Taping Recap

Taping Recap: Jelly Roll

Fresh off the high of this weekend’s CMTs, where Jelly Roll swept the Awards with a trio of wins, and newly-nominated for four ACM Awards, including top honor of Entertainer of the Year, country music’s newest superstar took the stage for his debut ACL TV performance in high spirits, grabbing the microphone and shouting, “50 years of Austin City Limits!” The high energy audience was here for it, on their feet from start to finish, cheering along the Nashville singer/songwriter and band as they performed a blazing set which included unreleased new material that’s never been performed live… until now. 

Kicking off the hour with “Halfway to Hell” and “The Lost” from his record-breaking Whitsitt Chapel, Jelly Roll took time in between songs to acknowledge the adoring crowd, responding to intermittent “I love yous” and waving thankfully. He waxed poetic about his love of Austin City Limits – “I’ve been watching this since I was a child.” Jelly was quick to cite many of the country greats and ACL forebears that have influenced him from a young age, from Willie Nelson to Merle Haggard to George Jones: “I’ve got [ACL] posters on my walls from shows I never went to.” 

Jelly Roll gave a disclaimer to the audience, saying they were going to debut some new songs live for the first time, and might have to restart, before thrilling the crowd with a pair of unreleased tracks, “Liar” and “Winning Streak,” from his forthcoming album. He went on to say no one outside of his wife and close friends had heard these (we also learned the band had only first heard the songs earlier that day), asking the audience for grace as they delivered the new songs flawlessly. 

Next, Jelly Roll performed a cover of Toby Keith’s “Should’ve Been a Cowboy,” introducing the song with the sentiment, “country music lost a legend this year.” From there, he dove right into a monologue about musical influences and how he and his siblings were into massively varying genres – he was raised on country, while his sister was into rock and his older brother into hip hop and rap music. This segued into a medley of bangers, from Eazy-E’s “Boyz-in-the-Hood,” to DMX’s “Ruff Ryder’s Anthem.” Jelly capped it off  with Biz Markie’s anthem “Just a Friend,” inciting an ecstatic, audience-wide singalong. 

Jelly Roll and his 7-piece band, including longtime guitarist Casey Jarvis, went on to deliver back to back favorites from his hit albums, A Beautiful Disaster and Whitsitt Chapel, while also finding opportunity to sprinkle in a new tune, “I’m Not OK,” alongside “Smoking Section” from Therapeutic Music Collection. 

Jelly Roll left the stage for a quick break toward the end of “Bottle and Mary Jane,” as Casey Jarvis and Jack Fowler ripped wailing guitar solos back-and-forth. 

Jelly Roll closed his set with “She” and “Save Me,” taking a moment to reference his recent appearance before Congress to urge lawmakers to pass legislation combating the distribution of fentanyl. As the audience applauded, Jelly flashed the “hook ‘em horns” gesture, saying after the CMT Awards at the Moody Center Sunday night, the longhorn culture has started to rub off on him. One thing is certain after carving his name in ACL history, Austin would be happy to welcome Jelly Roll back any day. 

Jelly Roll performs on Austin City Limits, April 9, 2024. Photos by Scott Newton.


Halfway to Hell – Whitsitt Chapel

The Lost – Whitsitt Chapel

Son of a Sinner – Ballads of the Broken

Liar – new song

Winning Streak – new song

Cover of Toby Keith “Should’ve Been a Cowboy” 

Covers of DMX, “Ruff Ryder’s Anthem,” Eminem – “Lose Yourself,” Outkast, “Ms. Jackson,” Biz Markie’s “Just a Friend,” Eazy-E’s “Boyz-in-the-Hood”

Creature – A Beautiful Disaster

Bottle and Mary Jane – A Beautiful Disaster

Need a Favor – Whitsitt Chapel

I’m Not OK – new song

Smoking Section – Therapeutic Music Collection

She – Whitsitt Chapel

Save Me – Whitsitt Chapel


Jelly Roll – vocals

Cody Ash – drums

DJ Chill – DJ

Casey Jarvis – guitar

Roosevelt Collier – pedal steel (note: he’s a Sacred Steel player)

Joe Andrews – keyboards, guitar

Alex Howard – bass

Jack Fowler – guitar

Taping Recap

Taping Recap: Gary Clark Jr.

Four-time Grammy Award winner and distinguished alumnus of Austin City Limits, Gary Clark Jr. returned to The Moody Theater stage Tuesday night for his fourth headlining appearance on the show. “I’m glad to be a part of this family,” said Clark, after wishing ACL a happy 50th anniversary. “It means more than you guys will ever know.” What transpired was a transcendent journey into his latest album, JPEG RAW, with Clark even leading the audience through meditation exercises at one point. Written predominantly during the COVID-19 pandemic, JPEG RAW hints at personal transformation, with introspective, sometimes melancholic themes, but not compromising Clark’s signature heavy guitar and occasional riffing with longtime bandmate, guitarist Eric Zapata (who was wearing a mesmerizing metallic spiked hat), or as Clark referred to him, “the man with the most mystique.” 

“Lets have some fun,” said Clark, as he kicked off the set with “Maktub,” featuring a wailing guitar solo that cemented the promise of a great night ahead. As the audience journeyed with Clark and band through “Don’t Start” and title track “JPEG RAW,” he paused to switch guitars, telling the story of how as a young boy he begged his parents (who were in the audience) for a guitar that would make him sound like Stevie Ray Vaughan. 

Clark brought out Austin-based singer-songwriter Naala for “This Is Who We Are,” and later nodded to the stacked list of guest performances on the JPEG RAW album, including Valerie June on “Don’t Start,” Stevie Wonder on “What About the Children,” and George Clinton on “Funk Witch U.” 

Performing only one song, “Feed the Babies,” from his earlier body of work, Clark’s performance of primarily tracks from JPEG RAW was wholly a new experience for the live audience, lending itself to a sort of crowd hypnosis meets introspective listening. Closing out the set with 9-minute-long “Habits,” it was difficult not to be completely mesmerized by the hauntingly beautiful call and response echo between Clark and background vocalists Shanan, Shawn and Savannah (who also happen to be his sisters), as they sang, “come back my love…” While the night ended on a softer note, the audience roared with applause for their hometown hero Gary Clark Jr. 

Gary Clark Jr. performs on Austin City Limits, March 26, 2024. Photos by Scott Newton.


Maktub – JPEG RAW

Don’t Start – JPEG RAW


This is Who We Are (ft. special guest Naala) – JPEG RAW

Feed the Babies – This Land

To the End of the Earth – JPEG RAW

Alone Together – JPEG RAW

What About the Children – JPEG RAW

Hearts in Retrograde – JPEG RAW

Hyperwave – JPEG RAW

Funk Witch U – JPEG RAW

Triumph – JPEG RAW

Habits – JPEG RAW


Gary Clark Jr. – vocals, guitar

Eric Zapata – guitar

Jonathan Deas – keyboards

Elijah Ford – bass, guitar, synth

Dayne Reliford – keyboards, bass

Jarrod Johnson – drums

Shanan Colvin – vocals

Shawn Clark-Martinez – vocals

Savannah Clark – vocals

Special guest: Naala on “This is Who We Are.” 

News Taping Recap

Taping recap: Juanes

“We can’t believe we are here again!” Juanes took the stage at ACL TV for the third time on Monday, having previously performed on season 32 and 39. For his third taping, Juanes presented a hits-packed set drawn from his entire career, and how fitting to welcome him back in celebration of ACL’s 50th anniversary. Bearded, tattooed, wrapped in a sleeveless denim jacket, the Colombian superstar took the stage like the international rock star he is. For his third taping, with songs drawn from his entire career, hopping from jangly guitar pop (“Gris”) to blues rock cumbia (“Mala Gente”) to romantic balladry (“Nada Valgo Sin Tú Amor”) – and that was in the first ten minutes. Backed by his five-piece band, the singer/songwriter not only emphasized the breadth and depth of his catalog, but also his own musicianship, with several extended guitar solos. 

But the heart of the show was the interplay with the adoring crowd of diehard fans who turned out to literally cheer him on. Juanes encouraged singing along starting with “Mala Gente;” by the time he got to “Fotografia,” the eager audience needed little prompting, cheering loudly at the first note. Other giddily-received fan favorites included “Es Por Ti,” “La Paga,” “La Camisa Negra,” and the call-and-response powered “La Noche” and “A Dios Le Pido.” But two moments especially stood out. For “Para Tu Amor,” Juanes planted himself in the center of the floor with a mic stand and an acoustic guitar, performing the folky ballad surrounded closely by his loving crowd. In salute to the Mexican contingent of the audience, Juanes performed “Querida,” a classic Juan Gabriel ballad that Juanes recorded with its creator a few years ago. He ended the show with back-to-back monsters: “Me Enamora” and “La Luz,” which gave the crowd plenty of opportunity for call-and-response. 

At one point during the show, Juanes talked about coming to Los Angeles in 1996 in order to make it in music, and how hard those years were. “But you know what?” he shrugged. “I made it – Austin City Limits!” 

Juanes performs on Austin City Limits, March 4, 2024. Photos by Scott Newton.


Gris – Vita Cotidiana

Mala Gente – Un Día Normal  

Amores Prohibidos – Vita Cotidiana

Nada Valgo Sin Tú Amor – Mì Sangre

Volverte A Ver – Mì Sangre

Lo Que Me Gusta A Mi / Fuego / Hermosa Ingrata – Mì Sangre/Mis Planes Son Amarte/

Fotografía – Un Día Normal

Es Por Ti – Un Día Normal 

Es Tarde – Mis Planes Son Amarte

Más – Vita Cotidiana 

Ojalá – Vita Cotidiana

Para Tu Amor – Mì Sangre

Gotas De Agua Dulce – La Vida…Es Un Ratico

La Paga – Un Día Normal

La Camisa Negra- Mì Sangre 

La Noche – Un Día Normal

A Dios Le Pido – single


Querida – Juan Gabriel cover

Me Enamora – La Vida…Es Un Ratico 

La Luz – Loco De Amor


Juanes – vocals, guitar

Emmanuel Briceño – keyboards

Felipe Navia – bass

Juan Pablo Daza – guitar

Richard Bravo – percussion

Marcelo Novati – drums

Featured News Taping Recap

Taping recap: Black Pumas

Bearing highly acclaimed new album Chronicles of a Diamond and draped in the sparkles of a mirror ball, Austin’s own Black Pumas returned to the Austin City Limits stage for not only their second appearance, but the first taping of our landmark 50th (say it again – 50th) season. Leaders Eric Burton and Adrian Quesada have polished the band’s psychedelic rock & soul to a blinding sheen, as exemplified by the reaction to new hits “More Than a Love Song” and “Ice Cream (Pay Phone),” as well as fan favorites “Know You Better” and “Colors.” Hosting hometown heroes is always a great way to kick off an anniversary season, and the Pumas gave us a show for the books.

Black Pumas perform on Austin City Limits, February 20, 2024. Photos by Scott Newton.


Stars of the Valley – introduction

Fire – s/t

Gemini Sun – Chronicles of a Diamond

Know You Better – s/t

Black Moon Rising – s/t

Tomorrow – Chronicles of a Diamond 

Ice Cream (Pay Phone) – Chronicles of a Diamond

Angel – Chronicles of a Diamond

More Than a Love Song – Chronicles of a Diamond

Chronicles of a Diamond – Chronicles of a Diamond

Mrs. Postman – Chronicles of a Diamond

Oct 33 – s/t

Colors – s/t


Fast Car – Tracy Chapman cover (Burton solo)

Rock and Roll – Chronicles of a Diamond


Eric Burton – vocals, guitar, keyboard

Adrian Quesada – lead guitar

Steve Bidwell – drums

Brendan Bond – bass

JaRon Marshall – keyboards

Terin Ector – congas, keyboards, guitar, vocals

Angela Miller – vocals

Lauren Hornsby – vocals

Featured News Taping Recap

Taping recap: ACL Hall of Fame 2023

On the heels of wrapping tapings for our 49th season, Austin City Limits presented our biggest evening of the year: the Austin City Limits Annual Hall of Fame Honors.  For our ninth annual celebration, we were thrilled to induct country superstar Trisha Yearwood and the late, legendary singer/songwriter John Prine. Friends and fans of both artists joined us at the Moody Theater to pay tribute to these music greats, both of whom clocked multiple episodes of the show. 

Following remarks from Austin PBS CEO Luis Patiño and longtime ACL executive producer Terry Lickona, the celebration of Trisha Yearwood kicked off the evening. “I was a fan of Trisha Yearwood the minute I heard that voice coming out of the radio,” proclaimed Don Henley, on hand to induct his longtime friend. “You can’t really wear out a CD, but I tried.” Yearwood riposted “To hear this singer talking about my singing is surreal!” She spoke about growing up watching the show: “It’s all about the music here, and that’s why I’m honored to be a part of it.” 

Jo Dee Messina was the first of Yearwood’s all-star guests to salute, belting out a rousing, audience-enhanced version of “She’s in Love With the Boy,” her buddy’s chart-topping signature tune. The honoree herself took the stage, asking for a round of applause for Lloyd Maines & the ACL All-Stars, our longtime HOF house band. Yearwood teamed with country great Ronnie Dunn for the beautiful duet “I’ll Carry You Home,” a gospel-soaked anthem which allowed both singer’s powerful voices to soar to the heavens for which the song reaches. Singer/songwriter Brandy Clark gave a moving intro, saying Trisha’s voice is in the lineage of “Patsy Cline, Linda Ronstadt and Karen Carpenter,” and delivered a stunning rendition of Yearwood’s classic ballad “The Song Remembers When.” Celebrated duo Brothers Osborne hit the stage to rock “Wrong Side of Memphis,” a song chosen for them by Yearwood herself. She returned to thank Clark and the Brothers, as well as her producer and song-picker Garth Fundis. She then brought Henley back up for a poignant performance of their fan-favorite hit “Walkaway Joe,” the duo sounding just as strong and soulful now as they did when they recorded the song in the early nineties. Yearwood and all of her pals then took one final bow together. 

When Terry Lickona returned to introduce John Prine, he noted that we intended to induct the songwriter’s songwriter in 2020, but the pandemic intervened. We were finally able to to do it in 2023, sadly two years after he passed; however, It didn’t diminish the joy of tonight’s celebration, as made clear by inductor Ethan Hawke. “To love John Prine and his songs is to be part of one of the greatest conversations in the world,” the actor said. “Say it with me – hello up there!” Prine’s widow Fiona, joined by sons Jack, Tommy, and Jody, accepted the award on the late songwriter’s behalf. “John considered Austin City Limits an important part of his career,” Fiona said. “Getting that call was a thrill every single time.” His youngest son Tommy followed in the tradition by taking center stage and singing “Souvenirs,” his favorite song by his dad. “Miss you, daddy,” he said as left the stage. Playing solo, Philadelphia indie rocker Kurt Vile performed “How Lucky,” a Prine deep cut he was lucky enough to record with its writer, just a few days before New Year’s 2020. Banjo in hand, singer/songwriter Allison Russell performed a moving take on “Storm Windows,” her daughter’s favorite John Prine cut. 

Recounting a story of a wild night when Prine met rockabilly wild man Ronnie Hawkins, singer Nathaniel Rateliff joined the party to sing the only slightly sardonic “All the Best.” Singer/songwriter Tyler Childers, who appeared with Prine on his final ACL appearance in 2019, reminded us all of the master’s ability to write a great honky-tonker, singing the wry “Yes, I Guess They Oughta Name a Drink After You.” Singular singer Valerie June arrived to tell a story about being asked to open for Prine on the The Tree of Forgiveness tour, calling her tourmate “an angel.” Broad hint conveyed, she put her heart and soul into “Angel From Montgomery,” making it a joyful celebration of gospel intensity, to the audience’s delight. June then gathered the extended family around her, with Rateliff, Childers, Russell, Vile, and Tommy Prine each taking a verse on the honoree’s classic song “Paradise.” Appropriately, Tommy sang the last lines solo in tribute to his father, and a big bow from the second half cast brought to a close a memorable ACL Hall of Fame. 

Part 1:

She’s in Love With the Boy – Jo Dee Messina

I’ll Carry You Home – Trisha Yearwood and Ronnie Dunn

The Song Remembers When – Brandy Clark

Wrong Side of Memphis – Brothers Osborne

Walkaway Joe – Trisha Yearwood and Don Henley

Part 2: 

Souvenirs – Tommy Prine

How Lucky – Kurt Vile

Storm Windows – Allison Russell

All the Best – Nathaniel Rateliff

Yes, I Guess They Oughta Name a Drink After You – Tyler Childers

Angel From Montgomery – Valerie June

Paradise – cast

Trisha Yearwood – vocals

Jo Dee Messina – vocals

Ronnie Dunn – vocals

Brandy Clark – vocals

T.J. Osborne – vocals, guitar

John Osborne – guitar, vocals

Don Henley – vocals

Tommy Prine – vocals, guitar

Kurt Vile – vocals, guitar

Allison Russell – vocals, banjo

Nathaniel Rateliff – vocals, guitar

Tyler Childers – vocals, guitar

Valerie June – vocals

The ACL All-Stars: 

Lloyd Maines – steel guitar, guitar

David Grissom – guitar

Chris Gage – keyboards, accordion

Bill Whitbeck – bass, vocals

Tom Van Schaik – drums

Featured News Taping Recap

Taping recap: Foo Fighters

Rock superstars Foo Fighters returned to the ACL stage for their third headlining appearance with a powerhouse, unforgettable, near 20-song set. The iconic band have captured the hearts of audiences worldwide with their soul-baring rock and roll. 

Fearless leader Dave Grohl led the band through a mellow version of their classic “Times Like These,” opening a nearly two and a half hour performance—a musical sermon that celebrated the Foos legendary near three-decade career. Fans were undoubtedly welcomed to the church of rock and roll. A collection of the Foos’ signature blend of melody-driven alternative rock, roughened around the edges by Dave Grohl’s punk-influenced screams, were delivered masterfully. The rockers became intimate storytellers amongst speedy drum fills and rock and roll riff-mania, as they delivered tracks from their 2023 release But Here We Are and hard-hitting classics from throughout their catalog. The rock veterans proved their rightful place as the rock heroes of the ACL stage – a monumental music moment that fans will remember, everlong. 

Grohl’s candid stage charisma and heartwarmingly charming commentary lead the way for audience interactions sprinkled in between tracks. “What’s up, people!” Grohl shouted ahead of playing “Nothing At All.” “We’ve been here hanging out all week – this is good shit! I like playing new stuff with an audience like this.” After Grohl introduced esteemed guitarists Pat Smear and Chris Shiflett, bassist Nate Mendel banged out the instantly recognizable riff to the Beastie Boys classic “Sabotage.” Grohl then turned the spotlight to  keyboardist Rami Jaffee and new addition drummer Josh Freese (The Germs, Nine Inch Nails). “I wish this was the biggest band he’s ever been in,” Grohl noted about Freese. “He was in Devo, you guys!” Cue Freese energetically launching into the intro for their classic “Whip It.” 

Following the band’s powerfully moving performance of “The Glass”, a musical memorial to Grohl’s late mother, the Foos propelled forward with a change of pace, as Grohl asked “Anyone have any happy requests? Who wants to hear what? Let’s do a big, happy sing-along!” The uplifting anthem “My Hero”emerged  to gracefully lead the audience into an all-consuming emotional recovery,  with the raising of heart-shaped hands in a momentous gospel-like sing-along. 

As the heartfelt fan-lead choir filled the studio walls, the Foos’ raw lyricism returned to center stage with “The Teacher.” The song, off the 2023 release, But Here We Are, is a ten minute-long ode to grief’s tumultuous nature, one that pulls us to yearn for fond memories while tugging us to grapple with the abruptness of goodbyes. Grohl’s double decker ruby red Gibson SG played through to the final song, as the singer fondly recalled past ACL performances, and added “Let’s hear it for Terry and everyone at ACL!” before seamlessly pumping the breaks into Groho’s solo rendition of the signature tune “Everlong.” 

Encoring with their powerful anthem “The Best of You,” Foo Fighters exemplified an unparalleled realness that never shied away from raw musicality. Invigorated by a rock and roll type of sincere sensitivity that is exclusively Foo-like, Foo fans are simply left to watch their heroes as they go. 


Times Like These

No Son of Mine


La Dee Da

Under You

These Days


Nothing At All

The Sky is a Neighborhood

Shame Shame

The Glass

All My Life

My Hero

This is a Call


White Limo

The Teacher



The Best of You


Dave Grohl – vocals, guitar

Pat Smear – guitar

Chris Shiflett – guitar, vocals

Nate Mendel – bass, vocals

Rami Jafee – keyboards

Josh Freese – drums