News Taping Recap

Taping recap: Juanes

“We can’t believe we are here again!” Juanes took the stage at ACL TV for the third time on Monday, having previously performed on season 32 and 39. For his third taping, Juanes presented a hits-packed set drawn from his entire career, and how fitting to welcome him back in celebration of ACL’s 50th anniversary. Bearded, tattooed, wrapped in a sleeveless denim jacket, the Colombian superstar took the stage like the international rock star he is. For his third taping, with songs drawn from his entire career, hopping from jangly guitar pop (“Gris”) to blues rock cumbia (“Mala Gente”) to romantic balladry (“Nada Valgo Sin Tú Amor”) – and that was in the first ten minutes. Backed by his five-piece band, the singer/songwriter not only emphasized the breadth and depth of his catalog, but also his own musicianship, with several extended guitar solos. 

But the heart of the show was the interplay with the adoring crowd of diehard fans who turned out to literally cheer him on. Juanes encouraged singing along starting with “Mala Gente;” by the time he got to “Fotografia,” the eager audience needed little prompting, cheering loudly at the first note. Other giddily-received fan favorites included “Es Por Ti,” “La Paga,” “La Camisa Negra,” and the call-and-response powered “La Noche” and “A Dios Le Pido.” But two moments especially stood out. For “Para Tu Amor,” Juanes planted himself in the center of the floor with a mic stand and an acoustic guitar, performing the folky ballad surrounded closely by his loving crowd. In salute to the Mexican contingent of the audience, Juanes performed “Querida,” a classic Juan Gabriel ballad that Juanes recorded with its creator a few years ago. He ended the show with back-to-back monsters: “Me Enamora” and “La Luz,” which gave the crowd plenty of opportunity for call-and-response. 

At one point during the show, Juanes talked about coming to Los Angeles in 1996 in order to make it in music, and how hard those years were. “But you know what?” he shrugged. “I made it – Austin City Limits!” 

Juanes performs on Austin City Limits, March 4, 2024. Photos by Scott Newton.


Gris – Vita Cotidiana

Mala Gente – Un Día Normal  

Amores Prohibidos – Vita Cotidiana

Nada Valgo Sin Tú Amor – Mì Sangre

Volverte A Ver – Mì Sangre

Lo Que Me Gusta A Mi / Fuego / Hermosa Ingrata – Mì Sangre/Mis Planes Son Amarte/

Fotografía – Un Día Normal

Es Por Ti – Un Día Normal 

Es Tarde – Mis Planes Son Amarte

Más – Vita Cotidiana 

Ojalá – Vita Cotidiana

Para Tu Amor – Mì Sangre

Gotas De Agua Dulce – La Vida…Es Un Ratico

La Paga – Un Día Normal

La Camisa Negra- Mì Sangre 

La Noche – Un Día Normal

A Dios Le Pido – single


Querida – Juan Gabriel cover

Me Enamora – La Vida…Es Un Ratico 

La Luz – Loco De Amor


Juanes – vocals, guitar

Emmanuel Briceño – keyboards

Felipe Navia – bass

Juan Pablo Daza – guitar

Richard Bravo – percussion

Marcelo Novati – drums

Featured New Broadcast News

Austin City Limits announces full Season 48 broadcast schedule

Iconic television series Austin City Limits proudly announces the second half of Season 48, with six new episodes that start airing in January 2023 as part of the esteemed program’s fourteen-episode season. ACL returns with a stellar slate of all-new broadcast episodes, showcasing magnetic performances that feature some of today’s most talked-about live acts including recent 2023 Grammy Award nominees Spoon, Maren Morris and The War on Drugs. The program returns on Saturday, January 7 at 7pm CT/8pm ET with a special broadcast, Austin City Limits 8th Annual Hall of Fame Honors Sheryl Crow highlighting new inductee Sheryl Crow and featuring all-star performances; a special companion Hall of Fame hour salutes fellow inductee Joe Ely and will close out Season 48 on February 25. The Peabody Award-winning program, recorded live at ACL’s studio home in Austin, Texas, continues its extraordinary run as the longest-running music television show in history. ACL gives viewers a front-row seat to the best in live performance as this American music institution nears its remarkable half-century milestone. ACL airs weekly on PBS stations nationwide (check local listings) and full episodes are made available to stream online at following the initial broadcast. 

Since the inaugural ACL Hall of Fame in 2014 honoring Willie Nelson and Stevie Ray Vaughan, the music-filled salutes have become fan-favorites. For the first time, Austin City Limits takes fans inside the epic celebration with a pair of deep-dive one-hour specials from this year’s Inductions, recorded live in Austin, Texas on October 27, 2022. The special installments, Austin City Limits 8th Annual Hall of Fame Honors, will bookend the second half of the season and salute newly-minted inductees Sheryl Crow and Joe Ely with individual hours, featuring guest performances showcasing each artist’s Hall of Fame tribute, along with extended highlights including memorable induction speeches and vintage clips from the inductees’ appearances on Austin City Limits

The first HOF episode premieres January 7 at 7pm CT/8pm ET, celebrating Sheryl Crow. Music greats Brandi Carlile, Jason Isbell, Brittney Spencer and Lucius’ Jess Wolfe salute the nine-time Grammy Award-winning artist in a must-see hour featuring exclusive ACL collaborative performances. Rounding out Season 48 on February 25 st 7pm CT/8pm ET is a Hall of Fame tribute to Texas legend Joe Ely, Austin City Limits 8th Annual Hall of Fame Honors Joe Ely, featuring a musical salute from revered Lone Star musicians and Ely’s longtime collaborators in Texas supergroup The Flatlanders, Jimmie Dale Gilmore and Butch Hancock, along with fellow Texans Rodney Crowell and Marcia Ball. The hour features a memorable induction by renowned Texan author Lawrence Wright along with historic highlights from the influential Ely’s eleven appearances on the ACL stage.

Maren Morris performs on Austin City Limits, 2022. Photo by Scott Newton.

Season 48 continues in January with a diverse slate spotlighting multiple 2023 Grammy nominees in full-hour performances: One of modern rock’s premier bands, and first-time Grammy nominees, Austin’s own Spoon, return to the ACL stage for their fifth appearance, showcasing their celebrated tenth album, Lucifer On The Sofa, Grammy-nominated for Best Rock Album; multi-platinum, award-winning country star and Texas native Maren Morris makes a highly-anticipated ACL debut in a radiant, career-spanning hour with the hitmaker showcasing gems from her latest Humble Quest, which earned a trio of 2023 Grammy nominations, including Best Country Album; acclaimed rock act The War on Drugs return for their second appearance with selections from the Grammy-nominated I Don’t Live Here Anymore. Legendary alternative rock pioneers Pavement make their first-ever appearance on the series in a career-spanning hour marking their thirtieth anniversary. Rocking soul act Nathaniel Rateliff & The Night Sweats return for their second appearance with their latest The Future in an ecstatic live performance; sharing the hour is soulful Nashville singer-songwriter Adia Victoria, making her ACL debut with numbers from her acclaimed A Southern Gothic, a 2022 Americana Music Awards nominee for Album of the Year.

Adrian Quesada performs with Girl Ultra on Austin City Limits, 2022. Photo by Scott Newton.

A Season 48 highlight is the first solo appearance of multi-hyphenate Adrian Quesada, returning to the ACL stage to bring to life his acclaimed Spanish-language album, Boleros Psicodélicos, a love letter to the psychedelic Latin love songs “baladas” of the sixties and seventies; Quesada performs with a nine-piece band joined by an international line-up of guest vocalists from across the spectrum of contemporary Latin music, including  iLe, Natalia Clavier, Girl Ultra and Clemente Castillo, in a thrilling must-see hour. 

“After a historic kick-off to our new season this Fall, Austin City Limits rolls into the New Year with another round of firsts and favorites,” says ACL executive producer Terry Lickona. “For the first time ever, we’ll split our annual Hall of Fame celebration into two full episodes. We’ll showcase a unique Latin music genre that has never been presented on American television, plus some rock, indie and country music favorites – something for every musical palette.”

Season 48 Broadcast Schedule (Second Half):

January 7   Austin City Limits 8th Annual Hall of Fame Honors Sheryl Crow

January 14   Nathaniel Rateliff & The Night Sweats/ Adia Victoria

January 21   Adrian Quesada Boleros Psicodélicos

January 28   The War On Drugs

February 4   Pavement

February 11   Maren Morris

February 18   Spoon

February 25   Austin City Limits 8th Annual Hall of Fame Honors Joe Ely

ACL’s Season 48 premiered in October 2022 with a historic line-up spotlighting an unprecedented number of female artists, including a sterling season opener featuring celebrated singer-songwriter Brandi Carlile, currently nominated for seven 2023 Grammy Awards; and many lauded acts topping 2022 Year-End Best Lists, including synth-pop duo Sylvan Esso, indie-folk singer-songwriter Tamara Lindeman (aka The Weather Station) and Americana singer-songwriter Allison Russell. The season featured ACL debuts from breakout artists including Japanese Breakfast and Arlo Parks along with indie-pop duo Lucius. ACL shone a spotlight on Lone Star country with breakout star Parker McCollum and the swan song of veteran Robert Earl Keen capped by ACL Hall of Famer Lyle Lovett making his first appearance in over a decade. Rounding out the first half of Season 48 was the electrifying ACL debut of Cuban funk sensations and newly-minted Grammy nominees Cimafunk and The Tribe.

Watch live on PBS, or stream anytime on The series will continue to air fan-favorite encore episodes through the end of 2022. Viewers can visit for news regarding live streams, future tapings and episode schedules or by following ACL on Facebook, Twitter and IG. Fans can also browse the ACL YouTube channel for exclusive songs, behind-the-scenes videos and full-length artist interviews.

Austin City Limits

Austin City Limits (ACL) offers viewers unparalleled access to featured acts in an intimate setting that provides a platform for artists to deliver inspired, memorable, full-length performances. Now in its 48th Season, the program is taped live before a concert audience from The Moody Theater in downtown Austin. Austin City Limits is the longest-running music series in television history and remains the only TV series to ever be awarded the National Medal of Arts. Since its inception, the groundbreaking music series has become an institution that’s helped secure Austin’s reputation as the Live Music Capital of the World. The historic Austin PBS Studio 6A, home to 36 years of ACL concerts, has been designated an official Rock & Roll Hall of Fame Landmark. In 2011, ACL moved to the new venue ACL Live at The Moody Theater in downtown Austin. ACL received a rare institutional Peabody Award for excellence and outstanding achievement in 2012.  

Austin City Limits is produced by Austin PBS and funding is provided in part by Dell Technologies, Workrise, the Austin Convention Center Department, Cirrus Logic and AXS Ticketing. Additional funding is provided by the Friends of Austin City Limits. Learn more about Austin City Limits, programming and history at

Austin City Limits Hall of Fame

In 2014, Austin PBS, KLRU-TV — creator and producer of the legendary PBS show Austin City Limits — established the Austin City Limits Hall of Fame to recognize legendary musicians and key individuals who have been instrumental in making television’s longest-running popular music show an institution. Each year a new class of honorees are inducted and celebrated at a live event taped to air on PBS. It is also a historical archive, educational resource and celebration of Austin City Limits —telling the story of the show through photos, a timeline/anthology mural and in the near future, an interactive database of vintage Austin City Limits performances and video footage of interviews, behind-the-scenes and never before seen performances throughout the decades. Honorees to-date include Willie Nelson, Stevie Ray Vaughan & Double Trouble, Lloyd Maines, Asleep at the Wheel, Loretta Lynn, Flaco Jiménez, Guy Clark, Townes Van Zandt, Bonnie Raitt, Kris Kristofferson, B.B. King, Rosanne Cash, The Neville Brothers, Roy Orbison, Marcia Ball, Ray Charles, Los Lobos, Lyle Lovett, Shawn Colvin, Buddy Guy, Lucinda Williams, Wilco, Alejandro Escovedo, Joe Ely and Sheryl Crow.
Austin City Limits 8th Annual Hall of Fame is produced by Austin PBS and funding is provided in part by AXS Ticketing, American Honda Motor Company, Netspend Corporation and YETI.

Featured News Taping Recap

Taping recap: Adrian Quesada’s Boleros Psicodélicos

We all found different ways to pass the time during the pandemic. Famed Austin guitarist and producer Adrian Quesada spent his time listening to classics from the balada movement of the 1970s Latin music world, becoming so enchanted he decided to record an album of songs in that style himself. Boleros Psicodélicos – literally “psychedelic boleros” – features guest vocalists from across the spectrum of contemporary Latin music, from indie rock to grand pop, garnering accolades across the board. For this special ACL taping, which is only the second time this music has been performed live, Quesada welcomed eight sensational guest vocalists to the stage, nearly every singer from the album, to bring to life their album performances, plus some special additional songs. 

Dressed in variations on basic black, Quesada and his nine-piece band (including strings, horn, vibraphone and keyboardist Jaron Marshall from Quesada’s other band Black Pumas) opened the show with “Starry Nights,” a lush and funky instrumental taken from Jaguar Sound, his forthcoming LP that draws inspiration from library music, hip-hop, psychedelia and Italian film scores. Following that scene-setter, Quesada brought on Mireya Ramos, the leader of New York’s all-female mariachi Flor de Toloache, for the first song from Boleros Psicodélicos: “Tus Tormentas,” a ballad with a laidback hip-hop backbeat and spectacular singing and violin from Ramos. Marshall then laid down some ethereal organ as an intro to “El León,” a swaying, melodramatic bossa nova featuring Chicago rocker Rudy de Anya. Mexico City’s sultry R&B Latin singer Girl Ultra took the stage for a pair of tunes: the original ballad “El Payaso,” which featured a ringing solo from vibraphonist Carolyn Trowbridge, and a cover of the groovy “Trigal,” a 1969 hit for Argentine singer Sandro. 

“How does this happen? You’re all here singing along to boleros at ACL Live,” noted Quesada happily, mentioning the chills he gets from playing in front of the iconic ACL backdrop. He then welcomed potent singer Angelica Garcia for another combo, starting with the opulent “Puedes Decir De Mi,” from the catalog of Cuban superstar La Lupe that earned a wave of applause, and ending with the sweeping, sensual original song “Ídolo.” Subbing for the absent Gabriel Garzón-Montano and carrying a colorful parasol, Mexico-to-Austin vocalist and Jumbo frontman Clemente Castillo joined the band for “El Paraguas,” an acid-tinged ballad in waltz time with a dynamic Quesada guitar solo. Explaining the concept of the album, Quesada welcomed to the stage Argentinian singer and Thievery Corporation associate Natalia Clavier, the first singer to grasp Quesada’s concept by recording “Esclavo y Amo,” a drama-filled 1975 hit from Pervuian/Mexican band Los Pasteles Verdes. She also performed the sprightly, synth-frosted, rock-accented tune “¡Adios!,” which she previously recorded with another of Quesada’s projects, the Echocentrics. Rising young Guatemelan singer Tita then came on to perform the sentimental, seductive “El Muchaco De Los Ojos Tristes,” a 1982 hit from Spanish singer Jeanette. 

Quesada closed the show with a back-to-back dose of star power, as vocalist iLe – former frontwoman of Puerto Rican powerhouse Calle 13 and sister of ACL veteran Residente – took the stage for a stirring take on Cuban singer and queen of bolero Olga Guillot’s 1967 hit ballad “Bravo,” to huge audience reaction. She and the band closed the show with the lively Quesada/iLe original “Mentiras Con Cariño,” the opening cut of Boleros Psicodélicos, on which Ramos returned to add her emotional violin soloing. As a coda, Quesada introduced the band and the singers, leading them all in a final bow. It was an incredible show, one not likely to happen again anytime soon, and we can’t wait for you to see it when it airs early next year on your local PBS station as part of our Season 48.  

Adrian Quesada brings his Boleros Psicodélicos to Austin City Limits on Oct. 9, 2022. Photos by Scott Newton.

Featured News Taping Announcement

Taping announcements: Adia Victoria, Nathaniel Rateliff & the Night Sweats, Adrian Quesada, Pavement, The War On Drugs and Spoon

Austin City Limits is thrilled to announce a stellar slate of October tapings for Season 48, including a number of highly-anticipated acts featured on our namesake ACL Festival this fall. On Oct. 3, we present eclectic and imaginative singer/songwriter Adia Victoria in her ACL debut. On Oct. 6, we welcome back rocking soul act Nathaniel Rateliff & The Night Sweats for their second appearance. Oct. 9 brings the first solo appearance of multi-hyphenate Adrian Quesada, returning to our stage to showcase his latest release, Boleros Psicodélicos. Oct. 10 brings legendary alternative rock pioneers Pavement to the stage for their ACL debut. On Oct. 16, we throw our doors open once again for Grammy-winning modern rock band The War On Drugs. Finally, on Oct. 19, we welcome Austin’s iconic favorite sons Spoon for their fifth taping. 

Adia Victoria. Photo by Huy Nguyen.

Adia Victoria is a daughter of the South, a born and bred South Carolinian who now makes her home in Nashville, Tennessee. It’s no surprise, then, that stories of the South find their way into her music, especially her latest, A Southern Gothic, her third full-length release. Sonically, the record is equal parts historical montage and modern prophesy, dark and light, love and loathing. Put simply, it is the musical embodiment of the relationship that so many people, especially Black women, have with the South. Indeed, even as Victoria’s lyrics feel weighted by a Southern heaviness that is so often smothering, the music is also buoyed by rhythm and melody that illuminate the best of what this region has to offer. “You are getting that chill music, that vibe,” she explains, “but I wanted you to also get that ethereal feel of the South. I wanted you to get the humidity of it, the heat, the ways we reach to the pits of hell and the heights of heaven. I wanted this record to encapsulate the extremes of the South.” Much of the recording took place during the early days of the pandemic in Paris, France with Victoria and creative partner Mason Hickman becoming a two-person band of sorts until the world re-opened and they entered the studio with executive producer T-Bone Burnett. The result is a project that fits perfectly into Victoria’s catalogue and the rich legacy of Black Southern storytelling, even as it stands alone as a freshly innovative work. “With this project, I was so anchored in the past and the Black brilliance that came before me that it was kind of a road map,” says Victoria. “They said, ‘Sweetie, we’re gonna locate you, and we’re gonna allow you to move it forward.’”

Nathaniel Rateliff & the Night Sweats. Photo by Danny Clinch.

It took Nathaniel Rateliff & The Night Sweats less than five years to become one of the most recognizable new forces in contemporary rock ’n’ roll. Since 2015, Rateliff has led his seven-piece, horn-flanked Night Sweats, supplying the zeal of a whiskey-chugging Pentecostal preacher to songs about this world’s shared woes; their combustible mix of soul and rock quickly cemented them as the rare generational band who balance ecstatic live shows with engrossing and rich records. When the pandemic scuttled the tour for the songwriter’s 2020 solo album And It’s Still Alright, Rateliff returned to his Colorado homestead and penned a set of songs that synthesized his introspection with the Night Sweats’ anthemic inclinations. The result is The Future, the third Night Sweats album but the first to capture this octet’s true depth and breadth. An instant classic of eleven compulsive songs, The Future obviates the boundary between band and bandleader, between old expectations and what comes after. The playing of the Night Sweats mirrors the nuance of Rateliff’s writing throughout The Future. Though Rateliff and his fellow players have long been best friends who chatter constantly on a never-ending group text chain even when they’re off the road, the relationship could sometimes appear hierarchal to outsiders, a singer with his support. But producer Bradley Cook worked to integrate everyone’s ideas and fully harness the abilities of one of rock’s most soulful crews into something seamless and new. For so long, the future of Nathaniel Rateliff & The Night Sweats seemed settled and seen—a marquee soul-rock band that always had the best time. But The Future presents something more sustainable, interesting, and indeed open—a songwriter and band growing into bigger questions and sounds, into a future that allows them to remain recognizable and compelling.

Adrian Quesada. Photo by Cesar Berrios.

About 20 years ago, guitarist, producer and Black Pumas co-founder Adrian Quesada was driving in his home base of Austin, Texas when the 1975 balada classic “Esclavo y Amo” by Peruvian band Los Pasteles Verdes played on a local AM station. Quesada was mesmerized by the song’s dark, baroque melodrama. “I swear to God, I had to pull over because I had never heard anything like it,” he recalls with a laugh. “I was like, what the hell is this? Sounds like a romantic breakup on LSD. It completely, literally blew my mind. What Quesada had discovered was the sophisticated – and slightly delirious – cultural movement of balada music that blossomed throughout Latin America between the late ‘60s and early ‘70s. A refined collision of bossa nova smoothness, Beatlesque psychedelia and torrid bolero pathos, balada used art-pop instrumentation and the warmth of analogue recording to maximum effect. It employed songs about heartbreak and longing as a means to transport the listener to an opulent, cinematic fantasy world. Now, Quesada has penned a love letter to that golden era through Boleros Psicodélicos, a stunning album that lovingly recreates the specificity of the balada sound, adding a stellar list of guest vocalists, including Gaby Moreno, Natalia Clavier, Gabriel Garzón-Montano and former Calle 13 singer iLe, as well as intriguing contemporary touches and just a hint of irony. Psychedelic boleros are just one of the many genres that Quesada has touched on during an incredibly prolific career. He has collaborated with the likes of Prince, Los Lobos and Wu-Tang Clan’s GZA, and has been a member of such eclectic bands as Grupo Fantasma, Brownout and Ocote Soul Sounds. Black Pumas, the duo he formed in 2018 with singer/songwriter Eric Burton, has been nominated for six GRAMMYs and performed during the inauguration festivities of President Joe Biden in 2021.

Pavement. Photo by Moses Berkson.

Pavement are Mark Ibold, Scott “Spiral Stairs” Kannberg, Stephen Malkmus, Bob Nastanovich and Steve West. Among the most beloved acts to come out of the American underground in the 1990’s, the band released five era-defining albums – Slanted And Enchanted (1992), Crooked Rain, Crooked Rain (1994), Wowee Zowee (1995), Brighten The Corners (1997) and Terror Twilight (1999) – before disbanding in 1999. The band reunited this year for its first shows in more than a decade, including a headline set at Primavera Sound. This fall they will tour throughout the US, EU, UK, and Japan. Pavement’s 2010 reunion saw them play four sold out shows in Central Park and top the bills of festivals worldwide including Coachella, Primavera Sound, and Pitchfork. 

The War On Drugs. Photo by Shawn Brackbill.

The War on Drugs have steadily emerged as one of this century’s great rock and roll synthesists, removing the gaps between the underground and the mainstream, between the obtuse and the anthemic, making records that wrestle a fractured past into a unified and engrossing present. Led by Adam Granduciel, The New Yorker called them “the best American ‘rock’ band of this decade” in support of their album A Deeper Understanding, for which they won the 2018 Grammy for Best Rock Album and were nominated for a BRIT Award for International Group of the Year. 2020 saw the release of LIVE DRUGS, featuring live interpretations of songs throughout their career, including off their 2014 breakthrough Lost In The Dream. Co-produced by Granduciel and Shawn Everett, their fifth studio album, I Don’t Live Here Anymore, “chips away some of their hazier edges in favor of sharper melodies, broadening the borders of the meticulous yet joyously simple sound [Granduciel] has perfected” (Pitchfork, Best New Music). It landed on numerous 2021 best albums of the year lists and garnered a second BRIT Award nomination. The band headlined Madison Square Garden in support of its release.

Spoon’s tenth album, Lucifer on the Sofa, is the band’s purest rock ’n roll record to date. Texas-made, it is the first set of songs that the quintet has put to tape in its hometown of Austin in more than a decade. Written and recorded over the last two years – both in and out of lockdown – these songs mark a shift toward something louder, wilder, and more full-color. 

Lucifer on the Sofa bottles the physical thrill of a band tearing up a packed room. It’s an album of intensity and intimacy, where the music’s harshest edges feel as vivid as the directions quietly murmured into the mic on the first-take. According to frontman Britt Daniel, “It’s the sound of classic rock as written by a guy who never did get Eric Clapton.” In fall of 2019, Daniel moved back to Austin from Los Angeles. A month later, guitarist/keyboardist Alex Fischel followed him with a car full of gear. The move to Texas added up for a lot of reasons: Daniel was born and grew up there, and his family never left. Drummer Jim Eno has his Public Hi-Fi studio in Austin, which allowed the band the luxury of recording at whatever pace they liked. The return felt less like a homecoming than a jolt to the system. Here was an opportunity to write amidst the creative lawlessness that inspired Daniel to make music in the first place — a city where everything from outlaw country to psychedelic punk have long co-mingled at honky tonks, house shows and backyard barbecues. “We wanted to make a record where we could experience and draw from a scene,” says Daniel. “Where Alex and I could write all day, then go out and see Dale Watson at the Continental, then come back home and write some more.” Halfway through the recording process, the pandemic hit. The studio shut down, but Daniel continued writing. When the band reconvened, Daniel had a new batch of songs and a fresh sense of momentum. “It’s certainly something we didn’t take for granted, that feeling of being in a room with each other. That moment was a once in a lifetime kind of feeling.” Lucifer on the Sofa is the sound of that moment, a record of defiant optimism, the sound of a band cracking things open and letting them spill out onstage. 

Want to be part of our audience? We will post information on how to get free passes as we get a week out from each date. Follow us on Facebook and Twitter for notice of postings. The broadcast episodes will air during our upcoming Season 48, which premieres October 1 on PBS.

Please look for safety updates regarding entry to Austin City Limits tapings. Austin PBS will continue to monitor local COVID-19 trends and will meet or exceed protocols mandated by local governments.