Tag: Tapings

Austin’s own Heartless Bastards first appeared on ACL in Season 35, showcasing the band’s critically-acclaimed first trio of LPs. For Erika Wennerstrom and company’s return to our stage, the group elected not to repeat itself, instead giving us a rocking program dedicated to its most recent albums Arrow and this year’s Restless Ones, in a taping that was streamed live around the world.

The band began with “Gates of Dawn,” a midtempo folk rocker with a perfect mix of acoustic and electric guitars.The propulsive “Got to Have Rock and Roll” followed, its title a hint of what was to come. Wennerstrom put her guitar down for “Wind Up Bird,” the ambitious opener of Restless Ones, title inspired by Haruki Murakami’s novel The Wind-Up Bird Chronicle, and featuring bird-like arm gestures buttressing the song’s lyrics. Wennerstrom donned her Les Paul for “Black Cloud,” pushing the song hard into the rock zone without coming close to bombast.   

Wennerstrom paused to reminisce about the last time the Bastards taped the show in 2009, before launching into “Journey,” a Restless tune inspired by author Dan Eldon’s The Journey is the Destination. The gentle “Pocket Full of Thirst” smoothed out the mood, as did the cosmic folk-pop of “The Fool” and the 70s-style country rock of “Skin and Bone.” The band stayed in the same vein for the lovely “Hi Line,” a different take on a song they did for a film soundtrack. The volume went back up, though, for the piano ‘n’ power rock stomper “Into the Light.”

After concentrating so much on Restless Ones, the Bastards shifted gears to predecessor Arrow for the last three songs of the main set. “Down in the Canyon” moved from heavy blues rock to something more expansive and back again for one of the show’s most poignant performances. Penultimate tune “The Arrow Killed the Beast” was soaked in the dusty atmosphere of the West Texas desert in which it was written. The groovy twang of “Only For You” brought the set to a crowd-pleasing close.

The band took advantage of the opportunity of the encore to re-do “Wind Up Bird” and “Black Cloud.” Remakes over, the Bastards treated the audience to the straightforward rock of “Parted Ways” before ending the show with the dreamy, enigmatic “Tristessa,” Wennerstrom alone onstage singing against looped feedback. The rest of the band rejoined her for a bow, and this remarkable show was brought to a close. We can’t wait for you to see it when it airs in January as part of our Season 41 on your local PBS station.

Nathaniel Rateliff & the Night Sweats seemingly exploded onto the scene with the infectious gospel-charged hit “S.O.B.” While the tune’s quick rise in popularity belies the Denver-based Rateliff’s years of hard work, it’s only the tip of the iceberg for this talented band. For its debut ACL taping, Stax/Volt met singer/songwriter craft for a searing set of tunes guaranteed to make your body move.

The seven-piece Night Sweats took the stage first, using horns and Hammond organ to establish an old-fashioned 60s R&B groove. Rateliff followed, donned his Telecaster and launched into “I Need Never Get Old,” a rousing mixture of pleading and obstinance. “Intro” delved deeper into that Southern soul groove, showcasing the band and Rateliff’s dancing skills. “Look It Here” dialed the tempo down to mid-, while still keeping the energy level high. The themes took a turn for the introspective on “I’ve Been Failing,” but the song’s self-criticism was still driven by funky grooves and a defiant “Don’t you weep/Don’t you worry” refrain. “Howling at Nothing” sounded like a couples’ swing on the dancefloor, spiced by Rateliff’s reverb-soaked guitar solo.

The band followed up with “Parlour,” a Muscle Shoals-soaked slice of soul-pop that would do Dan Penn proud. The rhythm ramped up for the rocking “Out On the Weekend,” which added a Van Morrisonesque feel to Rateliff’s gritty singing. “Mellow Out” moved back to the Sam Cooke era of soul music, while “Shake” added a late-night vibe with stinging lead guitar, juicy organ and a smoky groove. After giving a shout-out to his mom, who taught him how to dance and was present, Rateliff essayed the finger-popping “Thank You” and the rocking “Trying So Hard Not to Know.” The descending melody of “Wasting Time” gave the audience a chance to catch its breath, followed by band introductions. Then it was time for the breakout hit. The crowd immediately clapped along with the gospel fervor of “S.O.B.,” the irresistible hooks and singalong chorus raising the roof in fine style.

The band then left the stage, but the music didn’t: the audience continued “S.O.B.”’s “whoa-ohs” until the group returned. The Night Sweats joined the crowd’s groove, segueing into a soulful cover of The Band’s funky “The Shape I’m In” that garnered immediate cheers. Then it was back to “S.O.B.” for a coda highlighting the gospel call-and-response of the chorus. After that frenzy, Rateliff and the Night Sweats elected to send us out into the night via “What I Need,” an old-fashioned R&B ballad of the type that makes you want to hold your baby tight as the lights go down. It was a fitting end to the Night Sweats’ southern soul inspired show, and we’re excited for you to see it when it airs early next year as part of our Season 41 on your local PBS station.

Tonight Austin City Limits welcomed a musical trailblazer – Ms. Lauryn Hill.  In a rare television appearance, Hill dazzled the capacity crowd for almost two hours with a wide range of hits from her Grammy-winning, bestselling LP The Miseducation of Lauryn Hill as well as from her time with the Fugees. The crowd, on their feet for the entire show, cheered loudly and sang along to her unique arrangements of originals and classic songs by Bob Marley, Sade, Nina Simone and Stevie Wonder.

The evening began with a stirring set from DJ Rampage who got the audience on their feet and ready to welcome Ms. Hill.  Resplendent in a blue and yellow gown,  Ms. Hill took to the stage and sat down with her acoustic guitar and eased into “Conformed to Love,” which began softly but transformed into an anthem due to the power of the band and her own impassioned singing. She followed with “Peace of Mind,” another new tune with an intricate web of vocals, flamenco-colored lead guitar from Jordan Peters and an unexpected scat/instrumental reprise. She then dipped into her 2002 MTV Unplugged album for the groovy “Mr. Intentional,” before pulling out a surprising and heartfelt cover of Sade’s devotional “Love is Stronger Than Pride.” Ms. Hill and band kept the Unplugged groove going with “War in the Mind (Freedom Time)” and “Mystery of Iniquity,” mixing jazz, folk, soul and rap into a distinctive blend all her own.

By this time, the audience was on its feet, giving as much energy back as they were receiving and Ms. Hill put her acoustic guitar away and the ensemble launched into a re-imagined take on Hill’s hit “Ex-Factor,” the band jamming hard and Hill pushing her voice into new territory. The spotlight hit her trio of backup singers, as they danced to the Latin funk rhythm of “Final Hour,” with Ms. Hill expertly speed-rapping through her verses. The energy stayed on high for “Lost Ones,” following a similar vision with the added emphasis on DJ Rampage’s scratching punctuation and Hill’s call-and-response with her singers. She then turned back the clock to the mid-90s and her work with hip-hop superstars the Fugees, taking her skills to the next level with “How Many Mics,” proving she’s one of the greatest MCs of all time. That was just a warm-up for the trilogy of hits to follow, from the booty-shaking “Fu-Gee-La” to the singalong “Ready or Not” and the silky-smooth “Killing Me Softly.” By that time, the crowd couldn’t have been any more off the chain.

Ms. Hill then shifted gears, paying tribute to the Marley family into which her children were born with a cover of Bob Marley’s “Jammin’,” which segued smoothly into Stevie Wonder’s reggae nod “Master Blaster.” She wasn’t done with the Marley repertoire, going immediately into “Is This Love” and following with “Could You Be Loved,” the third time this song has been performed on our stage in the past few years. She went from reggae to jazz, overwhelming the audience with a powerhouse version of Nina Simone’s “Feeling Good,” which she produced and recorded for the recent Simone tribute album Nina Revisited.

After climbing that summit, Ms. Hill asked for well-deserved noise for her incredible band, and the crowd was happy to give it. Then she hit yet another peak with one of the 90s’ greatest singles. The brilliant, irresistible “Doo Wop (That Thing)” drew the band into new crescendoes and the audience into new heights of uninhibited dancing. Ms Hill left the stage in triumph, leaving everybody satiated. It was a magnificent show, and we can’t wait for you to see it when it airs on your local PBS station.