FEATURING

Fri 17 Apr

A Selena Birthday Celebration with

Bidi Bidi Banda

with Destiny Navaira

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$17.00 ADVANCE // $20.00 DAY OF SHOW

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ABOUT BIDI BIDI BANDA

"Bidi Bidi Banda is Austin's first all-star Selena Tribute. Composed of members of some of Austin's premier latin bands, Bidi Bidi Banda is the refried dream of Stephanie Bergara, a native Austinite who grew up listening to Tejano radio and singing in to a hair brush while wearing her mother's red lipstick. The band's interpretation of Selena's greatest hits will leave you belting lyrics, doing the washing machine and reliving greatness of the Queen of Tejano Music."

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ABOUT DESTINY NAVAIRA

Destiny Navaira; Voz de Grupo Remedio; singer/songwriter; Música mexicana; Texas Born & Raised; Raices Mexicanas; #Remedio

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Fri 1 May

Jackopierce

$25.00 ADVANCE // $30.00 DAY OF SHOW

ABOUT JACKOPIERCE

Jack O’Neill and Cary Pierce, the “Jack O” and “Pierce” who make up the seminal duo Jackopierce, are celebrating 30 years of making music that has amassed a loyal following of millions of fans across the country and the world with a super high-energy live show and what the Dallas Morning News has called “spotless harmonies.”

Having just released their first studio project 'Feel This Good' in 5 years, Jackopierce is poised and ready to get back on the road full-time.

Jackopierce formed in 1988 in Dallas as theater students at SMU. The duo steadily made a name for themselves, especially with two of their signature tracks, “Vineyard” and their version of the classic “Please Come to Boston.” They released ten studio albums (two for major label A&M), toured three continents, nine countries, and 45 states - amassing millions of loyal fans along the way . Over the years They have shared the stage with John Mayer, Dave Matthews Band, Matchbox20, Counting Crows, The Wallflowers, Sheryl Crow, Toad the Wet Sprocket - to name a few. After a five-year breakup, the guys reunited in 2002 to test out the waters. They were very warm and city by city, Jack & Cary got back out there to play for grateful fans that thought they would never see them again. The two now have a totally renewed creative vigor, mutual respect and deep gratitude for their fans.

These good vibes shine through on their 25th anniversary live album “Live 25.”

It’s definitely been a creative time for the duo, and celebrating the past inspires the guys to move forward in new, inventive ways. To freshen up the live show, Jackopierce started creating uniquely intimate “Destination Shows.” These shows are a whole new fan experience where people can enjoy gorgeous scenery, share delicious food & wine and have “campfire”- type access to their favorite band. It’s a vacation and concert in one. Each Destination Show provides a unique experience dedicated to the local culture: Napa/Sonoma vineyards at sunset, a ranch in Austin Hill Country, high society in Dallas, a two-mile-high a private club in Aspen, amazing history at the Biltmore in NC, a 14,000 square foot hacienda in San Miguel de Allende, MX - and the list goes on. July 27, Jackopierce will host their first 7th Destination Show in Martha’s Vineyard and they’ll be back for their fourth annual Destination Show in San Miguel in April 2020.

“We have been doing destination events for 10 years now and they have been a huge hit with our fans and have allowed us to make so many great new ones along the way,” said Cary Pierce. “I think these events continue to grow and sell out because people want more than "just a show” - they want an experience. They want to create lasting memories, explore a new place or visit an old favorite. In some cases, we're offering them a trip of a lifetime. We're finding there a lot of people that really value these experiences.”

Jackopierce has celebrated numerous career milestones including the T-Bone Burnett produced A&M debut album “Bringing on The Weather,” being a part of one of the world’s largest live events with close to 400K people in attendance at the 1997 Blockbuster RockFest at Texas Motor Speedway alongside artists No Doubt, Counting Crows, and Matchbox Twenty, performing on Conan O’Brien in 1992 with the Max Weinberg Band backing them up and sitting in the chairs on the Rosie O'Donnell Show.

“Even after 30 years I feel like we're just getting started,” said Cary Pierce.

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Wed 22 Jan

Juliana Hatfield

with Emily Davis and the Murder Police

$25.00 ADVANCE // $30.00 DAY OF SHOW

ABOUT JULIANA HATFIELD

Juliana and her band will be performing fan favorites from her solo catalog and most recent album Weird, along with select covers from the recent Juliana Hatfield Sings Olivia Newton-John and Juliana Hatfield Sings The Police.

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ABOUT EMILY DAVIS AND THE MURDER POLICE

Emily Davis and The Murder Police are an alt-folk-punk band living in the desert southwest with an affinity for writing aggressive, introspective music. After releasing three solo LPs, Davis teamed up with Jose Macias, Jorge Torres, and Tomas Tinajero to form Emily Davis and The Murder Police. Their first full-length album, Same Old World, was released in October 2018. EDMP has opened up for acts such as Sparta, The Kyle Gas Band, Neko Case, The Toasters, Leftover Crack, Authority Zero, Cold War Kids, and had a 16-day run with Bad Religion in late 2019. They are currently working on their next release.

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Wed 29 Jan

Sweet Spirit

$20.00 ADVANCE // $21.00 DAY OF SHOW

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Portions of proceeds go to East Memorial High School to raise funds for their Arts programs, as well as raise awareness about the socioeconomic impact on schools in lower income areas.

ABOUT SWEET SPIRIT

Ironically, the nine-piece band Sweet Spirit started as a solo project. Austin singer Sabrina Ellis was going through some distressing times: the band that she fronted for several years, Bobby Jealousy, with her then husband was disintegrating along with their relationship. Everything Ellis was working toward was suddenly in free-fall.

She started Sweet Spirit to hone her ability to write and perform on her own. “It was supposed to be focused on me writing solo, and performing with the guitar,” she says. But it didn’t stay that way for long.

When Ellis started Sweet Spirit, she was still writing and performing with her longstanding garage punk band A Giant Dog. AGD Co-founder Andrew Cashen was intrigued by Ellis’ new emphasis on soul and country and pop music as touchstones for Sweet Spirit and quickly climbed on board the project. “I’m very comfortable doing loud and fast,” Cashen says, “so this is uncharted territory for me.”

Together Ellis and Cashen began turning out songs at a breakneck pace. They assembled a core band of four more members, rehearsed religiously, and started playing gigs around town. Immediately they began turning heads and packing clubs.

Within six months they had gotten noticed by one of Austin’s most famous musical residents, Britt Daniel of Spoon. In October of 2014, Daniel asked the band to perform at Spoon’s “secret” tour kick off show at the cramped rock club Hotel Vegas for their latest record They Want My Soul, and Sweet Spirit was quickly thrown into the local buzzmill.

Ex-Spoon producer and friend Mike McCarthy was also an early devotee. He met with the band and invited them to record demos at his studio to shop around. Those early demos were so strong, that with minimal mixing, they became the band’s eponymous 10″ EP.

As Austin accolades continued to pile up into 2015, the band was asked to perform a cover set of Marvin Gaye songs for a special event. They added two horn players and a backup singer to recreate Gaye’s music – Ellis and Cashen were immediately enchanted. They asked the auxiliary players to stay, making what was once a solo project a full-fledged nine piece band!

Twp months later, Sweet Spirit was added as an official SXSW showcase act without a full-length record or ever having applied. National attention fromEsquire, the L.A. Times and other outlets solidified their status as Austin’s “next great rock band” and earned them a spot as the opener on 12 Midwest and West Coast Spoon tour dates.

Meanwhile, the band released their full-length debut Cokomo, as well as a two song collaboration with Daniel, receiving praise from Stereogum, Consequence Of Sound, SPIN, and other outlets, and leading to two more national tours.

In between shows, the band found time to work with producer Steve Berlin (Los Lobos, Deer Tick) on their sophomore full-length St. Mojo.

The new record comes out on April 7, 2017 on Austin label Nine Mile Records and features a bigger, more dynamic set of songs. Lead single "The Power" has already become a fan favorite at live shows, while the Queen-esque track "The Mighty" and Prince dance funk of "I Wanna Have You" take the band is exciting, unexpected new directions. Guest contributions from members of Grupo Fantasma, Mother Falcon and A Giant Dog help expand the band's already considerable sound.

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Thu 30 Jan

Lloyd Cole

From Rattlesnakes to Guesswork 2020 Tour

$24.50 ADVANCE // $29.50 DAY OF SHOW

ABOUT LLOYD COLE

LLOYD COLE: GUESSWORK

Some albums coalesce around a title. Lloyd Cole’s new album is one such record. Guesswork mirrors the uncertainty of the world as you enter your third act. Guesswork is consistent with a record whose protagonists seem reluctant to venture confidently beyond the moment. In terms of minutes, it’s his longest, but in terms of songs, it’s shorter than any of his previous eleven solo albums (fourteen if you count those he made with The Commotions). Guesswork is also his shortest in terms of total words sung. This might come as a surprise to those who primarily remember Lloyd for the precocious literary pop dispatches of 1984’s Rattlesnakes, the debut album which earned him an unlikely place alongside Wham! and Duran Duran in the following year’s Smash Hits/Panini sticker book. However, for other onlookers who have followed his progress in the interim – taking in the muscular urban art-rock of his solo debut X (1990), the delicate digital folk of Music In A Foreign Language (2004) and a succession of electronic albums culminating in 2015’s 1D – that may be less so.

Mostly constructed in his Massachusetts attic space, Lloyd’s first “songs” album since 2013’s universally acclaimed Standards sees him finally create a (mostly) electronic setting for his voice. “For a while,” he says, “it wasn’t clear if the project would ever come to fruition. I’ve always listened to electronic music, ever since hearing albums like [Iggy Pop’s] The Idiot and [David Bowie’s] Low. There’s a simplicity to those records – even the gentle songs are very brutally projected. As I’ve got older, I’ve become more attracted to lyrics that suit that delivery. Ageing is brutal and lends itself to a less ornamented way of writing.”

Once Lloyd had formulated a sonic picture of the record he wanted to make, the arrival of each new song gradually brought that picture into focus. Although autobiographical interpretations of his songs have always been discouraged, The Over Under might resonate with “empty nesters” casting their gaze around four walls that might once have paid host to the laughter of children. It’s an unflinching slow-reveal establishing shot: a sparse study of a life released from the tension but also the structure of duty. Much of what follows seems to hang weightlessly in the vacuum vacated by the “certainty” of youth (one of two nods here to Robert Palmer’s Johnny & Mary, the other being the rhythm of Violins). This is a place far beyond romantic idealism. This is a place where lovers ponder their options, turn to each other and float the notion that they “could pool together/And be half right all of the time.” A place where, on The Loudness Wars, partners seek to hammer out an accord between their failings and their feelings: “Yeah, I’m a cold fish/Nobody’s choice dish/And you’re on fire.”

At times, the experience of listening to Guesswork is akin to sitting in a sleek, state-of-the-art departure lounge, unsure of quite where you’re waiting to go. It’s a feeling that finds its purest expression amid the pensive stabs and brittle snare cracks that measure out The Afterlife’s hungover existential audit and Remains – the latter one of two songs on the record co-written by Lloyd’s old Commotions colleague Blair Cowan. Over a synergy of rapt synths and exquisite saxophone, the song finds Lloyd riding the seemingly sudden realisation that “we’re nothing to no-one” – a rueful inversion of the sentiments parlayed on 1990’s Don’t Look Back (“When you’re nothing to no one/And you’re less than you can…”) “When I was 27,” notes Lloyd, “The concept of the washed up older guy seemed very entertaining.”

And now? And now, he says, “I’m starting to think that old age could be a lot more fun than middle age. Because really what have we got to lose?” Certainly those sentiments are borne out by some of the brighter, poppier arrangements on Guesswork. With its neon Oberheim twinkle pushed to the fore, the unguarded intimacies of Moments & Whatnot seem to locate a blissful equidistant point between The Man Machine-vintage Kraftwerk and Robyn. Float that comparison past Lloyd Cole, and he’s anything but perturbed. “That’s great. Robyn has made probably my favourite music of the last fifteen years. I think she’s a genius; she’s almost the Prince of her generation.” Further ramping up the melodic quotient is an sublime slice of mid-life synth-pop which answers to the name of Violins. Were it not for the unmistakeable voice that hits the ground running with the lines, “The missile leaves the car/Flies through the window pane”, you might be forgiven for thinking you’d taken a left turn into the new Pet Shop Boys album. “Well, one of the glorious things about pop is that you have this wonderful uplifting art form which can actually deal with some fairly challenging issues and sometimes can do so quite elegantly. That’s what my favourite pop stars do.”

On the face of it, you might be forgiven for thinking that Guesswork finds Lloyd a universe away from the literate lyrical character studies scattered across his early records. The word count may have diminished, but you can attribute that to the authorial confidence that comes with the passing of time. Indeed, nestled among the still, sundazed ruminations that dominate Guesswork, is one of Lloyd’s most compelling narratives. When I Came Down From The Mountain sees its protagonist abandoning his home in the hope that he might finally cast off the weight of his sins. “How am I going to live down here?” he intones over a chorus urgently abetted by guitar work from the other ex-Commotion on the record, Neil Clark (who will also be accompanying Lloyd on his upcoming live shows).

Completing the rollcall of long-trusted associates on this record, alongside Neil and Blair, are New York drummer, programmer and producer Fred Maher who first worked with Lloyd on X, and executive producer Chris Hughes, whose association with Lloyd stretches back to the final Commotions album Mainstream on which he worked in an “informal” capacity. For Lloyd, the involvement of Chris Hughes provided some much-needed perspective in moments which saw him uncertain whether he had jettisoned too much of what was recognisably Lloyd.

“When I was making the record I felt like I was stretching myself artistically, perhaps even to breaking point, and Chris just laughed. ‘No-one else could have made this record,’ he said, ‘It’s soaked in Lloyd-ness’ You realise over time that however much you second-guess yourself or try and pull yourself in whatever direction, it’s still you. If you have a voice, you can’t un-voice yourself.”

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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.

Calendar

Venue Tour

Frequently Asked Questions

What to Expect

Getting Here & Parking