Tag: Season 44

If there’s proof you can be a superstar and a restless innovator, it resides in the art and life of Janelle Monáe. The Atlanta-based singer, songwriter, producer, actor and label owner was proclaimed a star right out of the box with her debut album The ArchAndroid, and her stock has done nothing but rise since. Following two renowned LPs and breakout roles in the Oscar-nominated Hidden Figures and Oscar-winning Moonlight, Monáe hit the music world like a freight train with the wildly lauded Dirty Computer, a major statement on community and inclusion and her most successful album yet. We were thrilled to host her acclaimed four-act masterpiece that is the Dirty Computer tour.

The band took the stage to the strains of “Also Sprach Zarathustra” before launching into the title track of Dirty Computer. The scene thus set, Monáe herself climbed the white pyramid at center stage for “Crazy, Classic, Life,” a song that lays out her philosophy and invites everyone to join in. Donning a guitar, she chunked out the chords to “Screwed,” a catchy funk/pop tune that conflates the act of sex with the exercise of power. Changing her costume onstage in front of a mirror held by a dancer (a nice homage to the futuristic funk of The Time), Monáe ascended the throne that appeared at the top of the pyramid for “Django Jane,” a fiercely rapped anthem of empowerment for weirdos everywhere. The lights went down for a minute as the four dancers changed costume; when illumination returned, it was to the tune of “Q.U.E.E.N.,” from her sophomore record The Electric Lady. That was followed by the title track from that LP, which became a call-and-response singalong with the electric ladies in the audience, who knew every word. After letting the crowd know that they were loved, Monáe eased into “Primetime,” a positive power ballad that guitarist Kellindo Parker morphed into the ending solo of key Monáe influence Prince’s “Purple Rain.”

After a break, bassist Téja Veal and keyboardist Krystal Johnson broke out the keytars and Monáe and her dancers came out for the catchy funk rock of “Pynk,” her infamous ode to human anatomy. While that song is as much about the color all people have in common inside as anything more lascivious, there was no mistaking the erotic vibe of “Yoga,” her 2015 single with rapper Jidenna. “We’re here to celebrate self love,” she declared, but before anyone could get the wrong idea, she followed that sentiment with “I Like That,” a song about self-acceptance that became another communion between performer and audience. The stage darkened once again, before everyone returned for a redo of “Pynk.” One more quick interlude later, and it was on to the awesomely hooky “Make Me Feel,” a sensual bit of stripped-down funk with nods to Michael Jackson (who inspired Monáe’s shadow dancing during the intro), Prince (who helped create sounds for the song before his untimely death) and James Brown (bits of whose “I Got the Feeling” made sporadic appearances). The funk kept roiling with “I Got the Juice,” yet another highlight from Dirty Computer that became a showcase not only for her dancers, but select members of the audience Monáe invited to show off their juice. The dancing kept going as the lights went down, the spotlight came up, and Monáe returned to redo her silhouette dance and the rest of “Make Me Feel.”  

Monáe and band returned to remind the audience that her work celebrates inclusion, empowerment and the fight for the rights of those unfairly pushed to the margins. “I come in peace,” she explained, “but I mean business.” To underscore the point, she ended the main set with an extended “Tightrope,” the rocking soul tune that was a highlight of her debut. But that was not, of course, the end. Egged on by enthusiastic applause, Monáe and the band returned for the rollicking “Come Alive (War of the Roses),” which blazed across the stage, heavy on audience participation, before the star danced her way through the crowd itself. It was an incredible end to a show like no other that’s ever graced the Austin City Limits stage, and we can’t wait for you to see it when it airs this season on your local PBS station.

It’s not every day that an artist records an album inspired by a DNA test. But that’s just what Puerto Rican superstar Residente did. Energized by discovering that his genetics came from literally all over the world, the former Calle 13 co-founder traveled to France, China, Russia, Spain, England, Africa, the United States and more to record his smash self-titled LP. The erstwhile René Juan Pérez Joglar brought this incredible range of sounds to his debut ACL taping for a show that made the crowd dance and think at the same time.

Residente’s seven-piece band took the stage first with “Intro ADN/DNA,” mixing Latin, African and Arabic music with rock guitar and electronica to hint at the incredible range of the music to come. The man himself came out rocking with “Somos Anormales,” the explosive opening cut from his solo album. He then dipped into the Calle 13 catalog, adapting “Bailes De Los Pobres” and “El Aguante” to his current worldbeat-driven style – how many other rappers prominently feature instruments like oud and dumbek? “We like to include everyone, not exclude anyone,” Residente explained about going back and forth between English and Spanish – a philosophy that translates to his musical vision as well. Things slowed down for that rarest of things in hip-hop: a ballad. “Desencuentro” began with a jazzy piano solo courtesy keyboardist Leo Genovese (who previously visited the ACL stage with Esperanza Spalding), evolving into a duet between Residente and singer Kiani Medina and ending with a lighter-waving guitar solo from Elias Meister. Switching gears dramatically, Residente and band brought the rock side back to the fore for the angry “Calma Pueblo,” which the vocalist dedicated to “the motherfuckers of the music business.”  

Explaining the concept of his solo album, Residente introduced “Dagombas El Tamale,” a song based around the vocal and percussion styles of the African nation of Ghana. “Adentro,” a dis track aimed at gangsta rappers, followed, before the band went back to Africa for “La Sombra,” recorded with Nigerian guitarist Bombino and filled out by Meister and co-axeslinger Justin Purtill onstage. The rapper shouted out the resistance – but, pointedly, not the use of violence – for “Guerra,” a track that ended in an explosion from the guitarists, Genovese, percussionists Daniel Diaz and Brahim Fribgane and ex-Mars Volta/Suicidal Tendencies drummer Thomas Pridgen. “Latinoamérica,” a beautiful tribute to Residente’s region of the world, began with virtuoso acoustic guitar picking from Purtill before flowing into vocal trade-offs between the leader and Medina. The energy level shot back up for “Apocalíptico,” a dramatic track inspired by the Chinese landscape in which it was recorded.

As the song drifted into ambience, Residente quit the stage, but the break was brief. The rapper returned with the Calle 13 tune “La Vuelta Al Mundo,” an especially groovy number with lush synth work from Genovese. Fribgane kicked off  “El Futuro Es Nuestro” with an expert oud solo, introing recorded with Bosnian singer Goran Bregović, but blew the doors off in good hands here. After the world travels of the rest of the show, Residente brought it back to Latin America for “Atrévete-Te-Te,” Calle 13’s irresistibly danceable barnburner from its debut album. It was an incredible ending to an incredible show, the most internationally diverse since Manu Chao a decade ago. We can’t wait for you to see it when it airs early next year on your local PBS station.

We don’t usually think of El Paso as a hotbed of new music stars. But Khalid Robinson has kicked that notion into a corner. The twenty-year-old took the years he spent in high school in the Texan border town as inspiration for a series of hits and his double-platinum debut LP American Teen. A few sold-out tours and Grammy nominations later, including one for Best New Artist, Khalid brought his youthful outlook and abundant talent to the Austin City Limits stage for a buoyant debut taping.

With his backing trio in tow, Khalid took the stage to “8Teen,” an anthem that encouraged his peers to “do all the stupid s**t that young kids do.” Dancing across the stage, he turned his attention to young love for “Winter,” expressing his romantic confusion over a tight funk beat. Then it was time for the title track to his best selling album, on which he really opened up his vocal chords and showed off his golden pipes. He dialed back the energy for the moody “Coaster,” revving back up for the funkier “Therapy.” His knack for anthemic melody returned for “Another Sad Love Song,” the ascending melody of which belied its romantic melancholy. After that lighterwaver, he brought the mood down once again with the soulful ballad “Saved,” a song clearly beloved by the crowd. That was followed by a couple of verses of his equally sedate single “Eastside,” but that segued directly into the upbeat “Hopeless,” another study in contrast.

Bringing his stool back out, Khalid belted out “Shot Down” and “Angels,” a ballad he noted beforehand “was really special to me,” ending on his knees on the stage. That kept the audience primed for “Young, Dumb and Broke,” one of his smash hits, as the crowd provided the backup vocals and sang along. He then stepped outside the confines of his album for the hit singles “Silence,” which he originally recorded for producer Marshmello, and “Love Lies,” formerly a duet with Normandi. Dropping back into his album, the singer picked up the pace with “Let’s Go,” another song that became a call-and-response with the crowd. Thus pumped, the audience once again became part of the performance as Khalid launched into “Location,” his first major hit. He followed up with “Keep Me,” another anthemic pop tune that revved the audience up even further. Khalid and company ended the show with “OTW,” his catchy new single that suffered not a jot from the absence of recording partners 6lack and Ty Dolla Sign. It was a fine way to end a fine show, and you’ll see for yourselves when the show airs later this year on your local PBS station.