November in Austin means Fun Fun Fun Fest, one of several amazing music festivals in our fair city. Among the many awesome acts at Fun Fun Fun was Swedish singer/songwriter Lykke Li, who taped her first episode of Austin City Limits last Friday. She also became the first artist on ACL to have her taping streamed around the world by our friends at PBS.
Sorry, folks, it was a live stream only – it’s not archived online anywhere. But you can see pictures of the show here and here. And you can watch the episode itself on January 28
Lykke Li has one of the more unique artistic visions around right now – she and her five-piece band wove threads of indie pop, torch song, electronica, girl group pop, folk and garage rock into a rich tapestry that couldn’t have come off anyone else’s wall. Combine all that with her demonstrative stage presence and expressive voice and she’s a compelling performer – dramatic but never melodramatic.
Fans were treated to every song from her acclaimed recent record Wounded Rhymes, including the iTunes-only anthem “Made You Move.” She offered the eager crowd a plethora of tones and moods, from the stately, hymnlike balladry of “Possibility” and “I Know Place,” the rhythm-heavy grooves of “I Follow Rivers” and “I’m Good I’m Gone” and the pure pop of “Love Out of Lust” and “Sadness is a Blessing.” She obviously has a habit of saving the best for last – she ended her main set with the irresistibly hipshaking “Get Some” – nice subversion of the classic Bo Diddley beat! – and her encore with the gospel-like beauty of “Unrequited Love.”
The good times still weren’t over, however, as she came back for another run through “Sadness is a Blessing.” There wasn’t anything wrong with the first take to our ears, but the second version was indeed tighter, more atmospheric and more powerful. “Do you want to stay?” Li asked before she launched into the new take – the enthusiastic response indicated how much her audience loves her.
“Thoroughly enjoyed @Lykkeliofficial@acltv. Very impressed by the staging, abundance of percussion & the kazoo. And of course Lykki’s voice,” noted @aplarue on Twitter. “Lykke Li. Great singer, excellent performer, captivating dancer,” said @BrionneVG. Perhaps @racerabbit put it best: “This Lykke Li show for @acltv is spellbinding!” See for yourself on January 28, when Li hits the ACL airwaves paired with Florence + the Machine. Don’t miss it!
Though only 24, Lucy Dacus has already made a big impact. The Richmond, Virginia indie rocker’s second album Historian, released last year, was hailed “a career album” by Paste, who also noted “she’s really only just getting started.” Widespread critical acclaim and consistent performances brought her to the ACL stage for her debut taping, and she delivered with a powerful set drawing from across her catalog. (Note: the appearance was scheduled to be a dual taping with fellow singer-songwriter Julien Baker, but due to unforeseen medical circumstances Baker was unable to perform).
Taking the stage and strapping on an acoustic guitar, Dacus talked about the relationship between performer and audience, noting that it revolved around mutual trust. That led, naturally, into the introspective “Trust,” a song she wrote when she was sixteen. “Beauty is the only way/To make the nightmares go away,” she sang softly as she strummed. Guitarist Jacob Blizard, bassist Dominic Angelella and drummer Ricardo Lagomasino then joined her – “They’re cute and nice, and good people” – as she donned her Telecaster for “Addictions,” a shuffling rocker keying on the contrast between her smoky croon and the fuzzy guitars. “Green Eyes, Red Face” followed, unrolling like a carpet, starting quietly and building to a near-anthemic reach. The social commentary of “Yours & Mine” followed a similar path, from folky placidity to rock power.
Blizard and Angelella (wielding Dacus’ acoustic) sat on the floor with their instruments while their leader, accompanying herself on a handheld synthesizer, sang “My Mother & I” – a new song and one of a string of holiday-themed singles she’s releasing this year. The band resumed their customary positions for “Forever Half Mast,” a new July Fourth themed midtempo folk rocker amplified by a noisy guitar solo. She flipped that script for her breakout 2015 single, the witty “I Don’t Wanna Be Funny Anymore,” starting with fuzzy decay and moving into a brisk jangle. “I’ve always understood and felt very at home here,” Dacus commented about Austin, before starting the slow strum that heralded the wry, thoughtful “Night Shift,” which almost casually evolved from pensive tranquility to a wall of distortion – much to the appreciation of the crowd.
After the rhythm section left the stage, Dacus delivered a stately “Historians,” with only Blizard’s effects-soaked guitar swells as consort. Then Blizard also quit the stage, leaving Dacus alone with her Tele to deliver “Fool’s Gold,” a beautiful unrecorded tune. The audience went wild following its conclusion. It was a lovely show by an important new talent, and we can’t wait for you to see it when it airs as part of ACL’s upcoming milestone 45th season.
Lucius on Austin City Limits, July 2022. Photo by Scott Newton.
Lucius leaders Jess Wolfe and Holly Laessig graced the ACL stage once before, singing backup for Wilco leader Jeff Tweedy’s family band Tweedy in Season 40. We knew then they would bring their own band to the show, and thus were thrilled to witness it actually happening. The band brought its unique blend of pop, electronica, disco and singer/songwriter folk to us having played a series of shows with our recent guest Brandi Carlile, and the seasoning showed with a sparkling set full of songs from across their decade-plus career.
Sporting their trademark identical hairstyles, Wolfe and Laessig descended in tandem from the drum riser to lead the band into the funky, hip-swinging “Second Nature,” the title track of their latest album, with synchronized stage moves to match their entwined harmonies. The pair picked up blinged-out keytars for the equally discofied, fuzz guitar-frosted single “Next to Normal,” to enthusiastic applause. Wolfe and Laessig then moved back in time to their 2013 debut LP Wildewoman for the groovy, dramatic “Tempest,” beating floor toms (and encouraging the crowd to clap along) and sharing the vocals with bassist Solomon Dorsey and guitarist Alex Pfender. The band returned to Second Nature for the soaring pop anthem “Promises” and the heartfelt, powerfully-sung ballad “The Man I’ll Never Find,” which made use of the sparkling pony mic that allowed Laessig and Wolfe to sing face to face. Lucius shifted to waltz time for the gorgeous “Dusty Trails,” a shimmering showcase for the band’s distinctive vocal blend. At one point the band dropped out and the frontwoman backed away from the mic for a minute of unamplified, a cappella glory, which the audience loved.
Lucius then stepped away from their original material for their lush cover of Gerry Rafferty’s “Right Down the Line,” recorded for their “unplugged” record Nudes – interestingly, the second time the song has been sung on our stage, following its appearance in Bonnie Raitt’s Season 38 set. The pony mic went away and the set leapt back to Wildewoman for the guitar-powered audience singalong, “How Loud Your Heart Gets.” Back came Second Nature and the keytars for the synth-heavy “Heartbursts,” which found Pfender and Dorsey joining Wolfe and Laessig at the front of the stage. The heart-wrenching “White Lies” followed, a yearning ballad perfect for waving lighters in the dark. In an unusual move, Lucius ended the main set with “Supernatural Girl,” an unreleased but glorious anthem that saw the band exit the stage and join the thrilled audience in a hail of soaring “ahhhhs” and synthesized and strummed feedback.
“Are we feeling nice and floaty and spacy now?” Wolfe asked, revealing that they hadn’t been part of the crowd since their first record and noting the continuing importance of Austin City Limits to live music, to exuberant applause. The dynamic duo launched into fan-favorite “Two of Us On the Run,” a tribute to their friendship and collaboration. The pair strutted back onstage as the band immediately kicked into the rocking grooves of “Turn It Around,” a song from the group’s 2012 self-titled debut EP. The song ended but the beat continued, Wolfe and Laessig singing the high harmony that signaled the 1970s Donna Summer electro-disco classic “I Feel Love,” to the absolute delight of the audience. The familiar pulse served as soundtrack for the introduction of the band, before returning to the song, climaxing with Laessig and Wolfe taking a tandem bow. The crowd went wild, as well they should have. It was an excellent show, and we can’t wait for you to see it when it airs this fall as part of our Season 48 on your local PBS station.
Lucius tapes Austin City Limits, July 18, 2022. Photos by Scott Newton.
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.
It’s been six years since we first had R&B singer/songwriter Leon Bridges on the Austin City Limits stage in his debut appearance. Since that time, the Fort Worth native has earned a Grammy, alongside multiple nominations, released three acclaimed albums and become one of music’s most sought-after collaborators. Gold-Diggers Sound, his latest, is one of his most anticipated records to date, featuring a mix of twenty-first century R&B producers and jazz musicians that expands his sound far beyond the traditionalist soul of his first album. We were thrilled to have him back on the ACL stage in a magnetic 17-song career-spanning performance.
The leather-clad Bridges and his seven-piece band took the stage to some pre-recorded soul, before the singer led his musicians into “Shy,” a slinky ballad from his second LP Good Thing. “Has anyone been listening?” he asked in reference to Gold-Diggers Sound, garnering applause before launching into the sexy grooves of “Steam.” Then it was back to balladry for “Why Don’t You Touch Me,” a romantic plea done Bridges style. Next up, bassist Joshua Crumbley brought the funk for “You Don’t Know,” as Bridges was joined in the front line by backup singers Brittni Jesse and Brandon “Marcel” Mills. “It’s an honor to bring Gold-Diggers Sound to Austin, Texas tonight,” Bridges noted, reinforcing that statement with the smoldering “Born Again,” powered by axeman Brandon Thomson’s whammy-bar swells. The dreamy slow jam “Details” followed, but was nearly upstaged by the next track, the shimmering single “Motorbike.”
“Make some noise if you missed live music,” Bridges said. “I know I did.” As the audience cheered, he and the band began the smooth come-on “Magnolias” – “Tell me what you want – let me spoil ya,” he crooned, but the crowd probably already felt spoiled. A pair of roadies then brought out a stand-up bass for Crumbly, which he played arco style to kick off the beautiful, introspective “Blue Mesas.” Crumbly went back to his electric bass, as Bridges told him, “I think Austin, Texas wants to hear something funky.” And that’s what we got, with an extended introduction leading into the groove-addicted “Lions,” from Good Thing. “That was an icebreaker,” he noted playfully. Bridges then asked if he and the group could “get a little country,” which led into “Beyond,” a Good Thing highlight that earned a big ovation.
After that song of devotion, Bridges led the band into “Sweeter,” his soulful response to the death of George Floyd, and a clear crowd fave. After making fun of the outfit he wore during his Season 41 debut, with a good-natured “I hope I did better this time,” he rode the mellow but insistent groove of the earnest “Don’t Worry” on home, with the help of guitarist Kenneth Hollingsworth’s terse solo and keyboardist Joshua Johnson’s sinuous sax. “That’s the feeling I need more of,” Bridges asserted on the next song, the undulating “Sho Nuff.” Crumbly and drummer Brandon Combs then kicked the groove back into high gear for the jazzy, jamming “Bad Bad News,” which really worked up a head of funky steam.
As the set neared its end, it was time for Bridges to pull out the songs that put him on the map. “I guess it’s time for me to play some music off my first album,” he commented – the signal for his gold-selling single “Coming Home,” as smart and stylish an evocation of smooth old-school soul as has been recorded in the past decade. The singer then donned a guitar as the band stripped down to just Johnson and Jesse. That could only mean one thing: the final song would be the luminous, gospel-tinged “River,” a fan favorite that Bridges will likely play (happily) at every show for the rest of his career. It was a perfect way to end a world-class set, and we can’t wait for you to see it when it broadcasts November 6 on your local PBS station.
Leon Bridges tapes Austin City Limits, Sept. 14, 2021. Photos by Scott Newton.
The return of LCD Soundsystem to action after a five-year layoff is one of 2017’s biggest success stories. So we were thrilled to welcome James Murphy and his cohorts for the group’s debut Austin City Limits taping. The band lived up to every expectation and delivered a career-spanning set that rocked the packed house.
The octet took the stage casually before a lone synth pulse signalled the beginning of “Oh Baby,” the synth-popping opening track of the band’s latest album American Dream, their first career #1. Murphy thanked the audience for coming and expressed excitement for being on the show, noting that they’d never done anything like this before. Then it was on to “Call the Police,” the rocking first single from Dream. Assuring the fans that the show wouldn’t consist solely of new songs, Murphy reached back to This is Happening, formerly the group’s final LP, for the bouncy “I Can Change,” perfectly balancing romantic woe, disco rhythm and pop melody. The dance rhythms continued for the cheeky, percussion-heavy “Get Innocuous!” and the groovily defiant “You Wanted a Hit.” The propulsive powerhouse “Tribulations” followed, making the crowd a roiling mass of dance moves. Before anyone could catch breath, the synths led into “Someone Great,” a soaring pop tune that featured close harmonies between Murphy and keyboardist Nancy Whang.
In order to let band and audience have a moment, Murphy introduced the musicians. But the reprieve didn’t last long, as it was off into the noisy hipshaker “Change Yr Mind,” its relentless groove and anthemic vocals contrasted by six-string skronk. The guitar clangor continued, ornamenting the pulsing, playful, percussion-soaked “Yr City’s a Sucker.” The band’s penchant for mixing rock anthems with dance rhythms asserted itself in a big way for “Tonite,” which segued directly into the aggressively danceable pop song “Home.” The electropulse continued without pause as Murphy moved to a piano, Al Doyle started a chicken scratch on guitar and Nancy Whang took the mic for a driving cover of Chic’s immortal disco classic “I Want Your Love,” which made an already wildly dancing audience thrash even harder. After that breathless rush, the main set ended with “New York, I Love You But You’re Bringing Me Down,” which started out mellow before ending in a power waltz that drove the crowd mad.
A brief pause later, the band returned to the stage, Murphy explaining that he had to pee. Before anyone could divine whether or not he was kidding, Doyle banged out the big riff that kicks off “Emotional Haircut,” one of the combo’s wittiest tunes. The show ended with the pop anthem “All My Friends,” Murphy embracing the title by hopping offstage to shake hands with the front row. It was a perfect ending to a phenomenal show, one we can’t wait to show you when it airs early next year on your local PBS station as part of our season 43.
