FEATURING
Dave Hill
with Peelander-Yellow
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ABOUT DAVE HILL
Dave Hill is a comedian, writer, actor, and musician originally from Cleveland but now living in New York City, which is great. He has appeared on Unbreakable Kimmy Schmidt, Girls5eva, Joe Pera Talks with You, Inside Amy Schumer, @midnight, Full Frontal with Samantha Bee, The Tick, The Jim Gaffigan Show, and the new U.S. version of Would I Lie To You among other programs. And he plays a Devo-obsessed weed dealer in the new film Drunk Bus starring Ozark’s Charlie Tahan and Will Forte. Dave has also starred in his own TV series, The King of Miami, on the MOJO Network, which was cancelled even though Dave really liked it.
Dave is a regular contributor to public radio’s This American Life and Live from Here with Chris Thile (formerly Prairie Home Companion) and also hosted his own radio show, The Goddamn Dave Hill Show, on WFMU in Jersey City, New Jersey for five years. Dave is also the resident heavy metal expert on Malcolm Gladwell and Rick Rubin’s Broken Record podcast.
Dave performs live comedy in theaters, prisons, and basements all over the world. He appears regularly with fellow comedians such as Janeane Garofalo, Tom Papa, and Gary Gulman and has opened for musical acts including Snoop Dogg, Tenacious D, Broken Social Scene, Down, Autopsy, Quicksand, and Rhett Miller.
Dave also plays guitar and sings in his own rock band, Valley Lodge, whose song “Go” is the theme song for HBO’s Last Week Tonight with John Oliver in addition to fronting Painted Doll with death metal legend Chris Reifert (Autopsy, Death). He is also the founding member of Witch Taint, most extremely extreme Norwegian Black Metal band from Gary, Indiana ever probably (go to www.theblackmetaldialogues.com for more info). He also composes music for TV and film.
Dave has written for The New York Times, The Paris Review, Salon, GQ, McSweeney’s, The New York Observer, The Cleveland Plain Dealer, and Guitar World, among other publications, and is author of three books, Parking the Moose (2019 Doubleday Canada/Penguin Random House), Dave Hill Doesn’t Live Here Anymore (2016 Blue Rider Press, and Tasteful Nudes (2012 St. Martin’s Press). His fourth book, The Awesome Game: One Man’s Incredible, Globe-Crushing Hockey Odyssey, will be published by Doubleday Canada and Triumph Books in the fall of 2023. He also smells really great you can ask anyone.
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The Nightowls
Nightowls' Radio!
a live, one-of-a-kind, dance party mixtape from Austin's premier party band, The Nightowls!
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ABOUT THE NIGHTOWLS
A live, one-of-a-kind, dance party mixtape from Austin's premier party band, The Nightowls!
Sure to get you on your feet" (Southern Living), Austin's "vintage soul" (Allmusic) ten piece The Nightowls' live show is the sound of a soulful swing dance combined with the non-stop energy of a southern hoedown, encouraging audience participation that will "certainly inspire one to shake a tail feather" (Music Connection). They've spent the past year bringing their "raucous live show" (Austin Monthly) across the US and the Festival Circuit.
In the past two years they've hit every corner of North America, played dozens of festivals (including Austin City Limits Festival, KGSR Unplugged at the Grove, Ouray Mountain Air Music Series, The Levitt Pavilion, Blues on the Green, and headlined the Double Decker Festival). “This is truly a must see act. All their songs have one thing in common, and that is they make you want to get up and dance the night away” - Monkey Goose Magazine
Their last record, Royal Sessions (EP) came out July 15th, 2016. It has been hailed by many critics as their finest. Their new album with producer Chris Bell comes out April 27th, 2018 on Nine Mile Records.
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Easterseals Lonestar, EQ Austin and KUTX present
DIA on Día
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ABOUT DIA ON DIA
Easterseals Lonestar, EQ Austin and KUTX present the 10th Annual DIA on Dia concert, celebrating diversity and inclusion in Austin on Dia De Los Muertos. Blues rock guitar legend Jimmie Vaughan (The Vaughan Brothers, The Fabulous Thunderbirds) joins over 25 stellar local artists performing with an all-star house band. The event benefits Easterseals Lonestar and the Vaughn House, which strive to help people with physical disabilities live healthier lives.
Jimmie Vaughan, Money Chicha, Lesly Reynaga, Tameca Jones, Tomar Williams, Nagavalli, AJ Vallejo, DJ Crash, Deezie Brown, Sabrina Ellis, J Soulja, Kalu James, Grace Sorensen, Megz of Magna Carda, Angelica Rahe, BettySoo, We Don't Ride Llamas, Frederico7, Blakchyl, promqueen, Como Las Movies, Kiko Villamizar, Jaime Ospina
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Easterseals Lonestar, EQ Austin, and KUTX are proud to present the 10th Annual DIA on Dia concert, a vibrant celebration of diversity and inclusion in the heart of Austin. This year's milestone event will take place on Wednesday, November 1st, 2023 at 3TEN ACL Live, coinciding with the revered Dia De Los Muertos holiday, EQ Austin’s 5th anniversary and the official City of Austin’s Day of Diversity And Inclusion Awareness and benefits Easterseals Lonestar’s programs that benefit disabled central Texans.
The jam-packed 10th Annual DIA on Dia concert features a truly impressive lineup of over 25 beloved local artists, headlined by blues rock guitar legend Jimmie Vaughan of The Vaughan Brothers and The Fabulous Thunderbirds. The event’s unique concept brings local artists onstage to guest with all-star backing bands Money Chicha (directed by renowned musician and producer Beto Martinez of Grupo Fantasma, Brownout, Money Chicha), the EQ Austin Band (and the formidable DJ Crash, DJ to the stars including Steve Aoki, LeBron James and Waka Flocka.
The diverse lineup includes beloved Austin-based artists Money Chicha, Lesly Reynaga, Tameca Jones, Tomar Williams (Tomar & The FCs), Nagavalli, AJ Vallejo (Vallejo), DJ Crash, Deezie Brown, Sabrina Ellis (A Giant Dog, Sweet Spirit), J Soulja, Kalu James (Kalu & The Electric Joint), Grace Sorensen, Megz (Magna Carda), Angelica Rahe, BettySoo, We Don't Ride Llamas, Frederico7, Blakchyl, promqueen, Como Las Movies, Kiko Villamizar, and Jaime Ospina (Superfonicos).
Hosting the event will be Confucius and Fresh, of Austin’s #1 hip hop show, KUTX's The Breaks. Last year’s well-attended event brought a visit from the mayor (who presented EQ Austin founder Gavin Garcia with a Key to the City) as well as an impressive array of auction items to benefit Easterseals, and this year promises to be full of surprises as well.
The concert aims to unite the Austin community in celebrating the rich tapestry of cultures and backgrounds that make the city unique, all while benefiting Easterseals Lonestar, which seeks to raise funds to renovate the Vaughn House, home of their Fit Ability Program. “The Fit Ability Program is a completely accessible gym for the disabled community which also provides a personal trainer who specializes in helping those with physical disabilities workout safely and effectively,” explains David Schneider, Co-Chair of DIA On Dia and Easterseals volunteer. He continues, “The goal of the program is for central Texans to live as healthy of a life as possible and reach their full potential through physical fitness, recreation, and community.”
Event producer Alex Vallejo loves creating the event as much as music fans enjoy watching it. “While a lot of work and curation goes into this event, the magic of the final product makes it all worth the effort.” He muses, “It’s always an honor to work on this show with such a diverse group of local musicians which pushes us all to collaborate with each other and create these really special performances.”
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HeartByrne
plays Talking Heads
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ABOUT HEARTBYRNE
HeartByrne pays tribute to Talking Heads and David Byrne, who fused pop, funk, art rock, and African rhythms into perhaps the most adventurous, danceable and timeless music to emerge from the new wave movement. HeartByrne picks up the torch where the seminal concert film 'Stop Making Sense' left off, breathing new life into the classics and pushing the grooves into uncharted sonic territory. What began as an informal ‘hoot night' has evolved into a must-see touring act featuring some of Austin, TX's most talented musicians.
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Parker Millsap
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ABOUT PARKER MILLSAP
A native of Purcell, Oklahoma, Millsap has released four albums to date and has quickly made a name for himself with his captivating live performances, soulful sound, and character-driven narratives. He's had a string of highlights in recent years including his network television debut on CONAN, a performance with Elton John at the Apple Music Festival in London, an Austin City Limits taping, and an Americana Music Association nomination for Album of the Year. He has also received praise from The New York Times, Boston Globe, LA Times, Austin Chronicle, and Rolling Stone to name a few.
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ACL Fest Nights
Charlotte Adigery & Bolis Pupul
with Jane Leo
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ABOUT CHARLOTTE ADIGERY & BOLIS PUPUL
Cultural appropriation and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP on Soulwax’s record label DEEWEE, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.
Their new studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.
Conceptually, the pair wanted to put these observations and ideas about culture today and the zeitgeist into a “time capsule shaped like an egg”, with the idea that you could “bury the album somewhere”, says Bolis, for future generations to find and figure out what the 2020s were all about through their eyes. The egg is “a visual shorthand,” they say, “for new life and unhatched potential.” Zandoli was partly an exploration of what it means to be a woman of Caribbean heritage growing up in Belgium – Pitchfork called it “striking, playful electro pop with a sly sense of humour”. Topical Dancer, however, expands their worldview outwards. Songs like “Hey” question the shallowness of ‘wokeness’ and searches for a utopia of “equality, harmony and integrity”, while ‘Reappropriate’ is a fluttery R&B-ish song about liberating oneself from sexual trauma. Charlotte sings across English, Dutch, Creole and French, her signature deadpan delivery at times recalling a vogue house vocalist or a Black Mirror-style virtual assistant, giving the album a hypnotic, fourth-world quality.
These are undoubtedly hard-hitting subjects, and yet mischief is a key aspect of Charlotte and Bolis’s musical alchemy, too. It takes a certain self-awareness to include a song about the French pronunciation of Will Smith on the tracklist (‘Huille Smisse’) on the tracklist. Or the moment you first felt sexually attractive: standout track ‘It Hit Me’ details Charlotte and Bolis’s teenage awakenings over a deliciously thwacking industrial techno beat.
In a way, Topical Dancer’s opening track ‘Esperanto’ lays down the gauntlet, setting up this tricky balance of irony and hard truths from the off. “Don’t say ‘But where are you really from?’ / Say ‘I don’t see colour... Don’t say ‘nice pair’ / Say ‘I love the symmetry of you’,” Charlotte jokily taunts over the song’s syrupy whirr. “Humour binds us,” she explains now – “it’s knowing how to have a laugh at yourself and with each other. It’s also a coping mechanism that helps us to not be bitter or stay angry.”
Let’s rewind for a minute. Charlotte and Bolis met during the recording of Belgica, Soulwax’s film soundtrack featuring 15 imaginary bands. Soulwax’s David and Stephen Dewaele suggested she team up with Bolis to make some music of their own and gave them the keys to their Ghent studio for a week to experiment with their vast synthesizer collection. Charlotte was initially inspired by the subversive freedom of punk bands like The Slits and similarly, she says, “our music comes from a playful, limitless place.”
Their music also comes from their everyday experiences, dating back to the first song they made together at Deewee. “Charlotte played me a recording she’d made of a guy in a parking lot in Brussels who was trying to seduce her and was asking her questions like, ‘Do you have a boyfriend? Is he black or white? Oh he’s white, so you like money then...?’,” remembers Bolis. “We plugged in a synth and that became our first tune, ‘Senegal Seduction’, where we worked those questions into the song.” This hyperspecificity is a cornerstone of their songwriting, such as on new track ‘Haha’, which is built around a sample of Charlotte making herself laugh. Fans, meanwhile, may find ‘Mantra’ familiar – it takes Charlotte’s voiceover from her Ying-Yang Self-Meditation tape in 2019 which lists her neuroses and turns it into a celebratory anthem about letting go.
Beyond their new album’s thematic heft, though, Topical Dancer cements Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.” The album has a song that directly addresses this urge, ‘Ceci N’est Pas Un Cliché’, in which Charlotte’s lyrics roll off tired pop music lines like “I throw my hands up in the air” and “I’m down on my knees begging you please”.
Their creative process is filled with clever concepts for tracks that only they could think of. First single, ‘Thank You’ –a tantric acid-electro stomper that is “a cheeky and cynical revenge for all the unwanted, unsolicited opinions some people generously offer us,” writes Charlotte in their track-by-track guide – came about because they “wanted a last song for the live set where we build and build and don’t deliver a climax; it builds and then it ends,” says Bolis. ‘Hey’ is their take on the 80s Caribbean genre zouk. On ‘It Hit Me’, both Charlotte and Bolis speak in pitched-up digital voices until their voices drop when they “enter adulthood.”
Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their second single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”
‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”
It’s one reason why Charlotte enlisted her mother Christiane, with whom she started singing as a child and who taught her about rhythm’s relationship to musicality, to join her on the track ‘Ich Mwen’ (‘My Child’). They sing in French and Creole about unconditional love, the spirit of sacrifice and putting yourself in your parent’s shoes. It’s become even more poignant as Charlotte recently became a mother herself.
She says that casual racism at home is still a regular occurrence at home, from people assuming she doesn’t speak Dutch (the language most commonly spoken by Flemish people) to – as the lyrics from ‘Blenda’ reference – shouts of “Go back to your country where you belong”. “When you experience stuff like that your whole life, you have to define yourself more actively, to claim a place in the world,” says Charlotte. “Asian people too are so underrepresented in Belgium in culture and the media. So our music is our safe space to define who we are.”
On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”
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Rumours
A Fleetwood Mac Tribute
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ABOUT RUMOURS - A FLEETWOOD MAC TRIBUTE
Formed in 2014, Rumours (also known as Rumours ATL) has taken the U.S. by storm with their stage scorching renditions of Fleetwood Mac songs. Fans from across the nation claim that Rumours is the band to see if you are looking for an authentic recreation of live Fleetwood Mac shows.
In just under 5 years, Rumours has landed themselves the reputation of being the best Fleetwood Mac Tribute band and additionally has made fans internationally. In the summer of 2019, Rumours was invited to play a week in The Netherlands at some of the top venues and festivals in the country. The success of that tour brought them attention from plenty of new fans and promoters and they will be returning in 2020. Specially crafted shows and not one detail left behind, Rumours continues to sell out some of the top venues in the United States and gain fans at each show.
Rumours is fronted by Mekenzie Thrift (Stevie Nicks vocals), Adrienne Cottrell (keyboards and Christine McVie vocals), and Denny Hanson (guitar and Lindsey Buckingham vocals). Alex Thrift on lead guitar, Jim Ramsdell on bass, and Daniel Morrison on drums makeup one of the best live band performances you will see at any show. The band prides themselves on being the most authentic Fleetwood Mac Tribute without coming across as a parody or a bore of a show. They will make you dance, sing along at the top of your lungs, and you’ll even learn something new about Fleetwood Mac at each performance.
Rumours will leave you wanting more. Rumours will make you relive those Fleetwood Mac memories.
Do you believe in miracles and the ways of magic? Rumours does.
“Rumours is a pleasure to work with and extremely dedicated to bringing a Fleetwood Mac experience to our audiences at every show. Which they sell out each time.” Peter Moshay, Grammy Winner and sound engineer for Daryl Hall and John Oates, Live from Daryl’s House
“We love having Rumours play our venue. They’re always so fun and get along with the staff great! They also sell a lot of tickets and their shows are awesome.” Jason Westbrook, Production Manager Iron City, Birmingham Alabama
“We love having Rumours and I love lighting their shows. They always make it magical.” Farrell Roberts, Variety Playhouse Atlanta GA
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Rumours
A Fleetwood Mac Tribute
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ABOUT RUMOURS - A FLEETWOOD MAC TRIBUTE
Formed in 2014, Rumours (also known as Rumours ATL) has taken the U.S. by storm with their stage scorching renditions of Fleetwood Mac songs. Fans from across the nation claim that Rumours is the band to see if you are looking for an authentic recreation of live Fleetwood Mac shows.
In just under 5 years, Rumours has landed themselves the reputation of being the best Fleetwood Mac Tribute band and additionally has made fans internationally. In the summer of 2019, Rumours was invited to play a week in The Netherlands at some of the top venues and festivals in the country. The success of that tour brought them attention from plenty of new fans and promoters and they will be returning in 2020. Specially crafted shows and not one detail left behind, Rumours continues to sell out some of the top venues in the United States and gain fans at each show.
Rumours is fronted by Mekenzie Thrift (Stevie Nicks vocals), Adrienne Cottrell (keyboards and Christine McVie vocals), and Denny Hanson (guitar and Lindsey Buckingham vocals). Alex Thrift on lead guitar, Jim Ramsdell on bass, and Daniel Morrison on drums makeup one of the best live band performances you will see at any show. The band prides themselves on being the most authentic Fleetwood Mac Tribute without coming across as a parody or a bore of a show. They will make you dance, sing along at the top of your lungs, and you’ll even learn something new about Fleetwood Mac at each performance.
Rumours will leave you wanting more. Rumours will make you relive those Fleetwood Mac memories.
Do you believe in miracles and the ways of magic? Rumours does.
“Rumours is a pleasure to work with and extremely dedicated to bringing a Fleetwood Mac experience to our audiences at every show. Which they sell out each time.” Peter Moshay, Grammy Winner and sound engineer for Daryl Hall and John Oates, Live from Daryl’s House
“We love having Rumours play our venue. They’re always so fun and get along with the staff great! They also sell a lot of tickets and their shows are awesome.” Jason Westbrook, Production Manager Iron City, Birmingham Alabama
“We love having Rumours and I love lighting their shows. They always make it magical.” Farrell Roberts, Variety Playhouse Atlanta GA
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Roxy Roca
with Scorpion Child
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ABOUT ROXY ROCA
Drawing on the rich tradition of the Texas blues with a heavy dose of classic rock and dripping with attitude, ROXY ROCA is a high-octane rock band on a mission to prove rock n’ roll ain’t dead. Four core members make up the band with electrifying front man Taye Cannon on vocals, Athens, Greece’s own guitar-hero Babis ‘BB’ Tyropolous on six-string, Quinn Walls on the low end and backing vocals, and drummer Ryan Greenblatt holding it down on drums. Taking a page from the notebooks of legends like ZZ Top, Rolling Stones, Freddie King, Aerosmith, AC/DC and Led Zeppelin, ROXY ROCA sets the stage ablaze with well crafted songs and a powerhouse presence that commands an audience. The band originally formed in Austin, TX as a soul/funk outfit, but as the phoenix rises from the ashes anew and more powerful, so does ROXY ROCA emerging from the pandemic with new life and a new sound. Their upcoming album Greasy breaks new ground for the band as they made the conscious decision to ditch green eyed soul for the primal rhythms of rock n’ roll.
“The pandemic was very difficult and even detrimental to our careers in many ways, but one of the positives to come out of it was that it gave us an opportunity to make some big changes. The pandemic ended up being a great ‘reset button’ for us, and we’re better for it,” said Greenblatt.
Greasy was recorded at Edgewater Studios in Houston in July of 2022. After writing almost 20 potential new songs for the album, the team at Edgewater and the band settled on the nine best and most stylistically cohesive songs to complete their new blues rock-driven record, and the resulting album is nothing short of top notch. While the band is no longer aiming for James Brown, the DNA makeup of ROXY ROCA is steeped in heavy grooves and R&B, and this album serves as a natural bridge between their previous sound and where they’re headed on future albums. Much like their aforementioned music idols, ROXY ROCA’s brand of rock n’ roll has some boogie in it, and that’s just the way they like it.
Accompanying the band on the album, as well as live, is Adam Pryor on keys. Even at the tender age of 23, Adam is a stand-out phenom who has shared the stage with legends such as Buddy Guy. It was Walls who brought Adam into the fold, and he shines throughout the record. As the story goes, without even a single rehearsal with the band, he was able to nail all of his parts on the album in a single two-hour session. And that’s on a true B3 and Fender Rhodes– no keyboard plugins here.
“ROXY ROCA’s theme since the beginning has been love, perseverance, and higher-self remembrance,” said Cannon. “This album continues with that vibration and a whole lot of attitude. As a band, we take on the troubles of humanity while offering a silver lining wrapped in a rock and roll state of mind.”
It was 2010 when lead singer Taye Cannon had a chance encounter with a guitar playing acquaintance, and the two discussed Cannon’s vision to bring a James Brown-like show to Austin. They linked up with a mutual friend and bassist and began writing songs with a full horn section in mind. The first show was an official ACL afterparty at the North Door, and the band has basically hit the ground running ever since. The band’s moniker, ROXY ROCA, was inspired by Lenny Kravitz’s late mother, actress Roxie Roker, best known for her role as Helen Willis on the 1975 sitcom “The Jeffersons,” one of Cannon’s childhood favorites.
“In terms of equality, that show had an effect on me,” said Cannon. “The relationship between Helen (Roker) and Tom Willis (Franklin Cover) really stuck with me. I loved how they let all the name calling and ridicule just roll off their backs in the name of love. Later in middle school, I was really into what Lenny was preaching, ‘Let Love Rule,’ only to find out that Roxie was his mother… and there she was again. When it came time to pick a name for the band we were looking for something that just sounded like a soul band. Somebody in the room said ‘Roxie Roker’ and all those memories came back. I knew that was it. We decided to make it a play on her name, and ROXY ROCA was born. Now, like Kravitz we do what we do in the name of love.”
Over the years, ROXY ROCA steadily rose through the ranks in Austin and beyond. They have been regulars at some of the city’s most iconic venues including Antone’s, The Continental Club, The Parish and Hotel Vegas, with two long-running residencies at various points – first at the now shuttered Blackheart on Rainey street and later at C Boy’s Heart & Soul. In 2013 ROXY ROCA ventured out of Austin to play their first major festival: Bayfest in Mobile, Alabama. The following day, to the chagrin of many, it was the upstart soul band out of Austin that had made the headlines on AL.Com and the Mobile Press Register. Equipped with a can’t-miss, leave-it-all-on-the-stage live show, ROXY ROCA was able to parlay the success of Bayfest and the video release for their track “Try My Love” into more touring opportunities and opening slots for high-profile acts such as the legendary B.B. King, Tom Jones, St. Paul and the Broken Bones, Trombone Shorty, Bob Schneider, a two night stint as the backing band for blues legend Bobby Rush, Black Pumas, Lee Fields, Delbert McClinton, Blues Traveler and many others. Clearly, industry standouts love the band. In 2015 ROXY ROCA played roughly 230 shows, and from that point until the pandemic it was common for the band to eclipse the 150 show mark each year spending months on the road. In the midst of near constant domestic touring, in both 2017 and 2018 ROXY ROCA had the privilege to travel to Japan to play a series of concerts.
“The people were amazing, gracious and warm,” said Greenblatt of their Japan tours. “We played with local bands at every show and got to hang out with them afterward. We made real connections.”
While the new album is a stark departure from their previous work, there were signs ROXY ROCA could drift more into rock territory. In 2016 the band recorded its second full length album with notable rock producer Chris “Frenchie” Smith (...And You Will Know Us by the trail of Dead, the Toadies, Jet, Built to Spill) at The Bubble Studio. Through their work with Smith, the band’s heavier influences began to come through and their sound started to evolve from funk and soul to hard hitting, authentic rock n’ roll.
Toward the end of 2019 ROXY ROCA had made the decision to pause touring in order to write a new album with the goal of recording and touring to support the album the following year. But, like the rest of the music industry and the world at large, the Covid-19 pandemic had other plans. It changed their trajectory and put the band on a new path leading them to this moment on the precipice of the second act for ROXY ROCA. And the future looks bright – real bright.
“My favorites! An explosive take no prisoners, soul and roll, high energy, Detroit meets Texas style rumble!” said Kevn Kinney of Drivin’ N Cryin’. GRAMMY-winning blues legend Bobby Rush said “See this band and you’ll be hooked forever!”
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ACL Fest Nights
Michigander
with Husbands
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ABOUT MICHIGANDER
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AN EVENING WITH
Allison Russell: The Returner Tour
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ABOUT ALLISON RUSSELL
Allison Russell — poet, singer, songwriter, multi-instrumentalist, activist, and co-founder of Our Native Daughters and Birds of Chicago — embarks upon her next chapter in The Returner, a body-shaking, mind-expanding, soulful expression of Black liberation, Black love, of Black self- respect. Written and co-produced by Allison along with dim star (her partner JT Nero and Drew Lindsay), The Returner was recorded over Solstice week in December 2022 at Henson Recording Studios in Los Angeles, CA. It features Russell's "Rainbow Coalition" band of all female musicians along with special guest appearances from the legendary Wendy & Lisa, Brandi Carlile, Brandy Clark, and Hozier.
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John Splithoff
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ABOUT JOHN SPLITHOFF
“This album has been a long time coming,” says John Splithoff. “I guess you could call it a slow burn.”
Recorded in both New York and Los Angeles, ‘All In,’ Splithoff’s invigorating debut, has indeed been brewing for quite some time now, and its release this year marks the culmination of nearly a decade of highs and lows, victories and defeats, breakthroughs and setbacks. Building off a series of hit singles that have racked up more than 100 million streams, cracked the Top 10 at AC radio, and earned Splithoff festival slots everywhere from Bonnaroo to Lollapalooza, the collection is bold and self-assured, mixing intoxicating R&B swagger with soulful introspection and dazzling harmonic sophistication. Splithoff writes to make sense of himself and his world, and though the record was completed before the arrival of COVID-19, it feels particularly fitting for the times, grappling with loneliness and isolation in the face of longing and desire. The songs are subtle in their personal reckonings, often masking deep, profound revelations with playful, effervescent arrangements, and Splithoff’s performances are similarly complex, exuding both a carefree independence and a burning need for connection all at once. It’s a conflicted album for a conflicted moment, a rich, mesmerizing collection that hints at everything from Marvin Gaye to John Mayer as it transforms doubt into determination and self-reflection into celebration.
Sometimes, it seems, a slow burn yields the brightest fire.
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Early: A Dance Party at Dusk with DJ Mel
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ABOUT DJ MEL
Notoriously recognized as "Obama's DJ," DJ Mel is one of Texas' most well-rounded and high profiled DJs. Based in Austin with past performances at Lollapalooza, Austin City Limits Music Festival, Bonnaroo, Voodoo Festival, 2015-2019 NFL Draft, 57th Presidential Inauguration for Barack Obama, 2012 Democratic National Convention, Election Night 2012 at Obama HQ, Obama Farewell Address, White House Easter Egg Roll 2013-2016 & 2022, 2016 Iowa Caucus & New Hampshire Primary for Bernie Sanders, Beto O’Rourke’s 2022 Texas Gubernatorial Campaign, 2016 X-Games, 2011 California Democratic State Convention, 2011 Tour de France, 2010 NCAA Women’s Final Four and has one of the longest-running DJ weeklies in the US at the legendary West Campus bar, Nasty’s (1996-2017). He is the Official DJ for The University of Texas Men's and Women’s Basketball Team. Mel regularly tours throughout the US and abroad. In 2014, he was inducted into the Austin Music Hall of Fame.
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John Moreland
with Samantha Crain
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ABOUT JOHN MORELAND
John Moreland doesn’t have the answers, and he’s not sure anyone does. But he’s still curious, basking in the comfort of a question, and along the way, those of us listening feel moved to ask our own. “I don’t ever want to sound like I have answers, because I don’t,” he says. “These songs are all questions. Everything I write is just trying to figure stuff out.” Moreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers the most comprehensive insight into the thoughts and sounds swimming around in his head to date. A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling lives confidently in a space of its own, enriched by tradition but never encumbered by it. The songwriting that has stunned fans and critics alike since 2015’s High on Tulsa Heat remains potent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020’s acclaimed LP5. The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Moreland’s meditative songs, while performances on The Late Show with Stephen Colbert, CBS This Morning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, while the Tulsa-based Moreland is grateful for the respect and musical conversation he’s now having with people around the world, he is also more focused on the idea of just talking to one person– –or even himself. “Through the years, I’ve felt like I’m increasingly talking to myself in my songs, more and more,” he says. “Maybe in the past, I wasn’t aware of it, but now, I am. I think doing that has helped me be less hard on myself, which makes you more generous and compassionate in general.” That helps explain why even if Moreland is reaching out to someone else, there is no judgment. “I’m in the same boat with whoever I’m talking to,” Moreland says. Moreland’s songs do feel intimate––like overheard conversations or solitary meditations. “I want to talk one-on-one to someone in a song,” he says. “I don’t want to address a group, really, because I think that’s when it’s easy to start pontificating––and it gets less honest.” On Birds in the Ceiling, Moreland’s singing contributes to the feelings of hushed intimacy. Wielding a warm, sandpaper soul voice, Moreland got used to singing loudly as he began playing in bars, fighting to be heard over chattering crowds. “When I first started singing, I was very selfconscious about it,” he says. “I think I tried to affect my voice more. Singing loud could be a security blanket sometimes. On the new album, on a lot of the songs I was definitely making a conscious effort to sing quieter––almost whisper.” Produced by Matt Pence and Moreland, Birds in the Ceiling is dynamic: a folk record that refuses to stay in its lane. It’s the second album for Pence with Moreland, who sees the former––a Denton, Texas-based engineer, producer, and drummer––as an ideal musical partner. “We have a lot of the same influences, and I have been really influenced by his bands,” Moreland says. “It feels really effortless.” Album opener “Ugly Faces” establishes the new instrumental ground Moreland is covering: piano and acoustic guitar are joined by drum break and percussive electronic chirps then swells as Moreland’s familiar voice delivers questions, observations, and apologies. “I got used to shutting off parts of myself and feeling like, ‘Well, I’m this kind of artist, so this part of me and that part of me don’t fit––I’m going to leave them out,” Moreland says of the record’s arrangements. “On this album, I really just wanted to throw that rule out completely. Anything I’m into or that has moved me is fair game.” Cue 90s roots pop: Moreland mentions Sarah McLachlan and Sheryl Crow as influences, then points to the pioneering sampling from the 80s and 90s, as well as the hooks of Janet Jackson. “I feel like I’m old enough now to say, ‘I love pop,’” he says––then laughs a little. “Lion’s Den” underscores the pop point: A mathy electronic beat kicks off the song before Moreland’s gorgeous acoustic guitar playing, nimble but lush, sweeps listeners away. The lyrics explore feelings of displacement and connection––then disconnection. “I think most of the album lyrically is about alienation and isolation––really about what my wife and I were going through during the pandemic,” Moreland says. “Not really relating to the pandemic itself so much, but just the circumstances we were both going through with family and friends, which was all colored through this terrifying, dystopian lens.” Crunchy drum machine claps give way to menacing acoustic guitar on “Cheap Idols Dressed in Expensive Garbage." Moreland wrote the song after a friend introduced him to a social media account that highlights pastors wearing designer clothes. “It feels like things just continue to get harder for working people," he says. “It’s hard to afford life these days.” Moreland points to “Generational Dust”––a moving portrait of the complicated relationship with roots and place––as an album favorite. A gentle showcase of Moreland’s accomplished acoustic guitar playing, “Dim Little Light” taps into the bigness of universal connection and the smallness of individual perspective. While Moreland no longer considers himself religious, the concepts and language picked up during his Bible Belt upbringing emerge in his songs, recast in new, independent musings about self-acceptance, honest questions, and hope––but never as answers. ““At this point in my life, I'm quite comfortable with the mystery of it all,” Moreland says. “Claim Your Prize” packs a heartbreaking punch, tucked into upbeat guitar strums and a mournful chorus. Moreland’s guitar playing stands out throughout the record. “I wanted to expand my guitar playing on this album,” he says. “I played all the guitars, and I just wanted to approach it with more compositional intent.” The beautiful “Neon Middle June” explores the connection that deepened between Moreland and his wife during the pandemic, when they were “holed up together, home all the time, and it was just weird and lovely.” Pianist John Calvin Abney’s jaw-dropping arrangement and playing happened by chance: He sat down to warm up for the song in the studio, not realizing tape was rolling. The freewheeling, abstract keys perfect the song’s lovely weirdness. The album’s title track is the graceful closer, pensive, breathtaking, and brimming with hope and gratitude. “The last verse is really about learning not to impose your own essences and projections onto things, and to just let things be what they are,” Moreland says. Letting things just be what they are is a powerful guiding force for Moreland, determining not just how he interacts with others, but how he treats himself. “When you remove boundaries and instead of holding back parts of yourself––when you say, ‘Okay, I’m going to put all of me into this,’” Moreland says, "You end up making music that nobody else could make.”
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Ritt Momney
with Noah Pope
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ABOUT RITT MOMNEY
At just twenty-one years old, singer/songwriter Ritt Momney has expertly infused emotion into his sound, crafting introspective records that are therapeutic for the man behind the pen as well as his listeners. The Salt Lake City native has recently gone viral thanks to his cover of Corinne Bailey Rae's "Put Your Records On," gaining steam on TikTok while soaring up the Spotify and Apple charts. As he enters the next phase in his career, Ritt Momney continues to spread messages of romance, realization, and rebellion.
It's much more than a spin on Mitt Romney's name. The artist, born Jack Rutter, knew from a young age that falling in line wasn't going to be a priority. Born in Dallas, Texas, Jack's family moved to Salt Lake City, Utah when he was around two years old. Growing up in a tight knit Mormon community, Jack's musical experience was relegated to the church, The Beatles, and radio hits. That was until he reached high school and stumbled upon James Blake's eponymous debut album, which arguably changed Jack's life.
"It was then that I realized music doesn't have to sound like everything else for it to be good," he admits. He kept searching for more music, diversifying his palate, listening to other artists like Earl Sweatshirt and STRFKR. His older brother was a musician, and Jack wanted to try it. He taught himself the piano and guitar, recording acoustic covers on his phone then posting them on SoundCloud. He graduated to GarageBand and then on over to Logic. "I felt like production was really fun for me," he says. "Why would I limit myself to piano and guitar when I could plug into a computer and have the sound of any instrument I wanted at my fingertips?"
Jack formed the band Ritt Momney in 2017 with some friends, and they released a song called "Young Adult," which gained some traction on Spotify. He then watched his friends all fall in line with the Mormon faith, and once he reached college he started to find some new friends. Eventually, Ritt Momney became just him, and in 2019 he released his solo effort Her And All My Friends. The project was poignant and moody, as Jack grappled with his girlfriend being away at college, his friends joining Mormon missions, and him questioning all of it.
On one of his album tracks "(If) The Book Doesn't Sell," Jack touches on his departure from the Mormon church. He describes: "When I first stopped believing in my church and religion in general, I immediately began looking for everything wrong with it. But when I finally worked up the courage to tell my parents I was atheist and we started talking about it, I realized it shouldn't be about who's right and who's wrong; it should just be about what works. And what works for you won't necessarily work for everyone else. All I'm trying to say with this song is that spirituality should be a personal endeavor."
Ritt Momney was slated to hit the road with Dayglow this spring, but due to COVID the tour got canceled. With newfound time on his hands, Jack recorded a cover of Corinne Bailey Rae's 2006 Grammy-nominated hit "Put Your Records On." The buzz continued to grow once he posted it online, and Ritt Momney immediately gained a level of notoriety Jack hadn't thought possible.
Currently, the newly signed artist to Disruptor / Columbia Records is readying his major label debut album. "I'd describe it as 'lyric-driven indie pop,' I guess," he expresses. The work will build upon the foundation he's already laid, which is honest songwriting mixed with intoxicating melodies. While the artist known as Ritt Momney may be rapidly gaining popularity, he maintains one major goal. "I think the main mission for me is to have fun making music," he says earnestly. "That's the only way I can do it well."
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VENUE TOURS
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Experience Music’s Best Address at ACL Live, home of the legendary Austin City Limits television show. Go behind the scenes of the famed TV series, see the stunning music photography of Scott Newton, get insider stories, and walk in the footsteps of the legends and superstars that have graced the ACL Live stage.
- The venue tour starts at 11am, Monday-Saturday, and lasts about 90 minutes.
- Tours will begin from the ACL Live venue box office located on Willie Nelson Blvd (W. 2nd Street).
- Exclusive access to the ACL Live merch store at the conclusion of the tour.
- Please arrive fifteen minutes early to ensure that the tour begins on time.
- Tours are limited in size to 20 people.
Ticket Information
- Tickets can be purchased online at acllive.com/tours.
- Tickets are $12 per adult (12+), $6 per child (4-11), $40 for family 4-pack, and $10 per person for groups of 10 or more.
- 3 years old and younger are admitted free with a paying adult.
- Tickets are encouraged to be purchased online in advance. Additional fees may apply. Limited walk-up availability may be possible but is not guaranteed.
STREAM COME TRUE
LIVE STREAMING CONCERT SERIES
Let your imagination run wild with 3TEN ACL Live presents Stream Come True, Powered by Dell Technologies: an online music series featuring some of Austin’s finest artists.
This new streaming series provides visibility and financial support to struggling musicians during the pandemic through a participation stipend provided by our partners at Dell Technologies and fan-supported virtual tip jars, while engaging with the Austin community and beyond to provide access to local live music during quarantine. Whether you live near or far, we’re sending a little bit of the Live Music Capital of the World to you by way of internet magic.
MUSIC’S BEST ADDRESS IS NOW EVEN BETTER.
3TEN ACL Live is the latest venue addition to the venerable Austin City Limits brand and family.
Located next door to the ACL Live box office in downtown Austin, 3TEN is a 350-person capacity state-of-the-art showcase room presenting smaller, more intimate shows of world-renowned, emerging, and local artists, as well as custom private event experiences.
As the newest extension of the Austin City Limits Live experience, 3TEN is reverently reminiscent of the original ACL Studio 6A at the University of Texas in both size and commitment to musical discovery and excellence. And as with its big sister ACL Live, 3TEN is also the embodiment of style, technological innovation, and exceptional quality. The venue is equipped with the most advanced audio and lighting systems available to deliver a live music experience like no other.
Photo by Daniel Cavazos
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Austin, TX 78701
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