Tag: Tapings

Last night Austin City Limits showcased the explosive debut of  Kendrick Lamar, the game-changing hip-hop artist, widely-acclaimed as one of the greatest rappers of his generation. The multiple Grammy Award-winning artist delivered an eclectic, electrifying 15-song set that emphasized his massively popular album To Pimp a Butterfly.

Taking the stage to a cover of Earth Wind & Fire’s classic “Can’t Hide Love,” Lamar teased the microphone before easing into the jazzy, speed-rapping “For Free.” He then launched into the bracing “Wesley’s Theory,” also the name of the crack soul band that served as his backup. “Institutionalized” served as an interlude before “Backseat Freestyle,” a trad rap track from his breakthrough good kid m.A.A.d city that garnered a big response from the crowd. Thus primed, the audience was ready for the call-and-response of the intro of “Swimming Pool (Drank),” one of his biggest hits and a clear favorite. Following a brief jam from his band, Lamar then essayed “These Walls,” his current single and a R&B-flavored treatise on denying limitations.

Lamar then borrowed a portion of his song “For Sale?” for “Lucy,” before going into “Hood Politics,” another Butterfly track that involved enthusiastic audience call-and-response. After shining a spotlight on guitarist Rob G, Lamar indulged in some biography on “Complexion.” That was just a set-up, however, for the hit “Bitch, Don’t Kill My Vibe,” its chorus sung ardently by the enraptured crowd. “Money Trees” kept the vibe going, before the band segued back into “Can’t Hide Love” to give everybody a chance to catch their breaths. That chance lasted a bit longer than anticipated when a technical issue arose, but the crew got it under control and the band went back into “Can’t Find Love.” That was another set-up, however, for the energy-spewing “m.A.A.d city,” another occasion for passionate artist/audience communion.

Lamar and band followed that triumph with the rapid-fire poetics of “U,” a love song of sorts, that ended with a spotlight on the band. The rapper then freestyled about his relationship to his fans, and how that relationship affected the expression of his art on To Pimp a Butterfly. As with the “Can’t Find Love”/”m.A.A.d city” pairing earlier, however, his low-key meditation gave way to the extra-funky high-energy single: “King Kunta,” another clear crowd favorite. Lamar drank in the applause for a minute, before channeling his inner James Brown for some quick beat counts. The slow jam “Momma” came next, followed by the brief rouser “Let’s Talk About Love,” which pumped the audience up more. That was just a warm-up, however, for the Grammy-winning single “i,” a hip-hop tour-de-force built around the riff of the Isley Brothers’ “Who’s That Lady.”

“How Much a Dollar Cost” was more intro than song, but that’s fine, as it primed the pump for “The Blacker the Berry,” another track in Lamar’s personal playlist of protest songs. That performance ended with theatergoers chanting “We gonna be alright” back at the star. That was an unmistakable cue, and Lamar rewarded the chanters with his popular single “Alright.”  With that, crowd and performer were one, taking the chant beyond the song’s length and into ACL history.  It was a hell of a show, and we can’t wait for you to see the broadcast when it airs in January as part of our Season 41 on your local PBS station.  

It’s been awhile since Austin City Limits has hosted an African artist. We’ve done memorable shows with Ladysmith Black Mambazo and Femi Kuti which have become some of our favorites, so we were ecstatic to welcome Grammy Award winning singer-songwriter Angélique Kidjo to our stage. The queen of African music fulfilled our anticipation with one of the most energetic and danceable tapings in recent memory, which we livestreamed around the world.  

Kidjo’s four-piece band arrived first, clapping and cowbelling the beat of opener “Ebile,” immediately drawing the audience in by having them join in. The Benin native herself took the stage resplendent in her colorful dress, letting her powerful voice soar over the percussion and her feet dance her around the stage. “I see you’re ready for singing and dancing,” Kidjo said, “so don’t hold back.” She herself certainly didn’t, as the feet-moving groove of “Kulumbu” galvanized band and crowd, enhanced by Dominic James’ fleet-fingered guitar solo. The jazzy “Batonga” kept the rhythm burning, incorporating call-and-response and more of Kidjo’s Terpsichorian grace. She paused to give the audience a quick singing lesson, so they could join in on the flowing “Senamou,” which ended with Kidjo’s imitation of a whirling dervish. The beginning of “Malaika,” sung in Swahili, stripped things down to voice and acoustic guitar, before the rhythm section added a gently percolating groove.

Kidjo then welcomed members of Austin choir Veritas, who added backing vocals to a soulful cover of Bob Marley’s “Redemption Song.” The choir remained for “Awalole,” a simmering and beautiful tune about women’s empowerment that ended with Kidjo playing a cajón. She stayed on the percussion box for the opening jam on “Shango Wa,” before retaking the microphone and kicking the song into extremely high gear. Things came down in energy, but not in intensity, as Kidjo’s passion for social justice came through in the near a cappella “Cauri,” a story of a 12-year-old girl being married against her will to a man in his fifties. The mood turned defiant and celebratory, however, with the dance party “Bomba,” featuring a bit of choreography between Kidjo, James and bassist Ben Zwerin and more call-and-response with the eager audience.

The Veritas Choir returned for the funky, infectious “Pata Pata,” a cover from the catalog of pioneering African singer Miriam Makeba with an unambiguous call to dance. The crowd, featuring members of the Austin Samba School, couldn’t resist, showering her with applause and cheers. Kidjo followed that triumph with another: “Afirika,” a celebration of the human family, took her out into the audience to make that family sing and dance with abandon. The celebration continued when she invited the crowd onstage, as many of them as could fit following the lead of the Samba School and shaking their groove things to the luminous “Tumba.” Percussionist Magatte Sow brought his talking drum to the front for a conversation between his instrument, Kidjo and any dancer willing to join them. He also engaged in call-and-response between his drum and the audience’s claps, before turning the stage back over to Kidjo so she could lead the crowded stage in dance. Kidjo left the stage to the people, the song ending in a joyous crescendo.

Amazingly, it wasn’t over. The stage cleared and Kidjo returned for a music lesson in the kind of African rhythm that’s influenced every musical form that’s come after it. The stunning “Orisha” brought the crowd to its feet and its voice, bringing the show to an incredible close and earning Kidjo and her band a standing ovation. It was an amazing night, and we can’t wait for you to see it when it airs early next year on your local PBS station.

Leon Bridges has taken the music world by storm with a soul sound rooted in 50s and 60s R&B – a Sam Cooke-derived aesthetic that’s so old-fashioned it sounds new all over again on his debut album Coming Home. So we were pleased to welcome the young Fort Worth native to Austin City Limits for his debut taping.

Bridges and his band, which includes our White Denim pals Austin Jenkins and Joshua Block, gently kicked things off with “River,” a quiet, meditative hymn of desire. Bridges broke that spell immediately afterward, putting down his guitar to shimmy through the jumping “Flowers,” a throwback to an earlier era of soul music. “Brown Skin Girl” and “Let You Down” (an as-yet-unreleased song) continued the vibe, conjuring the specter of Cooke without enslaving it. One of his best-known tunes, “Better Man” moved forward to the Stax era, hitting a mid-60s groove. Bridges slowed back down for “In My Arms,” a classic R&B slow dancer that would have had all couples in the room in a clinch if we’d had a dance floor. Speaking of dancing, “Out of Line” grabbed hips for a classic twist, before “Daisy Mae” dialed back for a 50s-style, missing only doo-wops. “Smooth Sailin’” evoked the early Motown era, with its basic hooks and irresistible groove.

Bridges ventured back to ballad territory for the quietly passionate “Lisa Sawyer,” the young singer’s tribute to his mother. After asking audience members to tell their neighbors “I love you,” he sang a perfect version of his hit “Coming Home,” inviting the thrilled crowd to sing along with him. Then Bridges took us to church with the slow burning “Shine,” much to the audience’s delight. After introducing his band, Bridges went back to the dance floor, first for the lovers’ waltz “Pull Away” and then for the set-closing New Orleans R&B of “Twisting and Groovin’.”

One quick offstage break later, Bridges and the band returned for “Pussy Footin’,” another hip-swinging old school soul tune that would make a dead man dance. Bridges finished the performance with “Mississippi Kisses,” a slinky seduction song on which he engaged everybody in the crowd to dance along with him, going onto the floor to make sure it happened. That earned Bridges and band a standing ovation, and with good reason: few soul singers can evoke such old-fashioned musical values and still sound contemporary. It was a great show, and we can’t wait for you to see it when it airs next spring on your local PBS station.    

We’re always happy to give space to up-and-coming artists, so we were thrilled to host the ACL debut of Vintage Trouble. The L.A. quartet has honed its fiery live show on tours with the Who and AC/DC, and the band brought the full measure of its live prowess to its high-energy rock/soul, winning over not only our studio crowd, but also the online contingent of Troublemakers from all over the world who watched their heroes via our livestream.

Following handshakes all around, the socially-conscious ballad “Not Alright By,” from the debut The Bomb Shelter Sessions, gently began the show. Then VT went straight into the blazing “Blues Hand Me Down,” impeccably dressed singer Ty Taylor engaging in his trademark spin before commanding the microphone and exhorting the crowd to dance and scream. The band shifted to the 70s-soul styled “Doin’ What You Were Doin’,” losing no momentum and engaging the audience to help sing one of the highlights from their latest album 1 Hopeful Rd. The come-on “Total Strangers” jumped into James Brown territory, aided by an infectious “na-na” chorus, a rocking guitar riff courtesy axeslinger Nalle Colt and plenty of audience participation. The fans also sang part of “Another Man’s Words,” a beautiful ballad also from the new record. The band then dipped back into its past with “Nancy Lee,” Bomb’s bluesy tale of Taylor’s father meeting his mother. The blues was also at the heart of “Angel City, California,” as filtered through the classic rock & roll stylings of forebears like the Faces and featuring one of Taylor’s most skillful performances.

Everything up to then, however, was just a warm-up for “Run Like the River.” Rolling all of VT’s soul, rock, blues and gospel influences into one monster anthem, the band revved up both themselves and the crowd, who got a visit from Taylor on both the floor and the balcony. After that extended expression of joy, for which VT was rewarded with a roar, Taylor and company mellowed the mood with the easygoing “Nobody Told Me” – at least until the end, when gospel call-and-response came to the fore and Taylor moved himself to tears. The band then indulged in some juke joint blues, deliberately invoking the 50s for the hip-shaking, frontman-spinning “Before the Tear Drops.”

Taylor took time out to thank both the ACL staff and the crowd, demanding big cheers for both. Then it was into another steaming slice of James Brown-style R&B with the shimmying “Strike Your Light,” which, of course, required some serious audience participation (and another visit from Taylor). After that, the band could do little else but bring us back down to earth via the soul ballad “Run Outta You,” Taylor letting his passion spill and Colt punctuating it with an elegiac extended solo, after which he tossed his axe away as if it was pointless to continue and left through the audience. The rest of the band kept going, Taylor coaxing yet more call-and-response from the crowd, before first bassist Rick Barrio Dill and then Taylor wormed through the people, leaving drummer Richard Danielson to finish the song alone. And that was the end, even though by the sound of the audience’s cheers they didn’t want Vintage Trouble to go. It was an amazing show, and we can’t wait for you to see it when it broadcasts next spring as part of our Season 41 on your local PBS station.