Category: Taping Recap

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News Taping Recap

Tim McGraw Enthralls in ACL Debut

“This is a really special night for us,” noted Tim McGraw a few songs into his debut ACL taping. It’s a sentiment echoed by both crowd and crew, as the country superstar blazed through a set of his distinctive brand of rockin’ country music. Opening with his recent country chart topper “Felt Good On My Lips,” McGraw easily placed the willing audience in his hip pocket, hopping off stage and shaking hands with the front row of the crowd. The adoring crowd roared.

McGraw previewed several songs from his upcoming, as-yet-untitled new album for eager fans. From the instantly catchy (and no doubt hitbound) anthem “Mexicoma” and the mid-tempo country pop tune “One of Those Nights” to the emotional ballads “Book of John” and “Friend of a Friend,” McGraw sang the fresh tuneage with as much conviction as with the songs everyone already knew, ensuring their place in his repertoire for years to come.

So you can imagine the groundswell of enthusiasm when McGraw did play some of his classics. The singer’s specialty is singalong anthems, after all, and whether the song was a call for personal empowerment (“Unbroken”), a burst of working class angst (“All I Want is a Life”) or a tribute to man-children everywhere (“A Real Good Man”), McGraw and audience melded into one excited – and exciting – voice. Even when he brought the proverbial lights down low with the regret-filled ballads “Everywhere” and “Red Rag Top,” the energy stayed level and the crowd was right there with him.

McGraw ended the main set with the emotional journey of his massive #1 single “Live Like You Were Dying” – a career-defining hit if there ever was one. But he brought the encore and the show to a close with the heavy riffs and hillbilly humor of his current hit “Truck Yeah,” the kind of lighthearted tune guaranteed to crack a smile on the most jaded face, and the kind of singalong anthem for which arena concerts are made. Viewers at home will get their chances to sing along as well when the episode airs this fall – we hope you tune in and join us!

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News Taping Recap

Kat Edmonson lights up the stage for her ACL debut

“You’ll have to forgive me, I’m finding myself a little bit speechless tonight,” commented Kat Edmonson. She may have been at a loss for words when it came to talking, but when it came to singing, she had no hesitation. Owner of both a soulful tone — somewhere between Billie Holiday and Blossom Dearie — and a sterling set of songs, Edmonson lit up the stage for her Austin City Limits debut.

The singer/songwriter has the amazing ability to produce fresh material that sounds, shall we say, experienced – the jaunty jazz tune “Long Way Home,” for example, or the lullaby-like waltz “I’m Not In Love,” which could have come from a 60-year old Disney film. “What else can I do,” she crooned over a samba rhythm, “I’m still in love with you” from “What Can I Do?” sounded like an old standard, but is, in fact, an Edmonson original.  Even the blues-tinged ballad “Hopelessly Blue,” written by Miles Zuniga of the Austin rock band Fastball, came across as a great tune rediscovered.

Edmonson sang several of her tried and true songs including the sly “Champagne,” the slinky cha-cha “This Was the One” and the string-driven “Lucky.”  Her lauded skills as an interpreter were also on display as she mesmerized the crowd with a pair of gorgeous, melancholy ballads drawn from different decades: the Beach Boys’ Pet Sounds classic “I Just Wasn’t Made For These Times” and the 1940-vintage Ink Spots slow dancer “Whispering Grass.” She closed the set with the straightforward folk/pop of “I Don’t Know,” a Willie Bobo-associated song written by Sonny Henry, the author of Santana’s “Evil Ways.”

By the end of the show, Edmonson had led the audience back to the start, opening and closing the evening with the same song. She gave her tune “Nobody Knows That” a frothy jazz/pop reading at the beginning, then stripped it down to piano and voice for the encore. It was a perfect way to bookend a stellar evening that celebrated song and voice in equal measure. We can’t wait for you to see and hear the remarkable Kat Edmonson – this fall on PBS.

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Bonnie Raitt & Mavis Staples: a soul sisters extravaganza

“Thanks for comin’ out to see our soul sisters extravaganza tonight!” exclaimed Bonnie Raitt as she took the ACL stage. Tonight’s taping was a double-header, with not only the bottleneck guitar-slinging Raitt, but also soul/gospel legend Mavis Staples putting her formidable pipes through their paces. For fans of powerful, R&B-derived singing, this show was a little slice of heaven.

It’s been ten years since Bonnie Raitt has appeared on the show, so anticipation ran high. Raitt and her veteran band easily met all expectations, however. She opened with “Used to Rule the World,” a funky blues rocker with a slinky slide solo that’s the opening cut from her latest album Slipstream. She continued through a set heavy on the acclaimed new LP, from the snarky rocker “Down to You” and the reggae-infused makeover of Gerry Rafferty’s “Right Down the Line” to the smoky blues take on Bob Dylan’s “Million Miles” and the folk-rocking commentary of “Marriage Made in Hollywood.” The highlights of the new songs may have been a pair of gorgeous ballads, “You Can’t Fail Me Now” (co-written by Loudon Wainwright III and Slipstream producer Joe Henry) and “Not Cause I Wanted To.” She peppered the set with some of her classics as well, dedicating the funky hit “Love Sneakin’ Up On You” to the late Austin guitarist Stephen Bruton, who served many years in her band, and giving her smash version of John Hiatt’s “Thing Called Love” an extra swampy flavor. Raitt closed her performance with a shimmeringly atmospheric “Angel From Montgomery,” letting John Prine’s classic tune settle over the crowd like a soft rain. It was a gentle comedown for an otherwise fiery show.

“We come this evening to bring you some joy, some inspiration and some positive vibrations,” declared Mavis Staples in the middle of her set, and there’s no way anyone present didn’t get that. Making music since she was (gulp) ten years old, Staples is a veteran, but her performance tonight underscored that, at 72, she’s still as much about passion as professionalism. Her set began with the a cappella “Wonderful Savior,” a simple gospel tune to set the mood. Ramping up the energy Mavis shared space with guitarist Rick Holstrom’s biting tone on “Creep Along Moses.”  A stately cover of Creedence Clearwater Revival’s “Wrote a Song For Everyone” kept the buzz at maximum. “Freedom Highway” and “Eyes On the Prize” hearkened back to the 60s, when the Staple Singers were the musical voice of the civil rights movement, while “You Are Not Alone,” the Jeff Tweedy-composed title track to her latest LP, testified to her stunning way with a ballad. “I’ll Take You There” became the call-and-response gospel epic it was always meant to be and left the crowd hanging on, waiting for more as Mavis left the stage.

When she returned for an encore she was joined by Bonnie for a heartfelt take on Randy Newman’s “Losing You” – “this song is very special,” claimed Mavis, “It’s for both our fathers” – and a rousing, groovy “Will the Circle Be Unbroken” put the entire studio in the spirit. But in a show overflowing with highlights, perhaps the biggest was her version of the Band’s “The Weight.” Mavis performed on the version in the film The Last Waltz and claimed it as her own tonight, sharing the vocals with her singers and bringing the audience to a wild standing ovation. Mavis claimed in her interview that she’s long wanted to be on Austin City Limits and that she was thrilled to be here, and we can only say: right back atcha, ma’am – “Meeting Mavis is like going to church,” says associate producer Leslie Nichols. This is a show that will pass into ACL legend.

We always say we can’t wait for y’all to see these performances, and we couldn’t be any more heartfelt with that sentiment after this show. Bonnie Raitt and Mavis Staples – can it get anymore soulful? Find out for yourselves this fall when this episode airs on PBS.

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News Taping Recap

Dr. Dog: a fierce distillation of American rock ‘n’ roll music

With over a decade of acclaimed albums and a rapidly growing following for their live show, Dr. Dog has been bubbling under the radar long enough that they are ready to blow up. Given the Philadelphia band’s continued upward momentum, it was inevitable the band would grace the ACL stage. When it finally happened last night, it wasn’t just for the hundreds of lucky fans who joined us in the studio. For only the second time in the show’s history, we streamed an ACL taping, bringing an unvarnished view of Dr. Dog’s unique psychedelic indie rock to the masses.

Dr. Dog launched into the catchy pop song “Shadow People” from the ACL stage that had been enhanced with lamps, desks and antique ephemera (“Dr. Dog ‘s stage decor gives me the urge to go antique shopping down on SoCo,” quipped star512 ).

Wielding a setlist made of an even mix of their last three LPs (Be the Void, Shame, Shame and Fate), the sextet worked its magic on an eager crowd of diehard fans who appreciated the depth of the catalog. Balancing instrumental skill with a relaxed looseness, the band combined influences from across the spectrum of rock history with stunning clarity –  “Kudos to whomever is mixing,” commented @johnlmyers. “Sounds fantastic.” “Lonesome” boasted a band vibe, while “Do the Trick” subtly incorporated a Philly soul groove. “Vampire” mixed late-period Beatles with noisy rock, while “That Old Black Hole” added a Johnny Cash backbeat to the psychedelic stew. The spaghetti western dub psych of “Fate” sounded as at home in the band’s hands as the gypsy melody and reggae rhythms peeking out of “The Ark.”

A Dr. Dog show isn’t all musical eclecticism, however – “I Only Wear Blue,” “Heavy Light” and “Where’d All the Time Go?” offered plenty of singalong moments and catchy melodies. “Dr. Dog have become a fierce distillation of American rock ‘n’ roll music,” notes AustinBloggyLimits.  “These guys are so versatile,” enthused Aunt Betty Reden on Facebook. “Awesome! Refreshing!”

The main set ended with the propulsive epic “The Rabbit, the Bat, and the Reindeer,” but Dr. Dog wasn’t through with us yet. The band pulled the tongue-in-cheek gospel suicide note “Die, Die, Die” from the LP We All Belong (surprising director and crew, as it wasn’t on the setlist) before ending with a rare treat: its cover of Architecture in Helsinki’s “Heart It Races,” a tune the Dog doesn’t perform live often. It was a rapturous end to a show Frank Cunningham from the band’s Philly stomping ground declared on Facebook, “Freakin’ magnificent!”

Derek Neasham of Georgia asserts, “Feed’s been great! I hope they start making this a common practice. “ So do we, Derek. Thanks to everyone who joined in studio and online, and we hope to hear from you and all the folks at home come October when the ACL episode featuring Dr. Dog hits your television screens.

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tUnE-yArDs: a show unlike any other

Some musical artists get known for jumping on trendy bandwagons. Other artists do it by revitalizing a familiar style, or simply doing it really, really well. But a few, a very few, garner attention by doing something no one else is doing, and sounding like no one but themselves. Tonight’s performance by tUnE-yArDs made it clear to which category Merrill Garbus belongs. With a bassist and two sax players joining Garbus’ frontline of drums, amplified ukelele and looping technology, tUnE-yArDs put on a show unlike any other.

Garbus opened with a storm of looped voices and beats from her snare and floor tom.  Joined first by the bassist and then by the sax players, she launched into “Party Can,” a bonus track on the Japanese version of tUnE-yArDs’ hit album w h o k i l l. They followed with a bit of free jazz sax skronk before going into “Gangsta,” one of tUnE-yArDs’ most accessible tunes. “Es-So” was next, as Garbus looped a hip-hop beat out of her drums, layered some wailing vocals and then chopped out some jagged chords on her uke. Add an almost poppy vocal melody to the polyrhythmic tapestry and it’s the tUnE-yArDs sound in a nutshell.

tUnE-yArDs © KLRU photo by Scott Newton

While the group may have a form, it certainly wasn’t formula, as every song sounded different than the one prior. From the Latin-tinged percussion of “Riotriot” and the African vocal melody of “Bizness to the dub ukelele and big-band sax lines of “Killa,” tUnE-yArDs showed an amazing facility to lift bits and pieces from different cultures and genres, and fit them all together like an intricate but smoothly constructed puzzle. It sounds like a worn cliche, but it’s true – tUnE-yArDs truly sounds like no one you’ve heard before, and we’re thrilled to showcase such a unique artist. “I love Merrill Garbus’ power and fearlessness,” tweeted ACL producer TheOtherLeslie. “And her sense of fun. Above all a tUnE-yArDs show is a damn good time.”

tUnE-yArDs © KLRU photo by Scott Newton

Be sure and keep up with all ACL TV goings-on on our site, Facebook and Twitter pages. Check out some pics of the past on our Tumblr page.

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Taping Recap

Rodrigo y Gabriela rock ACL

Austin City Limits has had its eye on guitarists Rodrigo y Gabriela for a few years, and we’re happy that the stars finally aligned just right for us to invite them to our house. Backed by the  Cuban fusion band C.U.B.A., the duo conquered The Moody Theater with passion, groove and oft-stunning technique.

The pair makes the most of the contrast between their styles – Rodrigo rips out flatpicked licks that betray his metal roots while Gabriela flails at her ax with flamenco-based rhythms, often using a wah-wah pedal to send her riffs into outer space. Backed by the stellar C.U.B.A. the pair enthusiastically mixed Afro-Cuban grooves, jazz fusion harmonies, Latin melodies and the occasional rock flourish into a blazing storm of tuneful technique. “Hanuman,” “Ixtapa” and “Diablo Rojo” filled the Moody with hot licks and cool grooves, bringing the crowd to their feet. Even midway during the show, when the band left the stage so Rodrigo y Gabriela could really show off their skills on “Savriti,” Hora Zero” and “Buster Voodoo,” the energy stayed at a level that could power a small city.

Rodrigo y Gabriela are a joy to watch –  jumping across the stage, making eye contact with their fans and encouraging the audience to provide rhythms through applause. The crowd responded in kind, lavishing love on a gang of musicians working hard and having fun doing it. That energy will inevitably translate to the small screen, and we can’t wait for y’all to see this stunning show. No doubt about it – Rodrigo y Gabriela rule.