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Giveaway: Samara Joy

Austin City Limits will tape a performance from Samara Joy on Sunday, May 25th at 8 pm at ACL Live at The Moody Theater (310 W. 2nd Street, Willie Nelson Blvd). Austin City Limits Taping Giveaways are presented by AXS Events.

Winners will be chosen at random and a photo ID will be required to pick up tickets. Winners will be notified via email. Duplicate entries for a single taping will be automatically voided. Tickets are not transferable and will be voided if sold. Standing may be required. No photography, recording or cell phone use in the studio. No cameras, computers or recording devices allowed in the venue. While we do our best to accommodate all winners, we cannot guarantee admissionThese passes are based on space available therefore you will be filling in spots available on the floor or balcony depending on the tickets that are available when you arrive.


Grammy-Winning Jazz Vocalist Samara Joy to Release New Verve Album Portrait on October 11, 2024

Recording presents inspired arrangements and performances by Joy’s impressive live ensemble

“I’m still speechless,” says Samara Joy, reflecting on her 2023 Grammy win for Best New Artist. When the Bronx-raised jazz vocalist, 24, tries to place herself back in that historic moment today, she feels nothing but gratitude.

At the same time, Joy understood then that she couldn’t let the award define her. She still had a lifetime of music to explore, a tight-knit crew of extraordinary collaborators to guide, and a passion for songwriting to nurture. So Joy did what any committed, eternally curious jazz musician would do: She hit the road. For her and her band, a seemingly endless run of sold-out tour dates became a nightly opportunity to reach new creative heights. “I just got back to work, doing what, in essence, got me the Grammy in the first place,” she says. 

Joy’s new Verve Records release, Portrait, is the proper follow-up to Linger Awhile, her 2022 breakthrough LP, and it represents the next phase in her continuing artistic evolution — unbound by expectations. 

Portrait documents the immersive, seemingly telepathic rapport she’s developed with her touring band, which includes musicians she learned the jazz craft alongside while earning her undergraduate degree; in fact, it wasn’t until college that Joy began to pursue jazz singing. On the strength of that cozy dynamic — on the road, “I’m among friends, which explains personal chemistry that translates to our live performances,” Joy says. The vocalist offers an album that both honors jazz heritage while staking out bold, singular territory. Whatever a rote, singer-with-sidemen record is, Portrait is not.  

Joy co-produced Portrait with fellow multiple Grammy winner Brian Lynch, a trumpeter and musical director who has been Eddie Palmieri’s most vital late-career collaborator and was a member of the final lineup of Art Blakey’s Jazz Messengers. The album was tracked in streamlined sessions — just two or three takes of each tune — at one of jazz’s most hallowed sites, Van Gelder Studio. “With this kind of band,” Joy says, “we play very close together on stage,” so the singer and Lynch recreated that vibe in the studio. The band recorded all together in that same fantastic room, feeding off each other’s energy as they would at a fiery live show. “It was the perfect place to capture this sound in its entirety,” Joy says.

Lynch, Joy raves, allowed her and the band to remain “in the driver’s seat, acting as our very supportive co-pilot.” The singer and her co-producer bonded over Abbey Lincoln’s 1961 LP Straight Ahead, on which the daring singer becomes brilliantly enmeshed in a band comprising Max Roach, Booker Little, Eric Dolphy, Coleman Hawkins, Julian Priester and other greats. That recording, Joy says, “showed me what my role could be, and opened my ears to what was possible.”

As on that vocal-jazz touchstone, Joy is best heard here as an integral part of an egalitarian octet featuring trumpeter Jason Charos, saxophonists David Mason and Kendric McCallister, trombonist Donavan Austin, pianist Connor Rohrer, bassist Felix Moseholm and drummer Evan Sherman. She soars above and out front, of course, but also functions as a pure instrument and a source of support and interplay. “I’m often the fifth voice,” she says, “the fifth horn. I just love the sound of this band. Hopefully, when people hear it they’ll realize that I’m a musician too.” 

Highlighting Joy’s generous, all-for-one strategy as a leader — an influence she gleaned from Art Blakey and Max Roach — Portrait boasts a uniquely synergistic approach to arranging. “I enjoy collaborating with fresh musical voices,” Joy says of her band, “because it not only helps all involved grow but helps to expand how musicians and audiences alike hear this music and what’s to come. So I wanted to put these creative minds in one place to expand the music and, as a result, each other.” Joy took the ever-evolving highlights from her concert songbook and gave them to individual band members to arrange, based on each player’s gifts and personality. 

Portrait is also Joy’s most profound expression yet of her prowess as a songwriter — particularly as a lyricist of absolute poetic precision. It’s an inspired, surprising program that serves as a reminder of how the vocal-jazz repertoire can still break new ground while nodding to jazz history. On “Reincarnation of a Lovebird (Pursuit of a Dream),” Joy weds Charles Mingus’ tender tribute to Charlie Parker to her own mediation on, as she describes it, “love so strong that it’s surreal.” “Peace of Mind/Dreams Come True” matches Joy’s first original song and saxophonist Kendric McCallister, which unpacks the anxieties Joy felt in her post-Grammy moment, with the gratitude and cosmic optimism of Sun Ra. “Now and Then (In Remembrance Of…)” features Joy’s affecting words atop music by the late, great bebop sage Barry Harris, with whom Joy and McCallister studied. “It’s for Barry,” Joy says, “but it’s also for everybody in my life who is no longer here and yet I want to keep thinking of them, keep them present.”

Still, as might be expected given Joy’s track record with classic tunes, some of Portrait’s most impressive moments are the standards: Jason Charos’ arrangements of “You Stepped Out of a Dream” and “No More Blues” (an exuberant palate cleanser on which Joy sings Jon Hendricks’ lyrics); McCallister’s take on “Autumn Nocturne”; David Mason’s “Day by Day.” Donavan Austin’s original “A Fool in Love (Is Called a Clown)” is so delightfully sentimental it might as well be a standard.   

Throughout, Joy sounds divine, evoking her jazz idols while tapping into her rich background in a family of gospel and R&B renown. Or as Joy puts it simply, “I’m grateful to have so many tools at my disposal.”

Ultimately, though, Portrait is a masterwork that unspools the story of an ensemble — a band that coalesced as friends and student musicians and has continued developing through jazz stardom. “It’s just everything that I could have ever dreamed of in a band,” Joy says. “I hope we stay together for years to come. I really do.” 


For entry to Austin City Limits tapings, you agree to abide by the Taping Health & Safety Protocols based on the current COVID-19 Community Risk Stage in effect at the time of the event. By attending the ACL tapings, you agree to the Terms & Conditions.

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Giveaway: Waxahatchee

UPDATE: The giveaway is now closed. Austin City Limits will tape performances celebrating The 50th Anniversary of Antone’s on Monday, May 19th at 8 pm at ACL Live at The Moody Theater (310 W. 2nd Street, Willie Nelson Blvd). Austin City Limits Taping Giveaways are presented by AXS Events.

Winners will be chosen at random and a photo ID will be required to pick up tickets. Winners will be notified via email. Duplicate entries for a single taping will be automatically voided. Tickets are not transferable and will be voided if sold. Standing may be required. No photography, recording or cell phone use in the studio. No cameras, computers or recording devices allowed in the venue. While we do our best to accommodate all winners, we cannot guarantee admissionThese passes are based on space available therefore you will be filling in spots available on the floor or balcony depending on the tickets that are available when you arrive.


One of the hardest working singer-songwriters in the game is named Katie Crutchfield. She was born in Alabama, grew up near Waxahatchee Creek. Skipped town and struck out on her own as Waxahatchee. That was over a decade ago. Crutchfield says she never knew the road would lead her here, but after six critically acclaimed albums, she’s never felt more confident in herself as an artist. While her sound has evolved from lo-fi folk to lush alt-tinged country, her voice has always remained the same. Honest and close, poetic with Southern lilting. Much like Carson McCullers’s Mick Kelly, determined in her desires and convictions, ready to tell whoever will listen. 

And after years of being sober and stable in Kansas City–after years of sacrificing herself to her work and the road–Crutchfield has arrived at her most potent songwriting yet. On her new album, Tigers Blood, Crutchfield emerges as a powerhouse–an ethnologist of the self–forever dedicated to revisiting her wins and losses. But now she’s arriving at revelations and she ain’t holding them back. 

Crutchfield says that she wrote most of the songs on ‘Tigers Blood’ during a “hot hand spell,” while on tour in 2022. And when it came time to record, Crutchfield returned to her trusted producer Brad Cook, who brought her sound to a groundbreaking turning point on 2020’s Saint Cloud

They hunkered down at Sonic Ranch in Tornillo, Texas–a border town known for cotton and pecans–and searched for another turn, waited for a sign. Initially, MJ Lenderman, Southern indie-rock wunderkind (much like Crutchfield when she started out) came to play electric guitar and sing on “Right Back To It.” But as soon as they tracked it, Cook told Lenderman he had to stay for the rest of the album. And he did. 

“Right Back To It” is ‘Tigers Blood’’s lead single. A nod to country duets like Gram and Emmylou, winding over a steadfast banjo from Phil Cook. Together, Crutchfield and Lenderman harmonize on the chorus:I’ve been yours for so long/We come right back to it/I let my mind run wild/Don’t know why I do it/But you just settle in/Like a song with no end.” Crutchfield says it’s the first real love song she’s ever written.

The song “Bored” opens with blase drum beats from Spencer Tweedy that crash under Crutchfield as she throws her voice high: “I can get along/ My spine’s a rotted two by four/Barely hanging on/My benevolence just hits the floor.” Lenderman’s scuzzy riffs and Nick Bockrath’s climbing pedal steel add power to the album’s most ‘Southern Rock’ a la Drive-By Truckers moment. 

 “365” is a story of recognition told from a hard-won place of self-acceptance/forgiveness. Crutchfield initially started writing it for Wynonna Judd, with whom she has written and performed in the past, until the lyrics started hitting closer and closer to home. The writer Annie Ernaux says, “writing is to fight forgetting.” Like Lucinda Williams, Crutchfield’s lyrics are memoir. Throughout ‘Tigers Blood’ Crutchfield is addressing a “you,” but the ‘you’ in “365” evokes raw closeness, vulnerability. “Ya ain’t had much luck but grace is/In the eye of the beholder/And I had my own ideas but/I carried you on my shoulders, anyways.”

“365” is essentially ‘Tigers Blood’’s aria about addiction, with little to no accompaniment to Crutchfield’s voice. Her backing band is hushed, as if the spotlight’s coming down on her, alone on the stage, giving her testimony. Crutchfield slings her voice with arresting precision, reaching its highest harmony on the whole album. “So when you kill, I kill/And when you ache, I ache/And we both haunt this old lifeless town/And when you fail, I fail/ When you fly, I fly/And it’s a long way to come back down.” 
“365” circles back to the beginning of ‘Tigers Blood,’ where Crutchfield’s words ring clear as a bell. Album opener “3 Sisters” starts with Crutchfield singing over hymn-like piano chords:I pick you up inside a hopeless prayer/I see you beholden to nothing/I make a living crying it ain’t fair/And not budging.” ‘Tigers Blood’ is Crutchfield at her most confident and resilient. Staring straight at the truth, forgiving but not forgetting, not batting an eye.


For entry to Austin City Limits tapings, you agree to abide by the Taping Health & Safety Protocols based on the current COVID-19 Community Risk Stage in effect at the time of the event. By attending the ACL tapings, you agree to the Terms & Conditions.

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Giveaway: ACL & Antone’s Celebrate the Blues

UPDATE: The giveaway is now closed. Austin City Limits will tape performances celebrating The 50th Anniversary of Antone’s on Monday, April 28th at 8 pm at ACL Live at The Moody Theater (310 W. 2nd Street, Willie Nelson Blvd). Austin City Limits Taping Giveaways are presented by AXS Events.

Winners will be chosen at random and a photo ID will be required to pick up tickets. Winners will be notified via email. Duplicate entries for a single taping will be automatically voided. Tickets are not transferable and will be voided if sold. Standing may be required. No photography, recording or cell phone use in the studio. No cameras, computers or recording devices allowed in the venue. While we do our best to accommodate all winners, we cannot guarantee admissionThese passes are based on space available therefore you will be filling in spots available on the floor or balcony depending on the tickets that are available when you arrive.


ACL & Antone’s Celebrate the Blues features the following artists:

Bobby Rush
Bobby Rush, a genuine Chitlin’ Circuit star born in Louisiana in 1933, cut his teeth in Chicago in the early ‘50s alongside Little Walter and Muddy Waters. A multiple-Grammy winner, ingenious and provocative stage performer, and a blues ambassador of the highest regard.

Grace Bowers
Grace Bowers is an 18-year-old guitar slinger on a meteoric rise. B.B. King was the first bluesman to blow her mind, and Mississippi John Hurt and T-Bone Walker sealed the deal, setting the course for her to become the most in-demand and celebrated young guitarist today.

Kingfish
At 26-years-old, Christone “Kingfish” Ingram has already made his mark as one of the best and most exciting guitarists in the world. The blues is lucky to have him; a young torch carrier whose music flows out of him like a water faucet, bursting at a hundred miles an hour with no end in sight.

Chris Layton
Chris “Whipper” Layton is arguably the most influential blues drummer of all time. Born and raised in Corpus Christi, Texas, Layton moved to Austin in 1975 and joined the band Greezy Wheels. He later joined Stevie Ray Vaughan’s band Double Trouble in 1978. After forming successful partnerships with bandmates Tommy Shannon and Reese Wynans, they recorded and performed with Vaughan until his death in 1990. Layton and Shannon later formed supergroups such as the Arc Angels, Storyville, and Grady. Currently, Layton is the drummer for the Kenny Wayne Shepherd Band and member of the Rock and Roll Hall of Fame.

John Primer
After working with Willie Dixon and Junior Wells, John Primer was hired as the guitarist for the last great Muddy Waters Blues Band. His sound is Southside Chicago blues of the highest order. Primer joined Muddy at his last Antone’s appearance, and 40+ years later he continues to hold down the Chicago to Austin connection.

Steve Bell
Nobody plays harmonica like Steve Bell. Raised on the Southside of Chicago by the legendary harp player Carey Bell, Steve has been blowing his horn as long as he’s been alive. Sometimes a freight train, sometimes a mustang, Steve’s harp is perfection.

Lil’ Ed Williams
Lil’ Ed Williams, the small blues man with the big fez and an even bigger slide, was a personal favorite of Clifford Antone ever since he first appeared at the club in 1989. Regarded as Chicago’s finest blues boogie slide player, Williams is an intense player and joyful singer in the
spirit of his uncle, J.B. Hutto.

Zach Ernst
Zach Ernst became Clifford Antone’s protégé as a student in his blues history class at the University of Texas 2005. He first appeared on Austin City Limits in 2011 as guitarist for Black Joe Lewis & the Honeybears and The Relatives. Zach Ernst became Antone’s talent buyer when the current club opened at the end of 2015, and co-produced the forthcoming Antone’s: 50 Years of the Blues boxed set.


Lurrie Bell
Son of Chicago blues star Carey Bell and brother to Steve, Lurrie Bell grew up playing with Eddy Clearwater, Big Walter Horton, Eddie Taylor and Koko Taylor. He was raised by Chicago Blues royalty and, as he grew older, became just that.

Nick Connolly
Nick Connolly is perhaps the most trusted keys player in Austin, and a cornerstone of the scene. He was a Cobra and a Fabulous Thunderbird, and has ably backed the likes of Denny Freeman, Stevie Ray Vaughan, Barbara Lynn and countless others for decades.

The Texas Horns
Mark ‘Kaz” Kazanoff, John Mills and Al Gomez make up the Texas Horns. Based in Austin and San Antonio, they’ve played with hundreds of artists including Marcia Ball, Earl King, Jimmie Vaughan, and Delbert McClinton. They bring the sound and spirit of Doug Sahm’s Last Real
Texas Blues Band wherever they go.

Jay Moeller
One of “Clifford’s Kids,” Jay grew up at Antone’s watching and playing with people like James Cotton, Albert Collins, Luther Tucker, Earl King, and Kim Wilson. He spent countless hours at
Clifford’s side and grew up to be one of Austin’s most in-demand blues drummers, often collaborating with his brother Johnny and his lifelong friend Gary Clark Jr.

Jimmie Vaughan
No one has kept the spirit of Antone’s alive quite like Jimmie Vaughan. When he moved to Austin in 1969 he’d already been in Dallas’ most successful rock band, played gigs as Freddiie King Jr., and opened for Jimi Hendrix. Jimmie (often with the Fabulous Thunderbirds) backed up
everyone who came through the door, and he also played guitar on many of the most important Antone’s Records recordings alongside the likes of Lou Ann Barton and Albert Collins. He is a cultural touchstone and world-class ambassador for Texas music.

Benny Turner
The younger brother of Freddie King, Benny Turner was the bassist in his band for years. Benny moved to Chicago in the ‘50s and is living blues history, an integral part of the Texas and Chicago blues connection.

Jon Deas
A longtime Gary Clark Jr. associate, Jon Deas is one of Austin’s premier keyboard players and a funky, Grammy-winning talent.

Sue Foley
Seconds into hearing Sue Foley’s demo tape, Clifford Antone called her and invited her to Austin. Her first weekend at Antone’s, Sue met and played with Albert Collins, the start of a decades long relationship that saw Sue develop into a stone-cold Canadian killer. She is a 2025 Grammy nominee for her album One Guitar Woman.

Kam Franklin
Houston native Kam Franklin started singing gospel at age five, and is best known for her work with the Suffers. With the Antone’s crew, she pays tribute to seminal figures like Barbara Lynn and Miss Lavelle White like only the best can, because she is.

Charlie Sexton
Charlie Sexton learned from the best: W.C. Clark and Jimmie and Stevie Ray Vaughan. A guitarist and producer of the highest order, he has collaborated with everyone from David Bowie and Bob Dylan to Elvis Costello and Bruce Springsteen.

Big Bill Morganfield
The son of Muddy Waters, Big Bill Morganfield grew up learning from Pinetop Perkins, Bob Stroger, Willie Smith and more. When Big Bill was sent to this planet he inherited a legacy, and has given his life to keeping the family name alive and well. He was a scene-stealer in the 2024
Bob Dylan biopic A Complete Unknown.

Rodd Bland
The son of Bobby “Blue” Bland and Godson of B.B. King, Rodd Bland drummed for his father’s band for many years. He is a top Memphis player and another of the second-generation musicians dedicated to preserving the family name and passing on the lessons – and the music – he’s learned to a new generation.

Larry Fulcher
Larry Fulcher moved to Austin in ‘92 and entered the Antone’s fold thanks to Cobras saxophonist Joe Sublett. He met Derek O’Brien and found himself on the Antone’s stage for countless nights, eventually teaming up with Ruthie Foster and Taj Mahal and winning multiple Grammys in the process.

Joe Sublett
“Smokin’” Joe Sublett moved to Austin in ‘76, joined the Cobras and defined the sound of Austin in the process, but you’ve heard him with the Rolling Stones, Stevie Ray Vaughan, and hundreds of others. Sublett was in Antone’s house band during the club’s 10-year anniversary, backing up icons like Albert Collins and Otis Rush. He currently tours with Taj Mahal & the Phantom Blues Band.

Derek O’Brien
Denny Freeman said much of what’s happened in Austin musically couldn’t have happened without Derek O’Brien. There is perhaps no one more important to the continuation of Antone’s than Derek O’Brien. A producer on most Antone’s Records sessions, house band guitarist for way more than ten-thousand hours, and the de-facto bandleader in any room.


Eve Monsees
Eve Monsees has appeared on Austin City Limits several times along with her childhood friend Gary Clark Jr., with whom she started performing at Antone’s in the late 90s when they were both teenagers. She is currently the co-owner of Antone’s Record Shop.


For entry to Austin City Limits tapings, you agree to abide by the Taping Health & Safety Protocols based on the current COVID-19 Community Risk Stage in effect at the time of the event. By attending the ACL tapings, you agree to the Terms & Conditions.

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Giveaway: Charley Crockett

UPDATE: The giveaway is now closed. Austin City Limits will tape a performance by Charley Crockett on Tuesday, April 1st at 8 pm at ACL Live at The Moody Theater (310 W. 2nd Street, Willie Nelson Blvd). Austin City Limits Taping Giveaways are presented by AXS Events.

Winners will be chosen at random and a photo ID will be required to pick up tickets. Winners will be notified via email. Duplicate entries for a single taping will be automatically voided. Tickets are not transferable and will be voided if sold. Standing may be required. No photography, recording or cell phone use in the studio. No cameras, computers or recording devices allowed in the venue. While we do our best to accommodate all winners, we cannot guarantee admissionThese passes are based on space available therefore you will be filling in spots available on the floor or balcony depending on the tickets that are available when you arrive.


Texas troubadour Charley Crockett made a sensational ACL debut in Season 47 in 2021 and we’re thrilled to welcome him back to our stage with his highly-anticipated new album Lonesome Drifter. After a decade of touring and more than a dozen independent albums under his belt, Lonesome Drifter marks his first for a major label, and will be released by Island Records on March 14. Hailing from the Texas bordertown of San Benito, Crockett has been on a helluva ride, tapping into a rebellious strain of country and defying the odds with a diehard work ethic; grinding from obscurity to garnering millions of streams and headlining some of the country’s most renowned venues, including the Greek Theater, Red Rocks and the Ryman. He capped 2024 with his first Grammy nomination for his acclaimed album $10 Cowboy

Lonesome Drifter was co-produced by Crockett and Shooter Jennings, and recorded at the legendary Sunset Sounds Studios in LA.  “If you can hang on as long as I have, you’ll have some good stories to tell,” grins Crockett. Lonesome Drifter arrives with the single and title track, a slow-burning rocker that finds him telling the tale of a vagabond traveler. “I started writing the song back when I was still playing in subways in New York,” he recalls. “While I was waiting for the next train, I wrote songs. A few years later, I was in California working on the ganja farms, and I came up with the ‘Lonesome Drifter’ section…The burden of becoming a troubadour is you’re standing in a position that gives you a clear perspective of the struggles of humans.” Crockett tips his hat to his Texas roots on the album with a pair of choice covers: “Jamestown Ferry,” made famous by Tanya Tucker, along with George Strait’s country classic “Amarillo by Morning.”


For entry to Austin City Limits tapings, you agree to abide by the Taping Health & Safety Protocols based on the current COVID-19 Community Risk Stage in effect at the time of the event. By attending the ACL tapings, you agree to the Terms & Conditions.

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Giveaway: Sturgill Simpson

UPDATE: The giveaway is now closed. Austin City Limits will tape a performance by Sturgill Simpson on Monday, October 28th at 8 pm at ACL Live at The Moody Theater (310 W. 2nd Street, Willie Nelson Blvd). Austin City Limits Taping Giveaways are presented by AXS Events.

Winners will be chosen at random and a photo ID will be required to pick up tickets. Winners will be notified via email. Duplicate entries for a single taping will be automatically voided. Tickets are not transferable and will be voided if sold. Standing may be required. No photography, recording or cell phone use in the studio. No cameras, computers or recording devices allowed in the venue. While we do our best to accommodate all winners, we cannot guarantee admissionThese passes are based on space available therefore you will be filling in spots available on the floor or balcony depending on the tickets that are available when you arrive.


Passage Du Desir, the highly anticipated new studio album from Johnny Blue Skies, is out today on High Top Mountain Records (stream/purchase). The release marks the beginning of a new era for the artist—after promising to release only five studio albums under the name Sturgill Simpson—and was produced by Johnny Blue Skies and David Ferguson and recorded at Clement House Recording Studio in Nashville, TN and Abbey Road Studios in London, England.

Of the new chapter, Johnny Blue Skies shares, “You can turn the page or you can light the book on fire and dance around the flames. You can try to live above hell or you can just go raise some. Here’s to clean livin’ and dirty thinking.”

Simpson will return to the road this fall for his first full tour in over four years. The extensive “Why Not? Tour” headline run will feature Simpson and his band—Kevin Black (bass), Robbie Crowell (keys), Laur Joamets (guitar) and Miles Miller (drums)—and includes immediately sold-out shows in Los Angeles, Santa Barbara, Chicago (two nights), Oklahoma City, Asheville, Cary and Washington, DC among many others as well as headline festival slots at Outside Lands and Austin City Limits Music Festival. All tickets are now on-sale via sturgillsimpsonlive.com. See below for complete tour itinerary.

Of note, the “Why Not? Tour” has opted out of using dynamic ticket pricing with the intention of doing everything in their power to keep tickets in the hands of fans and out of the hands of scalpers. They are vetting pre-sale sign ups for bad actors, implementing Face Value Exchange (which is now live, FAQ here) and limited platinum ticketing to combat scalpers and out of control prices.

The new album follows the tenth anniversary reissue of Simpson’s Metamodern Sounds in Country Music, which came out earlier this spring. Originally released May 13, 2014, the album marked a career breakthrough for Simpson personally and proved to be a seismic shift-maker within the larger country music genre. The new special edition features a fully reimagined album cover and vinyl package, pressed on 180g Black Vinyl with an “Old-Style” Tip-On Jacket. Ushering in a new chapter within country music and setting the stage for countless other outsider artists to push the genre forward for years to come, the lasting impact of Metamodern continues to be felt today. In a recent piece reflecting on the album’s influence and importance, Marissa Moss writes in Rolling Stone, “Ten years since its release, Simpson’s 2014 masterpiece Metamodern Sounds in Country Music continues to redefine what’s possible in Nashville,” and continues, “Metamodern is an album that shows how the best music can come when you’re respectful of the past but fearless about the future.”

Since his debut, Simpson has released five full-length studio albums—2013’s High Top Mountain, 2014’s Metamodern Sounds in Country Music, 2016’s A Sailor’s Guide to Earth, 2019’s Sound & Fury and 2021’s The Ballad of Dood and Juanita—along with the 2020 projects, Cuttin’ Grass Vol. 1 and Vol. 2. Throughout his singular career, Simpson has relentless pushed against expectations, earning widespread acclaim and countless accolades including a Grammy Award in 2017 for Best Country Album and six Grammy nominations across four genres: country, rock, bluegrass and americana.In addition to his work as a musician, Simpson has acted in film and television, including roles in The Dead Don’t Die, Queen & Slim, Killers of the Flower Moon and The Righteous Gemstones.


For entry to Austin City Limits tapings, you agree to abide by the Taping Health & Safety Protocols based on the current COVID-19 Community Risk Stage in effect at the time of the event. By attending the ACL tapings, you agree to the Terms & Conditions.

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Giveaway: The Avett Brothers

UPDATE: The giveaway is now closed. Austin City Limits will tape a performance by The Avett Brothers on Sunday, October 13th at 8 pm at ACL Live at The Moody Theater (310 W. 2nd Street, Willie Nelson Blvd). Austin City Limits Taping Giveaways are presented by AXS Events.

Winners will be chosen at random and a photo ID will be required to pick up tickets. Winners will be notified via email. Duplicate entries for a single taping will be automatically voided. Tickets are not transferable and will be voided if sold. Standing may be required. No photography, recording or cell phone use in the studio. No cameras, computers or recording devices allowed in the venue. While we do our best to accommodate all winners, we cannot guarantee admissionThese passes are based on space available therefore you will be filling in spots available on the floor or balcony depending on the tickets that are available when you arrive.


Since the start of their massive US tour of nearly 50 dates this spring, summer and fall, The Avett Brothers have remained tireless and gleefully unpredictable in their music, live set and beyond. They released The Avett Brothers, their first new album in five years, while introducing a band of muppet-like puppet creatures called “The Avetts,” which they brought to life alongside the team at Jim Henson’s company. They also appeared on The Tonight Show Starring Jimmy Fallon, Jimmy Kimmel Live!, CBS Saturday Morning and NPR’s All Things Considered, and announced that their musical Swept Away will soon open at Broadway’s Longacre Theatre, with tickets on-sale now and performances beginning October 29th. 

On the heels of playing Forest Hills Stadium in NYC, and LA’s SoFi Stadium with Luke Combs, The Avett Brothers are on the road for dozens of more shows across the country from now through November. Find the list of upcoming dates below and tickets at theavettbrothers.com/tour, featuring support from Melissa Etheridge, G. Love & Special Sauce, Trampled by Turtles, Sammy Rae & The Friends, Houndmouth and Jamestown Revival.


For entry to Austin City Limits tapings, you agree to abide by the Taping Health & Safety Protocols based on the current COVID-19 Community Risk Stage in effect at the time of the event. By attending the ACL tapings, you agree to the Terms & Conditions.