Empyrean Isles.  Originally composed during his time in Miles Davis’ second great quintet of the Sixties, Hancock thrills with a new take on a modern standard, showcasing his remarkable touch on the piano, anchored by the number’s iconic riffs.  Playing with a palpable pure joy, the Grammy-lauded giant is exhilarating to watch, ageless six decades into an extraordinary career.  The bandleader shares the ACL stage with a seasoned jazz combo comprised of bassist James Genus, saxophonist/keyboardist Terrace Martin, and drummer Vinnie Colaiuta.  Hancock pivots to his Korg Kronos synthesizer for the futuristic, ambient opening of “Overture,” before spotlighting his band of aces as each player answers the call with elastic, playful chemistry. He takes the mic to say, “We like to go a little crazy up here sometimes,” to the crowd’s delight, before launching into “Secret Sauce,” a new composition that begins with him on vocoder and a thrusting synth and bass groove, breaks down to near-silence, then slowly simmers to a boil, with  Hancock masterfully commanding his synth and piano simultaneously. The band closes out the stunning set with the funk classic “Chameleon,” from 1973’s landmark album Head Hunters, as Hancock takes center stage with his white keytar, dazzling with jaw-dropping solos as the crowd responds in rapt appreciation.

“Jazz doesn’t often find its way onto the ACL stage, so when it does it’s always something special,” says ACL executive producer Terry Lickona. “In my humble opinion, this is one of the most historic shows we’ve ever done, so that – among many other reasons – makes it must-see TV!”

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. Join us next week for another brand new episode, featuring hip-hop superstars Run the Jewels.