Tag: Tapings

Austin City Limits was thrilled to kick off our 43rd taping season with the legendary rock & roll band The Pretenders, streamed live around the world. Led, as always, by singer/songwriter/guitarist Chrissie Hynde, the band blazed through a catalog packed with hits and favorites, stopping along the way to sample the group’s latest LP Alone as well.

In that vein, the Pretenders opened the show with the rollicking title track, guitarist James Walbourne and steel player Eric Heywood trading licks like Keith Richards and Ron Wood, and Hynde singing the paean to singlehood with confident swagger. Hynde donned her trademark Telecaster for the pounding “Gotta Wait,” original drummer Martin Chambers bashing his kit like a jackhammer. His shift to a glam rock beat signaled the first classic, as Hynde led the band into the indelible rocker “Message of Love,” from the band’s second record II. “You don’t have to be polite, as we don’t plan to be,” she asserted. Then it was into the dub reggae-flavored “Private Life,” another hit and one that highlighted how good her voice still sounds, nearly 40 years into her career. The band then dipped into Stockholm, Hynde’s 2014 solo album, recasting “Down the Wrong Way” as a Pretenderized rocker. Rhythm section Chambers and bassist Nick Wilkinson then took a break, as Hynde crooned Meg Keene’s lovely ballad “Hymn to Her,” recorded for the Pretenders’ fourth album Get Close.

Reclaiming her Telecaster, Hynde hit the instantly recognizable chord of “Talk of the Town,” bringing the audience to their feet. They stayed there for that other rhythm guitar-centered hit, “Back On the Chain Gang” – both songs proven, timeless classics. The group ventured back into ballad territory with “I’ll Stand By You,” the top 20 hit from the mid-90s’ Last of the Independents that really showcases Hynde’s spectacular singing. She then lightened the mood, asking “Do you feel like dancing?” before the sprightly pop song “Don’t Get Me Wrong.” To the crowd’s delight, the band reached all the way back to 1979 for “Stop Your Sobbing,” the Kinks cover that served as the first Pretenders single. After commenting on the group’s time in Austin, including a shout-out to longtime Austin music fixtures Charlie Sexton and Willie Nelson, Hynde led them into the loping, bass-driven fan favorite “My City Was Gone.” The Pretenders then extracted a truly deep cut from its self-titled first LP, rolling through the shoulda-been-hit “Mystery Achievement,” before closing out the main set with a pulse-pounding rip through the hit “Middle of the Road” that left the audience on fire.  

For the encore, the band returned to the latest album Alone with the shimmering “Let’s Get Lost” and subtly defiant “I Hate Myself.” Then it was back to rocking with “Up the Neck,” an unheralded blaster from the band’s first album. Speaking of which, the band went back for the only song that could end a set this hit-packed: “Brass in Pocket,” the early single that marked the Pretenders as a major band in three minutes. Hynde encouraged the audience to come to the lip of the stage, even bringing a member onstage to serenade. The crowd went as wild as one might expect, the band quitting the stage to rapturous applause. It was a great set, and we can’t wait for you to see it when it airs this fall on your local PBS station.   

When we wrap production of a season of Austin City Limits, it’s always nice to do it with an old friend – in this case, singer/songwriter Alejandro Escovedo, a beloved staple of the Austin music scene since the early 80s and four-time ACL champ.  Joining fans around the world via our livestream, Escovedo hit our stage for a rockin’ show in support of his highly acclaimed new album Burn Something Beautiful.

He was joined for the occasion by the album’s stellar band: guitarist Peter Buck (R.E.M., season 34), bassist Scott McCaughey (R.E.M., The Minus 5), lead guitarist Kurt Bloch (the Fastbacks), drummer John Moen (the Decemberists, seasons 33 and 37) and singer Kelly Hogan (Neko Case, seasons 29 and 39), as well as his stalwart harmony singer Karla Manzur.  Performing nearly the entire album, Escovedo and company brought a perfect end to Season 42.

The three-guitar army blazing at full force, the band hit the stage with “Heartbeat Smile,” the kind of neo-classic rocker Escovedo is so good at. He followed with the more wistful “Sunday Morning Feeling,” which still encouraged waving lighters. Escovedo slowed things down literally and figuratively with “I Don’t Want to Play Guitar Anymore,” a contemplation of mortality and retirement that never felt sad. The blood pumped again via the brash “Beauty of Your Smile,” Bloch and McCaughey pogoing during the verses, before the band roared into the thumping Escovedo hit “Castanets,” highlighted by a fiery Bloch solo.

After band introductions, Escovedo donned his acoustic guitar for a pair of ballads, beginning with the lovely “Suit of Lights,” featuring Hogan’s dulcet tones on one verse. “Sensitive Boys,” Escovedo’s tribute to the folks who make rock & roll their world, kept the mellow but soulful vibe going, as did the midtempo “Farewell to the Good Times,” another look at the aging rock star life. Dedicated to the late U.K.-to-Austin expatriates Ronnie Lane and Ian McLagen, “Beauty and the Buzz” scanned wistful, reflective and beautiful.

Switching out his acoustic for his electric, Escovedo and band brought a party vibe to the rock with “Shave the Cat,” keeping the volume up for the rolling, dreamy “Johnny Volume” and its gnarly Bloch leads. The main set ended with a one-two punch: the thumping “Luna De Miel” and the anthemic “Horizontal,” which brought the proceedings to a close with a howl of feedback. Unsurprisingly, the crowd went wild.

Escovedo and the band returned, welcoming the Burn Something Beautiful Girls Choir to the stage. McCaughey took to the piano and Buck the ebow for the shimmering ballad “Thought I’d Let You Know,” featuring a free jazz piano solo. Then the musicians blasted into “Always a Friend,” the singalong rocker that’s become Escovedo’s signature tune. One re-do of “Beauty and the Buzz” later, Escovedo and his band of merry men and women sent the satiated audience out into the night. “I’ll always come back to Austin,” the local music scene vet enthused at the end. It was a great show, and we can’t wait for you to see it when it airs early next year as part of our Season 42 on your local PBS station.

CeCe Winans is a gospel legend, selling millions of albums and garnering ten Grammy Awards. St. Paul & the Broken Bones have taken the music world by storm, rising quickly through the ranks with a distinctive Americana-tinged soul sound. Both artists can raise the roof, and we were thrilled to host both of their debuts on our stage, where the ceiling definitely had trouble staying attached.

Bringing church to ACL, Detroit native Winans and her eleven-piece band opened with a funky New Orleans version of the old classic “When the Saints Go Marching In” that segued into a medley of “Victory is Mine” and “In the Name of Jesus We Have Victory.” Celebratory spirit thus established, she then shifted to new material from her upcoming Let Them Fall in Love, her first album in nine years, out February 3, 2017. The bluesy “Hey Devil!” told Lucifer to get lost with a high-spirited romp that included the chorus of Ray Charles’ gospel-derived “Hit the Road, Jack.” “Run to Him,” a love song to Jesus, brought old school soul to the party, as well as a call-and-response that employed two different counterpoints for Winans to sing over. “Peace From God” rode an easygoing groove as it delivered its message, while “Lowly” added a shot of 70s soul to its rousing call to stay low (because there’s no place to fall). Winans then brought Texas to the gospel equation, with a powerhouse take on Kris Kristofferson’s probing ballad “Why Me Lord” that got the biggest round of applause so far. Barely a second went by before she went into “I Need Thee,” the hymn serving as a coda to “Why Me Lord.” Winans followed with “Never Have to Be Alone,” her latest single and a sky-reaching ballad in the tradition of her late friend Whitney Houston. She closed with “Dancing in the Spirit,” a blazing sing- and dance-along that drove Satan from the building with pure spiritual joy.

But the night wasn’t over yet. Alabama’s St. Paul & the Broken Bones took the stage, singer Paul Janeway decked out in a bright red suit and sparkly golden robe, wailing through “Crumbling Light Posts, Pt.1,” the atmospheric opener to the eight-piece outfit’s second and latest LP Sea of Noise. Janeway doffed his robe and the band launched directly into “Flow With It,” a groovy seduction tune that had the audience in their pockets. The rocking yet grooving “Mighty River” drew right from the Muscle Shoals tradition, Janeway channeling the late, great blue-eyed soul homeboy Eddie Hinton. One flute intro later, the Bones eased into the clever plea “I’ll Be Your Woman.” “This is one of those milestone things,” commented Janeway, before the band performed the mid-tempo gem “Tears in the Diamond.” The band then revisited its 2014 debut album with “I’m Torn Up,” a powerhouse ballad that found Janeway in the crowd, preaching the gospel of heartbreak. The Bones dipped their toes back into the Sea of Noise with the rocking funk of “Midnight On the Earth,” which got the audience shaking their groove thangs with abandon. “Waves” followed, a ballad driven by Browan Lollar’s growling guitar, before St. Paul exercised his thrilling falsetto on the 70s grooves of “All I Ever Wonder.” The Bones ended the main set with the anthemic ballad “Sanctify,” to a wild ovation from the crowd.

The band returned, of course, for a generous encore of three tunes. The warm country soul of “Is It Me,” which Janeway introduced as a lullaby, served as a palette cleanser before the raucous R&B of “Call Me,” another gem from the first Bones LP. The group ended the show with “Burning Rome,” a slow burn ballad that had Janeway pulling out all his vocal stops and wrapping his carpet around his shoulders like a cape. The audience loved it, and we can’t wait for you to see it when it broadcast this winter as part of our Season 42 on your local PBS station.