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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.

Categories
Featured News

George Jones R.I.P.

We here at ACL were shocked and saddened to learn of the death of George Jones this morning at the age of 81. Few country singers had as big an impact on the genre as Texas native Jones, whose career includes such iconic hits as “White Lightnin’,” “She Thinks I Still Care,” “The Race is On” and, of course, the immortal “He Stopped Loving Her Today.” He had a big impact on us as well, appearing on the show in 1981, 1986 and 1990.

“George Jones ranks right up there with Hank Williams in my book as one of the all time greatest country singers,” says ACL executive producer Terry Lickona. “He was the first major country star I booked in my third year as ACL producer, when he and his voice were in their prime. It was an uplifting, breathtaking performance.”

May he rest in peace.

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Featured Gear Blog

Gear Blog: Wilco

The Gear Blog is a behind-the-scenes look at the instruments and equipment that graces the Austin City Limits’ stage. Our Audio Engineer Kevin Cochran goes in-depth to give our audiophiles their fix.

All sound engineers will eventually fall into one of two categories of temperament after a certain amount of time within the business. The type A that will occasionally succumb to stress at some point and become…difficult to deal with. And the type B who has seen it all, knows that there are worse problems in the world than a noisy line or a wrong patch, and just deals with it like a jujitsu move. I’ve learned the value of grace under pressure from Wilco’s long time front of house engineer, Stan Doty.

Stan is my favorite engineer to work with at any ACL shoot. Period. He has run front of house sound for all three of Wilco’s ACL tapings and once Guided By Voices (one of my all time favorite episodes). Not to lay it on too thick, but the way he carries himself under pressure is something I’ve tried to emulate, especially since moving to our new digs.

Stan used a Midas Heritage 3000 console for Wilco’s mix. There have been plenty of pictures of those in past blogs, so let’s just look at the outboard gear that he brought along this time.

photo by Kevin Cochran

For vocals Stan puts Jeff Tweedy and John Stirratt through a dual channel Summit Audio tube compressor… usually. At the time of the taping, one channel was acting up and John’s vocal was put through a dbx compressor at the bottom of the rack. See, jujitsu. Acoustic guitars, piano, and keys are processed through BSS DPR-402 and 404 compressors; drums, bass, and effects are sent to dbx 1066 gate/comps.

photo by Kevin Cochran

The FOH (front of house) mix is sent through four Klark Teknik equalizers. The top two are the stereo left and right mix that are also split to the side fill stereo speakers. “F” stands for front fills (smaller speakers on stage that usually just have vocals and lead instruments sent to them) and “S” is for subwoofers. At the bottom of the rack are T.C. Electonics D Two and a 2290 delay followed by a pair of Yamaha SPX-990s.

photo by Kevin Cochran

Monitors mixed with a Digidesign Venue.

photo by Kevin Cochran

Pat Sansone’s guitar world was off of stage left with a collection of Telecasters and acoustics. On the right are Stirratt’s basses.

photo by Kevin Cochran

Sansone’s keyboard setup is a Nord and Korg CX3. The silver keyboard is a Korg M3. Sansone was also responsible for the broadcast mix of Wilco’s episode.

photo by Kevin Cochran

 

photo by Kevin Cochran

Sansone’s guitar pedal board. An A/B pedal switches between a Reeves amplifier and Marshall MK series combo.

photo by Kevin Cochran

Jeff Tweedy’s acoustic pedal board just consists of an Electro Harmonix Holy Grail Reverb, a volume pedal, and the ubiquitous Boss TU-2 tuner.

photo by Kevin Cochran

Tweedy’s electric guitar amps are a Texosound Bernie Colin Cripps and a Vox AC 30 with a Radial Switchbone switcher. Jeff also used a Fender Acoustic amp.

photo by Kevin Cochran

John Stirratt’s bass rig is two Ampeg cabinets fed by a custom head built by Chicago amp maker Tim Schroeder.

photo by Kevin Cochran

Glenn Kotche’s kit. Nice faux wood panel finish and artwork on the kick drum head.

photo by Kevin Cochran

Mikael Jorgensen’s stage right key world includes a Hammond organ and a Nord synth and a variety of special effects.

photo by Kevin Cochran

A wonderfully out of focus picture of Tweedy’s guitar pedal board. For some reason, everything relating to Jeff’s equipment was out of focus that day.

photo by Kevin Cochran

Nels Cline amp is a Schroeder DB7 head going into a vintage Marshall cabinet. The DB7 was designed with Cline’s input.

photo by Kevin Cochran

Nels’ effects are too many to account for individually. The most interesting ones are the almost mythical Klon Centaur overdrive, Digitech Whammy, and my favorite pedal in the world: the Boss VB-2.

photo by Kevin Cochran

Nels Cline’s talent as a musician is that he can jump into noisy avant-garde cacophony or incredibly restrained, understated playing with equal proficiency. That’s very rare and demonstrates not only skill but taste. For the more noisy, outlandish adventures, Nels has this table to his right with a smattering of glass slides, Electro-Harmonix delays and effects, and a Korg Kaos pad.

photo by Kevin Cochran

Hmm… another out of focus picture. Tweedys acoustics are a collection of Martins and
Gibsons, one of which produced a special buzz that made me think we’d blown a speaker. Stan notified me that this happens all the time. For electrics, Tweedy mainly uses Gibson SGs including his own signature model. I love that finish.

photo by Kevin Cochran

photo by Kevin Cochran

Nels is mainly known for playing a well worn vintage Fender Jazzmaster once belonging
to Mike Watt. Watt even carved his name into the guitar and it still bears his mark. Cline would sometimes switch between a Telecaster and double neck Jerry Jones with 6-string and 12-string necks.

However, the special guest of the show (other than Nick Lowe) was Duane Allman’s gold Les Paul guitar on loan from Georgia’s Music Hall of Fame. Unfortunately, I couldn’t snap a picture of this one before the show. Thanks to Charlie Richards for the link.

This show was the last taping in our new studio for season 37. It was a grueling year with a high learning curve and having a band like Wilco, who has been a great friend of Austin City Limits, was a nice end to a tough season. Getting to work with a fantastic road crew like Wilco’s made the season finale all the sweeter (and easier).  I’ll talk about the historic studio 6A and the new place in future posts.

Categories
Featured Gear Blog News

Gear Blog: Stevie Ray Vaughan’s Number One

In honor of iconic Texas guitarist and ACL veteran Stevie Ray Vaughan’s birthday today, our intrepid FOH mixologist and gear blogger Kevin Cochran turned in this report on the instrument also known as “the Wife.” 

As far as guitars go, only a handful are as iconic (and synonymous of their players) as Stevie Ray Vaughan’s Number One guitar. A centerpiece of the Texas State History Museum’s Texas Music Roadtrip, this is the first time this instrument has been seen by the public since Stevie Ray’s death in 1990. Vaughan made two appearances with “the Wife” on Austin City Limits: the first time in 1983 and again in 1989.

After snapping this picture, I was chastened by security that no photography was allowed inside the exhibition. As I’ve learned in the past, it only takes once to run afoul of museum muscle and then they’ll follow you around for the rest of your stay. It’s a bit of a chore trying give your full attention to the next exhibit when the security guard  is only a few feet away giving you his full attention. In this case, it was totally worth it.

Number One is a “ragged American Stratocaster with 1959 pickups, a ’62 neck, and a ’63 body, reveals upon inspection a brutally worn finish, upside-down tremolo bar, cigarette-burnt headstock”. Vaughan acquired this instrument in 1974 from Ray Hennig’s Heart of Texas Music. When Vaughan took possession of Number One, it was already well worn. What is not as well known is that its previous owner was was another celebrated Texas musician,Christopher Cross. Hennig tells quite a story. As I’ve heard the tale, Cross wanted something “beefier” and traded the Stratocaster for a Les Paul. Stevie had already had a loaner guitar from Hennig, who was pleased to trade it for Cross’ guitar since it was in much better condition.

The original tri-colored sunburst finish has been eroded away by the rigors of years of heavy touring and Stevie’s abusive playing style. A closer inspection of the body will reveal gouged indentation of the wood above the pickguard from repeated contact of Vaughan’s guitar picks. Not just nicks and scrapes, but a deep dent that exposes the bare wood. The vibrato was swapped from the nominal set up of a right-handed player, to left-handed so that that Stevie could emulate Jimi Hendrix’s more exotic techniques. Repairs were needed quite often as Vaughan would break whammy bars and wear down frets on a regular basis. Charley Wirz and Rene Martinez are credited with most of the repairs for Stevie’s instruments.

Because of frequent refretting, the original neck became unplayable by the late ‘80’s and was swapped with the neck of another guitar in Vaughan’s stable, Scotch. Ironically, just a month before his death, a piece of stage rigging fell on Number One and snapped the neck at the headstock. It was the Scotch neck and not the original that was destroyed. Martinez acquired a replacement from Fender and Stevie was without the use of his favorite guitar for only one show. After Stevie Ray’s death, Rene replaced the new neck with Number One’s original and the guitar was given back to Stevie’s family. It now belongs to Stevie’s brother, Jimmie.

If you look closely at the photo, you can see Jimmie Vaughan’s guitar behind Number One. I didn’t get chance to grab any pictures of that guitar. It is a 1963 Stratocaster  (according to the exhibit placard) with a Schecter maple neck (sporting a Fender decal on the headstock) and a salacious girly sticker on the back of the body.

Categories
Featured Gear Blog News

Gear Blog: Sarah Jarosz and The Milk Carton Kids

We hope everybody enjoyed this weekend’s episode featuring Sarah Jarosz and The Milk Carton Kids. If you missed it, you can catch it here. In the meantime, our longtime audio support guy and intrepid gear reporter gives us a new installment in our Gear Blog series, featuring the equipment onstage with these solely acoustic acts. Take it away, Kevin. 

Sarah Jarosz is no stranger to the viewers of PBS affiliate KLRU (home of Austin City Limits). Many Austinites recall being introduced to a barely teenage Sarah in a segment on the local children’s show The Biscuit Brothers. Even by then she was already a fixture of the Central Texas bluegrass and folk scene. Sarah released her first album at 17, then headed Boston to study composition at The New England Conservatory and found time to record and tour during her studies. This is Sarah’s second appearance on ACL – she made her first ACL appearance in Season 36 with Steve Martin.  Nathaniel Smith (cello) and Alex Hargreaves (mandolin and fiddle) also mark their return with Sarah.

Sarah brought a Collings  D1 dreadnought acoustic guitar and MF5 mandolin. Fortuitously, Sarah and the Collings factory both hail from Wimberly, Texas.

Sarah also brought what looks like a custom built “Burning Sun” banjo built by Blanco, Texas piano restorer Bernard Mollberg.  The esoteric instrument to the right is an octave mandolin crafted by Fletcher Brock of Seattle, Washington.

All instruments on stage run to their own pickups into their own dedicated Radial Tonebone PZ-Pres and then into the PA.

Hailing from Eagle Rock, California, Kenneth Pattengale and Joey Ryan formed, The Milk Carton Kids in 2011 – after years of paying  dues as solo artists, they were hailed as an overnight sensations as a duo. Whereas Ms. Jarosz and company avail themselves of a more modern technology to amplify their acoustic instruments, Ryan and Pattengale go the old-fashioned route and use microphones exclusively to project the sound of their voices and instruments. For the taping, MCK brought their own preferred setup of Ear Trumpet Lab microphones. Below you’ll see a couple of pictures of a far more complicated set-up than what was used at the actual taping. For the recorded show, “the less is more” approach was decided and a single microphone was used. Though one microphone makes life simpler (or probably more complicated) for the sound guys, it necessitates a more dynamic approach to performing for Kenneth and Joey, meaning they have to physically move toward and away from the microphone as their musical parts dictate. That’s quite an accomplishment of technique that is rarely seen these days.

Pictured are the Edwina models for vocals and the Ednas placed lower for the guitars. Though they may look ancient, Ear Trumpet Lab mics are quite contemporary, extremely versatile, and very affordable.

Joey plays a 1951 Gibson J-45, pictured below. Kenneth plays a 1954 Martin 0-15.

Categories
Featured Gear Blog News

Gear Blog: Radiohead

The Gear Blog is a behind-the-scenes look at the instruments and equipment that graces the Austin City Limits’ stage. Our Audio Engineer Kevin Cochran goes in-depth to give our gearheads some insight.

The producers of ACL are always refining and building a wish list of artists they hope to nab to appear on the show. They keep an eye on upcoming album releases and touring schedules between early March through late November, our shooting window, so that we can catch a performer in top form when they hit Texas. Some artists are obvious choices and others are favorites of a particular producer who must lobby (sometimes for years) to prevail upon the powers that be to book a taping.

Some acts clamor to play Austin City Limits. But there are others that seem like a long shot. When I heard that the “ask” for Radiohead had been made, I had my doubts. The five piece from Abingdon, Oxfordshire guards their image fiercely and hold celebrity and exposure at arms length. Their American broadcast appearances have either been late night talk shows or awards ceremonies, giving only a glancing view of their live proficiency. So when I heard that the band had been booked, I was excited but surprised. But then again, a band like Radiohead thrives on surprise.

Once again, Jim Warren plopped his Venue in front of house, this time bringing along Sherif El-Barbari to help tune the room with Lake processing. Sherif was extremely thorough and the end result is what you would expect one of the world’s largest bands to sound like.

photo by Kevin Cochran

 

photo by Kevin Cochran

 

photo by Kevin Cochran

 

photo by Kevin Cochran

Radiohead’s monitors were d&b audiotechnik processed by d&b D12s. Monitor mixes ran through another Digidesign Venue.

photo by Kevin Cochran

 

photo by Kevin Cochran

What impressed me the most about Radiohead was that they agreed to do a full camera rehearsal. As a matter of course, we ask artists to run through their entire show so that our director Gary Menotti can watch how the band arranges and plays their material live. Many times, bands at Radiohead’s level forgo camera rehearsal, unless there are certain songs that deviate from the arrangement of their recordings. The band thought they could use a run through themselves and rehearsed every song on the set list. It’s extra work but it helps the cameramen immensely. The quality that ACL is known for is, in great part, because cameramen know what musician to focus on in every part of every song and aren’t reacting to things that have already happened like you see in some other shows.

photo by Kevin Cochran

Jonny Greenwood’s pedal boards.

photo by Kevin Cochran

Thom Yorke’s pedal boards and DIs.

photo by Kevin Cochran

 

photo by Kevin Cochran

Ed O’Brien’s pedal boards.

photo by Kevin Cochran

Settings on keyboards are called patches. This comes from the days when sounds had to be physically patched by cables from oscillator to another. Jonny’s key world is a good example of how things used to be done.

photo by Kevin Cochran

An upright piano with a Dave Smith Instruments Tetra attached to it. Or it could be synth keys in an upright chassis – I’m not sure.

photo by Kevin Cochran

Drummer Phil Selway and bassist Colin Greenwood really shine on King of Limbs. The intricate rhythms on the album would be hard replicate live so Clive Deamer was brought along to help out on drums. This is a repeat appearance for Clive. He previously taped with Robert Plant in Season 28. Mr. Plant happened to be on hand to watch the taping live.

Both drummers used Gretsch drum kits that night. Clive’s is on the left. Colin Greenwood’s Ampeg rig is in the back with a couple of synths.

photo by Kevin Cochran

Phil’s on the right. Off to the side is Ed O’Brien’s Fender Vibroking amp and Thom Yorke’s Vox AC30.

photo by Kevin Cochran

Thom Yorke’s guitar world.

photo by Kevin Cochran

photo by Kevin Cochran

Ed O’Brien’s guitar world.

photo by Kevin Cochran

 

photo by Kevin Cochran

O’Brien relied heavily on the new Johnny Marr Fender Jaguar that night. This is the cleanest, clearest guitar I have ever heard in my life and gave me a new respect for Jaguars.

photo by Kevin Cochran

Not pictured are Jonny Greenwood’s Telecaster Plus’ Version 1 which he has been using since the early ’90’s.

In researching this post, I stumbled upon this very cool website: King Of Gear. This site will give you more detail about the toys and tools of Radiohead than I ever could.

For recording and post production, Radiohead brought their longtime producer, Nigel Godrich with them to record and mix in post. He was very friendly.

Radiohead is very careful about their image and public exposure. When they accepted our invitation, not only was it a feather in our cap that we would be airing one of the biggest and most enigmatic bands in the world, but an honor that a band so guarded felt safe to let us show America what they do for an hour.