Tag: Tapings

Courtney Barnett came to her livestreamed debut Austin City Limits taping after a couple of years of relentless hard work. “This is a lady that has paid her dues in the local Melbourne music scene and fully deserves to be where she is right now,” noted Darin Brown in the YouTube comments. “She and the other two guys are only going in one direction and that is up!!!” The Australian singer/songwriter/guitarist broke out of her country on the strength of a pair of EPs, collected as the album A Sea of Split Peas, hitting the States via festival shows, including noteworthy sets at 2014’s Fun Fun Fun Fest and Coachella. This year Barnett not only released the critically-acclaimed, Billboard Top 20 LP Sometimes I Sit and Think, and Sometimes I Just Sit, but was a ubiquitous presence at SXSW. She arrived at the Moody during a U.S. tour that’s seen sellouts, and with infectious, unpretentious energy.

Opener “Elevator Operator,” from Sometimes, was a good introduction to her basic style: straightforward, unfancy guitar rock, vibrant but not aggressive, with conversational vocals and an observational lyrical style. Aided by her tight band featuring bassist Bones Sloane and drummer Dave Mudie, she stretched out within her framework, adding variety to her performance while remaining consistent in sound. The trio ranged from the garage-rocking “Canned Tomatoes” and  melancholy balladry of “An Illustration of Loneliness” to the lovely folk rocking “Depreston” and the power popping “Dead Fox.” She earned special kudos from the eager audience with “Small Poppies” and “Avant Gardener,” both featuring rambling lyrics that move from mundane observation to philosophical contemplation – a Barnett specialty. She brought the main set to a crashing close with the single “Pedestrian at Best,” to the audience’s delight.

Barnett returned to the stage solo for a ragged but right cover of “Heavy Heart,” from the catalog of Australian rock stars You Am I. Her rhythm section rejoined her for “History Eraser,” a bashing fan favorite that (d)evolved into a perfectly sloppy Big Rawk Ending. “It’s nice catching her at these small venues now,” commented themadbatter, “because she’s blowing up.” We’re happy to help her with that explosion, and we can’t wait for you to see this episode when it airs as part of our 41st season this fall on PBS.

Shakey Graves has worked hard in the last few years. The Austin musician known as Alejandro Rose-Garcia to his parents has been a road dog of the first degree, taking first his one-man-band act then his band on the road to any club, festival and living room that would have him. The work has paid off with a pair of highly acclaimed albums and a growing national fanbase. For last night’s livestreamed taping, the young singer/songwriter was welcomed by a loving hometown crowd.

“I’m just gonna take a minute and soak all this in,” Graves said before launching into “Roll the Bones,” the title track of his debut album. Thumping a suitcase bass drum and tambourine combo and fingerpicking a noisy hollowbody guitar, the raspy-voiced Austin native made his case immediately: passionate, funny, mindful of folk and blues tradition without being dragged down by it. Graves was joined by his stalwart drummer Boo for the cowpunkabilly “If Not For You” and then by guitarist Patrick O’Connor for the more folky “Family and Genus,” with the trio then taking “The Perfect Parts” to the swamp. Boo and O’Connor took a break to let Graves go back to singing solo, digging into his folk bag for “Tomorrow,” the vaudeville-tinged “Chinatown” (a request from his mom, who was present) and “ Proper Fence,” which ended with playful call and response with the crowd. Following the fingerpicked electric blues of “Buil to Roam,” Graves’ band then retook the stage, swaying into the grungy “Pansy Waltz” and blazing into the surfing cowpunk of “Where a Boy Once Stood.” Inviting his friend Carson McHone to duet, Graves and co. ended the main set with his triple-A radio hit “Dearly Departed,” which brought the audience to its feet.

Graves came back alone for the encore, showing off both sides of his personality: the sensitive troubadour of “Hard Wired” and the sardonic storyteller behind the crime story “Late July.” With that one-two punch, the show concluded to rapturous applause, as the hometown hero left the stage. It was an excellent show, and we can’t wait for you to see it when it airs during Season 41 on PBS.

This year marks the 100th birthday of jazz icon Billie Holiday. What better way to celebrate one of the greatest singers of all time than to have one of her spiritual descendants do a tribute? Jazz vocalist Cassandra Wilson has long been on our wishlist, but the stars never aligned – until now, that is. Tonight’s show not only finally brought us a long-sought guest, but also paid tribute to a true musical titan via songs from Wilson’s new Holiday-themed album Coming Forth By Day.

The set began quietly with “The Way You Look Tonight,” which Wilson and her 14-piece band (including an 8-piece string section) performed fairly traditionally, outside of the unusual choice of bass clarinet for Robbie Marshall’s solo. But she and her musicians stepped off the traditional path with “Don’t Explain,” guitarist Kevin Breit looping his instrument and applying slide and e-bow, while the rhythm section (including veteran bassist Lonnie Plaxico, who played on Wilson’s debut album) added healthy dollops of blues feel. A subtle singer who prefers to explore a song’s nooks and crannies rather than engage in acrobatics, Wilson is known for putting her own distinctive spin on classic material, and that’s the path she followed for the rest of the night.

“What a Little Moonlight Can Do” rode a samba rhythm, touched by Marshall’s flute and a gnarly electric violin solo from Charlie Burnham. “Crazy He Calls Me” shifted from Broadway flourish to jazz rock explosion, while “You Go to My Head” gained a funk undercurrent and a Breit solo that sounded like a soprano sax. The musicians put a subtle Latin spin on “All of Me” that turned into it into babymaking music, then masterfully manipulated the dynamics of “Good Morning Heartache,” Wilson taking a seat as the band swirled around her in collective improvisation. Perhaps the biggest highlight was “Last Song (for Lester),” a Wilson original that imagines the song Holiday might’ve sung at the funeral of her musical soulmate Lester Young had she been allowed. It was a beautiful tour de force, blending sadness at opportunities lost and joy for knowing a special someone. Wilson ended the set with a sardonic, defiant romp through “Billie’s Blues,” exiting the stage to raucous applause.

Naturally, the show wasn’t done yet – not without renditions of Holiday’s greatest hits. The encore began with “God Bless the Child,” given an almost pop/jazz reading with a slide guitar solo and Wilson’s distinctive take on the vocal melody. Then came a tribal drum beat and the sound of chains hitting the ground, which could only mean one thing: “Strange Fruit,” Holiday’s bitter ballad about the practice of lynching African Americans in the south. The song’s already haunted atmosphere bristled with dramatic strings and a particularly husky vocal from Wilson, before she picked up her Telecaster and clawed a skronky, feedback-soaked solo out of her helpless instrument, channeling the ghosts of lynching victims howling from beyond. To say this amazing performance brought the house down seems almost inadequate. We can’t wait for you to see it when it airs this fall on your local PBS station.