Category: Taping Recap

For some artists, a performance is about self-expression, a way to reveal themselves in a creative fashion. Nothing wrong with that – that approach has given us great art. But for some musicians, a show is all about that distinctive bond with the audience, the magnificent meld of action and reaction that creates a unique experience for band and crowd.

Fun. reveled in that bond during their debut Austin City Limits taping. The band enjoyed a devoted fanbase even before they scored Grammys and number one hits with their LP Some Nights, and their widespread success meant a bigger, more enthusiastic crowd than ever before. The trio and their backing musicians used the marching “One Foot” and the piano popping “All Alone” to prime the pump, so when singer Nate Ruess engaged the audience in some call-and-response lessons before the very Queen-like “At Least I’m Not As Sad (As I Used to Be),” they were ready. But the group teased a bit more with the rocking “All the Pretty Girls,” before bringing the crowd in for “Barlights,” Ruess exhorting the people to join in on the song’s cathartic chorus of “I feel alive!”

“Carry On” brought the audience completely into the fold, as it sang along without prompting to one of fun.’s best-known anthems. “The Gambler,” Ruess’s tender ode to his parents’ relationship, provided a brief respite, but with “We Are Young,” fun.’s Grammy-winning number one hit, the place exploded. Crowd and band became one, as the former sang along with every word, sometimes louder than the band itself. A cover of the Rolling Stones’ “You Can’t Always Get What You Want” kept the energy level high, and the encore of “Some Nights” revived the audience singalong, as they provided the massed choral vocals from the recording with the energy of Ruess himself. “Stars” concluded the show with more singing during the bridge, providing a gentle comedown like a cup of coffee after an amazing dessert.

The exuberance came as much from the band’s excitement at being with us as from its rapport with the crowd. “We’re on a stage right now that means the most for us to be here,” remarked guitarist Jack Antonoff. “This is a special, special evening for us,” enthused Ruess. “This is a dream come true – thank you so much for being with us.” We feel it’s safe to say it was a special night for Austin City Limits as well. We can’t wait for everybody to see this episode – check your local listings this fall!

While the West Coast got all the press in the 60s, music lovers often forget that psychedelic rock has its roots as much in the Lone Star State as in California, thanks to acid rock heroes the 13th Floor Elevators, who were the first band to apply the term “psychedelic” to rock & roll. As Eddie Contreras commented on Twitter, Austin’s own Black Angels “are keeping up the tradition of legends like Roky Erickson at #acltv right now – good ol psychedelic music from Texas!”

If any band could be described as being bathed in a sea of reverb, it’s The Black Angels. (Their record label is called the Reverb Appreciation Society, after all.) With a few whammy barred chords drenched in cavernous echo, the band launched into “The Sniper,” swirling together melody and drone. That blend defines the band’s aesthetic, which was in full flower on the ACL TV stage. The set leaned most heavily on the band’s later, more melodic work on Phosphene Dream and this year’s Indigo Meadow – gems like “Evil Things,” “I Hear Colors” and the overtly 60s-worshipping “Yellow Elevator” moved the band close to pop without compromising its essential psychedelic brood. But The Black Angels indulged in plenty of its signature drone rock, as the dark, propulsive brooding of “Mission District,” “You On the Run” and “Black Grease” (the song that put the band on the map seven years ago) set the controls for the heart of the sun. “Twisted Light” ended the main set with layers of guitar and organ compote.

For the encore, they kicked off with “Telephone,” the poppiest song in its repertoire, sounding almost like a lost Small Faces classic. Then it was into the sardonic drone of “Bad Vibrations,” before bringing it all back home with the mysterious and powerful “Young Men Dead,” the first song on their first album Passover. The Black Angels took Austin City Limits into the psychedelic heart of darkness and back out into the light. We can’t wait for our fans to see them in action this fall – stay tuned.

Here at Austin City Limits, we love to showcase artists on the rise. Dawes is definitely that – the Los Angeles quartet made waves almost immediately with its 2009 debut album North Hills, and has kept its upward momentum going since.

Taking the stage to a subtle organ bed, Dawes launched into “From a Window Seat,” the first single from its latest LP Stories Don’t End. The sharply melodic, harmony-rich tune set the standard for the rest of the set, which draws from the folk/country rock of the 70s. “If I Wanted Someone” and “Fire Away” rode a midtempo groove, emphasizing the song’s natural tunefulness, while “Someone Will” added a fingerpicked country & western vibe. “Just Beneath the Surface” added some classic pop melodicism, while “Most People” highlighted the brotherly harmonies of leader Taylor Goldsmith and drummer Griffin Goldsmith for some stunning counterpoint vocals. The band was at its best when it folded an epic feel into its songs – the widescreen “Time Spent in Los Angeles” and “When My Time Comes.”  The slow-burning “A Little Bit of Everything” brought the show to a close with a conversational saga that crossed narrative storytelling with stadium folk rock.

Though Dawes left the stage following that crowd-pleaser, it wasn’t done yet. Encore “From the Right Angle” multiplied the grandeur times ten, maintaining the epic feel and letting some unruly rock & roll take the performance into the stratosphere. The crowd understandably went wild. We can’t wait for the rest of you to see how Dawes got the audience fired up when this episode airs this fall. Stay tuned!