After months of impatient waiting — tantalized by lineup announcements, tormented by rumors of cancellations and pending permits — Austin City Limits is finally upon us. A slightly less star-studded lineup than usual has drawn more than its fair share of criticism, but here at The Deli Austin (and across the city at large) that is cause for celebration.
Now more than ever, leading local luminaries and hopeful aspirants alike need support and an opportunity to rebound from a truly devastating 18 months. With ACL 2021, C3 Presents has provided that platform: over the course of two weekends, 25+ local (and quasi-local) acts will be showcasing their considerable talents all over Zilker Park. The Grammy-nominated Black Pumas will surely be the biggest draw, but don’t understand the appeal of Dayglow’s warm, fuzzy pop or MISSIO’s woozy, bass-driven alt-electro-hop either. With hundreds of millions of plays on streaming services rewarded with high-profile afternoon spots, we have no doubts that these local favorites’ adoring audiences will turn out in droves.
But we’re more interested in the more under-the-radar the acts for whom this opportunity is the culmination of years of blood, sweat and tears (rather than a remarkable and glorious homecoming), and for whom ACL 2021 could be the springboard to launch into the stratosphere of success with which Austin artists so frequently flirt, but all-too-rarely achieve.
We are beyond excited to witness these five local artists (and so many others) seize their moment. Play your part. Get to Zilker early. Buy merch. Give back to the community and the culture that has built our city into this tremendous mecca of music, and see for yourself why we are the Live Music Capital of the World.
Audic Empire — Friday at 1:00PM, Tito’s Handmade Vodka Stage
Armed with a decade’s worth of mellow, reggae-tinged jams, Audic Empire will be kicking off the festivities in style on the Tito’s Vodka Stage (Friday at 1:00PM — we know it’s early, but security is also notoriously more lax when it comes to daytime doobies).
Loosen ya limbs and lose yourself in a cloud of ganja smoke as these long-time Flamingo Cantina favorites unleash their signature strain of effervescent reggae-rock on an adoring hometown crowd. High-octane tracks like “Come and Toke It” showcase frontman Ronnie Bowen’s smooth hip-hop sensibility (and more than a sprinkling of Bradley Nowell) alongs with sharp solos from guitarist Travis Brown, while the hypnotically up-beat bounce behind “Don’t Wait Up” is sure to seduce audiences across Zilker into the skank pit (not what it sounds like), where frustration and negativity melt away into the liquid sunshine floating out of the speakers.
Nané — Friday at 1:00PM, Lady Bird Stage
First set time of the festival and we already have conflicts. Thanks C3 for getting that out of the way early. Nothing gold can stay. Those less tempted by Audic Empire’s fleeting promise of carefree youthfulness will find their own thrills during Nane’s woozy, bluesy set. Simultaneously slick and profoundly vulnerable, vocal virtuoso Daniel Sahad spearheads this thrilling six-piece outfit with psychedelic flair.
Whether mourning love’s decay on neo-soul slow-burner “Ladybird” or half-moaning punk-infused angst on the pounding, pulsing anthem “Seventeen,” Sahad bleeds personality and exudes emotion with endearing abandon — and without drowning out the equally-incredible contributions of his tight and talented band, whose roster includes keyboardist JaRon Marshall (of Black Pumas fame) and fellow UT graduate and longtime collaborator Ian Green.
Nané is a young band with exceptional talent. They are adventurous and nostalgic, polished and raw, gritty and smooth — and barely a month into their first ever tour. As the group sheds the sonic skin of some more blatant inspirations (Black Pumas and Bloc Party stand out) to refine and define their sound, Nané is poised and primed for the limelight.
Primo the Alien — Friday W1 at 1:45PM
The 1980s are back with a vengeance. Between a bewildering revival for parachute pants and mullets and a frustrating rise in conservative politics, that might not be a good thing.
Thankfully, Primo the Alien is on a one-woman mission to ensure that glorious decade (which gave us the Talking Heads, Nintendo game systems, Do the Right Thing, MTV and so much more) is immortalized for the right reasons. Her glittery, gleaming brand of synth-pop reimagines and revitalizes the ‘80s as they could have been, as they should have been: bright, fun, sparkly, sexy.
Merging Kavinsky’s infrared retro-wave aesthetic with CHVRCHES’ relentless, unabashedly pop energy, Primo effortlessly melds genres and generations, breathing new life into sounds that somehow still feel futuristic 30-odd years later. Maybe she really is from another dimension. Maybe, if we’re lucky, she’ll take us back with her.
Sir Woman — Saturday at 1:00PM, Tito’s Handmade Vodka Stage
What started as a means for escape and exploration for Wild Child frontwoman Kelsey Wilson quickly built momentum, snowballing out of control and into our hearts, minds and most beloved stages.
Leaving her band’s folksy limitations and lonely lamentations behind (at least temporarily), Wilson turned her talents toward funk and r&b, where she finds herself empowered to express herself in new and uplifting ways under a new moniker.
The response has been deafening: with only a few singles under her belt, Wilson’s new project Sir Woman won Best New Act at the 2020 Austin Music Awards. New single “Blame It On The Water” is a particular standout, the joyful, jazzy break-up song from a woman ready for a new beginning. Her set promises to be a joyful celebration of life, love and liberation.
Deezie Brown — Sunday at 12:15PM, Miller Lite Stage
Backed by a Bastrop-rooted family with a profound generational love for Southern hip-hop (and connections to Houston hero/Smithville native DJ Screw), Deezie Brown has quickly and not-so-quietly hurdled past his competition to the forefront of the vibrant (and largely underestimated) Austin hip-hop community.
Over the course of three years and three albums, Deezie has drawn inspiration from and contributed to (in equal parts) the mythology of Southern hip-hop with a series of concept albums, all of which fit into a larger universe (his “Fifth Wheel Fairytale”) and message surrounding the possibility of imagination, and the imagination of possibility.
Though individual tracks like “Drive” or the Chris Bosh-featuring “Imitate” are immediate earworms, Deezie’s most cohesive project is recent collaboration with charismatic R&B smooth-talker Jake Lloyd, The Geto Gala EP, which spurns egotistic posturing and one-upmanship to invite audiences everywhere to a blue-collar celebration of a bright past and a brighter future.
Poetic, principled and profound, Deezie Brown’s music is a testament to the vitality—living, breathing, evolving—of the South’s legacy, a reminder that the region does indeed still have “Sumn’ To Say” and his performance will be as much a coronation as celebration.
