Austin City LimitsUPDATE: Ticket giveaway is over and winners have been notified by email.
Austin City Limits will be taping a performance by Alabama Shakes on Tuesday, March 13, at 6 pm at ACL Live at The Moody Theater (310 W. 2nd Street, Willie Nelson Blvd). We will be giving away a limited number of space available passes to this taping. Enter your name and email address on the below form by 9 am Friday, March 9. Passes are not transferable and cannot be sold.
The Tom Waits episode of Austin City Limits is one of the most requested shows in our 37-year archive. In the spirit of the holiday season, we’ve put this Season 4 delight back on the air for the first time in over a decade. Tune in this Saturday 12/24 – that’s right, Christmas Eve – to see this classic episode once again.
Recorded in December 1978, the show came in through the back door, so to speak. Terry Lickona, who became producer in Season 4, was trying to book singer Leon Redbone. Redbone and Waits shared a manager, who promptly requested that Terry book his other client as well. In order to make sure the Redbone show happened, Terry agreed, even though he was nervous that the roots-oriented audience ACL had already built in its previous three seasons might think that Waits’ avant-garde gutter poetry was too radical for the show.
The rest is, well, you know the cliche. Supporting his classic LP Blue Valentine (but aren’t they all classics?), Waits was deep in the transitional phase of his career, evolving out of the jazzy beat poetry of his early work (“I Wish I Was in New Orleans”) and into the bluesier, more dissonant sounds (“Sweet Little Bullet From a Pretty Blue Gun”) for which he became known in the 80s and beyond. He acknowledged the season with the streetwise but lovely “Christmas Card From a Hooker in Minneapolis,” which incorporates a few bars of a better-known Xmas hymn. And he debuted “On the Nickel,” one of his greatest ballads, and which wouldn’t be released on record until Heartattack and Vine in 1980.
Tom Waits “Silent Night / Christmas Carol From a Hooker in Minneapolis” from Austin City Limits on Vimeo.
You can check out the episode page for pics, the set list and the original liner notes for the episode. Don’t forget to visit our Facebook and Twitter pages and/or sign up for our newsletter for the latest news on ACL happenings, or to go to our Tumblr blog for a look back at ACL’s photographic past. Next week: our New Year’s Eve blowout with Coldplay!
When it comes to reggae, Jimmy Cliff whose episode of Austin City Limits encores this Saturday, 2/11, is indistiputably one of the greats. He first found fame as a teenager, with a string of hit singles in his native Jamaica. By the late 60s, reggae was spreading beyond Jamaica’s borders and Cliff became one of its first international stars with “Wonderful World, Beautiful People” and “Vietnam,” which Bob Dylan called “the best protest song I’ve ever heard.” In 1972 Cliff starred in the acclaimed film The Harder They Come, writing and singing the hit title song. Other Cliff compositions like “Many Rivers to Cross” and “You Can Get It If You Really Want” have also become often-covered, much-loved reggae standards. Cliff continues to record and tour all over the world, collaborating with Sting, the Clash’s Joe Strummer, Kool & the Gang, Wyclef Jean and the Rolling Stones along the way. As popular now as he ever was, Jimmy Cliff is the face of reggae, as you’ll see for yourself this Saturday – check your local PBS listings for the broadcast time and channel.
Jimmy Cliff at ACL: Behind The Scenes from Jonathan Jackson on Vimeo.
Head over to theepisode page for more information and some cool photos. Don’t forget to visit us regularly on Facebook, Twitter and this very blog for the latest and greatest ACL news, and check our excellent Tumblr blog for some cool photographic blasts from the past. Next week: Steve Martin & the Steep Canyon Rangers, followed by hometown heroine Sarah Jarosz.
When we recorded Coldplay for their second episode of Austin City Limits, we knew we had a special show on our hands. So we decided to expand our usual 60-minute show into a 90-minute special to celebrate New Year’s Eve, and we‘re thrilled to share the entire show – airing this December 31st at 11 p.m. – with the world. That’s right – the entire show, with no songs cut. There were a few nips and tucks in editing, of course, as there always are. But every song on the setlist is included, from the quintessential hits “Viva La Vida,” “Clocks” and “Yellow” to new classics “Paradise,” “Charlie Brown” and “Every Teardrop is a Waterfall.” And since this is a New Year’s Eve celebration, you’ll want to stick around until midnight for the traditional NYE countdown. (Not that you’ll want to change channels before then. Or afterward, for that matter.)
Coldplay “Paradise” from Austin City Limits on Vimeo.
Check out the episode page for more details – pics, setlist, etc. Visit our Facebook and Twitter pages to leave comments on the show, not to mention catch up with the latest doings in ACL world. (You can sign up for the newsletter for the latter as well.) Visit our Tumblr blog for a photographic trip down memory lane. Next week: another new episode, featuring The Head and The Heart and Gomez.
It’s one thing to be a band that is cited to be a heavy influence for both rock and alt rock bands alike during the late 80s and early 90s such as Guns N’ Roses, Pearl Jam, Weezer, Foo Fighters, Smashing Pumpkins, and countless others. It’s an entirely different argument to continue to be a relevant band that still tours (39 years and counting) while simultaneously being one of the most covered bands all time. Hits such as “I Want You to Want Me” and “Surrender” have been featured on many commercials and soundtracks and played countless times, yet every time we hear Robin Zander sing out some of the most recognized song lyrics of our time, we can’t help but stop and give it our full attention.
Cheap Trick could have easily slid into the land where bands go to retire and after a stagnant period of time (and with the right monetary offer) return for a reunion tour, but that has never been an option for this group. They simply don’t see the need to quit. Rick Nielsen once likened their music to a coffee table book in the way that it seems to have an immediate impact for each person who comes in contact with it. Every album they have adds to the diversity of this “book” in a way that can connect with many different types of people on several levels. This couldn’t have developed had they quit years ago and it’s a process that gets better with time.
Speaking of time, it seems to have barely touched their live performance. You won’t see four aging men playing stale hits when you tune in to this Saturday’s encore episode. Whether it’s Tom Petersson rocking out on a 12-string bass with a bedazzled peacock adorning the body or Nielsen throwing out at least 100 picks into the audience all while dancing in front of black and white checkered amps, the group made sure to put a dent on their Austin City Limits debut in 2010.
Be sure to check your local listings for show times and you can find more clips and information about their taping here. This is an encore episode you won’t want to miss.
For its debut ACL taping The War On Drugs lived up to the critical acclaim that’s been showered upon them since their 2011 breakthrough Slave Ambient. Drawing mostly from last year’s Lost in the Dream, widely praised as the Philadelphia band’s best so far, topping critics year-end Best lists, TWOD performed a strong set of its patented blend of spacey psychedelia and classic rock to an adoring audience.
Starting with a hazy synth intro, the sextet eased in “Under the Pressure,” also the first song on Lost in the Dream. Over a driving motorik rhythm, leader Adam Granduciel overlaid Dylanesque vocals and tasteful guitar solos, painting a vibrant picture that coaxes attention instead of demanding it. TWOD worked that formula even more successfully on “Red Eyes,” “Baby Missiles” and the midpoint anthem “An Ocean Between the Waves,” crowd-pleasers all. The band didn’t stick only to that groove, however. “Disappearing” added an almost disco rhythm to the drumming, giving the song its own buoyancy. “Lost in the Dream” and “Eyes to the Wind” worked more dynamic melodies, adding a certain wistfulness to the vibe, even as Granduciel traversed his fretboard. TWOD combined everything into “In Reverse,” the penultimate tune that served as the set’s climax.
Following that peak, the band closed by taking the crowd into the lush green valley of “Suffering,” the cathartic ballad pushing us gently into the good night. Eschewing the Big Rock Finish was the perfect way to bring this stunning, shimmering show to an end. We hope you’ll feel the same when this episode airs this fall on PBS.