Tag: Season 44

When Kacey Musgraves first visited our stage in 2013, she was a year into the breakthrough success brought to her by Same Trailer, Different Park, her first major label release. Now, a few years and several major awards later, the East Texas native returned on the heels of Golden Hour, an album that’s earned her even more kudos than her breakthrough. That album formed the backbone of her second ACL performance, with some of her previous gems sprinkled in along the way.

With Beatles harmonies playing over the P.A., Musgraves and her band took the stage and gently rolled into “Slow Burn,” the lushly poppy opening track to Hour. The melodic “Butterflies” followed, its affirmation of true love floating on sparsely plucked banjo, brushed drums, quiet synth and Musgraves’ rhythm guitar. “Let’s get a little bit weird, freak your neighbor out, cross a few lines,” she said, before going into “Love is a Wild Thing,” a gentle anthem proclaiming the triumph of love over hate. She kept to the new album for the sly pop tune “Velvet Elvis,” another ode to a strong relationship, before hitting up the 70s soft rock of Golden Hour’s title track and the self-explanatory “Happy & Sad.” Taking a break from the new record, Musgraves revisited Same Trailer for the placid kiss-off “Keep It to Yourself,” then it was back to the Hour for the pretty, catchy “Lonely Weekend.”

The band got a quick showcase to itself on the Santo & Johnny-like instrumental “Western J,” as Musgraves had her hair and makeup – her “Texas look,” as she earlier explained – refreshed. Then the musicians segued into “High Time,” her whistling-enhanced, countrified ode to letting stress go. After introducing her bandmates, she dedicated the “Family is Family” to “all the weird members of your family,” letting drummer Scott Quintana drive the rhythm with his spoons. “Happy Pride Month,” she then declared, “so I think we should sing this one together real loud!” It was her individuality anthem “Follow Your Arrow,” of course, and the crowd did indeed sing along at top volume, including an a cappella section all to themselves. “Space Cowboy” came next, a break-up ballad to leaven the palpable happiness powering most of the Hour songs. Musgraves ended the main set on a stool, crooning the beautiful ballad “Rainbow,” the same song that ends Golden Hour.

“Kacey! Kacey!” chanted the audience, welcoming her back. Alone onstage, she played her Grammy-winning hit “Merry Go Round,” a tribute to stifling small towns everywhere. Her band returned for a loping cover of Brooks & Dunn’s “Neon Moon,” another crowd singalong. She and the band ended the show on the dancefloor with the disco pop of “High Horse,” Musgraves, guitarist Kyle Hurlbut and bassist Adam Keafer hoofing the show to a close. Except that it wasn’t quite over, as Musgraves decided to redo “Love is a Wild Thing,” “Family is Family” and, appropriately, “High Horse,” a situation the audience didn’t mind at all. It was an expansive, special show, and we can’t wait for you to see it when it airs as part of ACL’s Season 44 on your local PBS station.

Singing and songwriting legend John Prine has been through some trials and tribulations since the last time he visited the Austin City Limits stage in 2005, but he’s come through it all swinging with a hugely acclaimed, top 5 record The Tree of Forgiveness. That album formed the heart of the setlist for his eighth ACL appearance and the longtime Nashvillian graced us with a funny, moving performance.

Before giving us Forgiveness, however, Prine dipped into his debut album for a pair of well-loved classics. Taking the stage with his four-piece band (including guitarist Jason Wilber and bassist David Jacques, last here with Prine in Season 31) to huge applause, the Illinois native opened with the lovely “Six O’Clock News,” from his 1971 self-titled debut. “This song goes out to Bonnie Raitt,” he said as he went into the timeless classic “Angel From Montgomery,” made famous by the singing slide guitarist. Then it was into The Tree of Forgiveness with the sprightly “Knockin’ On Your Screen Door,” the first of seven in a row from the new landmark. “Caravan of Fools” followed, a song co-written with Dan Auerbach and Pat McLaughlin and featuring, as Prine noted, “has more verses than there are original members in the cabinet of the present administration.” He dipped into the more humorous side of his personality for the wry “Egg & Daughter Nite, Lincoln, Nebraska (Crazy Bone),” before dedicating the heartfelt “Boundless Love” to his wife Fiona. “This next song is probably, at least for me, the prettiest song on The Tree of Forgiveness,” he said by way of introduction to “Summer’s End,” a tune that indeed could have competed in the musical equivalent of a beauty pageant. The folky “I Have Met My Love Today” returned to the theme of found love, while “Lonesome Friends of Science” sardonically saluted the dwarf planet Pluto and the Greek god Vulcan – “the only thing Pluto and Vulcan have in common is that they’re both in my song.”

The band then quit the stage, leaving Prine by himself to dig deep into his catalog. He started the solo portion of the set with the passively defiant “Everything is Cool,” from the early 90s’ hit The Missing Years. Then he returned to his first album for its opening cut “Illegal Smile,” which turned into a singalong during the chorus – the audience even sang the final chorus “solo.” Prine climbed the Tree again for “No Ordinary Blue,” a song about a couple’s argument that he wrote with old pal Keith Sykes. Prine then welcomed newcomer Tyler Childers to the stage, duetting on Sweet Revenge’s “Please Don’t Bury Me” and letting the young Kentucky native singer/songwriter do his own “Lady May” alone.

Prine and his band returned to the stage and went into “Lake Marie,” a fan favorite from Lost Dogs & Mixed Blessings that serves as an anthem as much as a story song. The penultimate song in the set was the final song on Tree, the raucous, oft-hilarious “When I Get to Heaven,” featuring the band on kazoos during the instrumental break. Prine and company finished the set with his classic “Paradise,” another gem from his ‘71 debut, this version enhanced by a returning Tyler Childers. The crowd went crazy, letting Prine know just how much his artistry is loved and appreciated. It was a fitting end to a great set, and we can’t wait for you to see it when Prine’s episode airs this fall as part of ACL’s Season 44.