Chris Thile – lead singer and mandolinist of the genre-busting band Punch Brothers, who will tape a show for us on May 1 — is no stranger to the Austin City Limits stage. The virtuoso musician has appeared twice with his former band Nickel Creek and once in Dolly Parton’s backup band. The Grammy–nominated Punch Brothers, which Thile formed six years ago, has released three albums, most recently Who’s Feeling Young Now?, and is currently on a sold-out US tour. The quintet’s boundary-less mix of indie-rock, bluegrass, classical music, jazz, folk, and pop has attracted critical acclaim, a slot opening for Paul Simon, two songs on the new T Bone Burnett–produced Hunger Games album, and a loyal, growing audience, including fellow musicians like Steve Martin, Elton John, and Marcus Mumford. We’re pleased to welcome the Punch Brothers to Austin City Limits.
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Austin City Limits was thrilled to kick off our 43rd taping season with the legendary rock & roll band The Pretenders, streamed live around the world. Led, as always, by singer/songwriter/guitarist Chrissie Hynde, the band blazed through a catalog packed with hits and favorites, stopping along the way to sample the group’s latest LP Alone as well.
In that vein, the Pretenders opened the show with the rollicking title track, guitarist James Walbourne and steel player Eric Heywood trading licks like Keith Richards and Ron Wood, and Hynde singing the paean to singlehood with confident swagger. Hynde donned her trademark Telecaster for the pounding “Gotta Wait,” original drummer Martin Chambers bashing his kit like a jackhammer. His shift to a glam rock beat signaled the first classic, as Hynde led the band into the indelible rocker “Message of Love,” from the band’s second record II. “You don’t have to be polite, as we don’t plan to be,” she asserted. Then it was into the dub reggae-flavored “Private Life,” another hit and one that highlighted how good her voice still sounds, nearly 40 years into her career. The band then dipped into Stockholm, Hynde’s 2014 solo album, recasting “Down the Wrong Way” as a Pretenderized rocker. Rhythm section Chambers and bassist Nick Wilkinson then took a break, as Hynde crooned Meg Keene’s lovely ballad “Hymn to Her,” recorded for the Pretenders’ fourth album Get Close.
Reclaiming her Telecaster, Hynde hit the instantly recognizable chord of “Talk of the Town,” bringing the audience to their feet. They stayed there for that other rhythm guitar-centered hit, “Back On the Chain Gang” – both songs proven, timeless classics. The group ventured back into ballad territory with “I’ll Stand By You,” the top 20 hit from the mid-90s’ Last of the Independents that really showcases Hynde’s spectacular singing. She then lightened the mood, asking “Do you feel like dancing?” before the sprightly pop song “Don’t Get Me Wrong.” To the crowd’s delight, the band reached all the way back to 1979 for “Stop Your Sobbing,” the Kinks cover that served as the first Pretenders single. After commenting on the group’s time in Austin, including a shout-out to longtime Austin music fixtures Charlie Sexton and Willie Nelson, Hynde led them into the loping, bass-driven fan favorite “My City Was Gone.” The Pretenders then extracted a truly deep cut from its self-titled first LP, rolling through the shoulda-been-hit “Mystery Achievement,” before closing out the main set with a pulse-pounding rip through the hit “Middle of the Road” that left the audience on fire.
For the encore, the band returned to the latest album Alone with the shimmering “Let’s Get Lost” and subtly defiant “I Hate Myself.” Then it was back to rocking with “Up the Neck,” an unheralded blaster from the band’s first album. Speaking of which, the band went back for the only song that could end a set this hit-packed: “Brass in Pocket,” the early single that marked the Pretenders as a major band in three minutes. Hynde encouraged the audience to come to the lip of the stage, even bringing a member onstage to serenade. The crowd went as wild as one might expect, the band quitting the stage to rapturous applause. It was a great set, and we can’t wait for you to see it when it airs this fall on your local PBS station.
Austin City Limits showcases left-of-center country with Kacey Musgraves and Lukas Nelson & Promise of the Real in a new episode. Two-time Grammy Award-winning Kacey Musgraves returns for the first time since her 2014 appearance and roots rocker Lukas Nelson and his band Promise of the Real make their ACL debut.
One of country music’s most critically acclaimed singer-songwriters, Kacey Musgraves returns to the ACL stage with songs from Golden Hour, her third album, and a career highlight. The release has generated glowing reviews and recently earned a coveted Album of the Year nomination from the Country Music Association for the upcoming CMA Awards (on November 14), along with a nod for Musgraves as Female Vocalist of the Year. With a sequin-studded saddle suspended over the stage, the boundary-pushing country artist delivers a radiant seven-song set showcasing Golden Hour, opening with the lush “Slow Burn,” an introspective stunner reflecting the more personal direction of her latest collection. The East Texas native made a name for herself with her piercing observations and irreverent brand of country and reaches back to her 2013 breakthrough for the fan-favorite “Follow Your Arrow,” letting the crowd take over on the final verse. “Get on your roller skates Austin,” she instructs the rapt audience for the disco-fied set-closer “High Horse,” as Musgraves treats the crowd to some smooth moves, turning the ACL stage into her very own dance floor.
After more than a decade on the road barnstorming across the U.S.A. and around the world, Lukas Nelson & Promise of the Real have developed into one of music’s most impressive live acts, earning a 2018 Group of the Year nomination from the Americana Music Awards. The band’s sound draws on many of Nelson’s influences including his own father, outlaw country icon Willie Nelson, and Neil Young, with whom the band has regularly toured and recorded in recent years. In their ACL debut, the six-piece outfit delivers on their promise with a powerhouse set filled with songs from their acclaimed self-titled album. Opening with the fierce rocker “Something Real,” the band showcase their bona fides segueing seamlessly into country heartbreaker “(Forget About) Georgia.” The Austin-born Nelson performs a sterling solo acoustic “Just Outside of Austin,” a crowd-pleaser steeped in the Texas singer-songwriter tradition, before closing out the set with the stirring social anthem “Turn Off the News” for a memorable ACL debut.
photo by Scott Newton
“Both Kacey Musgraves and Lukas Nelson & Promise of the Real represent the new generation of Country and Americana music,” said ACL executive producer Terry Lickona, “but their talents really transcend those traditional labels. What they both have in common is attitude – and lots of it!”
Tune in this weekend for this episode, and, as always, check your local PBS listings for the broadcast time in your area. Go to the episode page for more info, and don’t forget to click over to our Facebook, Twitter and newsletter pages for more ACL info. Join us next week for a brand new episode featuring progressive soul artist Janelle Monáe.
Somehow, it’s been twenty years since country rock eclecticians the Mavericks last appeared on Austin City Limits. Fortunately, that’s changed with the band’s third taping, an audience-free taping due to the Covid-19 pandemic. This was a special show not only due to the combo’s long-overdue return, but also because the group showcased its daring, critically-acclaimed first-ever Spanish-language album En Español. There’s always been a Latin side to the Mavericks’ freewheeling musical personality, and this show allowed them to indulge in it more overtly, much to everyone’s delight.
Taking the stage in a semi-circle, the expanded band (horns, accordion, percussion, plus backing vocalist Lisset Diaz from Cuban rock band Sweet Lizzy Project) began the show with “La Sitiera,” a ballad perfect for lead singer Raul Malo’s powerful, Roy Orbison-esque vocals. Malo switched from his Jazzmaster to a nylon-string guitar for the Latin-folk rocking “Recuerdos.” The band then went back to electric guitars and English vocals for “Back in Your Arms Again” and “Easy As It Seems,” danceable songs that clearly take some inspiration from the Tex-Mex rock & roll in the Lone Star State in the sixties. Malo’s big smile after concluding the latter helped make up for the lack of audience feedback. The group then went back to En Español for “Mujer,” a delightful Latin pop tune, before covering Mexican star Juan Gabriel’s frisky “No Vale La Pena,” highlighted by Michael Guerra’s rippling accordion. Malo switched back to English for the slinky fan favorite “Every Little Thing About You,” which was spiced by lead guitarist Eddie Perez’s fiery fretwork.
The band then left the stage, leaving Malo alone to sing a song “so connected to this place” – the Willie Nelson classic “Blue Eyes Crying in the Rain” – a song tailor-made for Malo’s smooth croon. As was “Me Olvidé De Vivir,” an early Julio Iglesias tune (and favorite of Malo’s grandfather) made the Mavericks’ own in a folky arrangement. Diaz featured on heavenly harmony vocals for “Cuando Me Enamoro,” a lush number she co-wrote with Malo, and the hip-swaying “Come Unto Me,” a live favorite with dueling guitar and accordion solos from Perez, Malo and Guerra. The Mavericks closed the set with the rollicking “As Long As There’s Loving Tonight,” frosted with rockabilly rhythms, Jerry Dale McFadden’s pumping piano, back-to-back-to-back horn solos, Guerra’s spicy squeezebox and Malo’s ever-boisterous singing. That high-energy closer earned a round of applause from our crew, as well as some off-camera wag’s cheeky comment, “OK, good rehearsal, guys!” It was a hell of a closer, and we can’t wait for you to see the hourlong broadcast airing November 21 as part of our upcoming Season 46 on your local PBS station.
Austin City Limits is thrilled to announce a pair of July tapings for our Season 51: on July 8 we welcome the acclaimed, genre-blending indie pop band The Marías, making their ACL debut with songs from their sophomore release Submarine; and on July 10 celebrated country artist Kelsea Ballerini takes the ACL stage in her first-ever appearance with songs from her latest album Patterns.
Photo credit: Jaxon Whittington
The Marías are the psychedelic-soul lovechild of Puerto Rican-bred, Atlanta-raised María Zardoya and Los Angeles native, Josh Conway. The pair are joined by their closest friends, Jesse Perlman on guitar and Edward James on keys. The Marías’ undeniably intuitive musical chemistry is evident in their smooth blend of jazz percussion, hypnotic guitar riffs, smoke-velvet vocals and nostalgic horn solos. There’s something irresistibly sensual in their dreamlike fusion of jazz, psychedelia, funk and lounge. Since the 2021 release of their critically acclaimed debut, Cinema, which paid homage to their early days of writing for film and television, the Marías have earned countless accolades and collaborations with some of the biggest names in Latin music, including Bad Bunny and Tainy. Their highly anticipated follow-up, Submarine, represents the next phase of their fascinating sonic journey. Stepping back into the psychedelic indie rock roots that defined their 2017 breakout EP, Superclean, the recent album delivers on a feeling of nostalgia, a sense that you’ve been here before but the geography has evolved. The cinematic swells of their debut have been traded for a sonically matured return to form for an album that Josh calls the “bookend to their trilogy.” A study in aloneness, the evocative ache of Submarine feels, at times, inescapable, as one is faced with what it means to choose solitude, and the pain and beauty so inextricably interwoven within it. It embodies the grief in something as innately human as separation. María’s hypnotic vocals transport listeners to a place of solitude and exploration. The detail that defines their cinematic style off-stage is brought to life during ethereal live performances as the group delivers striking visuals that beautifully complement their dreamy songs, creating an indisputably unique and transportive experience. This bespoke live Submarine show was on full display to rapturous audiences in buzzed-about sets at 2024’s ACL Fest and their recent Coachella appearances. The Marías are currently on a sold-out extended U.S. headlining tour with upcoming festival dates including Lollapalooza, Shaky Knees, and All Things Go.
Photo credit: Catherine Powell
With a revelatory album, an arena-headlining tour, and a 2025 nomination for the CMA Awards’ top honor of Entertainer of the Year, Kelsea Ballerini is having a moment. A beloved artist known for sparkling live performances, the country hitmaker has had a remarkable decade-long run since arriving on the Nashville scene with her 2015 debut album, The First Time. Ballerini had hit singles right out of the gate, becoming the only female country artist to hit #1 with the first three consecutive singles from a debut album. This history-making feat earned her a Best New Artist Grammy nomination. With seven #1 singles and 36 certifications from the RIAA to date, her catalog boasts a string of essential smashes. Ballerini’s fourth album, Subject To Change, arrived in 2022. The gold-certified first single, “Heartfirst,” earned her a Grammy nomination for “Best Country Solo Performance.” She went on to surprise fans five months later with the release of the intimate six-song Rolling Up the Welcome Mat, which resonated with audiences and earned her a Grammy nomination for Best Country Album. Rolling Up the Welcome Mat, along with an accompanying short film written and directed by Ballerini, marked the multi-platinum star’s most honest work to date and led to her Saturday Night Live debut, universal acclaim from critics including The New York Times, Variety, Rolling Stone, as well as the honor of gracing the cover of TIME Magazine. Her latest critically acclaimed Patterns, her fifth studio album, debuted in the fall of 2024 and topped the Country Albums chart and reached number four on the Billboard 200. The album found Ballerini purposefully surrounding herself with women, along with producer Alysa Vanderheym, and collaborators Jessie Jo Dillon, Karen Fairchild, and Hillary Lindsey. On the album she enlisted Best New Artist GRAMMY nominee Noah Kahan to appear on the tender and beautifully crafted RIAA certified-Gold, CMA Awards-nominated “Musical Event of the Year” and GRAMMY-nominated “Best Country Duo/Group Performance” – single “Cowboys Cry Too.” Most recently, she wrapped up her 35-date Kelsea Ballerini Live On Tour, performing in arenas across the country. Among dozens of accolades thus far, Ballerini has garnered five GRAMMY nominations, won two ACM Awards, picked up two CMA Awards, took home the iHeartRadio Music Awards honor for Best New Artist, and received multiple career nominations from the ACM Awards, American Music Awards, CMA Awards, CMT Awards and People’s Choice Awards. Ballerini was also inducted as a member of the famed Grand Ole Opry in 2019. At the time, she notably became the Opry’s youngest member in its nearly 100-year history. With these accolades, it is no wonder NPR proclaimed, “Kelsea Ballerini is definitely one of the most influential women in country right now… she’s defining the sound of the genre.”
Want to be part of our audience? We will post information on how to get free passes a week in advance of each taping. Follow us on IG and Facebook and X for notice of postings. The broadcast episodes will air this fall on PBS as part of our upcoming Season 51.
Austin City Limits celebrates the best in Americana music today, with The Lumineers and Shovels & Rope making their ACL debuts. Denver’s Lumineers perform their breakthrough hits including “Ho Hey” and “Stubborn Love,” while Charleston, South Carolina’s Shovels & Rope perform songs from their acclaimed debut O’ Be Joyful. The new episode, part of ACL’s just-launched Season 39, premieres October 19th.
The broadcast offers a deeper look at two acts that have been receiving well-deserved attention for their recent releases. Leading off the hour is The Lumineers, a folk-rock trio that play traditional but original heart-on-the-sleeve music. Of the band The Austin Chronicle writes, “There’s nothing precious or affected here, just three dedicated artists opening their hearts.” The group’s breakthrough hit “Ho Hey” was one of the most-played songs of 2012, earning them a performing slot on 2013’s Grammy Awards telecast, in addition to two Grammy nominations for Best New Artist and Best Americana Album. The Lumineers’ uplifting ACL debut is filled with heart-swelling stomp-and-clap acoustic rock, classic pop and front-porch folk. Their set includes an inspired take on a Dylan classic, while the tambourine driven beat of “Ho Hey” brings the crowd to its feet and the performance closes with a crowd sing-along on “Stubborn Love.”
“There’s more to The Lumineers than just the song that seemed to have the whole world singing along to this year,” notes executive producer Terry Lickona. “There aren’t many bands that can engage an audience the way they do, and watching their ACL performance is the next best thing to being there.”
photo by Scott Newton
The second half of the episode introduces Shovels & Rope, the husband and wife roots duo of Michael Trent and Cary Ann Hearst. The dynamic pair channel country, bluegrass and blues to create folk music with raw energy. The NY Times raves, “While they are country, there is an edgy, punk, raucous side to go with their beautiful harmonies.” NPR agrees, “Seeing Hearst and Trent perform live together—as they conjure images of country-singing couples like Johnny Cash and June Carter Cash—renders them almost impossible to resist.” The first-time nominees were big winners at this year’s recent Americana Music Awards, taking home top honors for Emerging Artist of the Year and Song of the Year. The couple’s creative chemistry is on display in their ACL debut, an irresistible performance that’s a potent mix of Southern gothic and country rock and deftly showcases their soulful harmonies.
“It doesn’t get more basic than Shovels & Rope,” says Lickona, “but they rock out more than a stage full of musicians, and there’s something refreshingly authentic about their live performance that just makes you feel good.”
