Category: Taping Recap

The last time My Morning Jacket appeared on Austin City Limits, in 2008, we were still in our original studio on the UT campus. So we were thrilled to welcome the Kentucky quintet to what’s been our home stage for the past five years for its third taping and first to be streamed live around the world. Concentrating on its most recent albums Circuital and The Waterfall, the band turned in a trademark epic performance.

After some brief pre-taped intro music, the band took the stage to the folk rocking strains of “Circuital.” Resplendent in his swirled kimono and big sunglasses, leader Jim James strapped on his Gibson for the neo-classic rock anthemry of “Believe (Nobody Knows),” segueing almost immediately into the similarly-inclined but pedal steel-laced “Outta My System.” Bo Koster’s buzzing synths and a midtempo stomp powered “Spring (Among the Living),” with James and fellow axeperson Carl Broemel alternating meaty solos. The band didn’t have to tell the audience that it would slow things down, instead jumping right into the self-explanatory “Slow Slow Tune” to bring on a mellow mood. The Jacket then did something we love: debuted a new song, entitled “Throwback (When We Were Young),” and driven by dueling riffs and a singalong chorus.

Band and audience paused for breath, before James and Broemel began the fingerpicked guitar web that introduces the epic “Tropics (Erase Traces).” After that storm of guitars and fire, the group brought the mood back down with the languid, soulful “Only Memories Remain,” on which James showed off his vocal range and took a dynamic guitar solo that went from jazzy to jagged. After eight songs drawing from Circuital and The Waterfall, the band reached back to its 2003 classic It Still Moves for the crunchy “Masterplan,” six-strings a-blazing. MMJ dipped back into The WaterfalI for “In Its Infancy,” which shifted from keyboard-led grooves to powerhouse arena rock at will. The band segued immediately into It Still Moves fan favorite “I Will Sing You Songs,” ending the main set on an unhurried note that eased the audience into the break.

Returning for a generous five-song encore, James, Broemel and Koster took the stage for the lovely “Wonderful (The Way I Feel),” with bassist Tom Blankenship and drummer Patrick Hallahan joining halfway through to transform it from folk to country. “Get the Point” aimed for an even more mellow target, the better to clear the palette for “Victory Dance.” Donning a towel on his head and a sampler around his neck, James strolled the stage as Koster’s clavinet roiled behind him and the band built up to its proggiest crescendoes yet. A galloping Hallahan beat announced the widescreen groover “Compound Fracture,” which stretched out without zoning out. The band brought the show to a close with It Still Moves’ upbeat rocker/statement of purpose “Mahgeetah,” bringing it all home with James and Broemel’s dueling guitar solos. The audience made its appreciation known loud and long. It was a fitting end to a spectacular show, and we can’t wait for you to see it when it airs this fall as part of our Season 42 on your local PBS station.

Singer, songwriter, multi-instrumentalist, interpreter – Rhiannon Giddens does it all on her acclaimed solo debut Tomorrow is My Turn. We were thrilled to host the Carolina Chocolate Drops member for her livestreamed debut ACL taping, and the NC native didn’t disappoint.

A barefoot Giddens and her seven-piece Americana orchestra took the stage to already enthusiastic applause. Donning her banjo, she and the band launched into the dramatic “Spanish Mary,” a Bob Dylan song Giddens finished for the all-star New Basement Tapes project. An accidentally muted fiddle meant an immediate retake – “Here’s a tune you may have heard before,” Giddens quipped – but the eager crowd clearly didn’t mind, and was rewarded with a tougher, grittier performance. She then moved to Tomorrow for the jaunty, fiddle-heavy “Don’t Let It Trouble Your Mind” from the catalog of the great Dolly Parton, “one of the most feminist writers out there.” She stayed with classic country for a stirring take on Hank Cochran’s sad and beautiful “She’s Got You,” made famous by the iconic Patsy Cline, before turning to the catalog of folk singer Odetta for the African-American work song “Waterboy,” a powerful showcase for her classically-trained vocal chops. She closed out the Tomorrow portion of the evening with a rumbling version of the Geeshie Wiley blues “Last Kind Words” that spotlighted her Drops bandmate Hubby Jenkins on mandolin.

Giddens then dug into her own growing catalog of originals for “Julie.” Inspired by a book of slave narratives, the tune recounts a conversation between a slave and her mistress, a performance stripped down to Dirk Powell’s fiddle and her own banjo, which is a replica of a 19th-century instrument. The rest of the band rejoined them as Giddens switched to fiddle and Powell (a folk and traditional music star in his own right) picked up his accordion for the Creole tune “Dimanche Apres-Midi” (“Sunday Afternoon Waltz”). Giddens and the band rocked up the folk for “Louisiana Man,” a snarling romantic putdown from Giddens’ own pen that bore down thanks to the circle of her banjo, Powell’s fiddle, Jason Sypher’s bass and Chance McCoy’s electric guitar. Jenkins then stepped forward to join Giddens on vocals for the gospel song “Children, Go Where I Send Thee,” which he brought to the Drops’ repertoire.

Giddens went back to her own catalog for the chilling “At the Purchaser’s Option,” a dark tune inspired by a 19th century advertisement for a slave and her baby and frosted by Malcolm Parson’s scraping cello. After ten songs chronicling American folk, she crossed the ocean for one of the musical strains at its root, closing the set with a stunning performance of traditional Gaelic “Mouth Music” that brought the house down. A standing ovation brought Giddens and the band back, wherein she explained that this was the band’s last show of the year and how thankful she was for her band and the paths on which her music has taken her. Following hugs all around for the musicians, Gidden and friends launched into a medley of “That Lonesome Road” and “Up Above My Head” from the catalog of pioneering gospel singer/proto rock & roll guitarist Sister Rosetta Tharpe – a rollicking call-and-response closer with solos all around. The crowd sent the band out with wild cheers and applause, all well-deserved. It was a rousing closer to a great show, and we can’t wait for you to see it when it airs this fall as part of our Season 42 on your local PBS station.    

UK singer/songwriter sensation James Bay became the latest British invader to win over the U.S. with his Grammy-nominated breakthrough hit “Hold Back the River.” We were pleased to welcome the Hertfordshire native to our studio for his debut taping as he showcased his acclaimed debut LP Chaos and the Calm.

Adorned in his trademark black hat, Bay and his four-piece band opened the show on a high energy note with the bluesy, rocking “Collide.” He followed that slam-bang with “Craving,” a catchy slice of what would have been called heartland rock back in the ‘80s. “When We Were On Fire” kept the faith, adding a soulful edge thanks to Bay’s elastic vocals. After donning an acoustic 12-string guitar, Bay explained how he and the band “geeked out” on ACL, before launching into the folk rock charmer “If You Ever Want to Be in Love.” Switching to a six-string, Bay got soulful and romantic on the midtempo beauty “Need the Sun to Break,” which generated applause with just the opening riff.

Breaking from Chaos, the singer/songwriter slowed things down with the widescreen ballad “Running,” from his UK breakout EP Other Sides.  Then it was back to the LP, as a harmony guitar riff between Bay and guitarist Andy Cortes garnered cheers for the opening of his massive hit serenade “Let It Go,” featuring a bluesy Bay solo and the audience on backing vocals. He then surprised us with a brief, instrumental excerpt of the immortal Elvis Presley classic “Can’t Help Falling in Love,” used as an intro for the lighter-waver “Scars,” a clear crowd favorite. The band then let pianist Jack Duxbury stretch out on an extended intro to “Move Together,” another lush ballad.

A switch to a Gibson SG heralded a switch in tone, as a chunky guitar riff and Bay’s demand to “see some hands” powered up the gnarly rocker “Best Fake Smile.” Bay and his band kept the energy level high with the crunchy “Get Out While You Can,” which made the crowd into hand-clappin’ fools and ended the main set with a bang. The time between the band leaving the stage and returning was short, however, and they started their encore with a song familiar to all: Creedence Clearwater Revival’s immortal “Proud Mary,” which morphed halfway through into Tina Turner’s powerhouse version, both halves punctuated by steely guitar solos. Bay ended the performance with the fan-favorite anthem “Hold Back the River,” likely to be his own contribution to the classic rock canon. The show ended with the requisite big rock flourish, to the delight of the passionate crowd. It was a memorable ACL debut, and we can’t wait for you to see it when it broadcasts as part of Season 42 on PBS.

Natalia Lafourcade isn’t a household name to a lot of Americans. A superstar in Mexico, a  2016 Grammy winner and multiple Latin Grammy Award-winner, the indie pop singer/songwriter has the goods to conquer the world outside her home, as she proved on her debut ACL taping, which was streamed live around the world.

Lafourcade and her backing quintet began with a set of songs from her latest album Hasta La Raíz, a platinum-selling, number one LP in Mexico and Grammy-winner for Best Latin Rock album here. Following a pre-taped ambient intro, “Vámonos Negrito”- sitting somewhere between romantic balladry and modern pop – kicked the show off in fine style. She followed with her acclaimed two-time Latin Grammy-winning title track, an intimate, melodic anthem about holding on to one’s roots, which showcased her sweet, airy vocals. Seguing into “Lo Que Construimos,” a jazzy pop confection featuring complementary guitar and trumpet solos, “Ya No Te Puedo Querer” moved back toward anthem territory, the breakup message of the lyrics couched in a tastefully dramatic rock arrangement. “Nunca Es Suficiente” set its lyrics of romantic disappointment to a wistful cumbia.

Lafourcade then announced a special treat – she would sing in English for the first time, just for our audience, nailing Nina Simone’s challenging ballad “Lilac Wine.” Still in tribute mode, she moved to the piano for the sweeping love song “Amore De Mis Amores,” from her tribute album to the classic Mexican singer and songwriter Agustín Lara. She went back to original material for the 70s pop of “Casa,” the title track to her bestselling 2005 album of the same name. She then reached even further back to the catchy “En El 2000,” her breakthrough radio hit and a song she explained that she’d come to hate due to constant requests for it, but now “we’re friends again.” The audience enhanced the rhythm with their own handclaps.

Lafourcade went back to Raíz for “Mi Lugar Favorito,” paying tribute to her “favorite place” with an infectious melody, a dazzling trumpet solo from Alfredo Pino, syncopated band dancing and crowd participation. Then she presented another song rendered especially for ACL – a lovely voice and guitar version of Elvis Presley’s immortal “Love Me Tender” that earned her enthusiastic applause. Her band rejoined her for the equally pretty, bossa nova-influenced gem “Para Qué Sufrir,” a clear fan favorite.

Lafourcade took a moment to express how excited she and the band were to be on our stage, which she kneeled to touch. She then moved back to her piano for the closing song “Palomas Blancas,” a grand pop ballad about being connected to the world. She and the band took well-deserved bows as the audience called out for more. Their enthusiasm was rewarded when Lafourcade and the band returned for “Estoy Lista,” a confident slice of melody-rich piano pop. It was a perfect closer to a remarkable ACL debut, and we can’t wait for you to see it when it broadcasts during Season 42 this fall on your local PBS station.

There’s no one in rock & roll like Iggy Pop, and we jumped at the chance to present the proto-punk pioneer on the tour for his latest album Post Pop Depression. The new LP – released at the end of this week – also features our old pals Josh Homme, who’s appeared before leading Queens of the Stone Age and Them Crooked Vultures, and Dean Fertita, who’s been our guest with Queens and the Raconteurs, joined onstage by Queens guitarist Troy Van Leeuwen, Arctic Monkeys drummer Matt Helders and indie rock sessioneer Matt Sweeney. With a setlist drawn not only from Depression, but its 1977 spiritual kindred The Idiot and Lust For Life, this raucous performance was a mix of old friends and new.

Following a pre-recorded Indian chant, the band, dressed in red smoking jackets, came out swinging with a blazing “Lust For Life,” its unselfconscious leader a ball of energy from the moment he stepped forward to a standing ovation. From that potent hit Iggy moved into the creeping “Sister Midnight,” one of the highlights of The Idiot. Jacket off and chest bare, Iggy thanked the audience for coming, before launching into the brooding “American Valhalla” from the new LP, sounding as if it was recorded at the same time as his classic 70s albums. The volume and power amped back up for Lust deep cut “Sixteen.” That song went right into Depression’s slinky “In the Lobby,” which found Iggy joining the audience, as is his wont. Remarkably, he stayed at the mic for a powerhouse “Some Weird Sin,” channeling his energy into a monster vocal. The groovy “Funtime” followed,with Homme taking the vocal sung by Iggy’s late friend and co-writer David Bowie on the original.  

“Turn all the lights on, I wanna see,” Iggy demanded so he could greet the crowd. Then he was off celebrating “Tonight,” an exceptionally poppy Lust tune that featured a tasty Homme guitar solo. After a monologue about having a job, no matter what is, he rejoined the audience for new song “Sunday,” a chugging pop rocker driven by a danceable groove and a pair of 12-string guitars. The band stayed with Depression for the slow, gnarly “German Days,” before revisiting The Idiot for the even slower and more metallic “Mass Production.” Iggy then took a seat (briefly) as the groove moved into hipswinging territory for The Idiot’s classic “Nightclubbing,” a sarcastic swipe at disco culture that boasted some incendiary Homme solos. A chunky guitar riff announced the arrival of “The Passenger,” another acknowledged classic and an opportunity for the audience to sing along with its “la la” chorus. Iggy and company finished the main set with “China Girl,” a passionate cut from The Idiot made famous in the 80s by its co-author Bowie and brought home by an extended instrumental coda.

After a break to let the audience breathe, the band came back for one of the most generous encores in our history. “Break Into Your Heart,” the first song on the new album, kicked it off, Iggy making another pilgrimage into the crowd. “This is a good one!” he said as preface to the irresistibly danceable “Fall in Love With Me,” a Lust deep cut. Then it was straight into a real surprise – the hard-rocking title track to the beloved cult film Repo Man. Iggy returned to Depression for the soon-to-be classic single “Gardenia,” a song that sounds like it could have been co-written by Bowie all those years ago. He went back to those actual years for the William Burroughs-inspired “Baby,” a song from The Idiot he sang for only the second time since he recorded it. Back to the latest album, Iggy introduced the groovy “Chocolate Drops” with a reminiscence of playing Austin’s Club Foot and the adage, “When you get to the bottom you’re near the top.”  He and the band then went straight into the epic “Paraguay,” punctuated by power chords and a cheerfully profane Iggy rant. Lust For Life’s raucous “Success” closed out the show on a celebratory note, with Iggy making his final trip into the crowd, who sang along lustily during the call-and-response chorus. The audience went wild as Iggy waved, ending the show on the same high with which it began. It was one of the most fun and memorable season opening tapings we’ve ever had, and we can’t wait for you to see it when it broadcasts this fall on PBS.