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The health & safety of fans, staff, and performers is our priority. Masks will be mandatory for all patrons at this event, and distancing is enforced throughout the venue. Each seating group is appropriately spaced from neighboring groups. All patrons will be asked to complete a health screening at the door, including a temperature check and brief questionnaire. Read our complete safety information here.

Check out the floor layout here and photo of cabaret concert set up here.

Full food and bar service will be available during this event. To encourage a fully contactless experience, select food & beverage items are available for pre-purchase during the reservation process. Food & drink purchased in advance will be available to your party upon arrival, and is non-refundable. For questions about your order, please email info@acl-live.com. You may also order at the event; full food and and drink menus are viewable here. Outside food or drink is not permitted.

Make a night of it! Book a hotel stay just steps away at W Austin. Exclusive rates for ACL Live patrons start at just $219 when you book with your tickets here.

ABOUT AMERICAN AQUARIUM

“Country music was the voice of the people. It wasn’t always the prettiest voice, but it was an honest voice,” says American Aquarium founder and frontman BJ Barham. “I think that’s where country music has lost its way.” He pauses, then adds, North Carolina accent thick and voice steady: “I operate in the dark shadows of what we don’t want to talk about in the South.”

These days, those shadows are tall and wide, making it hard to recognize a neighbor, family––even yourself. On American Aquarium’s new album Lamentations, Barham shines light on dark American corners with heartbreaking conversations, long looks in the mirror, and empathetic questions, all through songwriting that is clear without sacrificing its poetry, and direct without losing its humanity. “As a songwriter, my number one job is to observe and then translate what I observe into a song, a story, a lesson,” Barham says. “I’d be doing myself and the listener a huge disservice if I didn’t talk about the things I see, which is a country, divided.”

As much as Barham appreciates an indignant protest song or one-sided anthem, he isn’t writing them. Instead, on Lamentations he’s making the political personal, reaching out to humanize folks with opposing viewpoints, and offering dignity instead of demonizing. The result is the strongest writing of Barham’s already stout career. “I’m still very much standing up for what I believe in––I don’t think anyone can question what side of the aisle I stand on,” he says. “But hopefully people listen and at least try to understand why their Sunday School teacher wears a Trump hat.”

Barham has built a fiercely devoted fanbase hundreds of thousands strong, fortified with 15 years of sold-out American Aquarium shows across the country and Europe. The band’s 2018 release Things Change strode confidently into that distinct territory where rock-and-roll and politics meet, prompting Rolling Stone to announce Barham “earns every bit of his Southern Springsteen cred.” In 2019, the American Aquarium lineup also shifted again: Shane Boeker remains on guitar, and bassist Alden Hedges, keys player Rhett Huffman, pedal steel ace Neil Jones, and drummer Ryan Van Fleet joined the group.

A beloved live band known for consistently playing at least 200-250 dates a year, American Aquarium chose to be more selective in 2019, winnowing the schedule to 92 shows. For Barham, sober for six years now, is a dad to a toddler and still happily married, the adjustment was a must. “We’re learning how to balance being in our mid-30s and being rock-and-rollers,” he says. “Being home was the most rewarding experience. It allowed me to be creative and write about things that really matter.”

Lamentations reflects that elevated focus. Barham, who is no longer religious but was raised Southern Baptist, wrote down the word “lamentations” in 2018, and knew it’d be his next album title before he’d written a single song for the record. He felt an anchoring connection to the word itself––defined as “the passionate expression of grief or sorrow”––but also to the Old Testament book in the Bible. “Lamentations is one of the few books in the Bible where there’s this doubt of God––this guy, crying out to the heavens, like, Why? If you love us so much, why did you let Jerusalem fall to Babylon?” Barham says. “I saw a direct correlation between that and a Southern man today who voted for Trump. I wanted to write about a broken America and all the things that lead a human being to doubting something. Every song on this record touches on something a little different.”

Album opener “Me and Mine (Lamentations)” is brooding and stormy, plaintive acoustic guitar undergirding Barham’s weathered vocals. Searching, frustrated, and sad, the song was written from the perspective of a conservative Southern voter who feels unseen, unheard, and short on hope. The broader message is immersive and immediate: Settle in and listen closely. Times are hard, and this record is going to talk about it. Barham, who doesn’t agree with the song’s protagonist politically, imbues him with respect and sympathetic fatigue. “There are so many people who come out nowadays and say, If you voted this way, you’re a racist. You’re a misogynist. You’re a nationalist,” he says. “But that was my teacher, my librarian, my uncle. I know they aren’t bigots. So instead of saying, You’re a bad person because you did this, I want to know why you did this. I want to talk to you about this.”

Upbeat guitar rocker “Dogwood” follows, with a tragic story wrapped up in singalong lines. Barham points to the song and “Luckier You Get,” with its Springsteen vibes and an ear-worm chorus, as two of the album’s more lighthearted moments. “Bright Leaf” is another musical moment ready for a crowd, offering a clear-eyed look at the tobacco farms and industry of Barham’s home through sharp lyrics that thousands will shout-sing right back at him.

Featuring wry pedal steel and a shuffling back beat, “Better South” is an alternative anthem, written and sung by a native Southerner who believes in change. Line after line, “Starts with You” shows off Barham’s self-deprecating wit: “They say you’re only as sick as your secrets / If that’s the truth then, friend, I’m dying / Spent a lifetime salvaging shipwrecks, / Falling so long I thought I was flying.”

Throughout the record, the only victim of Barham’s harsh tongue is himself. Heartbreaking “How Wicked I Was” pleads for narrative omissions when it comes to explaining the past to his little girl. Album highlight “Learned to Lie” cuts just as deep: Barham delivers a gut-wrenching confession over lonely piano. Raw and intimate, its look at how we hurt the ones we love evokes the unblinking candor of 60s and 70s Loretta Lynn––that extreme honesty Barham first valued in country music, and now misses. “That was one of the first songs I played for the boys in the band, and they were like, ‘Are you sure you want to record that?’” Barham says. “It’s a hard song to talk about. It’s a heavy song. For better or worse, I’m going to be real with you live. I’m probably going to make you uncomfortable. And that I think that’s a beautiful part of rock-and-roll.”

“Six Years Come September” is another heartbreaker, masquerading at first as a familiar story before a sobering plot twist. “As a songwriter, that’s the best feeling in the world––ruining someone with lyrics and a well-executed story,” Barham says. He points to album closer “Long Haul” as a frontrunner for his own favorite track. Perhaps the closest the record comes to jubilation, “Long Haul” rolls through three steadfast commitments Barham holds true and dear.

Ultimately, Lamentations is a thrilling portrait of an artist and his band reaching new levels of skill, consciousness, and potential after 20 years in the trenches. Unruly and sincere, Barham emerges as an important American voice––and an unlikely peacemaker. “I’ve had to work really hard to carry water as a songwriter,” he says. “It feels really good to be in my mid-30s, writing songs that I think matter. I think when you listen to this record, something is going to change in you. You’re going to feel something. That’s the most important part of songwriting: making someone feel.

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The health & safety of fans, staff, and performers is our priority. Masks will be mandatory for all patrons at this event, and distancing is enforced throughout the venue. Each seating group is appropriately spaced from neighboring groups. All patrons will be asked to complete a health screening at the door, including a temperature check and brief questionnaire. Read our complete safety information here.

Check out the floor layout here and photo of cabaret concert set up here.

Full food and bar service will be available during this event. To encourage a fully contactless experience, select food & beverage items are available for pre-purchase during the reservation process. Food & drink purchased in advance will be available to your party upon arrival, and is non-refundable. For questions about your order, please email info@acl-live.com. You may also order at the event; full food and and drink menus are viewable here. Outside food or drink is not permitted.

Make a night of it! Book a hotel stay just steps away at W Austin. Exclusive rates for ACL Live patrons start at just $199 when you book with your tickets here. Already got your seats? You can still add a room starting at $249.

ABOUT RUMOURS

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 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. ​

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The health & safety of fans, staff, and performers is our priority. Masks will be mandatory for all patrons at this event, and distancing is enforced throughout the venue. Each seating group is appropriately spaced from neighboring groups. All patrons will be asked to complete a health screening at the door, including a temperature check and brief questionnaire. Read our complete safety information here.

Check out the floor layout here and photo of cabaret concert set up here.

Full food and bar service will be available during this event. To encourage a fully contactless experience, select food & beverage items are available for pre-purchase during the reservation process. Food & drink purchased in advance will be available to your party upon arrival, and is non-refundable. For questions about your order, please email info@acl-live.com. You may also order at the event; full food and and drink menus are viewable here. Outside food or drink is not permitted.

Make a night of it! Book a hotel stay just steps away at W Austin. Exclusive rates for ACL Live patrons start at just $199 when you book with your tickets here. Already got your seats? You can still add a room starting at $249.

​ABOUT GOLDEN DAWN ARKESTRA

Forever promoting belief in the transcendence of time and space, Golden Dawn Arkestra continues to experiment with a myriad of musical styles & genres, all the while remaining true to their expansive cinematic sound.Since the advent of the digital age and streaming services most of us listen to musical genres in totally random sequences and yet bands have come to cling even more to their given genre. Not so with Golden Dawn Arkestra.

Children of the Sun (Nine Mile Records) takes listeners on a world tour from Brazil to Berlin, sweeping past Punk & Psych Rock, plunging into Disco & Soul, all the while romancing the World Beat. The Arkestra returned to their favorite recording studio perched on the cliffs of the Colorado River for this album and once again employed Erik Wofford (The Black Angels, Explosions in the Sky, My Morning Jacket) to engineer and produce. Erik’s sense of space echos and reverberation being such a beautiful fit.

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The health & safety of fans, staff, and performers is our priority. Masks will be mandatory for all patrons at this event, and distancing is enforced throughout the venue. Each seating group is appropriately spaced from neighboring groups. All patrons will be asked to complete a health screening at the door, including a temperature check and brief questionnaire. Read our complete safety information here.

Check out the floor layout here and photo of cabaret concert set up here.

Full food and bar service will be available during this event. To encourage a fully contactless experience, select food & beverage items are available for pre-purchase during the reservation process. Food & drink purchased in advance will be available to your party upon arrival, and is non-refundable. For questions about your order, please email info@acl-live.com. You may also order at the event; full food and and drink menus are viewable here. Outside food or drink is not permitted.

Make a night of it! Book a hotel stay just steps away at W Austin. Exclusive rates for ACL Live patrons start at just $219 when you book with your tickets here. Already got your seats? You can still add a room starting at $259

ABOUT THE TEXAS GENTLEMEN

Pop on Floor It!!!, the new and second full-length effort from the Texas Gentlemen, and prepare your eardrums to be hit with everything from woozy, brass-fueled Dixieland-style jazz (“Veal Cutlass”), to slinky, chicken-scratch country funk (“Bare Maximum”) to lushly orchestrated pop-soul balladry (“Ain’t Nothin’ New”)—and that’s all in just the first 10 minutes of play time.

As for how the Texas quintet manages to slide so seamlessly between various styles and sounds? Well, these are no ordinary Gents. Rather, the members—co-singers and frontmen Nik Lee and Daniel Creamer (who also handle guitar and keys, respectively); guitarist Ryan Ake; bassist Scott Edgar Lee, Jr.; and drummer Aaron Haynes (who since the recording has been replaced by Paul Grass)—have spent the last half-decade or so logging thousands of hours of stage and studio time behind a wide array of artists, from legends including Kris Kristofferson, George Strait and Joe Ely to young whippersnappers like Leon Bridges and Shakey Graves.

And while some people (okay, many people) have whispered in one another’s ears and written kind words about how this crack outfit of stage and studio aces is nothing less than the second coming of celebrated backing units like the Wrecking Crew, the Swampers and one-time Bob Dylan associates the Band, you certainly didn’t hear it from the Gents themselves. “We never instigated or condoned any of that,” Nik Lee says, and then lets out a self-effacing laugh. “We definitely appreciate the comparisons…we just don't think they’re accurate.”

And anyway, no matter how many artists they’ve played with onstage or in the studio—and trust us, there’s a whole lot of ‘em—they are, first and foremost, their own (gentle)men. “We’re a group of five, and when you hear us play you’re hearing the influence of five different musicians working together as one unit,” Daniel Creamer says. “Everyone has the freedom to suss out their parts and do the thing that fulfills their creative spirit, but at the same time there’s trust in one another to always be serving the song.”

And what songs they are. Floor It!!! follows the Texas Gentlemen’s 2018 debut, TX Jelly; but where that first record, cut in four days start to finish at Muscle Shoals’ iconic FAME Studios, was very much a snapshot of a quick moment in time, the new effort is a decidedly more composed and crafted affair. “The vibe of the first one was, ‘Let's just do this thing!’ ” Creamer says. “But this time it was like, ‘We have this idea about what we want to accomplish…’ ”

What they did accomplish is, to put it mildly, pretty impressive. While the Gentlemen’s sound is clearly steeped in the classic roots, rock and pop music of the ‘60s and ‘70s, there’s a dreamy (the lilting “Sing Me to Sleep”), spacey (“Skyway Streetcar”) and occasionally progressive (the groovy instrumental journey “Dark at the End of the Tunnel”) element to what they do that seems to detach the music from belonging to any particular place and time. Add in elements of funk, soul, country, r&b, southern rock, gospel (“just about all of us played in churches early on,” Lee affirms) and essentially any other style that catches their musically omnivorous ears; an expansive and detailed approach to arrangement that sees the songs adorned with all manner of horns, strings and heavenly background vocals (cue up the positively gorgeous “Hard Road” for an almost religious experience); and a healthy dose of wit (there’s that song title, “Veal Cutlass,” again) and weirdness (the little lady on a jet, seated next to a military vet, who receives intel of impending nuclear doom on the Little Feat-meets-T. Rex-rocking title track), and you have a collection of tunes that is more than just a mere album. Rather, Floor It!!! is a rich and righteous ride.

And while that ride took decidedly longer to complete than the four days spent on the Gent’s first record—they recorded Floor It!!! primarily at EchoLab Studios in Denton, Texas, with producer Matt Pence, who Lee describes in no uncertain terms as a “wizard”—it was still a largely organic affair. “We all have pretty good grips on what we’re supposed to do, so a lot of it was tracked live in the studio, with as few overdubs as possible,” Lee says. “We like to have it where everybody’s just vibing together in one room.”

Adds Creamer, “The stuff you hear on the record is pretty fresh and spontaneous. It's not like we did a hundred takes of a song. We tend to just get a melody and follow it in a way that makes sense to us.”

That intuitive connection is hardly surprising given the fact that the bonds between the band members stretch back, in some cases, to the days before they were even Gentlemen. “For years even before we started the band, Daniel and I and a couple of the other guys all lived together in a big Brady Bunch house in Duncanville, just outside of Dallas,” Lee says. “We’d just sit around and fiddle with stuff and it always worked really well. It was never forced.”

Regarding the songwriting partnership between he and Creamer, Lee continues, “There’s never any hiccups in the process. I think it’s because we’ve had a lot of the same experiences—we’ve worked together on different sessions over the years and we know a lot of the same people, so we’re pretty fluent in our ideas and opinions.” He laughs. “Like, if we wanted to take a jab at somebody in a song without letting on, we could do it pretty easily—‘cause we’d both know right away who it is.”

“We both just like to nerd out a little bit with melodies and arrangements,” says Creamer. “We try to find something that tickles the ear a little bit and goes the extra mile, you know?”

So when it all comes down to it, what, exactly, is the Texas Gentlemen? “If somebody were to ask me that, I would say first and foremost that we’re a group of friends,” Creamer continues. “And because of that, there’s no limits on the music we create together. We like to have fun and do funky stuff and we like to rock and we like to jam. Sometimes that takes us into country music, sometimes it takes us into soul, sometimes into some progressive things. It can be all kinds of places. There’s no constraints on what we do.”

As for how Lee would describe the Gents? “I think it was said best by a guy on BBC radio,” he responds. “We were on tour in Europe, and we’re driving to the airport and the DJ comes on and he clears his throat and he goes, ‘Okay, up next we have a Texas boo-gie band called the Texas Gentlemen.’ So that’s what I like to say: we're a Texas boogie band!

“But really,” Lee continues, “this band is less about a style and more just a way of life. The music that we’re playing can change at any given moment—we just kind of go with the flow. When it comes down to it, we just want to have a good ol‘ time.”

And so, dear listener, should you. And in that department the Texas Gentlemen have got you covered. Just grab a hot-off-the-presses copy of their latest record, slap it on your nearest hi-fi, drop the needle on the grooves and Floor It!!!

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Masks will be mandatory for entry and must remain in place unless eating or drinking. Capacity is limited.

Please Note: Due to the socially distanced seating of this event, you must choose seating by clicking seats on the map. You will not be able to filter by number of tickets needed. Ticket groups of two or more can sit in open seating between purchased seats during the event. Please leave at least one seat between groups.

Full bar service will be available during this event. To encourage a fully contactless experience, select beverage items are available for pre-purchase during the reservation process. Drinks purchased in advance will be available to your party upon arrival, and is non-refundable. For questions about your order, please email info@acl-live.com. You may also order at the event; full drink menu is viewable here. Outside food or drink is not permitted.

Make a night of it! Book a hotel stay just steps away at W Austin. Exclusive rates for ACL Live patrons start at just $239 when you book with your tickets here.

ABOUT BRUCE ROBISON & KELLY WILLIS

In regard to the Lone Star State’s finest tunesmiths, Bruce Robison lands at the top of the heap. His songwriting turned the heads of some of the industry’s biggest artists and took them to the top of the charts (Dixie Chicks’ No. 1 version of “Travelin’ Soldier,” George Strait’s recording of “Wrapped” and the beautiful Tim McGraw/Faith Hill rendition of “Angry All The Time,” to name a few). While those achievements might be considered the pinnacle of a songwriting career to some, Robison has never been one to rest on his laurels. He is always creating.

In 2016, Bruce turned his focus toward his other passion project, The Next Waltz, a “virtual social house” of music, videos and interviews spotlighting the artists and songs that make up the pedigree of this generation’s cream of the crop. In his studio located just outside of Austin, Robison hosts and records an evolving array of artists who share in his commitment to continue the tradition of collaborative creativity. Everything in Bruce’s studio is recorded on analog tape “with no digital shenanigans – just like back when the music was good.” With a list of musician credits that could easily be mistaken for a hall-of-fame roll call, Robison delivers a truly organic listening experience that includes “happy accidents" and all kinds of things that just feel real.

Kelly Willis is Back Being Blue, to take a color-coded cue from the title of her seventh album. It’s a shade she wears well, though long-patient fans might just say: You had us at back. They’ll take a new Willis record in whatever hue it comes, now that it’s been 11 years since her last solo release, 2007’s Translated from Love. The Austin-based singer/ songwriter has hardly been MIA in the intervening years, having recorded and toured as part of a duo with husband, Bruce Robison.

She makes it sound like a fresh epiphany, but some might say that sending the hands of the clock spinning––in a word: timelessness––has always been a hallmark of her career. As the New York Times wrote, “Kelly Willis looks back to country music before Nashville embraced power ballads and cute happily-ever-after songs. She has an old-fashioned country voice with a twang, a breathy quaver, a break or a throaty sob whenever she needs one...Whether she was wishing for comfort, admitting to a bruised heart, yielding to illicit romance or trying to say goodbye, her voice was modest and true, illuminating the delicate tension and pain in every line.” No Depression noted that her music transcends throwback appeal: “There’s no point in being nostalgic for the generic delineations of the past. We are in the present. That’s where Kelly Willis lives. And it’s there that she sings, as keenly and movingly as any singer in the country or pop or rock present.” Rolling Stone zeroed in on the eternality of her tone: “Willis’ Okie soprano still crackles like no other, and her control and phrasing make it more devastating than ever.”

While both Bruce and Kelly have pursued separate careers, they have collaborated on many projects as well. Together, they have released three duo albums, hold an annual Christmas tour, Robison produced Willis’ latest album, Back Being Blue, and most recently, the release of their fourth duo album, Beautiful Lie. They currently reside in Austin, TX where they raise their four children and Robison runs his latest endeavor, The Next Waltz.

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