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Episode recap: Miranda Lambert

Austin City Limits presents a Season 43 highlight, a brand new hour with one of country music’s most celebrated entertainers, Miranda Lambert. The multi-platinum, award-winning singer-songwriter is at the top of her game in a 13-song tour de force.

For her third appearance on Austin City Limits, Lambert delivers a magnetic performance and proves why she’s the reigning queen of country, leading the pack with 5 nominations for this year’s 51st CMA Awards (on November 8) and being named Female Vocalist of the Year by the Academy of Country Music for a record-breaking 8th year in a row. The native Texan performs songs from her sixth album, The Weight of These Wings, sharing many of the personal stories behind the songs in a sparkling set. Lambert and her 8-piece band open with a fire-starter, “Kerosene,” the title track to her 2005 breakout debut. The country star’s relaxed persona charms and disarms the Austin crowd: “So that’s what we’re gonna do here tonight, as a big family…we’re just gonna be us, and own it…all the good, and all the bad. Are y’all in?” The crowd’s definitely in as she shines on new songs ““Vice,” and “We Should Be Friends,” road-tested fan-favorites, and a show-stopping cover of Little Feat’s classic “Willin’” that she makes her own.

A solo acoustic rendition of her new marvel “Tin Man” (nominated for two 2017 CMA Awards, including Song of the Year) is a set highlight, showcasing the vulnerable, open-hearted lyrics and grit that are her trademark; Lambert explains that she wants to perform the number alone because “That’s where it starts—with a song and a guitar and a girl and some emotions.” The stunner demonstrates her vast emotional range with the blistering set-closer “Gunpowder and Lead,” turning her hell-bent on revenge fantasy’s razor sharp lyrics into magic.

“Miranda is one of Country music’s brightest stars,” says ACL executive producer Terry Lickona, “but she’s a quintessential Texas singer-songwriter at heart. True to her roots, she writes powerful songs that leave no stone unturned.”

photo by Scott Newton

Tune in this weekend for this episode, and, as always, check your local PBS listings for the broadcast time in your area. Go to the episode page for more info, and don’t forget to click over to our Facebook, Twitter and newsletter pages for more ACL info. Join us next week for a brand new episode, featuring the return of indie rockers The Head and The Heart and the debut of rocking soul man Benjamin Booker.

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News Taping Recap

Taping recap: LCD Soundsystem

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.

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News Taping Recap

Taping recap: Shinyribs

Kevin Russell is no stranger to our stage. The leader of Shinyribs last hit Austin City Limits in 2007 while a member of Austin’s beloved Gourds. Since that group’s breakup, Russell has taken his vision of roots rock in a more soulful, danceable and theatrical direction with Shinyribs. Four albums and countless live performances later, he and the band finally came back home for an ACL taping that was a celebration of all things Shiny, livestreamed worldwide in all its glory.  Livestream viewer Brenda Walker raved of the riotous East Texas frontman, “Kevin really IS the Pavarotti of the Pineywoods” and Priscilla Promises chimed in “U in Austin bAaBeE.”

Introduced by hype man Trey Worth as “the Shakespeare of swamp pop” and “the shiniest man in show business,” patriarch Kevin Russell took the stage to brag about being “Country Cool,” allowing each member to show off his instrument during this slice of soul pop. The swamp to which Worth alluded earlier bubbled up in “Don’t Leave It a Lie,” a muddy groove accompanied by the Riblets, a trio of female dancers acting as Russell’s own Ikettes. Wielding a mean ukulele, Russell indulged in some call-and-response with ace backup vocalists Alice Spencer and Kelley Mickwee for the tropical soul of “I Got Your Medicine,” the title track to the band’s fourth and latest LP. The ‘ribs gleefully blended swamp rock, funk, c&w and yodeling for the epic “Song of Lime Juice & Despair,” complete with a Riblets ‘n’ Russell dance routine. The band then pulled out an inspired cover of David Bowie’s “Golden Years,” set to a double-timed rhythm (borrowed from the Drifters’ “On Broadway”) that allowed Russell to indulge in vocalese lifted from various R&B hits.

Russell took the mood from party-hearty to wistful by dedicating the slow-burn soul song “Who Built The Moon” to much beloved local bassist George Reiff, recently passed from cancer. The group then dropped in for a quick New Orleans visit, covering Allen Toussaint’s finger-popping R&B tune “A Certain Girl,” first recorded in 1961 by Ernie K-Doe and boasting cracking solos from Russell, keyboardist Winfield Cheek, saxist Mark Wilson and trumpeter Tiger Anaya. Doubling as a possible name for Shinyribs’ musical gumbo, “Tub Gut Stomp & Red-Eyed Soul” followed, reminiscent of key Russell influence Doug Sahm. Continuing his musical tour of Texas, Russell guided the band to the Lone Star/Louisiana border for the soulful “Take Me Lake Charles.”  After the frisky pop and roll of “Walt Disney,” Russell dug deep for “I Gave Up All I Had,” a powerful cover from the catalogue of the late soul man Ted Hawkins.

While Russell crawled back up from the floor, bassist Jeff Brown and drummer Keith Langford (a fellow ex-Gourd) started up a roiling groove that signalled the frisky funk of “Baby, What’s Wrong?” which also included a mock fight between Russell and the Riblets. Shinyribs concluded the main set with the jungle pop of “Poor People’s Store,” which generated the band’s traditional conga line on the floor – joined, of course, by Russell himself. The audience couldn’t let the night end just yet, though. The band came back for an encore, starting with a song “about my favorite root vegetable.” The ballad “Sweet Potato” doubled as an excuse to introduce the band, Russell noting each member’s root veggie preference rather than his or her hometown. Russell crawled to the edge of the stage and back in mock fatigue, before a Riblet draped a sparkling robe over his shoulders—what Russell called “a luminous cloak”—his very own technicolor dreamcoat with light-up lining in ever-changing colors. As the song drifted wistfully to an end, Russell picked up his guitar, cranked up the volume and grunged his way into the rock ‘n’ soul of “East TX Rust,” the robe making him look like a glam rock Jawa. “Let’s get it on now!” he demanded as he put his axe through its paces, and there wasn’t a soul in the crowd who would disagree. The song ended in a riot of guitar, horns and an audience going wild. It was a fantastic show, and we can’t wait for you to see it when it airs early next year as part of our Season 43 on your local PBS station.

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Episode Recap News

ACL Season 43 presents Norah Jones and Angel Olsen

Austin City Limits showcases two of today’s most acclaimed singer-songwriters in a new installment. ACL veteran Norah Jones and indie breakout star Angel Olsen share the episode, with distinctive performances demonstrating the extraordinary range of the genre.

Norah Jones made her first appearance on Austin City Limits in 2002, just prior to the release of her landmark debut Come Away With Me, which propelled her to the world stage. Since then, Jones has sold 50 million albums worldwide and is a nine-time Grammy-winner. She returns for her fourth appearance on the series performing new songs from her sixth album Day Breaks, a kindred spirit to Come Away…and a return to her piano and jazz roots. Seated at her grand piano, the native Texan delivers a stately performance featuring new gems, including the stunning originals “Flipside” and “Carry On,” and gorgeous renditions of Neil Young’s “Don’t Be Denied” and Horace Silver’s jazz standard “Peace.” Jones closes out the set on acoustic guitar surrounded by her bandmates as they gather around a single microphone for an inspired cover of the Grateful Dead’s “Ripple,” reimagined as a folk classic.

A unique voice in indie music, Angel Olsen shares songs from her widely-acclaimed release My Woman in a compelling, confident ACL debut. “I have a couple things I’d like to share with you tonight. A couple of feelings and a couple of songs,” says the dynamic singer-songwriter-guitarist. Her powerful vocals anchor her longing, demanding love songs as the Austin crowd sing along rapturously. Olsen’s five-piece band, sharp in matching powder blue suits, join in soaring harmonies to breathtaking effect. The indie stunner has the crowd in her pocket as she closes with a highlight, the reverb-shrouded poetic swoon of “Shut Up Kiss Me,” an anthem for the ages.

photo by Scott Newton

“Norah and Angel are very different singers, but they share that special ability to convey deep personal feelings in a way that connects with you,” says ACL executive producer Terry Lickona. “Norah continues to surprise with each new musical offering, and Angel is just amazing.”

Tune in this weekend for this episode, and, as always, check your local PBS listings for the broadcast time in your area. Go to the episode page for more info, and don’t forget to click over to our Facebook, Twitter and newsletter pages for more ACL info. Join us next week for a brand new episode, featuring the return of country star and our friend Miranda Lambert.

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News Taping Recap

ACL Hall of Fame inducts Roy Orbison, Rosanne Cash and the Neville Brothers, with a special tribute to Fats Domino

Last night three American musical innovators were inducted into the fourth annual Austin City Limits Hall of Fame: singer/songwriter Rosanne Cash, New Orleans funk ‘n’ soul collective the

Neville Brothers and late rock & roll legend Roy Orbison. The evening featured one-of-a-kind music performances and tributes from Elvis Costello, Brandi Carlile, Neko Case, Ry Cooder, Dr. John, the Mavericks’ Raul Malo, Trombone Shorty, the Nevilles Band and host Chris Isaak.

Austin’s renegade brass ensemble the Minor Mishap Marching Band led the audience to their seats with a second line, setting the scene for a party. After opening remarks from KLRU-TV CEO Bill Stotesbery and ACL executive producer Terry Lickona, Chris Isaak took the stage to welcome the crowd and introduce the first tribute. “He was a baritone, tenor and angel,” said Isaak about the late, great Roy Orbison before inducting his hero. Orbison’s three sons Wesley, Roy, Jr. and Alex and granddaughter Emily and grandson Roy III accepted the award, noting that this ceremony, including Cashes, Nevilles and Orbisons, was a family affair. Then, of course, came the music: the Mavericks’ Raul Malo belted “Crying,” Brandi Carlile nailed “It’s Over” and Isaak crooned “Only the Lonely” as if it was written for him. Carlile returned, and she and Isaak harmonized divinely on “Dream Baby,” one of Orbison’s friskier tunes. There was only one way the Orbison tribute could end, as Malo joined Isaak and Carlile for a joyful “Oh, Pretty Woman.”

After Isaak introduced honoree Rosanne Cash, Elvis Costello inducted his friend, noting the power and skill in her voice and words. Cash accepted her award with humility, explaining how ACL helped her feel part of a music community when she was starting out, making her ACL debut in 1983 at age 28.  Costello returned, along with Cash’s husband and creative collaborator, guitarist and producer John Leventhal, for the stirring affirmation “April 5th,” a song co-written by Cash, Leventhal, Costello and Kris Kristofferson. Spiritual descendant Neko Case took the stage next, for a transcendent version of the aching and defiant “What We Really Want is Love.” Cash herself re-entered with her friend (and guitarist extraordinaire) Ry Cooder for the sparse, strong “A Feather’s Not a Bird” – a song from Cash’s 2015 triple-Grammy-winning album The River & the Thread and proof that she’s as brilliant now as she’s always been. Costello and Case came back for “Seven Year Ache,” Costello alternating chorus vocals and Case and Cash sharing harmonies like they shared an episode back in 2003.

House bandleader & ACL Hall of Fame inductee Lloyd Maines introduced the ace house band including guitarist David Grissom, bassist Bill Whitbeck, drummer Tom Van Schaik and keyboardist/mandolinist Chris Gage. Then it was on to intermission, as Minor Mishap played, the audience danced and the ACL crew reset the stage for the grand finale.

The second half of the show brought the funk, with a celebration of New Orleans music. Given that the sad news of the passing of rock & roll pioneer Fats Domino broke earlier in the day, ACL elected to open with a video of the New Orleans icon singing “Blueberry Hill,” taken from his classic 1987 ACL episode. The first induction of the second half honored a non-performer – the 50th Anniversary of the Public Broadcasting Act, signed by President Lyndon B. Johnson in 1967. The milestone signing helped pave the way for PBS.  Johnson’s granddaughter Catherine Robb and Amy Barbee, chairperson of the LBJ Foundation, accepted the award.

Isaak returned to the stage to introduce the first family of New Orleans music: the Neville Brothers. New Orleans sensation Trombone Shorty, a kindred musical hybridist, inducted the family with colorful stories about the Nevilles with whom he lived and toured as a child. While the brothers couldn’t be there, Aaron Neville’s son Ivan, Art’s son Ian and Charles’ son Khalif accepted on their behalf before taking their places behind their instruments (keyboards, guitar and more keys, respectively). Ivan introduced Dr. John and Elvis Costello, who came up to help with a rollicking take on “Ain’t That a Shame,” in tribute to its author Fats Domino.

Backed by Shorty, Ian, the Grooveline Horns, Ivan’s Dumpstaphunk bandmate Nick Daniels and longtime members of the Nevilles’ band Brian Stoltz, Tony Hall and Willie Green, Ivan asked the audience, “Are you ready to get funky?” Then it was into “Fire & Brimstone,” one of the Nevilles’ greatest tunes, sung by Hall. The group paid tribute to the Nevilles’ predecessor act the Wild Tchoupitoulas with that band’s call to arms “Meet De Boys on the Battlefront.” Things got even funkier for “Brother Jake,” a gem from the band’s late 80s’ sleeper Brother’s Keeper that really got the crowd going. Khalif then joined Ivan on keyboards for “Healing Chant,” a Grammy-winning instrumental from the band’s seminal Yellow Moon that featured Shorty on a lyrical trombone solo. That special breed of New Orleans funk burned brightly on “Fire On the Bayou,” one of the Nevilles’ signature tunes, earning a standing ovation. The Nevilles mini-set came to a close with the exultant dance party of “Shake Your Tambourine.”

But the music wasn’t over yet. Ivan brought Dr. John back to the stage for “Big Chief,” the Earl King-penned/Professor Longhair-popularized shout that has been in the repertoire of nearly every New Orleans and N.O.-inspired dance band for five decades. Elvis Costello rejoined Shorty, the Night Tripper and the Nevilles for a distinctly New Orleans groove through the traditional standard “Down By the Riverside,” which ran directly into its musical cousin “Amen.” That song brought Isaak, Carlile and Malo to the stage as well, and the audience was on their feet, ready to join in Ivan’s call-and-response. As the song reached its climax, confetti burst and the musicians rang in the Austin new year a couple of months early. The roof was raised, and the 2017 HOF celebration came to a close. Viewers everywhere will get to join this party when it airs as a special broadcast on New Year’s Eve on your local PBS station.

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News

Giveaway: LCD Soundsystem 11/1

UDPATE: Giveaway is now over

Austin City Limits will be taping a performance by LCD Soundsystem on Wednesday, November 1st at 8 pm at ACL Live at The Moody Theater (310 W. 2nd Street, Willie Nelson Blvd). We will be giving away a limited number of space available passes to this taping. Enter your name and email address on the below form by noon on Monday, Oct. 30th.

Winners will be chosen at random and a photo ID will be required to pickup tickets. Winners will be notified by email. Passes are not transferable and cannot be sold. Standing may be required. No photography, recording or cell phone use in the studio. No cameras computers or recording devices allowed in venue.