Kacey Musgraves returned to the Austin City Limits stage for her third appearance in ten years Monday, June 3, 2024 in support of her latest release, Deeper Well. We at Austin City Limits were thrilled to have her back to the show.
“It’s good to be back here in Texas,” said Musgraves, after taking the stage with her talented band, all sporting Canadian tuxedos. She continued, “It is such an honor to be kicking off the 50th season of ACL.”
Kacey Musgraves’ performance will air as the season premiere of the 50th anniversary of Austin City Limits, the longest running music series in television history. Season 50 is slated to premiere on PBS in September 2024.
Kacey Musgraves performs on Austin City Limits, June 3, 2024. Photos by Scott Newton.
Listen to the full set list from the Austin City Limits taping below:
Maggie Rogers returned to the Austin City Limits stage for her second taping Thursday night, sporting her [now] signature sheer skirt and black leotard, the perfect ensemble for a night of impassioned dancing. And that’s exactly what she came onstage doing – dancing. Opening the hour with “It Was Coming All Along,” from her third and latest album Don’t Forget Me, the singer-songwriter’s contagious energy had the audience on their feet, dancing along throughout most of the highly anticipated performance.
Rogers performed three more songs from Don’t Forget Me, following the album’s track list. Touted as a road trip album written from the perspective of someone leaving home for the first time, hearing the tracks in the album order was transcendent. Rogers broke up the journey through Don’t Forget Me with favorites “Want Want” and “Be Cool” from Surrender, as well as “Dog Years,” and hit single “Love You For a Long Time.” As Rogers switched from dancing with abandon to wielding an acoustic guitar for some songs, fans took the opportunity between songs to yell, “I love you Maggie,” to which she replied warmly to the intimate studio audience, “I love you too.”
After “If Now Was Then,” the band left the stage as Maggie took to the piano for a stripped down and vulnerable performance of “I Still Do.” Overwhelmed by the emotion of the obviously very personal song, Rogers took a beat at the back of the stage to breathe deeply as her band returned to the stage, before asking the audience for three minutes to regroup backstage. Returning to an adoring crowd lifting her up with applause, Rogers was brought back to high spirits as she continued with selections from Surrender: “Anywhere With You,” and “That’s Where I Am.”
Closing out the night with “All the Same” and “Don’t Forget Me,” Rogers and her talented band took the studio audience through what felt like the nostalgic hills and valleys of a long lost relationship, but through the matured perspective of someone with clear eyes and a full tank of gas. Catch Maggie Roger’s Season 50 episode later this year on PBS, in celebration of 50 years of Austin City Limits.
Maggie Rogers performs on Austin City Limits, May 30, 2024. Photos by Scott Newton.
Listen to the full set list from the Austin City Limits taping below:
2024 marks the 50th Anniversary of Austin City Limits, kicking off a yearlong celebration saluting five decades of iconic performances. The trailblazing series is thrilled to announce the initial tapings of milestone Season 50, featuring an all-star slate of returning favorites: Eight-time Grammy nominees, Austin’s own Black Pumas make their long-awaited return on February 20 supporting their acclaimed sophomore release Chronicles of a Diamond; Colombian superstar Juanes returns to the ACL stage for the first time in over a decade on March 4, making his third appearance with songs from his smash Vida Cotidiana; Austin native/hometown hero Gary Clark Jr. returns March 26 for his fourth appearance to preview his powerful new offering JPEG RAW; and celebrated singer-songwriter Brittany Howard takes the ACL stage for her second solo headlining performance on April 29 to showcase her upcoming album What Now.
Photo by Jody Domingue.
When Black Pumas released their star-making self-titled debut in 2019, the Austin-bred soul duo set off a reaction almost as combustible and rapturous as their unbridled breed of psychedelic soul. Along with earning an astounding seven Grammy Award nominations (including Album Of The Year) and critical acclaim, singer/songwriter Eric Burton and guitarist/producer Adrian Quesada achieved massive success as a sensational live act, delivering a transcendent show Burton aptly refers to as “electric church.” The band’s meteoric rise saw them playing thrilling sold-out shows across North and South America and Europe and selling more than one million albums worldwide. Their breakout single “Colors,” a gold-certified anthem that resonated with audiences across the globe, received over 450 million streams. In creating the follow-up to one of the most celebrated debuts in recent years, the band broadened their sonic palette to include a dazzling expanse of musical forms: heavenly hybrids of soul and symphonic pop, mind-bending excursions into jazz-funk and psychedelia, and starry-eyed love songs that feel dropped down from the cosmos. Chronicles of a Diamond harnesses the lightning-in-a-bottle chemistry between Burton (a self-taught musician who got his start busking on beaches and subway platforms in his native Los Angeles) and Grammy Award-winning Quesada. Wilder and weirder and more extravagantly composed than its predecessor, Chronicles of a Diamond arrives as the fullest expression yet of Black Pumas’ frenetic creativity and limitless vision, bringing their singular vision to life with more power, passion, and daring originality than ever before. Pumas have already earned a 2024 Grammy nomination for Best Rock Performance for the record’s irresistible opening track “More Than a Love Song,” along with widespread praise: “One of the most moving things about this record is his (Burton’s) voice…” says NPR Music, adding it’s, “a little trippy, [and] a little gritty.” and the Austin American-Statesman declares “it will go down in history as one of the defining soul albums of our generation.”
Photo by Mario Alzate.
Juanes’ critically-acclaimed 10th studio album Vida Cotidiana (Everyday Life), his first album of original material in four years, is also his most personal, with the global icon reflecting on topics ranging from love, marriage, family, social concerns and more. The career highlight has earned press raves including NPR, Billboard, Rolling Stone and Variety declaring Vida Cotidiana among ‘The Best Latin Music of 2023’ and Juanes achieves a new creative pinnacle in his distinguished two-decade career. Juanes recently received his 25th career LATIN GRAMMY award (extending the Colombian music icon’s status as The Latin Recording Academy’s most honored solo artist of all time). He also received a 2024 GRAMMY nomination for “Best Latin Rock Or Alternative Album,” his ninth career nomination. An electrifying guitarist and gifted songwriter, with a staggering 30 million albums sold worldwide, Juanes admits, “I think this is my best album as a musician, composer and performer. All my previous experiments were certainly valid—getting out of your safe zone and feeling uncomfortable can provide a transformative experience. But this new session returns to the places that are closely connected with my essence.” From the somber power-rock chords of “Gris” and the funky accents of the politically charged “Canción Desaparecida,” to the stately orchestral touches of “Mayo” and the infectious vibes of “Cecilia”—the Latin chart-topping duet with Dominican master Juan Luis Guerra informed by the spiraling grooves of Cuban son and Afrobeats—Vida Cotidiana confirms Juanes as one of the most soulful practitioners of sterling Latin pop-rock in the game. The superstar brings his widely praised Vida Cotidiana World Tour to the U.S. in early 2024, as The LA Times declares, “‘Juanes’ live show is… a daring rock production… and a ‘don’t miss’ event. His concerts confirm Juanes as the rare artist — in company with the likes of U2, and Bruce Springsteen — with the power to inspire beyond the [venue] walls.”
Photo by Mike Miller.
Anyone who has listened to a Gary Clark Jr. album or watched the four-time Grammy Award winner perform live knows that he’s a gifted multi-instrumentalist, songwriter and performer. And never more so than on his last album, 2019’s illuminating This Land. But while This Land signaled a breakthrough in displaying his musical versatility beyond the blues, his fourth studio album,JPEG RAW, represents a quantum leap. “Blues will always be my foundation,” says Clark. “But that’s just scratching the surface. I’m also a beat maker and an impressionist who likes to do different voices. I’ve always loved theater and being able to tell a story. At home when I play the trumpet, I think Lee Morgan, or John Coltrane when I play the sax. I’ve even got bagpipes just in case I need them. So while this is my most honest and vulnerable album about relating to the human condition, it’s also the most freeing.” The album’s title track—an acronym for Jealousy, Pride, Envy, Greed … Rules, Alter Ego, Worlds—examines the role cell-phone society plays in this chaos at the expense of real-life, one-on-one interaction. “I don’t love having a mobile device,” explains Clark of the song’s origin and the album’s overarching theme. “I miss being able to have more genuine interaction, looking someone in the eyes and learning something, getting a perspective. JPEG RAW is about showing the real and not the edit. We live in a world of edits, filters and redos. We only get one shot.” “When the album sequencing was finished, the band and I realized that we’d made an album into a movie,” he recalls. “That’s what I was going for sonically because that’s how the whole writing process played out. First, it’s about angst and confusion, the unknown. Next, it’s about looking at ourselves internally. And then it’s about what comes after: the hope and triumph.”
Photo by Bobbi Rich.
There’s a double meaning to the title of What Now, the revelatory new album from singer/songwriter Brittany Howard. “With the world we’re living in now, it feels like we’re all just trying to hang onto our souls,” says the Nashville-based musician and frontwoman for four-time Grammy Award-winning Alabama Shakes. “Everything seems to be getting more extreme and everyone keeps wondering, ‘What now? What’s next?’ By the same coin, the only constant on this record is you never know what’s going to happen next: every song is its own aquarium, its own little miniature world built around whatever I was feeling and thinking at the time.” With five Grammy wins and sixteen nominations, Howard follows up her massively acclaimed solo debut Jaime—a 2019 LP that landed on best-of-the-year lists from the likes of Pitchfork, The New York Times and Rolling Stone – with What Now, drawing an immense and indelible power from endless unpredictability. Over the course of its 12 tracks, Howard brings her singular musicality to a shapeshifting sound encompassing everything from psychedelia and dance music to dream-pop and avant-jazz—a fitting backdrop for an album whose lyrics shift from unbridled outpouring to incisive yet radically idealistic commentary on the state of the human condition. Anchored in Howard’s inimitable and infinitely commanding voice—a supreme vessel for channeling raw emotional truth—the record is at turns galvanizing, cathartic, and wildly soul-expanding, and the result is a monumental step forward for one of the most essential artists of our time. “I think the gift I bring is to help people to be more introspective and ask themselves questions,” says Howard. “With a little self-examination, we can learn to be kinder, more compassionate, more understanding of each other. We can see that a lot of us are going through the same shit, and we all just want to be seen for who we really are.”
We’re thrilled to welcome these incredible artists to the ACL stage to launch our milestone season. Want to be part of our audience? We will post information on how to get free passes a week in advance of each taping. Follow us on Facebook and Twitter for notice of postings. The broadcast episodes will air on PBS this fall as part of our upcoming Season 50.
Austin City Limits is happy to announce a brand new taping for late summer as part of our Season 49, featuring the extraordinary Latin Grammy-winning and Grammy-nominated all-female Flor de Toloache on August 29.
Under the dynamic leadership of Shae Fiol and Mireya Ramos, Flor de Toloache seamlessly combines tradition and innovation, breaking boundaries with their edgy, versatile, and fresh perspective on classic Latin American music. Much like the enchanting effects of the toloache flower in traditional Mexican love potions, the talented New York ensemble casts a spell over its audiences with stunning live performances showcasing striking vocals, musical virtuosity and enthralling stage presence. Boasting members from a myriad of ethnic and musical backgrounds, the ensemble continually pushes the boundaries, defying cultural and gender norms. NPR raves, “Flor de Toloache stuns at the crossroads of fusion and mariachi girl magic.” 2017 was a milestone year for the trailblazing group, as they clinched the Latin Grammy Award for Best Ranchero/Mariachi Album, marking their place in history as the first all-female act to receive this accolade. Their 2019 third studio album, which featured collaborations with esteemed artists including John Legend, Miguel and Alex Cuba, further elevated their reputation, earning them a 2020 Grammy nomination. Flor de Toloache’s musical journey has taken them across continents, with memorable performances from Mexico to Europe, Latin America to Japan, and even a performance at The White House.
“Las Flores,” as their fans call them, recently released their groundbreaking fifth studio album, Motherflower, a fiercely feminist mosaic of genres inspired by mariachi. The innovative album masterfully crafts a genre-defying blend rooted in mariachi influences while embarking on a voyage of purely original compositions. Spearheading this sonorous journey is the highlight “Una Vida y Otra Más”, a track infused with samba rhythms and co-created with the distinguished Argentine composer Claudia Brandt. Motherflower emanates a boldness, an unyielding declaration of feminist vigor, channeled in a way that’s both commanding and unparalleled. This new auditory treasure aligns seamlessly with the band’s ongoing artistic evolution. Vocalist and violinist Mireya Ramos first appeared on our stage in Season 48, joining Grammy-winning producer Adrian Quesada to bring to life his acclaimed Spanish-language album Boleros Psicodélicos. We’re thrilled to welcome Flor de Toloache to the ACL stage in their headlining debut.
Want to be part of our audience? We will post information on how to get free passes a week in advance of the taping. Follow us on Facebook and Twitter for notice of postings. The broadcast episode will air on PBS this fall as part of our upcoming Season 49.
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 recordis 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.
Austin City Limits is delighted to announce we will live stream our upcoming taping with renowned singer/songwriter and Texas icon Robert Earl Keen on April 27 at 8 p.m. CT. The legend caps his remarkable musical journey with one last taping on our stage before his planned retirement from live performance later this year. ACL offers fans worldwide the unique opportunity to watch the taping live in its entirety on our ACLTV YouTube Channel. Join us for this very special occasion as we tip our hat to an American original. The broadcast episode will air this fall on PBS as part of our upcoming Season 48.
Robert Earl Keen debuted on Austin City Limits in 1989 as part of a Texas Showcase and has made four headlining appearances in addition to appearing as a guest of Lyle Lovett in 2000, returning for ACL’s milestone 40th Anniversary special in 2014 and hosting the ACL Hall of Fame in 2019. One of the most beloved songwriters and performers in Texas, the Houston native has lived his signature anthem “The Road Goes On Forever” as a road warrior performing over 180 dates in any given year, playing to his legions of fans at roadhouses, dance halls, theaters, and festival grounds. The legendary entertainer made the surprise announcement in March that he’ll wrap up a remarkable four decades of touring with one last tour in 2022 as his swan song: I’m Comin’ Home:41 Years On The Road. “I’ve been blessed with a lifetime of brilliant, talented, colorful, electrical, magical folks throughout my life,” says Keen. “This chorus of joy, this parade of passion, this bull rush of creativity, this colony of kindness and generosity are foremost in my thoughts…It’s with a mysterious concoction of joy and sadness that I want to tell you that as of September 4, 2022, I will no longer tour or perform publicly.” With a catalog of 21 albums, a band of stellar musicians, and many thousands of live shows under his belt, POLLSTAR ranked Keen in its Top 20 Global Concert Tours in 2021. Since releasing his debut album, No Kinda Dancer, in 1984, Keen has blazed a peer, critic, and fan-lauded trail that’s earned him living-legend status in the Americana music world. He’s received many accolades along the way, including 2015’s inaugural BMI Troubadour Award, celebrating songwriters who have made a lasting impact. His songs have been recorded by George Strait, Joe Ely, Nancy Griffith, Gillian Welch, The Highwaymen and more. Keen has been inducted into the Texas Heritage Songwriters Hall of Fame (alongside his longtime friend and Texas A&M classmate Lyle Lovett), the Texas Cowboy Hall of Fame, and the Distinguished Alumni Award from Texas A&M University. Keen was weaned on classic rock and Willie records and steered clear of the country mainstream, always taking the road less traveled throughout his storied career. His literate songcraft, razor wit and killer band stirred up a grassroots sensation not seen since the ’70s heyday of outlaw country. While Keen will be hanging up his hat on live shows, he’ll continue to write music and create, host his popular Americana Podcast, support young artists, and follow his artistic muse wherever it takes him. We’re thrilled to welcome Robert Earl Keen back to our stage for this very special performance.Join us here on April 27 at 8 p.m. CT for this special performance by Robert Earl Keen. Join us this fall on PBS for the broadcast premiere of Austin City Limits’ upcoming Season 48.
