Categories
Featured News Taping Announcement

New taping: Portugal. The Man

ACL is happy to announce a new taping on October 30 with indie rock act Portugal. The Man. The ultra-melodic quartet formed in Alaska, moving to the more rock-friendly environs of Portland and releasing its debut LP Waiter: “You Vultures!” in 2006. The prolific group proceeded to release five more records on various indie labels, including 2009’s companion albums The Satanic Satanist and The Majestic Majesty, before signing to Atlantic for 2011’s In the Mountain in the Cloud. Tours and performances at Bonnaroo and Lollapalooza led up to the band’s latest record Evil Friends, produced by Danger Mouse (Norah Jones, the Black Keys, Gnarls Barkley). The album has been called “ the most quintessentially Portugal. The Man album the band has released” by Paste and “proof that some bands get big by being good, nothing else” by the Austin Chronicle.

We’re thrilled to welcome Portugal. The Man to its debut ACL taping. Keep an eye on our taping page, Facebook and Twitter for notification as to when passes will be available.

 

Categories
News Taping Recap

Local Natives make magic

There’s nothing quite like catching an artist on the rise. Local Natives attracted immediate acclaim with its first LP Gorilla Manor a couple years ago and has been steadily building a loyal, passionate audience since. We were fortunate to put that audience into a room with the L.A. quintet for its debut ACL taping, and the result was magic.

The atmospheric synth intro of “Breakers” signaled the beginning of a journey through the group’s harmony-rich vision of Afropop-kissed indie rock. Busy percussion and polyrhythmic grooves buoyed soaring melodies in “Ceilings,” “Colombia” and “You & I” to unique effect. “Airplanes,” “Black Balloons” and the crowd favorite “Wide Eyes” tightened the rhythms and emphasized catchy, jangly guitar hooks as much as airy vocals. “Shape Shifter,” “Bowery” and the encore-closing “Sun Hands” stretched the band out dynamically showcasing songs that started gently and ended with vibrant excitement. The band paid tribute to an oft-cited influence with a rattling cover of Talking Heads’ “Warning Sign.”

The most moving moment came during the final song of the main set, when the Natives performed a special acoustic arrangement of “Who Knows Who Cares” worked up for this performance that really exploited the band’s folk underpinnings and choir-like vocal harmonies. We’re always flattered when an artist treats a taping as a special occasion (made doubly so when the band asked their touring bass player to join them permanently), and we can’t wait for this spring to show you why this performance counts as one. Stay tuned.

 

Categories
Featured News

New taping: Kacey Musgraves and Dale Watson

Austin City Limits is getting back to the country on November 25 with a double-header featuring fast-rising newcomer Kacey Musgraves and Austin honky-tonker Dale Watson.

Hailing from Golden, Texas, Kacey Musgraves began performing at fairs while still in single digits. She has been writing songs since the age 9 and eventually moved to Nashville like her friend Miranda Lambert. Both competed on the singing competition program Nashville Star in 2007. She only came in seventh, but the visit was enough for her to plant her flag on Music Row, scoring a songwriting and production deal with tunesmith-to-the-stars Luke Laird and co-writing Lambert’s smash “Mama’s Broken Heart.” But Musgraves, who cites John Prine and Ray Wylie Hubbard as songwriting inspirations, truly made her mark with her major label debut Same Trailer Different Park. Called “one of the most fully-formed, arresting debuts Nashville’s seen in years” by American Songwriter, Same Trailer spawned the hit singles “Blowin’ Smoke” and “Merry Go ‘Round”  and garnered praise from Rolling Stone, Entertainment Weekly and the New York Times. Come see why Musgraves has earned the accolades.

photo by Jim Chapin

Performing the same night is Austin’s king of country music: Dale Watson. Though born in Birmingham, Alabama, Watson was raised in Pasadena, Texas, spending time in Houston, Los Angeles and Nashville before landing in Austin in the early 90s, which has been his home since. Possessed of a quintessential country baritone, Watson has flown the flag for classic honky-tonk for over two decades and 20 albums, starting with his classic 1995 debut Cheatin’ Heart Attack and moving through landmarks Blessed or Damned, The Truckin’ Sessions and Every Song I Write is For You. He’s performed on Late Night With David Letterman and first appeared on ACL in 1997 as part of an Austin Country Showcase. El Rancho Azul, his latest LP, continues his work as one of the world’s finest C&W singers and songwriters, and we’re thrilled to present Austin’s favorite son once again.

Information on passes to these great shows will appear here a week before each taping. We hope to see you there!

 

Categories
News Taping Recap

Neko Case’s tour de force

When Neko Case last graced the ACL stage, she was still the reigning queen of Americana, a minimalist-minded singer and songwriter in thrall to torch songs and classic country. Over the succeeding decade, however, she’s developed into an eclectic, ambitious artist who won’t be hemmed in by genre restrictions, as her latest LP The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You attests. With that acclaimed work in hand, Case and her band gave us a well-rounded, wide-ranging performance.

Opening with “Where Did I Leave That Fire,” an atmospheric slice of art pop, Case followed directly with “This Tornado Loves You,” one of her most accessible and eccentric tunes. Case and her versatile band, including returning stalwarts Jon Rauhouse, Tom Ray and Kelly Hogan, moved from ringing folk rockers like “City Swans,” “Hold On, Hold On” and “People Gotta Lotta Nerve” to classic balladry like “Night Still Comes,” “Lion’s Jaw” and the particularly gorgeous “Calling Card.” She has a singular affinity for 6/8 time, adding subtle 50s-style melodies to songs like “That Teenage Feeling,” “Wild Creatures” and “The Pharaohs,” and added some funny power pop with the snarky “Man.” Case didn’t forget her roots, however, reaching far back to her earlier work for the countrified gem “Set Out Running,” which exploits the Patsy Cline side of her voice, and the classic beauty “I Wish I Was the Moon.” Despite it being a cover, Case was at her most emotionally vulnerable on Harry Nilsson’s understated ballad “Don’t Forget Me.”

It was an eclectic, brilliant performance that perfectly encapsulated where Neko Case finds her artistry circa 2013. We can’t wait for you to see it early next year – watch this space for broadcast details.

Categories
News Taping Recap

Queens of the Stone Age melt faces at debut ACL taping

Indie rock, singer-songwriters, Americana and soul are great, and we love it all, but sometimes we just need a dose of face-melting rock & roll. Few bands provide that kind of cochlea-destroying good time as well as Queens of the Stone Age did for their first ACL taping. Main Queen Josh Homme has been on the show before, with the supergroup Them Crooked Vultures. (For that matter Queens keyboardist Dean Fertita last visited our stage with the Raconteurs.) But this is the first time he’s brought his main creation to Austin City Limits, and it was a mutual love affair from the first (extremely loud) note.

The quintet opened the show with the pole position track from its breakthrough Songs For the Deaf – “You Think I Ain’t Worth a Dollar, But I Feel Like a Millionaire” blasted out on waves of drums and Homme’s instantly recognizable guitar tone. This wasn’t the only time the Queens shook the rafters – “Little Sister,” “My God is the Sun” and “No One Knows” (the Big Rawk Hit, played surprisingly early in the set) reveled in the band’s patented blend of singalong melodies and amp-frying roar. Not everything was about sonic wallop, however – the band wove an eclectic, open-minded musical approach into its distinctive sound, with special attention paid to its acclaimed new LP …Like Clockwork. “If I Had a Tail” and “Smooth Sailing” rode a hipshaking swagger, while “Make It Wit Chu” added a seductive slither that subverted the stereotypical sex rap implied by the title. “The Vampyre of Time and Memory,” “…Like Clockwork” and “I Appear Missing” essayed the Queensly version of power balladry, while “In the Fade” stretched into widescreen psychedelia. “I Sat By the Ocean” added a subtle early 70s David Bowie influence, like Ziggy Stardust filtered through Homme’s vision of acid rock.

The show ended as it began, with a blazing salvo from Songs From the Deaf. The guitar orgy that is “A Song For the Dead” ripped through classic blues metal at nearly hardcore punk velocity, ending the evening in a wave of feedback, Homme’s guitar hanging from the microphone. Queens of the Stone Age’s ACL set is what rock & roll is all about, and we can’t wait for you to see for yourselves when the episode airs early next year. Stay tuned.

Categories
Taping Recap

Fun. creates a unique experience

For some artists, a performance is about self-expression, a way to reveal themselves in a creative fashion. Nothing wrong with that – that approach has given us great art. But for some musicians, a show is all about that distinctive bond with the audience, the magnificent meld of action and reaction that creates a unique experience for band and crowd.

Fun. reveled in that bond during their debut Austin City Limits taping. The band enjoyed a devoted fanbase even before they scored Grammys and number one hits with their LP Some Nights, and their widespread success meant a bigger, more enthusiastic crowd than ever before. The trio and their backing musicians used the marching “One Foot” and the piano popping “All Alone” to prime the pump, so when singer Nate Ruess engaged the audience in some call-and-response lessons before the very Queen-like “At Least I’m Not As Sad (As I Used to Be),” they were ready. But the group teased a bit more with the rocking “All the Pretty Girls,” before bringing the crowd in for “Barlights,” Ruess exhorting the people to join in on the song’s cathartic chorus of “I feel alive!”

“Carry On” brought the audience completely into the fold, as it sang along without prompting to one of fun.’s best-known anthems. “The Gambler,” Ruess’s tender ode to his parents’ relationship, provided a brief respite, but with “We Are Young,” fun.’s Grammy-winning number one hit, the place exploded. Crowd and band became one, as the former sang along with every word, sometimes louder than the band itself. A cover of the Rolling Stones’ “You Can’t Always Get What You Want” kept the energy level high, and the encore of “Some Nights” revived the audience singalong, as they provided the massed choral vocals from the recording with the energy of Ruess himself. “Stars” concluded the show with more singing during the bridge, providing a gentle comedown like a cup of coffee after an amazing dessert.

The exuberance came as much from the band’s excitement at being with us as from its rapport with the crowd. “We’re on a stage right now that means the most for us to be here,” remarked guitarist Jack Antonoff. “This is a special, special evening for us,” enthused Ruess. “This is a dream come true – thank you so much for being with us.” We feel it’s safe to say it was a special night for Austin City Limits as well. We can’t wait for everybody to see this episode – check your local listings this fall!