DOMi & JD BECK perform on Austin City Limits, July 8, 2023. Photo by Scott Newton.
Like any other venerable tradition, jazz welcomes the occasional shake-up. With hip-hop inspired rhythms, lush chords, and a singular sense of style, Grammy Best New Artist nominated jazz duo DOMi & JD BECK are the latest act to combine twenty-first century energy with old school improvisation. Supporting their highly acclaimed debut album NOT TiGHT, the duo brought virtuoso technique, accessible melodies, and an impish sense of humor to their first-ever show in Austin.
Surrounding themselves with cherry blossoms, foliage, and grass, DOMi and BECK took the stage in pink sweats for her and overalls for him. Doubling on piano and key-bass, DOMi took the melody of “WHATUP” for a rollicking ride, as BECK played his kit like a human EDM drum machine. “This is cool,” remarked the drummer afterward. “Oddly intimate, though. But cool.” The duo then bopped their way through “the first song we ever released – the irresistibly funky, popwise “SMiLE,” with its recognizable hook.
“What the f–k is up, Austin?” DOMi smiled. “I always wanted to curse on TV!” That was a heads-up for the brisk “Bowling,” with the pair trading vocals in place for co-writer Thundercat, who sings it on NOT TiGHT. DOMi really showed off her chops on this tune, ripping out a sparkling piano solo while still keeping the bass keys roiling. The record’s title track followed, switching between minimalist atmosphere and barnburning workouts. “This is the first song we ever wrote together,” noted BECK before they started. “So that means it’s the worst – enjoy!” Given the skill on display and the crowd’s appreciation, clearly there’s no “worst” in the band catalog.
Another early tune, “U Don’t Have to Rob Me” related the true story of a near mugging with humor and a skittering arrangement like an electronic track translated to organic technique. The duo explained that jazz legend and ACL alumnus Herbie Hancock performed on the next song, “but he’s not here.” DOMi and BECK performed the rich, luminous “Moon” perfectly fine on their own. The pair then took two of their tribute tunes – “Duke,” a nod to jazz funk icon George Duke, and “Space Mountain,” about the titular Disney ride – and made them into a medley, one that particularly highlighted BECK’s rhythm mastery and DOMI’s speed-demon chops.
For the last song, BECK explained “DOMI’s gonna play something pretty, then the actual song starts,” with his partner adding “The actual song is called ‘You Can Sniff My Butt.’” In reality a medley of the album’s “Thank U” and “Sniff,” the tune did indeed begin with lush chords from DOMi, before BECK’s traps and her synth bass kicked the music into high gear. It was an epic finish to an excellent show, one for which the audience showed a deep and loud appreciation. It’ll make a cool episode of your favorite music television show, and we hope you tune in this fall to your local PBS station.
Rodrigo y Gabriela with the Austin Symphony Orchestra on Austin City Limits, July 7, 2023. Photo by Scott Newton.
Innovative guitar duo Rodrigo y Gabriela teams with the Austin Symphony Orchestra to bring a wildly captivating sound to the ACL stage and live stream screens. The duo showcased their new album In Between Thoughts…A New World alongside a collection of newly released tracks to deliver a stunning performance. In Between Thoughts…A New World is an experimental and energetic departure from their classical Spanish acoustic sound that raised the Mexico City duo to meteoric fame as musical maestros. Being accompanied by the 32 piece Austin Symphony Orchestra, the performance marks a much anticipated collaboration 26 years in the making, as the Orchestra makes its ACL debut lead by seasoned conductor, Peter Bay. In Between Thoughts…A New World invites listeners to travel into the Rodrigo y Gabriela universe inspired by a deep dive into the spiritual interconnectedness at the core of the human experience. Expressed via speedy strumming patterns, distinctive guitar solos, and a powerful strings section, the musicians magically maintain a harmonious balance that cosmically creates the ultimate storytelling soundtrack. In between thoughts and beneath the ACL studio lights, Rodrigo, Gabriela, and the Austin Symphony Orchestra delivered a stunning glimpse into their new world.
Embarking on the first stop of the musical journey, the duo navigates the audience through the narrative nature of the record. The musicians include several songs that reflect the rises, falls, and pit stops along their musical tour of their new world. Spearheaded by the non dualistic themes of connection and unity that inspired the songs on the new record, phase 1 of the hero’s journey includes track “The Eyes that Dream,” featuring orchestra accompaniment. A track that serves as a testament to the musical chemistry between the guitarists, the track showcases how Rodrigo’s immense technical skills complement the energetic acoustic style of his partner. As Rodrigo switches between electric and acoustic guitar, the orchestra gracefully merges into the melody catching up to the guitarists and expanding on the impactful rhythm of the song. The track transitions swiftly into the next stop of the tour with brief interludes featuring a collection of ambient-style intros, serving as transitional “pit stops”, a thematic palette cleanser and tonal introduction to the next track. A grateful and charismatic Gabriela takes to the mic to thank the audience, speak about the album, and thank the orchestra. Briefly introducing new song “Monster” the guitarist explains the thematic roots of the song before explaining that due to its long explanation, the audience would be better off “[Coming] up with [their] own monster story.” “Monster” features a melancholic intro, softly played by both Spanish guitars, invoking a sense of unease, a sound that underlyingly expects danger to arise. The track creates a stylistic spotlight on Gabriela’s stylistic work with the body of the guitar featuring percussive slaps and her signature loose, but never sloppy technique. The duo create a sound that bounces from being small, contained, and uneasy, to a sudden shift into the quick strumming that creates a beautiful disarray. The duo spring up from their stools as the crowd cheers. Rodrigo builds on momentum by adding a psychedelic layer of distortion to the guitar tone giving the sound movement, almost as if the sound comes in and out of the song amongst the energetic rhythmic strumming, a musical lava lamp effect.
Tapping into their rock and roll roots, song “Broken Rage” highlights the technical talent of the former metal maestros. The orchestra’s strings weave into Rodrigo’s lead electric guitar as he takes turns connecting with Gabriela and the elated audience. As he runs across the stage under strobe-like lighting effects, the orchestra builds to an energetic peak. Expanding the sound and captivating the audience through speed, the orchestra delivers a high energy performance.
The component at the center of the Rod y Gab musical universe lies within the authenticity that comes from the musicians’ undeniable musical chemistry with each other and their own instruments. The musicians reflect a sense of organic craftsmanship so strong that it becomes central to the inherent identity of them as performers – a major piece of their signature style. Rodrigo y Gabriela grow an increasingly complex musical world from the seed of this connection that blooms bright. Observing this connection innately turns the viewer from a spectator into a voyeur, with a unique opportunity to peer into a sheer 75 minutes of intimate musical connection. Rodrigo y Gabriela do not merely perform, but display a sense of musical connection so authentic, it invites the listener to place themselves within the center of their rich musical ecosystem.
Leading with this authenticity, the duo exits the stage after final track “In Between Thoughts…A New World” amongst a sea of standing ovations, cheering, and immense applause before returning to the stage for the final encore. Rodrigo thanks the audience and comments “The energy in here is beautiful!” As they prepare for their final song, an audience member yells out “Te amo Gabi!” As the explosive finisher “Descending to Nowhere” reaches its epic end, the maestros receive an eruption of applause by a crowd completely on their feet, yelling, cheering, and raising their heart-shaped hands at the guitarists. Gabriela excitingly smiles and laughs at the crowd, prancing around the stage waving and graciously thanking the invigorated fans. As crowds of musical travelers leave their seats, show commentary and conversation commences amongst the crowd. One fan expresses how “You feel better now, than when you came in!”, an observation of a performance that encompasses the dynamic of a musical duo that not merely coexists with each other, but thrives.
The harmonious dynamic created between Rodrigo, Gabriela, and the Austin Symphony Orchestra created an experimental presence so captivating, it ripples across the audience inviting listeners to travel alongside the duo as they explore their new musical universe. Tune into your local public TV station this fall and witness the broadcast version of this symphonic soundtrack to human connection on ACL’s upcoming Season 49.
Lil Yachty on Austin City Limits, June 28, 2023. Photo by Scott Newton.
Breaking into stardom after the release of 2016 album Lil Boat featuring popular track “Minnesota”, Atlanta rapper Lil Yachty sailed into the scene with his iconic autotuned vocal style and lighthearted lyricism. Yachty makes his ACL debut with his latest album Let’s Start Here. as the centerpiece, a clear departure from his previous sound. The embodiment of a modernized pop-infused psychedelic funk album with a soul influence, the album reflects a clear tribute to the 70s soul funk scene. The innovative rap star delivered a powerful fifteen-song set backed by a six-piece band, while welcoming special guests, Teezo Touchdown, Justine Skye, and Fousheé aboard the S.S. Yachty for a thrilling musical journey. Yachty’s iconic vocals swim amongst a sea of sound being carried by the god-like vocal performance of the band’s backup singers that invoke a rich, soulful, and dynamic sound worthy of many a moment of sonically-induced goosebumps while listening. He delivered a thrilling performance reflecting the album’s musical breadth, signaling his arrival into an increasingly colorful sound inspired by meaningful musical influences—synthesizers, guitar solos, keyboards, and clap-alongs all included–welcome aboard the S.S. Yachty.
Yachty and crew sail into the first track “the BLACK seminole.” laying the foundation of the psychedelic soul sound that will be representative of the musical foundations laid within the the new record. A slowed down, psychedelic acid jazz-type instrumental that Yachty’s reverbed vocals seemingly weave in and out of, the vocals echo into the night’s first groovy guitar solo. A track that thematically pays homage to the cultural identity of the black psychedelic funk and soul sound, Yachty sings “The black seminole, a head general…a black man with mouths to feed, embracing equality throughout greed.” The rapper takes a moment to recognize the variety of talent that is represented amongst his band–a high energy all black, female band wearing matching black sweatsuits, bandanas, and shades. The crowd applauds as the musician asserts“I got all my sisters here with me,” indicating his intentional choice of the all-female power band with remarks on the strength of the female talent and citing how “Women rule the world.”
Following that shot of truth, the S.S. Yachty welcomes aboard a trio of special guests. Rising into action, “the ride-”, brings an 80’s inspired synth-sounding pop track featuring vocals from upcoming Beaumont rapper, Teezo Touchdown. Yachty’s light-filled ethereal sounding vocals complement a contrasting, in your face ‘ vocal performance by Touchdown. The Texas rapper sings holding a hand full of flowers and a head adorned with his signature wig of nails, and graces the stage in a pair of white go-go boots enthusiastically rapping into his bouquet before fist-bumping Yachty during his exit. The pair makes a playful and energetic presence on stage as they vocally bounce off each other, leading the crowd into their first wave of groovy head nodding.
The slow psychedelic sounds of funk are back in the spotlight with “The Zone~” featuring Yachty’s blossoming, kaleidoscope-like vocals that ripple throughout the track before meeting with the funky lightness of guest artist Justine Skye’s R&B inspired vocal style. A track for sailing on auto-pilot, relaxing into the magnetic mellowness of reverbed and distorted guitar and vocal tracks, the S.S. Yachty sails onto seriously smooth waters. Before diving into the climactic disco anthem “drive ME crazy!” the Atlanta rapper singles out a pair of enthusiastic fans in the front row, The stoked pair cheer as Yachty announces he will dedicate the disco anthem to them, a token of the Captain’s appreciation for his most sunny of sailors. The track reflects the absolute energetic force radiating from the sheer talent produced by the Yachty band. The disco anthem immediately brings an impactful wave of energetic groove amongst the crowd, uplifting the sea of Yachty youngsters. A disco groove irresistible to any seasoned rollbouncer slowly melts into the slowness of the synth sounds of “The Alchemist.”
Bringing the performance to the album’s musical climax, the upbeat nature of “The Alchemist.” brings an energetic presence. In typical Yachty fashion, his instinctually uplifting lyricism continues to carry as the foundation to the inherent early and current Yachty sound, singing “No need to brag, but I was built for this. I know now that most men would kill for this.” The track breaks away from the funk foundations and leans towards the pop and R&B undertones still present within the album’s influences. On the Yachty sound spectrum, the rhythmically upbeat pop influence combined with the vocals of his final guest, R&B singer Fousheé, place this track several blocks away from the intersection between psychedelic funk and soul that tends to encompass the record.
Yachty and crew bring a soulful presence fueled by a powerfully talented band of musicians that reflect the identity of the rapper’s musical experimentation inspired by traditional sounds served up a-la-Yachty. The captivating performance mobilized a sea of sing-alongs, head banging, and sheer applause for the massive talent of Lil Yachty and the musical journey. Using his debut ACL taping to showcase a departure from the conventional Yachty style, Lil Boat and crew create waves with a newfound sound that soulfully satisfies.
MUNA perform on Austin City Limits, April 25, 2023. Photo by Scott Newton.
Fresh from their “Life’s So Fun” U.S. headlining tour, arena dates with Taylor Swift and Lorde, the radio hit “Silk Chiffon,” and one of the most exciting sets at this year’s Coachella, MUNA are ready to conquer the world of pop. Having first visited Austin in 2016 for SXSW, the journey by Katie Gavin (vocals), Josette Maskin (guitar), and Naomi McPherson (keyboards, guitar) toward stardom brings them to the Austin City Limits stage for their debut taping in support of their latest, self-titled album.
Following a bombastic flourish, the L.A. trio – backed by bassist Geo Bothelho and drummer Sarab Singh – launched right into the equally expansive rocker “What I Want,” the musicians only staying in one place during their three-part harmonies. They kicked up the tempo a notch with the bright pop rocker “Number One Fan” – a clear crowd favorite, given that they started singing the lyrics with the band. Maskin’s closing guitar grunge segued right into the next song, the eighties Britpop-influenced “Solid.” But this band aren’t retro-stylish – the soaring pop anthemry of “Stayaway” (“If you know the words,” said Gavin, “sing it with me”) belongs in the twenty-first century.
More contemplative without stinting on rock energy, “Loose Garment” traversed the sky on the wings of Maskin’s lush e-bow and Gavin’s earnest voice. The latter then donned an acoustic guitar for the melancholy “Winterbreak,” a swirl of 12-string and slide guitar that wore its heart glistening on its sleeve. The same configuration drove “Kind of Girl,” a self-actualization ballad that will, at some point, result in thousands of lighters being waved. “I’m the kind of girl who thinks I can,” Gavin sang – a message taken to heart by the band’s queer and trans fanbase. The country-kissed power ballad “Taken” followed suit, before some dreamy synthesizers led the band into the dramatic widescreen electro-pop of “Pink Light,” which earned a huge cheer.
The band revisited their debut LP About U for “Around U,” another supercharged melody with a galloping beat. MUNA shouted out their backing musicians and crew before going into “Home By Now,” an anthemic dance rocker that practically demanded audience participation. Singh then laid down a walloping 6/8 beat for the cheeky “Anything But Me” (“I hope you get anything you need – anything but me”), before some overtly eighties bass and keyboards heralded the group’s brand new single “One That Got Away,” released only a week prior. “I’m curious,” pondered Gavin, “if any of you already know some of the words. So this is your test.” Many members of the MUNAverse passed with flying colors.
MUNA jumped happily back into anthemland for the hands-in-the-air energy of “I Know a Place,” one of the first songs Gavin, Maskin, and McPherson ever wrote together, and another tune cherished by the audience. To close the show, McPherson strapped on an acoustic guitar as a synth pulse built and MUNA slipped into “Silk Chiffon,” an ear-hooking song about “being queer and being happy” that had the crowd singing along at the top of their lungs. “We love you, Austin!” shouted Gavin, as MUNA capped off their debut ACL by bringing the house down. We can’t wait for you to see it when it airs this fall as part of our Season 49 on your local PBS station.
MUNA on Austin City Limits, April 24, 2023. Photos by Scott Newton.
Margo Price returns tapes Austin City Limits, March 19, 2023. Photo by Scott Newton.
When we first hosted singer/songwriter Margo Price in Season 42, we knew, as did everyone, she was something special. Watching her blossom from a soulful C&W traditionalist into a brilliant, multi-faceted artist (not to mention bestselling author, via her 2022 memoir Maybe We’ll Make It) has been a pleasure, and we were thrilled to have her back, as both victory lap and in celebration of her acclaimed fourth LP Strays.
Following a Season 49 welcome from Austin mayor Kirk Watson, Price and her six-piece band took the stage to the strains of a Willie ‘n’ Waylon classic before going straight into “Been To the Mountain,” the hard rocking opener of Strays. Closing with a flourish of cowbell, Price, in a blue flowered Loretta Lynn-style vintage dress, donned an acoustic guitar for “Letting Me Down,” a driving country rocker from her 2020 album That’s How Rumors Get Started. She and the band then revisited her 2016 breakthrough debut Midwest Farmer’s Daughter, giving fan favorite “Four Years of Chances” a Southern psych rock makeover. Back to Strays with “Hell in the Heartland,” a minor key country rock epic that broke its tension by moving from trot to gallop. The band followed with “Change of Heart,” its theme of self-assertiveness and defiance emphasized by a loping guitar solo from Alex Munoz and Price herself bashing away at a second drum kit. She closed off this stunning mini-set of Strays with the melancholy “County Road,” driven by Micah Hulscher’s piano and a powerhouse James Davis lead, and the stirring rock anthem “Light Me Up,” which Price described as the product of her and husband/co-writer/rhythm guitarist Jeremy Ivey’s ingestion of psilocybin mushrooms on vacation.
Price went back to her debut for the Southern rock anthem “Tennessee Song,” bringing it in line to her current, more expansive sound. She and Ivey then faced each other with acoustic guitars for Strays’ shimmering, lovely ballad “Landfill.” The band eased into the psychedelic folk rock of “That’s How Rumors Get Started,” its extended coda allowing Price time to leave the stage for a wardrobe change into a sparkly Tina Turner-style showgirl number and man the second drum kit once again. Without a second’s breath, she led her group into the hard-rocking “Twinkle Twinkle,” which earned loud approval from the audience. C&W made a re-appearance with the cheerfully defiant “Don’t Say It,” dragging the arena back to the honkytonk for a tune. While the band was busy rocking out, a pink telephone quietly appeared onstage, heralding “Radio” and its handset vocals. Price closed the main set like a pageant queen with the brisk Rumors rocker “Heartless Mind,” while handing out red roses to the audience as Davis and Munoz squared off over Dillon Napier’s syncopated drumming.
The adoring crowd cheered Price and the band’s return for an encore. “You can’t come down to Texas and not play a drinkin’ song,” she joked as she launched into “Hurtin’ On the Bottle,” her breakout hit and one of the best honkytonkers written in the last decade. She smoothly segued into her thematic inspirations via Merle Haggard’s “I Think I’ll Just Stay Here and Drink” and Willie Nelson’s classic “Whiskey River,” the first song ever broadcast on Austin City Limits. It was a hell of a way to close out her smoking return to ACL, and we can’t wait for you to see the broadcast episode during our upcoming Season 49 on your local PBS station.
Margo Price, Season 49. Photo by Scott Newton.Margo Price, Season 49. Photo by Scott Newton.Margo Price, Season 49. Photo by Scott Newton.Margo Price, Season 49. Photo by Scott Newton.Margo Price, Season 49. Photo by Scott Newton.Margo Price, Season 49. Photo by Scott Newton.Margo Price, Season 49. Photo by Scott Newton.Margo Price, Season 49. Photo by Scott Newton.Margo Price, Season 49. Photo by Scott Newton.Margo Price, Season 49. Photo by Scott Newton.
Maren Morris on Austin City Limits, Oct. 31, 2022. Photo by Scott Newton.
While it hasn’t happened often enough to become a tradition, Austin City Limits does have precedent for Halloween shows. Both Joe Ely and Widespread Panic recorded memorable shows in front of crowds full of costumes. So we were tickled to welcome country star Maren Morris for her debut taping that just happened to fall on All Hallow’s Eve. The Arlington, Texas-born singer/songwriter is riding a new career high with the acclaim following her third major label album Humble Quest, and she seemed happy to showcase it in front of a colorful ACL crowd.
“This is a huge honor to be playing this – I grew up watching this,” noted Morris. “I’m not gonna cry – we’re just gonna do this.” With that, she and the band kicked into “Circles Around This Town,” the first hit from Humble Quest. She and the band upped the vibe going into “I Can’t Love You Anymore,” engaging the audience to clap along during the breakdown. Garnering enthusiastic screams from the audience, an a cappella intro from Morris, bassist Annie Clement, backup singer Rachel Beauregard and guitarist Bennett Lewis signaled “80s Mercedes,” kicking the performance into high gear with its good time power rock. Acknowledging both the holiday and her roots growing up in Arlington, Texas, Morris also mentioned that this taping was one of her two last shows for the year, “and I’m glad we can close it out in Texas.” Drummer Christian Paschall then hit the backbeat for “Humble Quest,” an atmospheric rocker that serves as the title track for the new record, before the band went into the luminous ballad “Background Music.” Keyboardist Jaime Portee, guitarist Eric Montgomery and Lewis then kicked up dust with a collage-like intro that led into the powerhouse “Nervous,” to huge applause.
Shifting gears once again, Morris showcased her vocal chemistry with Clement and Beauregard on “I Could Use a Love Song.” After that wry downer, Morris shifted into party mode with the good-natured, pop-flavored celebration of “Tall Guys,” written by the 5’1” singer to make her 6’3” husband laugh. The pregnant Clements then put down her axe to join Morris at the front of the stage for the close-harmony ballad “Hummingbird,” dedicated by Morris to Clements’ unborn son, “because he’s onstage with us every night.” The easygoing folk rock of “Detour” followed, completing a trilogy of songs from Humble Quest. “Alright, Austin,” Morris declared, “let’s pick this up a little bit” – in particular by revisiting her major label debut Hero for the classic-rocking hit “Rich,” a clear crowd favorite. The band went back to Humble Quest for the final time this evening with “Good Friends.” “This is really a dream come true,” Morris said. “I’ll come back any time y’all invite me.” Then it was time for “The Bones,” Morris’ smash #1 country ode to the foundational secret to lasting love that got the biggest round of applause of the night.
The cheers continued as Morris ended the show with her gospel-flavored rocker “My Church,” a fan favorite anthem that brought the audience to its feet, clapping and singing along – even singing part of the chorus by themselves. Morris left the stage to a huge standing ovation as the band played her off. It was a sensational ACL debut, and we can’t wait for you to see it when it airs early next year as part of our Season 48 on your local PBS station.
Maren Morris tapes Austin City Limits, October 31, 2022. Photos by Scott Newton.
