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Episode Recap

Season 37, Episode 11: Florence + the Machine & Lykke Li

Austin City Limits made its name by showcasing the best American music, but, as you’ve no doubt noticed, over the past several years we’ve hardly limited ourselves to North American borders. This Saturday, 1/28, you can see some of the best music coming out of Europe, as we present Florence + the Machine and Lykke Li.

Exploding out of the U.K., Florence + the Machine brought their unique vision of rock – incorporating everything from gutsy vocals to ethereal harp to raging guitars – to our stage for a packed afternoon show. Twin anthems “Dog Days Are Over” and “What the Water Gave to Me” raised the roof as Florence Welch twirled across the stage like a beat-besotted ballerina. Florence fans already know the score – it’s time for newbies to check out this musical force of nature.

Florence + The Machine “The Dog Days are Over” from Austin City Limits on Vimeo.

Lykke Li’s music is more difficult to pin down, but that makes her work all the more enticing. The Swedish chanteuse (ACL’s first Scandinavian artist) deftly mixes elements of girl group pop, steamy soul and stately torch song for an otherworldly sound all her own. “Get Some,” “I Follow Rivers” and the gorgeous, instantly memorable “Sadness is a Blessing” highlight this heavenly half-hour – tune in to hear Lykke Li’s distinctive sonic signature for yourself.

Lykke Li “Sadness is a Blessing” from Austin City Limits on Vimeo.

It’s a night of refreshingly unique indie rock on ACL this Saturday 1/28 – check the episode page  for more goodies, and your local listings for exact airtimes. Keep up with ACL on Facebook, Twitter and Tumblr pages.  Don’t forget to sign up for our newsletter for even more info on your favorite show. Next week: the return of the one and only Wilco.

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News

New Year – New Episodes!

We’re halfway through the broadcasts of Austin City Limits’ 37 season and you may be asking yourself: how do we follow up shows with Coldplay, Mumford & Sons, the Decemberists, the Steve Miller Band, Miranda Lambert, Raphael Saadiq and Randy Newman (to name only a few)? With a second half equally as strong, of course.

Arcade Fire “We Used to Wait” at ACL: Behind the Scenes from Jonathan Jackson on Vimeo.

Coming up on January 7 we have Seattle up-and-comers The Head and the Heart and British veterans Gomez. On January 14 it’s the return of Album of the Year Grammy winners Arcade Fire. January 21 is ACL acid folk day with Fleet Foxes and Joanna Newsom. January 28 features the debuts of rising stars Florence + the Machine and Lykke Li. We close the season on February 7 with our old pals Wilco.

We’re as jazzed about these new episodes.  Don’t forget to watch on your favorite PBS station!

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News

This weekend on Austin City Limits: Tom Waits

The Tom Waits episode of Austin City Limits is one of the most requested shows in our 37-year archive. In the spirit of the holiday season, we’ve put this Season 4 delight back on the air for the first time in over a decade. Tune in this Saturday 12/24 – that’s right, Christmas Eve – to see this classic episode once again.

Recorded in December 1978, the show came in through the back door, so to speak. Terry Lickona, who became producer in Season 4, was trying to book singer Leon Redbone. Redbone and Waits shared a manager, who promptly requested that Terry book his other client as well. In order to make sure the Redbone show happened, Terry agreed, even though he was nervous that the roots-oriented audience ACL had already built in its previous three seasons might think that Waits’ avant-garde gutter poetry was too radical for the show.

The rest is, well, you know the cliche. Supporting his classic LP Blue Valentine (but aren’t they all classics?), Waits was deep in the transitional phase of his career, evolving out of the jazzy beat poetry of his early work (“I Wish I Was in New Orleans”) and into the bluesier, more dissonant sounds (“Sweet Little Bullet From a Pretty Blue Gun”) for which he became known in the 80s and beyond. He acknowledged the season with the streetwise but lovely “Christmas Card From a Hooker in Minneapolis,” which incorporates a few bars of a better-known Xmas hymn. And he debuted “On the Nickel,” one of his greatest ballads, and which wouldn’t be released on record until Heartattack and Vine in 1980.

Tom Waits “Silent Night / Christmas Carol From a Hooker in Minneapolis” from Austin City Limits on Vimeo.

You can check out the episode page for pics, the set list and the original liner notes for the episode. Don’t forget to visit our Facebook and Twitter pages and/or sign up for our newsletter for the latest news on ACL happenings, or to go to our Tumblr blog for a look back at ACL’s photographic past. Next week: our New Year’s Eve blowout with Coldplay!