Austin City Limits

Tonight marks Jim James’ sixth appearance on our stage as he showcased his new solo album Regions of Light and Sound of God. In his new solo work James and his band explored new sounds. Based on the spiritual journey of God’s Man, Lynd Ward’s woodcut graphic novel from the 1920s, James’ music floated more than drove. Exchanging the guitar-heavy rock bombast he is known for from his band My Morning Jacket for a more atmospheric sound, his music seemed to invite us to listen rather than demand our attention. James stayed close to  the microphone adding some sliding dance steps here and there and playing as much saxophone as guitar.

“State of the Art,” “Know Til Now” and “Of the Mother Again” incorporated 70s soul grooves into the mystic textures, letting Dan Dorff’s acid electric piano and Alana Rocklin’s rubbery bass keep the clouds moving. The electronica-infused pop of “Dear One” and “A New Life,” both spiritual love songs of sorts, moved from sedate to theatrical, the melodies working in tandem with arrangements meant to draw out the soul. Perhaps most impressive was the celebratory “All is Forgiven,” which incorporated an Arabic melody, jazzy grooves, multiple tempos and an expansive instrumental arrangement  to convey its near-gospel message. “God’s Love to Deliver” was even more eclectic, starting as a dreamy waltz, moving through Rocklin’s MIDI bass solo and ending in a hailstorm of thrashing drums from Dave Givan and distorted guitar feedback from James and sideman Kevin Ratterman.

For the encore, James dipped into his back catalog, with a lovely solo acoustic version of MMJ’s “Wonderful (The Way I Feel)” and a take on Monsters of Folk’s “His Master’s Voice” that fit with his solo work both texturally and thematically. James ended with a widescreen take on “Changing World,” a track from the New Multitudes project with Jay Farrar, Anders Parker and Will Johnson that puts unrecorded Woody Guthrie lyrics in a modern context – a perfect capper to James’ fusion of traditional and modern.

This experimental performance showed yet another side to Jim James’ talent, and we’re pleased he chose to document it with us. We’re anxious for everyone to see it in the fall – keep an eye on this space.

Mexico City duo Jesse & Joy is only now starting to break in the U.S., but for their debut ACL taping the sibling singer/songwriters performed their healthy catalog of international hits for a studio audience that knew them well.

After cheekily introing themselves with a recording of Wagner’s “Ride of the Valkyries,” the pair and their band launched into the reggae-influenced pop of “Aqui Voy,” horns and harmonies flying. “Espacio Sideral” followed, a straightforward pop rocker that was the first, but definitely not the last, tune to have the audience sing part of the chorus unaccompanied. That song set the tone for the rest of the show, as Jesse & Joy rolled out a series of crowd-pleasing anthems and upbeat pop songs. “Me Voy,” “¿Con Quien Se Queda El Perro?” and “Esto Es Lo Que Soy” (complete with Jesse’s Big Rock Jump at the end) ratcheted the excitement up into the red, while the ballads “Me Quiero Enamorar” (“This next song is for anyone who’s in love, or wants to be,” remarked Jesse) and especially “La De La Mala Suerte” effortlessly swelled hearts.

Jesse & Joy left the stage after the rousing single “Llorar,” a duet between the two siblings. That wasn’t the end, however. The demands of the crowd for more brought the band back for three final anthems: “Chocolate,” “Ya No Quiero” and, fueled by call-and-response between Joy and the audience, the huge hit “¡Corre!” After tossing out a stuffed dog wearing an autographed T-shirt to a lucky patron and having their picture taken in front of the crowd, Jesse & Joy and band exited for the final time to the strains of the theme from Raiders of the Lost Ark. If that seems self-aggrandizing, given the excitement level of their fans following this show, we’d say they earned it.

Jesse & Joy may not be as well-known in the States as they are in the rest of the world, but we guarantee that will change when this episode airs in the fall – don’t miss it!