Though only 24, Lucy Dacus has already made a big impact. The Richmond, Virginia indie rocker’s second album Historian, released last year, was hailed “ a career album” by Paste, who also noted “she’s really only just getting started.” Widespread critical acclaim and consistent performances brought her to the ACL stage for her debut taping, and she delivered with a powerful set drawing from across her catalog. (Note: the appearance was scheduled to be a dual taping with fellow singer-songwriter Julien Baker, but due to unforeseen medical circumstances Baker was unable to perform).

Taking the stage and strapping on an acoustic guitar, Dacus talked about the relationship between performer and audience, noting that it revolved around mutual trust. That led, naturally, into the introspective “Trust,” a song she wrote when she was sixteen. “Beauty is the only way/To make the nightmares go away,” she sang softly as she strummed. Guitarist Jacob Blizard, bassist Dominic Angelella and drummer Ricardo Lagomasino then joined her – “They’re cute and nice, and good people” – as she donned her Telecaster for “Addictions,” a shuffling rocker keying on the contrast between her smoky croon and the fuzzy guitars. “Green Eyes, Red Face” followed, unrolling like a carpet, starting quietly and building to a near-anthemic reach. The social commentary of “Yours & Mine” followed a similar path, from folky placidity to rock power. 

Blizard and Angelella (wielding Dacus’ acoustic) sat on the floor with their instruments while their leader, accompanying herself on a handheld synthesizer, sang “My Mother & I” – a new song and one of a string of holiday-themed singles she’s releasing this year. The band resumed their customary positions for “Forever Half Mast,” a new July Fourth themed midtempo folk rocker amplified by a noisy guitar solo. She flipped that script for her breakout 2015 single, the witty “I Don’t Wanna Be Funny Anymore,” starting with fuzzy decay and moving into a brisk jangle. “I’ve always understood and felt very at home here,” Dacus commented about Austin, before starting the slow strum that heralded the wry, thoughtful “Night Shift,” which almost casually evolved from pensive tranquility to a wall of distortion – much to the appreciation of the crowd. 

After the rhythm section left the stage, Dacus delivered a stately “Historians,” with only Blizard’s effects-soaked guitar swells as consort. Then Blizard also quit the stage, leaving Dacus alone with her Tele to deliver “Fool’s Gold,” a beautiful unrecorded tune. The audience went wild following its conclusion. It was a lovely show by an important new talent, and we can’t wait for you to see it when it airs as part of ACL’s upcoming milestone 45th season.  

H.E.R. has had an eventful couple of years. Scoring a gold record with her full-length self-titled debut, a NPR Tiny Desk concert and two 2019 Grammy Awards for Best R&B Album and Best R&B Performance, the erstwhile Gabriella Wilson has moved from strength to strength since beginning her performance career ten years ago. The fast-rising singer and songwriter brought her award-winning artistry to the ACL stage for the first time with a set of songs guaranteed to slow jam the night away. 

After a brief intro from her six-piece band, multi-instrumentalist H.E.R. took the stage with an acoustic guitar for the funky “Carried Away,” also contributing bass and electric piano solos before the song’s end. She picked up a pair of drumsticks to pound out the intro of the Latin-influenced “2.” Hands-free, she said she was proud to be on “this legendary stage,” before giving her husky alto a workout on the roiling “Feel Away” and the lush “Avenue.”  Donning her acoustic guitar, she sang a couple of verses of Deniece Williams’ “Free,” leading directly into her hit ballad “Best Part,” with backup singer Malik Spence delivering original duet partner Daniel Caesar’s lines. Built on a fingerpicked acoustic guitar figure, “Fate” danced gracefully on the line between folk and soul. 

While engaging the crowd in call-and-response “whoa’s,” H.E.R. switched to a plexiglass Stratocaster for the soulful, gospel-informed anthem “Hard Place,” a clear audience fave. After that bag of originals, she pulled a surprising cover: Northern Irish songwriter Foy Vance’s lighter-waving ballad “Make It Rain.” Though it was originally popularized by Ed Sheeran on the soundtrack for the TV show Sons of Anarchy, H.E.R. made it her own with blues rock guitar soloing and powerhouse singing. The crowd agreed, going nuts as she paused at the end for dramatic effect. She moved back to the electric piano for the slow jamming hit “Focus,” a song that allowed her to really show off her liquid vocal flexibility. That tune also served as a jumping-off point for a grooving cover of Ms. Lauryn Hill’s “X Factor,” clearly a key influence. The band kept that rhythm going for “As I Am,” namechecking Hill by comparing her lover to “my favorite Lauryn song.” Then it was time for “Lights On,” one of her earliest hits and a song that actually required phone participation, as everybody held their lights into the sky. H.E.R. responded by re-donning her electric guitar and seguing into the guitar solo coda for Prince’s “Purple Rain.” With the backing vocalists and crowd singing the “ooo-ooo’s,” H.E.R. took us all home on her Strat and quit the stage to thunderous applause. And that was the end of a remarkable show from an explosive young talent. We can’t wait for you to see it when it airs this fall on your local PBS station. 

Singer/songwriters Patty Griffin and Steve Earle have been frequent visitors to the ACL stage in the past couple of decades. Griffin first appeared in 2000 as part of a songwriters’ special, getting her own show the next year, while Earle debuted way back in 1987. It’s always a pleasure to welcome back old friends, and doubly so under such special circumstances: Griffin to showcase songs from her highly-acclaimed, self-released and self-titled new album, and Earle, joined by some special guests, spotlighting Guy, his tribute to his songwriting mentor Guy Clark. Both turned in shows for the ages, which we live streamed around the world.  

Patty Griffin comes off of a four-year hiatus while the singer dealt with breast cancer, and her performance pulled generously from it. After a boisterous welcome from the crowd, she opened with the album’s “Mama’s Worried,” essentially a duet between David Pulkingham’s flamenco guitar and her own resonant singing. Next up was “The Wheel,” a bluesy declaration built on its writer’s jagged rhythm guitar and multi-instrumentalist Conrad Choucroun’s bass guitar/kick-drum rhythm. She followed with “Boys From Tralee,” a Celtic folk-tinged tune about Irish immigrants (of which Griffin’s grandparents were two), tying it into the current situation at the U.S. border. From the Emerald Isle to the American swamp: Griffin moved back to her 2004 LP Impossible Dream for the shuffling, tremolo-heavy “Standing,” allowing her to draw from her love of gospel. But she quickly shifted from the sacred to the secular, with the sly “Hourglass,” inspired by the great Screamin’ Jay Hawkins and featuring a Pulkingham solo that earned cheers. 

Guitars went to their stands as Pulkingham moved to the piano and his boss to the mic for the gorgeous “Luminous Places,” a well-titled standout from Patty Griffin. Then it was on to the “Truth #2,” a fan favorite, as evidenced by the cheers at the opening chords, and “Where I Come From,” a narrative Patty Griffin highlight. “River,” the self-titled album’s single, once again showcased her rich vocals, accompanied by Pulkingham’s acoustic guitar and the ridiculously multi-tasking Choucroun on piano, and greatly appreciated by the audience. Wielding a mandolin, Griffin finished her set with the rocking, inspirational “Shine a Different Way,” to the crowd’s delight. 

Joined by his long-running five-piece band The Dukes, Earle hit the stage kicking off his Guy Clark tribute with the classic “Dublin Blues,” receiving exuberant cheers at the opening line “Wish I was in Austin.” Earle immediately went into “Texas 1947,” featuring the expert pedal steel work of Ricky Ray Jackson. After sharing a short story about how he met Guy Clark while hitchhiking around Texas, the band performed the ode to the Hill Country honky-tonkin’ queen “Rita Ballou,” featuring Eleanor Whitmore on violin. Following a tale about Clark’s loyalty to Texas BBQ over Tennessee style BBQ, Joe Ely joined Earle on stage to perform “Desperadoes Waiting For a Train” – two Texas music legends trading verses on one of the state’s most influential songs. The Dukes quit the stage temporarily, so Earle could essay “The Last Gunfighter Ballad,” a Clark song made famous by Johnny Cash and Willie Nelson. The band returned for “The Randall Knife,” one of Clark’s most autobiographical and arresting tunes, followed by the beloved “L.A. Freeway,” one of his most famous. With Earle donning his mandolin, he and The Dukes got acoustic for “New Cut Road,” an explicitly bluegrass-flavored tune that threw another spotlight on Whitmore, as well as her flatpicking husband Chris Masterson. After introducing the band, Earle went into “Heartbroke,” going through the first verse before being joined onstage by another Clark mentee – songwriting great Rodney Crowell, who originally recorded the song in 1980, before it became a hit for Ricky Skaggs in 1982. 

“I guess I should play a couple of songs of mine so y’all won’t think Guy didn’t teach me anything,” Earle quipped before launching into “Guitar Town,” the song that put him on the map as a writer and performer. After that hit, there was only one other song The Dukes could hit, and sure enough: the opening synth riff of “Copperhead Road” – the powerhouse rocker that served notice that Earle was simply country – got the crowd going wild. “That’s what Guy taught me,” he asserted. After that explosion, Earle brought Crowell and Ely back, joined by Lubbock legends Terry and Jo Harvey Allen, for “Old Friends,” Clark’s beautiful evocation of friendship, with each singer taking one of the spoken verses. Earle led the audience in a round of the chorus, before an instrumental coda and the singers laying down one last “old friends” to close. A better elegy for Clark would be hard to imagine. It was a beautiful moment, and we can’t wait for you to see it when it airs this fall on your local PBS station. 

After ten years of writing and producing music, Maggie Rogers’ career has culminated in her bestselling major label debut Heard It In a Past Life, boasting the hits “Light On” and “Burning.” ACL is always thrilled to welcome fast-rising young artists, so we were happy to host the young Easton, Maryland singer/songwriter for her debut taping.

The crowd greeted executive producer Terry Lickona’s announcement with big cheers as the band took the stage, before the star herself bounded onstage to kick off “Give a Little,” her high energy stage presence matching the song’s caffeinated bounce. Her voltage doubled for “Burning,” as she ranged all over the stage like she wanted to cover every centimeter before the song was done. “This is a song about a crush,” Rogers said by way of introduction to “Say It,” a tune that entered ballad territory to allow everyone to catch a collective breath. Though it stayed with a slower tempo, “On + Off” adopted a slinky R&B groove that built to near-anthemic spirit. After expressing how thrilled she and the band were to be there for ACL’s 45th anniversary, they launched into the shimmering “Dog Years,” which she described as “a song about friendship.” She showed off her funky side again with “The Knife,” an undulating tune that really got her moving. On “Retrograde,” Roger and band grabbed a winsome pop melody and didn’t let go until extracting every ounce of emotional strength.

By way of once again giving band and crowd a break, Rogers expressed her gratitude at being allowed “to do this thing that I love more than anything,” seguing from stating her thanks to singing it with the pop anthem “Light On.” Her audience responded with a loud outpouring of love. She kept the powerful feel going with “Past Life,” which would’ve no doubt gotten lighterwaving if we allowed them into the theater. The band dug back into groove for “Overnight,” another tune that got Rogers’ feet moving, with the energy continuing for the airy “Alaska.” Then the ensemble jumped back into anthem territory for the emotional “Back in My Body,” before ending the main set with the lovely, almost gospel-tinged “Falling Water,” giving the crowd a chance to clap along before cheering their lungs out.

Rogers returned to the stage alone, eschewing backing for the ghostly, a cappella “Color Song,” a highlight from her 2017 EP Now the Light is Fading. At one point she even abandoned the mic, her voice still carrying across the crowded theater. It was a wonderful way to end this high-energy show, and we can’t wait for you to see it when it airs on your local PBS station during ACL’s 45th season.