Review by Stacey Lovett
Festivalgoers embraced the words of headliner George Strait for the 20th anniversary of Austin City Limits Festival – we ain’t here for a long time, we’re here for a good time. Day one of three for the second weekend of music was filled with memorable moments, a little more cherished this time around.
Fans came representing this year’s lineup in everything from fringe to festival fashion as the multiple stages brought a little bit of country, a little bit rock and roll, and a whole lotta soul. The overall vibe this year brought much more connection and the artists facilitated that in their show and sentiment.
As the morning brought the rising artists there came an air of deeper creativity on the horizon as many classic favorites were showered in throughout the day reliving the stories of many timeless favorites and bringing new notes of power to the masses. The nostalgia wasn’t in loss but in timelessness – a creative reflection on change and evolution and a statement in how we all come together, whether in person or not, to create a beautiful tapestry together from all walks of life.
Pop culture ran strong with acts like Machine Gun Kelly and Megan Thee Stallion bringing the same heat to the stage as the unseasonable weather. The sets didn’t run without social commentary however and the stages became a platform for both a voice of revolution and of love. Houston’s Megan Thee Stallion had the crowd join in with middle fingers in the air in defiance to those not in support of the state’s current legislature on abortion bans and inspired everyone to bring the “real hot girl shit” to her set in owning everything they had.
More international flair was seen in this year’s lineup and British singer-songwriter Moses Sumney cut gentle artistry into the spillover sounds of pop power from nearby stages.
Easing into a powerful crowd-pleasing set across the park from Black Pumas, 90’s country songstress Leanne Rimes revisited her catalog of older tunes with some nostalgia while adding in more folk-inspired renditions of covers from artists like Dolly Parton. A new air of songwriting was showcased as well – one that is a powerful rallying cry towards social reform on many levels. One bringing many different groups together and doing so through connection and soul. This soul refined was shown to a level of no other by the Black Puma’s set as they turned it up and let in the love, everyone plugging into the vibes and shining together in that golden hour hue.
In the presence of the many queens in this year’s female-led sets, Erykah Badu, both fashionably late and incredibly fashionable, painted the night with her neo-soul sounds and upheld her queen been status to the admiration of her longtime fans in attendance. As the 90’s royalty was well represented, the next generation bridged the gap into today’s popular music with headliners like country-pop princess Miley Cyrus drawing a considerable crowd opposite King George for the closing acts. Miley brought the “can’t stop won’t stop” attitude to her set adding in heartfelt gratitude for having music as the one constant that kept her connected with her fans over this past year.
Walking across the park, as pop fades to country and a silent disco lay in between, the city skyline became the background to regional royalty – George Strait. The setting was ideally Texan and the 2 hour set of hit after hit from the Texas Troubadour who had his beginnings in many iconic dives and dancehalls just down the road still brought slow dancing to the banks of Ladybird Lake and was an experience – that drew a crowd as large as our claim to fame on anything we do – that was truly special. As Miley Cyrus’ set ended midway through his, her fans filed in to take part in hearing a legend and creating the musical crossover that is such a special part of ACL.
