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Featured News Taping Recap

Sarah Jarosz comes home to ACL

photo by Scott Newton

Singer, songwriter and multi-instrumentalist Sarah Jarosz was only nineteen the first time she appeared on Austin City Limits in 2010, but we – staff and viewers – knew she was a major talent, and not just because she hailed from our neck of the woods. Time, critical acclaim and a shelf full of Grammys and Americana Music Awards have proven us correct. So we’re always thrilled to host her again, and especially so for a taping that got delayed from last year due to the pandemic. The pent-up energy was on full display in a performance that included every song from 2020’s Grammy Award-winning World on the Ground, and was live streamed around the world. 

“This is incredibly exciting,” noted Jarosz as she took the stage with her four-piece band (which included renowned World producer John Leventhal). The conservatory-trained songwriter started with World opener “Eve,” a song that sounds like it could be a century old, while still sounding like it had to have been written in the now. Jarosz exchanged her guitar for a mandolin and went into “Pay It No Mind,” another memorable, melodic World folker. “It’s a dream to do it once, let alone three times,” she noted about her third Austin City Limits appearance as she donned her signature octave mandolin. “This is a good way to re-emerge after the last year.” She then reached back to her 2016 album Undercurrent for the brooding “House of Mercy,” the Grammy-winning song ornamented by Leventhal’s supremely subtle Telecaster. Jarosz talked about how growing up in Austin and Wimberley inspired the songs on World, which capped a rough year by winning a Grammy. Leventhal then took to the piano as Jarosz sang the beautiful “Orange and Blue,” which the two of them wrote together. 

Jarosz introduced guitarist Mike Robinson, whose ringing guitar introduced “Green Lights,” another luminous folk rock tune from Undercurrent. Clearly by this point it was time for a ballad, and Jarosz obliged with the bittersweet “Hometown” a tune that led her to note how much of an emotional experience it was to sing these Texas-based songs in her home state. The next tune “Johnny” essayed more folk rock, anchored by the memorable line “An open heart looks a lot like the wilderness.” The hopeful “Maggie” was inspired by Jarosz attending her high school reunion – “I had a blast and I got some songs out of it.” No word on whether or not “What Do I Do” was one of those, but it still made an impression with its melancholy melody and steel guitar frosting. The energy kicked up a notch on the mock-apocalyptic “I’ll Be Gone,” a jolt of gallows humor surrounded by three acoustic guitars. The band then quit the stage, as Jarosz reached into her deep well of cover songs recorded and streamed over the course of the pandemic, and a special one it was: a gentle, soulful take on U2’s “I Still Haven’t Found What I’m Looking For” that turned the rock anthem into the folk song it always threatened to become. 

“The only way to follow U2 is with the banjo,” chuckled Jarosz as she strapped on said instrument for “Little Satchel,” a traditional folk tune that was one of the first songs she ever learned, back when she was participating in the Wimberly bluegrass jams at the age of nine. “This song was written about Kendall,” Jarosze said about “Empty Square,” in a nod to Succession fans – perhaps a bit cryptic for anyone who hasn’t seen that HBO show, but the song was strong regardless. She closed the main set with “one of my greatest Texas songwriting influences,” ACL two-timer James McMurtry and his stirring tune “Childish Things.” That earned the exiting Jarosz and the band wild applause, but it wasn’t over yet. She and the band encored with another key influence on the star’s writing: frequent ACL visitor Nanci Griffith and 

her lovely tune “You Can’t Go Home Again,” which fit in perfectly with the evening’s themes of coming home and was a perfect way to send the crowd gently out into the night. It was a truly special performance, and we can’t wait for you to see it when it airs this fall as part of our Season 47 on your local PBS station. 

photos by Scott Newton

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News Taping Recap

Sarah Jarosz and The Milk Carton Kids: the sound of contemporary folk music

When ACL vet Sarah Jarosz and newcomers The Milk Carton Kids decided to bring their complementary visions of acoustic music together on tour, we here at Austin City Limits knew we had a golden opportunity to showcase the sound of contemporary folk music. So we were happy to present this double shoot with two of acoustic music’s leading lights.

Despite their youth, The Milk Carton Kids could have stepped out of the early 60s folk revival. Playing almost purely acoustically – no guitar amplification, one vocal mic – Joey Ryan and Kenneth Pattengale recalled a time when the Kingston Trio, Peter Paul & Mary and (especially) Simon & Garfunkel ruled the hit parade. Driven by close harmonies and skillful guitar work and punctuated by deadpan humor, the besuited duo’s songs had a timeless quality that only the best folk contains. From the peppy “Honey, Honey” and “New York” to the melancholy “Snake Eyes” and “Michigan,” the Kids moved through every iteration of folk music, even touching on Woody Guthrie-style commentary with “Memphis” and “I Still Want a Little More.” The pair finished the set by inviting tourmates Jarosz and her band up for “Years Gone By” –  “It turns out for this song that we sound better as a five-piece than as a two-piece,” noted Ryan. That may have been true, but regardless The Milk Carton Kids proved that they needed only the two of them to make music worth hearing.

One quick set change later, Sarah Jarosz and her band, Nathaniel Smith on cello and Alex Hargreaves on violin, took the stage. A recent graduate of the New England Conservatory, Jarosz brings a composer’s eye and a virtuoso’s ear to folk, moving from tradition into a realm of her own. She began with “Tell Me True,” which builds on Appalachian music, before moving into the more modern forms of “Left Home” and “Come Around,” both of which featured burning string work from Hargreaves and Smith. The trio then ranged from the minor key pop of “Build Me Up From Bones” (the title track of her latest LP) and the dramatic folk rocker of “1,000 Things” to the gorgeous balladry of “My Muse” and the busy instrumentalism of “Old Smitty.” Jarosz also dipped into the songbooks of others, treating the audience to an accessible take on Joanna Newsom’s “The Book of Right-On,” a solo rendition of Simon & Garfunkel’s “Kathy’s Song” and, count ‘em, two Bob Dylan songs: “Simple Twist of Fate” and “Ring Them Bells.” She also repaid The Milk Carton Kids’ favor by having the pair join her and the band for two tunes, “Annabelle Lee” (based on an Edgar Allen Poe poem) and “Mile On the Moon.”

We’re proud to have been a part of this presentation of the best in young folk artists, and we can’t wait for you to see it when the episode airs early next year. Watch this space for details.

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Episode Recap Featured New Broadcast News

Sarah Jarosz and The Milk Carton Kids folk out in ACL’s new season

Join us this weekend as we present Americana music originals Sarah Jarosz and The Milk Carton Kids in a brand new episode. Both artists showcase their bona fides in an all acoustic hour with roots/folk singer-songwriter Jarosz making a return appearance on the ACL stage and newcomers The Milk Carton Kids in their ACL debut. The episode showcases the young folk acts who were both nominated for Best Folk Album at this year’s Grammy Awards.

Pushing the limits of Americana with her own distinctive style, multi-instrumentalist Sarah Jarosz takes the ACL stage for her second appearance performing highlights from her recent album Build Me Up From Bones. The incredibly talented Jarosz has already released three albums at the age of 22. With her two-piece band featuring a fiddle player and cello, Jarosz begins a stellar set with the Grammy-nominated title track in an acoustic performance that showcases her musicianship and songwriting. Switching between mandolin and banjo, Jarosz also dips into the songbooks of others, treating the audience to an accessible take on Joanna Newsom’s “The Book of Right On” and a solo rendition of Simon & Garfunkel’s “Kathy’s Song”. She invites The Milk Carton Kids out to join her and the band for “Annabelle Lee” (based on an Edgar Allen Poe poem), displaying their complementary visions of contemporary folk music.

“We are so proud of Sarah, we feel like she’s part of the family,” says ACL executive producer Terry Lickona. “The last time she graced our stage she was on her way to college, now she’s graduated with honors and her remarkable talent has grown exponentially. We couldn’t resist having her back!”

photo by Scott Newton

The Milk Carton Kids, the L.A. acoustic folk duo consisting of Kenneth Pattengale and Joey Ryan, make their ACL debut playing songs from their critically-acclaimed new album The Ash & Clay. The besuited pair “play a sweetly dazzling variation on close-harmony vocals, part Simon and Garfunkel and part Everly Brothers” (LA Times) for a sound NPR calls “gorgeous contemporary folk.” With flat-picking harmonies and a touch of twisted humor, the duo play purely acoustically on the ACL stage—no guitar amplification and one vocal mic—to beautiful effect. In a skillful performance infused with their signature wit, the Kids charm the Austin crowd with their playful, deadpan banter, exquisite guitar work, rich harmonies and timeless folk.

“I first saw Kenneth and Joey perform on the stage of the Ryman Auditorium last September, and it was obvious that they are world-class entertainers beyond their years,” says Lickona. “They are traditionalists with a modern spin and a mischievous sense of humor.”

photo by Scott Newton

Check out the episode page for more details. Be sure and visit our Facebook and Twitter pages or sign up for our newsletter for more ACL goodness. Next week: Grammy winner Kacey Musgraves and Dale Watson.

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News

Sarah Jarosz and The Milk Carton Kids 11/10

Austin City Limits is proud to announce a new taping on November 10, featuring singer/songwriter/multi-instrumentalist Sarah Jarosz and folk duo The Milk Carton Kids. Read more

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News Taping Announcement

Samara Joy, Cam and MJ Lenderman announced for Season 51 Tapings

Austin City Limits (ACL) is thrilled to announce summer tapings featuring a trio of American originals in their ACL debuts for our Season 51: on May 25 we welcome five-time Grammy-winning jazz vocalist Samara Joy, making her debut with songs from her celebrated 2025 album Portrait; previously announced modern soul act Thee Sacred Souls comes to our stage on May 28, straight from their buzzed-about Coachella performances; country artist Cam joins us on June 2; riding a high after a 2025 Grammy win for her songwriting on the landmark Cowboy Carter, Cam makes her headlining ACL debut with songs from her upcoming new collection; and ascendant singer-songwriter MJ Lenderman takes the ACL stage on July 1 with highlights from his acclaimed Manning Fireworks.

Photo by Gus Black

Samara Joy is having a banner year, earning a remarkable fourth and fifth Grammy at this year’s Awards, taking home gold for both Best Jazz Performance and Best Jazz Vocal Album. The 25-year-old jazz vocalist’s latest studio album Portrait won the Outstanding Jazz Album Award at the NAACP Image Awards in February. Joy co-produced the acclaimed Verve release with veteran trumpeter/bandleader and multi-Grammy winner Brian Lynch. Portrait showcases the intimate, soulful chemistry she’s developed with her touring band and spotlights her burgeoning gifts as a lyricist in ingenious arrangements that meld her thoughtful words with music by Charles Mingus, Sun Ra and her late mentor Barry Harris. Joy continues to secure her status as perhaps the first Gen Z jazz vocal star: The New York Times praised the “silky-voiced rising star” for “helping jazz take a youthful turn,” while NPR named her a “classic jazz singer from a new generation.” Joy’s meteoric rise launched in 2022 with the release of her breakout Verve debut, Linger Awhile, which garnered critical raves and signaled the arrival of a once-in-a-generation vocalist. The album earned her a Grammy for Best Jazz Vocal Album in addition to a headline-making win for Best New Artist. A native of the Bronx, Joy became entranced by classic R&B as a child and cut her teeth as a singer in her church’s gospel choir. And while her family history is deeply musical, Joy didn’t delve into the jazz tradition until college. During her studies she won the 2019 Sarah Vaughan International Jazz Vocal Competition, which introduced her to the larger jazz scene as a rising star to watch. She was heard, by audiences and critics alike, as a masterful interpreter of jazz standards and a rightful heiress of the sound, technique and charisma that defined her jazz heroines — including Vaughan, Betty Carter, Abbey Lincoln and Carmen McRae. Joy will tour across the globe throughout 2025, including a career high: her highly-anticipated Carnegie Hall debut this spring.

Multi-platinum country artist Cam turned heads when she performed on our 50th Anniversary special in 2024; she was featured in the program’s songwriter circle, trading songs and verses with Indigo Girls and Brandy Clark in what became a broadcast highlight.  The singer and songwriter kicked off 2025 with a career highlight: she picked up her first Grammy win as a songwriter on Beyoncé’s genre-shattering Album of the Year Cowboy Carter. A sought-after collaborator, Cam penned five songs for the landmark album (“Ameriican Requiem,” “Protector,” “Daughter,” “Tyrant,” and “Amen”) and contributed production and backing vocals. On the heels of her big year so far with Beyoncé, Cam is now gearing up for the 2025 release of her highly anticipated new album with RCA Records. Prolific and adored, Cam stepped into the spotlight in a big way with her critically acclaimed debut, Untamed. The chart-topping, triple-platinum release featured the breakthrough smash “Burning House,” and notched Grammy, ACM, and CMA award nominations. She followed with her critically acclaimed sophomore release, The Otherside, which featured the international Jolene-in-reverse hit “Diane,” plus songwriting from Avicii, Harry Styles, Jack Antonoff, and Sam Smith. A captivating live performer with a soaring voice, Cam has consistently sold out shows across the globe, cementing her status as an international powerhouse. From the coveted sunset slot at Stagecoach to top venues across five continents, in recent years, she has been one of the few country acts to play Lollapalooza, ACL Fest, and Outside Lands while also supporting acts like Harry Styles, George Strait, Sam Smith, Loretta Lynn, the Indigo Girls, Eric Church, Tim McGraw, and Faith Hill. A vivid storyteller, clever wordsmith, and committed visionary, fans have only just begun to scratch the surface of Cam’s many facets. As she bravely steps into her next era, she’s welcoming everyone into a space that’s inclusive, invigorating, and inspiring.

Photo by Shervin Lainez

26-year-old singer-songwriter-guitarist MJ Lenderman makes his ACL debut after a busy couple of years. A rock-and-roll and basketball obsessed kid growing up in the mountain town of Asheville, NC, he put out the breakthrough solo set Boat Songs in 2022; the sleeper hit piled offhanded, Southern-inflected rock on wry, laconic bangers like “Hangover Game,” “Six Flags” and “Tastes Just Like It Costs.” With its barbed little jokes, canny sports references, and gloriously ragged guitar solos, the album became one of that year’s standouts, a ramshackle set of charms and chuckles. He followed with a stellar 2024, bookended by a memorable feature on Waxahatchee’s “Right Back To It,” a magnetic duet about romantic doubt that became one of the year’s biggest indie-rock anthems, and the release of his own highly anticipated solo album, Manning Fireworks. A laser-sharp study of misfits and the mistakes they make, where sympathy and sardonicism share the same ragged rock song, the acclaimed release features thumbnail character studies: “She’s Leaving You,” a half-sneering portrait of a dad cheating his way through a midlife crisis, at least until he gets caught and blasts Clapton in a rented Ferrari en route to Vegas; “On My Knees” finds Lenderman wondering what it means to have fun in a world where so many people seem full of shit; and muses on edgelords and alpha males on the standout “Wristwatch.” Manning Fireworks topped many critics’ year-end best lists, with Rolling Stone raving, “MJ Lenderman delivers a sad-guy indie-rock gem” and named him “a budding guitar great and ace storyteller”; The New York Times calls Lenderman “A young artist with an old soul and a keen eye for observational detail that makes his canted portraits of small-town life come alive”; NPR raves, “He’s a homespun magical realist, always throwing in something off-kilter to elevate his tales of lovable losers”; and the Guardian concurs, “Far from being dude-centric, Manning Fireworks’ sad sack anthems tap into something devastatingly, purely human.” 

We’re thrilled to welcome these stellar acts to the ACL stage. The broadcast episodes will air on PBS this fall as part of our upcoming Season 51, stream previous seasons online or on your connected TV with the PBS App. Follow @acltv on socials for a chance to attend these tapings in person. Learn more about how to attend a taping here.

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News Taping Recap

Sam Smith tops his previous ACL performance

When British sensation Sam Smith first visited the ACL stage in 2014 he was just beginning his U.S. rise, having already conquered his homeland. The soulful singer/songwriter returned as a fully-established worldwide superstar, showcasing his acclaimed sophomore LP The Thrill of It All and a hit parade of highlights in a dazzling, entertaining set.

As his five piece band hit the first notes, Smith, nattily-attired in a slim tan suit, and his quartet of backup singers took the stage for the doo-wopping “One Last Song.” The London native strode out onto the uniquely extended stage and had the rapt crowd sing the intro of the soulful “I’m Not the Only One,” letting the song become a call-and-response number by the end. After reminiscing about his first ACL appearance, which he called one of his favorite shows ever, he asked, “Can we beat that show?” The audience enthusiastically replied in the affirmative, leading into a standout “Lay Me Down,” the epic he described as the first song he wrote with longtime collaborator Jimmy Napes. Then most of the band members left the stage, leaving Smith with only piano and cello in support of the showstopping “Latch,” his hit collaboration with electronica duo Disclosure. The band and singers returned in full force for the sly gem “Money On My Mind,” followed by musician intros and a romp through “Like I Can,” which became a massive crowd sing- and clap-along. The charming and effervescent Smith wasn’t done with the audience yet, encouraging them to dance and sing with the sparkling pop/soul of “Restart.” “You guys, much love – that was amazing!” he smiled after the song concluded.

For the loping soul tune “Baby, You Make Me Crazy,” Smith generously threw the spotlight to his singers, letting them finish the tune. He returned for “Say It First,” a crowd-pleasing, widescreen pop tune about devotion. Smith and company went from romance to breakup, reclaiming the soul vibe for the heartbreak of “Midnight Train.” That was simply a warm-up, however, for “Him,” a stirring anthem for anyone refusing to be marginalized for being who they are. After that exhilarating emotional ride, he ended the main set with “Too Good at Goodbyes,” the jazzy top five single from Thrill that once again welcomed audience participation. The crowd went wild, unready for the show to end. Luckily, it wasn’t the end, as the band returned for the new album’s “Palace,” and Smith harmonized in an exquisite duet with knockout backup singer Lucy Jules. “It’s been four-and-a-half years since I released this song,” he grinned for the follow-up,” and I still love singing it as much as I ever have.” He meant the Grammy-winning breakthrough smash “Stay With Me,” of course, a perfect showcase for his massive vocals.  The audience accompaniment on the chorus worked the tune’s gospel feel and brought the house down.

You might think that’s how the show ended, but you’d be wrong. “I have to say – you’ve beaten my last Austin City Limits,” Smith remarked about the crowd’s enthusiasm. “That was incredible!” He ended the show with “Pray,” another gospel-flavored anthem that celebrated inclusion and the power of connection. Smith left the stage to a well-deserved standing ovation. It was a magnificent show, and we can’t wait for you to see it when it airs this fall as part of our Season 44 on your local PBS station.