Category: Taping Recap

Already a superstar in her native Spain, Rosalía has spent the last year conquering the Globe. A sensation at Coachella, Glastonbury, Lollapalooza and our namesake Austin City Limits Music Festival, winner of two 2018 Latin Grammy Awards and recent recipient of five 2019 nominations, becoming the most nominated female artist for the second consecutive year, the Catalonian singer brought her smash album El Mal Querer and its groundbreaking blend of flamenco, hip-hop, reggaeton and EDM to the ACL stage for a massive taping that thrilled a captivated audience. 

Producer Pablo Díaz Reixa (AKA El Guincho), four backup singers and six red-clad dancers took the stage first, joined, to huge cheers, by the star in her matching red sweater, adorned in safety pins. A slow build of ambient synth and choreography led to “Pienso En Tu Mirá,” which matched an atmospheric melody with doubletime flamenco handclaps. New song “Como Alí” upped the hip-hop quotient, leading to more rhythmic dancing and complex choreography. After her dancers left the stage, the charismatic performer expressed how happy she was to be present, given how far from home she was. She introduced the clap-driven ballad “Barefoot in the Park,” her hit collaboration with producer and pop star James Blake that puts the emphasis on her songbird vocals. The dancers returned for another new tune: “De Madrugá,” which proves you can still play flamenco without the traditional guitar accompaniment. The crowd went wild, and the singer looked genuinely touched by the wave of love from the audience. Rosalía then dropped all accompaniment for the first part of “Catalina,” an early twentieth century classic originally performed by legendary Spanish cantaor Manuel Vallejo. The singers eventually added handclaps and Reixa clattering percussion, but the spotlight remained on Rosalía’s voice and her firm grip on flamenco tradition. 

After a snippet of “Dio$ No$ Libre Del Dinero,” the singers began their claps again for “Que No Salga La Luna,” a dramatic tune that alternated her keening vocal and examples of her classical flamenco dance. Rosalía left the stage briefly, allowing the dancers to claim the spotlight for a segue featuring a remix of 70s Romani duo Las Grecas’ “Te estoy amando locamente,” which served as a tribute to an important influence. She returned for “A Ningún Hombre,” which found the singer harmonizing with vocoder backing vocals, which shifted directly to the more sparse “De Aqui No Sales.” Following a quick spotlight on Reixa’s beatmaking, the show shifted more firmly into dance territory, starting with “Di Mi Nombre,” which mixed urban pop with flamenco. “Bagdad” functioned as a ballad, focusing once again on the star’s singing, while “Brillo” – which Rosalía cut with reggaeton artist J Balvin – worked a more sensual groove. Another remix of a classic song – this time flamenco star Parrita’s “Embrujao” – allowed the singer and dancers to hit a hip-hop flavored groove, much to the audience’s delight. “Santería” served as a way to not only introduce the folks sharing the stage with her, but also to engage in call-and-response with the adoring crowd. 

Yet another new song, “Lo Presiento” returned to her sparse signature flamenco pop. She then prefaced the next song by asking the audience if they wanted to hear a track she performed at the VMAs, leading to “Yo X Ti, Tu X Mi,” her latest single. Then it was on to the irresistible smash “Con Altura,” the J Balvin collaboration that’s one of the songs that put her on the international map. Strobes and beats matched in an obvious buildup, before Rosalía announced she needed a much-deserved break. Producing a fan, she cooled herself off, before handing the fan off to a lucky audience member. The beats picked up where they left off and it was into “Aute Cuture,” another new single and her poppiest song yet. She and the dancers left the stage, but only for Reixa to set up another beat. Everyone returned for the overwhelmingly groovy “Malamente,” the breakout single that garnered six 2018 Latin Grammy nominations and pushed Rosalía from Spanish pop star to international sensation. It was a great way to end the show, 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 45.

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Headed up by the double-headed beast made up of singer/guitarist Jack White and singer/guitarist Brendan Benson, The Raconteurs are hard-wired to play exciting, tuneful rock & roll. Joined by fellow Detroit homeboys Jack Lawrence on bass and Patrick Keeler on drums (plus utility man Dean Fertita, last seen on our stage with Queens of the Stone Age and Iggy Pop), the band is positively deadly. As we found out when the group came back to the ACL stage in support of their long-awaited third album Help Us Stranger, delivering a loud, riff-filled show for the ages, which we streamed live around the world. 

With screaming guitars and thrashing drums, the fivesome hit the stage and into the blasting Stranger opener “Bored & Razed,” with White on the verses and Benson on the choruses. That wasn’t raucous enough, so the band hit the bluesy, crunchy “Don’t Bother Me” even harder. One squall of feedback later, Benson donned an acoustic guitar for “Only Child,” a folk rocker of sorts that featured Benson and White harmonizing on the same mic, bluegrass-style. The ex-White Stripes singer moved to the keyboard for the semi-ballad “You Don’t Understand,” a pop song overtaken by White’s passionate delivery and pounding piano. He stayed on his stool for “Shine the Light On Me,” a classic rock anthem for a new generation, but returned to the guitar to lay fuzzed-out guitar licks on Benson’s conflicted kiss-off “Now That You’re Gone.” 

That song led straight into the rifftastic “Sunday Driver,” one of the new record’s catchiest and fiercest rockers. So an acoustic guitar had to come back out, with Benson driving “Help Me Stranger” through its mutated power popping country rock. “Thoughts and Prayers” moved back to anthemic folk rock territory, though with rumbling synth embellishment. Benson went back to acoustic for the Southern rock-inflected ballad “Somedays (I Don’t Feel Like Trying),” which keyed on ragged three part harmonies as much as loud guitars, and denied its depressive sentiment with the coda “Here right now – not dead yet.” The band double dipped back into 2008’s Grammy-winning Consolers of the Lonely for the countryish “Old Enough” and the snarling “Top Yourself,” before slamming directly into Stranger’s boogieing Donovan cover “Hey Gyp (Dig the Slowness).” Then a familiar beat underpinned guitars riffing in harmony, leading to an extended take on “Steady As She Goes,” the powerhouse rocker from their 2006 debut Broken Boy Soldiers that introduced The Raconteurs to the world. The crowd broke into call-and-response with “Are you steady now?” before the song crashed back into its blazing wall of guitars. 

After that facemelter, the band ended the set with the crime story “Carolina Drama,” which might have been a Marty Robbins-style folk ballad were it not for the rock volume and White’s distinctive wail. “If you want to know the truth of the tale,” White sang, “Go and ask the milkman” the audience answered. The set ended, a guitar fed back, White hugged a member of the audience, and the crowd went wild. “That’s it!” said White, and it was over. It was a hell of a show, 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 45.

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Sharon Van Etten had solidified her position as one of the queens of indie rock long before now. But her latest album Remind Me Tomorrow, with its sensual blend of folk, pop, new wave and electronics is rightly taking the singer/songwriter to a new plateau. We were happy to live stream her first-ever appearance on ACL, with Tomorrow as its centerpiece. 

Her four-piece band arrived onstage first, setting up the atmospheric intro of “Jupiter 4.” Wearing a sparkling silver suit, Van Etten took her place in front of the mic, opening her golden throat to give incandescent life to the lines “It’s true that everyone would like to have met a love so real.” Then drummer Jorge Balbi kicked out an insistent beat, part disco, part new wave, to signal the irrepressible RMT single “Comeback Kid,” as Van Etten rocked it like the love child of Patti Smith and the Motels’ Martha Davis. She brought similar gravitas to the throbbing “No One’s Easy to Love,” a tune driven by Devin Hoff’s insistent bass. Donning a Gibson hollowbody guitar, Van Etten mentioned that she and the band were happy to end their tour where it began, before strumming into “One Day,” an older tune that garnered enthusiastic cheers. She applied her powerful voice to the country-tinged “Tarifa,” imbuing it with smoldering power and ending with a quick strum of Charles Damski’s guitar. Van Etten replaced her guitar with a set of chimes, as Heather Woods Broderick’s buzzy synthesizer ushered in the moody “Memorial Day.” 

Electric guitar took center stage for the riff for the poppy “You Shadow,” though Van Etten’s voice easily pulled the spotlight. She stepped to the keyboard for the synth ‘n’ organ-heavy “Malibu,” which twisted California pop to her own darker purposes. On came another guitar as the band put the song through a grinding coda, with no pause before the intense, thudding rocker “Hands.” The band left the stage as she sat at the piano for a stunning solo rendition of Sinead O’Connor’s “Black Boys On Mopeds,” a song she noted “was made during another time of unrest, but is sadly still relevant today.” After that emotional powerhouse it was time for something more upbeat, delivered via the deceptive “Seventeen,” the poppy sheen of which was disrupted by Van Etten’s angry shouts, to the audience’s delight. She took a minute to praise and introduce her band and crew before going into the stately folk rocker “Everytime the Sun Comes Up,” another tune from Are We There. Van Etten and band ended the main set with the beautiful anthem “Stay,” to major applause. 

The crowd clearly hadn’t had enough, so the musicians came back, with Van Etten back at the piano for the elegant, emotionally fraught “I Told You Everything” (“no changing my mind”). She re-donned her guitar for the last song of the night, the pounding anthem “All I Can,” from her 2012 breakthrough Tramp. It was a fine way to cap a strong show, and we can’t wait for you to see it when it airs as early next year as part of our Season 45 on your PBS station. 

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Cage The Elephant are undeniably one of the hottest bands in America – maybe the hottest. The Nashville-based (but Bowling Green-born) septet was a success right out of the box, and has only gotten bigger, more powerful, and more sheer rock & roll since its 2008 hit “Ain’t No Rest For the Wicked” hit the airwaves. Now, following a string of festival dates, the GRAMMY®-winning band made its ACL debut in support of its acclaimed fifth album Social Cues, and it was a show we were lucky to live stream around the world. 

The band took the stage with piles of clothes, hats and masks scattered about, singer Matt Shultz in one of his signature homemade outfits, with blue tights and elbow length rubber gloves, sunglasses and t-shirt. He moved slowly to a beach chair placed on the stage, but once the musicians jumped into the new wave-heavy “Broken Boy,” he leaped up and stalked the stage. The energy level ratched up another notch with the garage rocking “Cry Baby,” the rock getting rockier, a toothbrush making an appearance and Shultz demonstrating an inability to stand still (or keep the same hat on for more than a minute at a time) in the classic Iggy Pop manner. He donned a mask for the crunching “Spiderhead,” then a yellow fisherman’s outfit and another mask (on top of the one he was currently wearing) for the power “ballad” “Too Late to Say Goodbye.” Still in his yellow outfit, Shultz went maskless for “Cold, Cold, Cold,” which sounded like a long-lost Nuggets cut, before taking his case directly to the people by joining the audience in their seats. He added tinfoil to his ensemble for “Ready to Let Go,” a midtempo song that served as a breath-catcher, and gave Shultz time to find a facemask to sing through. The band leapt directly into “Social Cues” before pausing just long enough for Shultz to note, “I lost my toothbrush. What if I want to brush my teeth?”

Smoke emerged from the stage and the lights went crazy for “Tokyo Smoke,” another new wavey tune from Social Cues that featured Shultz in tight white pants and a straw gardening hat. He pulled a lycra body suit on, giving the crowd time to cheer wildly for the opening riff of the radio hit “Mess Around.” Cage took on a folk rock air for “Trouble,” another crowd-pleaser with which the audience sang along. “Skin and Bones” also let the energy simmer for a few minutes, with Shultz concentrating on his singing and movement. Then a familiar slide guitar riff introduced the band’s breakthrough “Ain’t No Rest For the Wicked,” with the thrilled crowd once again treated to the snakehipped Shultz’s presence among them. Cage went back to the garage for the rocking “It’s Just Forever,” which ended in a flurry of improvisation, before entering dream territory for the psychedelic “Telescope.” After a brief Shultz sojourn atop a stool, the band ripped into the pounding “House of Glass,” with the singer entwining himself in the stool’s legs during the tune’s climax. 

As the show headed towards its end, it became a cavalcade of hits. Following a monologue in which Shultz thanked the crowd for the energy it was giving the band, Cage offered up the massive radio hit “Come a Little Closer,” once again earning singalong from the crowd. “My cup runneth over…with love,” Shultz enthused, before the arpeggio that opens “Shake Me Down” drove the audience wild. A volcanic performance followed, as befitting one of Cage’s signature songs. Then it was on to the anthemic folk rocker “Cigarette Daydreams,” another radio and fan favorite. That served as a palette cleanser for the full-on rock attack of “Teeth.” “Are you into the beat?” the song rhetorically asks, and it was clear that the audience certainly was, given the titanic roar that followed the song’s climax. Though most of the band quit the sage, Shultz didn’t make it off, instead stopping to choose a new outfit, then donning a guitar. Joined by keyboardist Matthan Minster and guitarist Nick Bockrath, Shultz continued the show with the tender and sad “Goodbye.” He ended the show with the even more lovely “Love’s the Only Way.” The audience cheered loudly as the members filed offstage. It was a remarkable show, unlike anything we’ve had before, and we can’t wait for you to see it when it airs early next year on your local PBS station. 

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Innovation is awesome, and music would be dead in the water without it. But innovation grows out of tradition, so it’s important for young artists to come along and keep tradition alive. What makes 24-year-old Colter Wall special is his ability to stay within traditional music stylings, while sounding fresh and contemporary, rather than stale and reactionary. That’s what the Canadian C&W artist does on his widely-acclaimed second album Songs of the Plains, and that’s what he did for his first ACL taping, which we live streamed around the world. 

Following Terry Lickona’s introduction, Wall and his four-piece backing group took the stage. Singing and picking alone, Wall opened the show with “Thirteen Silver Dollars,” essentially a folk song that became country when the band kicked in. He then reached back into Canadian musical history for the rodeo honky-tonker “Calgary Round-Up,” penned by Nova Scotian Wilf Carter (AKA Montana Slim in the States), Canada’s first country star and the father of Canadian country music. With a midtempo take on Johnny Cash’s “boom-chicka-boom,” Wall went back to his catalog of originals with “Saskatchewan in 1881,” highlighted by Jake Groves’ harmonica solo. He and the band then laid out a classic tear-in-your-beer two-stepper with “Thinkin’ On a Woman,” a perfect vehicle for his craggy baritone. Wall followed that with a brand new song, the folky cowboy tune “Happy Reunion,” penned by his songwriter friend Mike Beck and recently recorded in Texas. Straight from that new take on the cowboy tradition, he went to another song from the past: the waltzing “Cowpoke,” written by Elton Britt and recorded by a host of luminaries, including Eddy Arnold, Hank Williams, Jr., Riders in the Sky, Glen Campbell and Austin’s own Don Walser. Again, without pause, he essayed the next tune, and it was another old classic: Marty Robbins’ murder ballad “Big Iron,” which garnered immediate cheers at the first line. 

With the crowd in the palm of his hand, Wall then gifted us with another brand new song entitled “Western Swing and Waltzes,” a danceable honky-tonker with the air of a future setlist staple. Ditto “Hoolihans,” another unrecorded tune that dips into the tradition of songs about being on the road a little too long and using cowboy roping shots to stave off boredom. Itt took on extra poignancy stripped to just Wall and steel guitarist Patrick Lyons on dobro, to the crowd’s delight. That was followed by an older original, the witty, two-stepping “Motorcycle.” He paid more tribute to the Canadian C&W tradition with “The Coyote and the Cowboy,” taken from the catalog of British Colombian legend Ian Tyson. Then it was back to his own songs with the waltz “Plain to See a Plainsman,” a song Wall explained just “poured itself out” – Groves’ harmonica break earned enthusiastic cheers. Wall ended the set with “Sleeping On the Blacktop,” a fan favorite with dueling dobro and harmonica and a palpable sense of menace. It was a fine, stirring end to the show, and the audience clearly loved Wall’s earnest revival of old-school country & western. We can’t wait for you to see it when it airs this fall on your local PBS station.     

While we at Austin City Limits cast our musical net far and wide, we have a special place in our hearts for hometown talent. So we were thrilled to present the fast-rising Austin act Black Pumas, led by singer Eric Burton and guitarist Adrian Quesada, who’s no stranger to our stage due to his work with Grupo Fantasma. Joined by a five-piece band, the duo gave us a burning hot set (which we live streamed around the world) of rock, funk and soul.

The audience extended these hometown heroes a warm welcome as they came onstage, setting a level of excitement as the band dived into the simmering soul groove of “Next to You,” with Burton showing off his husky pipes and slinky dance moves. The singer donned a guitar for “Colors,” a midtempo charmer from the group’s self-titled debut, highlighted by nifty solos from Quesada and keyboardist JaRon Marshall. New song “Black Cat” followed, blending a sixties-derived melody with a modern rock feel – a sound that moved Burton to join the crowd on the floor, to their delight. “Old Man” segued into seventies funk with a smoky descending groove anchored by a Latin bridge, while “Know You Better” charged into moodier territory while still keeping the rhythm alive. “Black Moon Rising,” the Pumas’ original calling card, stayed with the same groove without losing steam or heat. 

Some louder guitar licks signaled another new tune: the funky “I Am Ready,” accented by more Burton dance moves. He re-donned his guitar for the undulating “Stay Gold,” an anthem for positivity and good will. The former Congress Ave. busker then gave thanks to both Quesada and the crowd for his current career position, before jumping right into the hard-grooving “Fire.” An insistent electric piano lick and more Burton steps powered the sinuous “More Than a Love Song,” while the singer’s powerful voice and Quesada’s psychedelic solos made the ballad “Confines” soar into lighterwaving territory. The group brought back that soulful, brooding seethe for “OCT 33,” whose mystery came wrapped in a lush package. The Pumas ended the set with the explosive “Etta James,” with Burton paying tribute to the R&B great while Quesada smoked on guitar. 

The audience applauded rapturously, but of course that wasn’t the final tune. The band came back, with Burton leaping into the crowd for high-fives, with a surprising cover choice. The Pumas deftly transformed the Beatles’ string-quartet masterpiece “Eleanor Rigby” into a snarling soul rocker, paying tribute to Ray Charles’ radical rearrangement more than the original. Quesada ripped up his fretboard, while Burton and backup singers Angela Miller and Lauren Horsby anchored the song in the church mentioned in the lyrics. The audience cheered the Austin homeboys wildly, as well they should have. It was a great showcase for the power of Austin music, and we’re excited for you to see it early next year on your local PBS station.