by Brianna Caleri
When Aaron Winston was asked to play at The Mohawk in 2017, he scrambled to get a group together. Within a week, Russel Taine Jr. went from a solo project to a band. Three years after that, the dreamy alt-rock band is leaning more into its country identity with four Austin-centric singles about summer in the city. The two released so far, “Sister Sister” and “Blue Jean Baby” offer Austinites some much-needed reassurance via serious nostalgia.
(photos by Brianna Carleri, Russel Taine Jr. and band, 2019)
Winston started writing songs as a teenager, eventually adopting the pen name his grandfather used in correspondence to the United States from Moscow during the Cold War. His decision was a little intellectual, and a lot because he liked how it sounded; two key elements of the band’s future efforts. Now it inspires a conversation starter in the perpetual fan question, “Who is Russel Taine Jr.?” And while it may just be a happy coincidence, naming the band for a semi-fictional member anchors the group to their southern rock forebears (remember Lynyrd Skynyrd and The Marshall Tucker Band?).
“Sister Sister” wastes no time in introducing the mysterious ghostwriter, slipping the band name into the lyrics as a way, Winston says, of reminding new audiences who they’re watching at local venues. In context as the first of four related singles, it has the unintended effect of staking a claim to a new, more purposeful identity. The track explicitly mentions Austin and it’s “hot summer nights,” but, lest the lyrics get too on-the-nose, sprinkles in charmingly confusing images like a demure woman’s “Rorschach grin.” Little intellectual twists maintain the group’s usual air of delicate fantasy over the song’s retro southern skeleton. Lots of delay and effortless arpeggios wash a haze over soulful organ and what might have been a screaming guitar solo is set back into the distance of the mix.
Winston clarifies the titular “sister” isn’t any woman in particular, but represents “any number of relationships” over time. This one is about nostalgia; a feeling best reserved for weak memories about strong feelings. It’s about sharing the tiny moments that build our identities, and the vagueness that makes them relatable and reassuring. The story told is a bid for reconnection. Emotional intimacy in the simplicity of summer is something many of us are missing right now while keeping our distance.
“Blue Jean Baby,” released on July 1, provides a foil to “Sister Sister,” with a shoutable anthemic chorus any band would be tempted to use for a show closer. Despite a more energetic presence, it’s overall lighter fare. The leading lady of this crowd-pleaser skews more toward the femme fatale. Like her, the electric guitars are grittier, but a riff runs through the song to nail down the kind of mellow reverie that ties together the Russel Taine Jr. catalog. This one in particular is packed with southern tropes: blue jeans, a tight sundress, standing on docks, and even dueling guitars. Against the muddy bass is jangly rhythm guitar that brings flashes of Tom Petty’s California to Texas.
Of the two tracks, “Blue Jean Baby” offers a simpler message, about dancing all night. It’s the one to sway along with while grilling for two and looking forward to the return of cookouts for twenty. Following the reassuring “Sister Sister,” it seems to seems to say we don’t always have to take ourselves so seriously. Summer hits are the ultimate form escapism, but in this case, the escape is in our own backyards. It’s not so bad to be stuck here, after all.
Celine strutted confidently in very high heels (more than 6 inches?) and covered large distances to reach every part of the audience. Towards the end of the main set, a video of her doing ballet with her friend, showed off her fit body and her dance skills (who knew?). Wow.
(photo credit: Kirk Tuck)
Mary Bridget Davies delivers a spot-on performance as the hoarse-voiced songstress. The show pays homage to Joplin’s musical influences including Etta James, Bessie Smith, Odetta, Nina Simone, and Aretha Franklin. A talented ensemble cast recreates performances by each. Vocal powerhouse, Nattalyee Randall, appears as both Franklin and Simone startling the audience with her potent vocal capability. The show also offers fierce vocals by cast members Tricky Jones, Tawny Dolley, and Imani Ani.
With Joplin acting as both performer and emcee, the show flows like an all-star concert peppered with tales of the great women that inspire her music. Viewers unfamiliar with Bessie Smith, learn about her humble beginnings, untimely death in an automobile accident, and burial in an unmarked grave (for which Joplin is rumored to have purchased a proper headstone). Odetta’s emotion-laden voice transforms the world through change-provoking folk songs. And, the show also reminds us of the weighty impact of the more familiar voices of James, Simone, and Franklin. Joplin’s sound is rooted in these legends and she would often pay tribute to their efforts. Fittingly, this musical does the same.
Viewers also gain insight into Joplin’s life. A native of Port Arthur, Texas, she describes herself as a misfit child that initially set out to be an artist. Joplin’s artwork is projected onto the stage backdrop. Her time spent attending the University of Texas in Austin is noted along with her frequent visits to iconic Threadgill’s. The show segues between important moments in Joplin’s life and Davies’ remarkable delivery of Joplin’s most important songs; a performance that earned her a Tony Award nomination.
We recommend booking your tickets now for this vocal-rich ride through musical history. “A Night with Janis Joplin” is playing now through March 8th at 
Rogers also gave effusive credit to her crew, which was well-deserved, especially by the lighting crew. They crafted a dramatic opening to the folksy sounds of “Color Song” (complete with chirping crickets) by casting shadows on a gigantic sheet in front of the stage. When the sheet dropped, Rogers christened the show with a mighty first note, high, clear and even fuller than that of the studio version of “Fallingwater.”
Even in an empty room, Rogers would be a captivating performer. She moves as if she can’t help it, punching the air in sync with the drums that define her sound, and stepping in time. She merges confidence with whimsy, while maintaining a solid musical performance. Miraculously, her voice always remained pure and powerful, even while she pranced across the stage with a pride flag handed up from the audience during “Dog Years.”
Weekend 2 was certainly a dramatic weather shift from the hot and muggy weather from ACL weekend 1. Both weekends broke weather records. The first was one of the hottest, the second the coldest. The first day of weekend 1 had temps in the 40’s and 50’s- people wearing hats, coats, and scarves and each day the temps got slightly better in the 60’s and 70’s but was mostly cloudy. We felt we won the weather lottery.
As festival fever sweeps the nation this time of year, thousands of fun-loving people gathered at Zilker Park in Austin to listen to an electric lineup of musicians from a lot of genres, styles and generations. Don’t think that ACL is just another festival to check off the list, Promoter, C3 did a great job bringing a great mixture of up-and-coming artists, viral sensations and musical legends. ACL truly did a great job bringing something for everyone. Come with us as we recap some of the bands that we felt were highlights, some of them you may have heard of and some you may not and will quickly add to your playlists.
(the Band Camino)
(Cherry Glazerr)
(King Princess)
It’s surprising that K.Flay is not the next megastar yet. It might not be long until this happens. I would call her style a sophisticated blend of indie rock, electro and pop rock blended with her signature raspy voice. Her devoted following was in full force and enjoyed the set. Her set was entertaining and powerful. I loved how passionate and honest the band’s lyrics were.
(Lil Uzi Vert)
(photo Chad Wadsworth)
(Tame Impala)
(GNR by Katarina Benzova)
Shifting gears and musical genres, Florida rapper Denzel Curry came to ACL prepared to do his thing. Curry’s gained a lot of recognition and has broken into the mainstream largely because of his fresh take on the rap. Curry leans on the confusion of youth, chaos and troubles of our current society to create beats with a high level of emotional resonance and insightfulness. The set was super high energy with big jumps and cruising from one end of the stage to the other. The crowd loved the beats and the distinctive blend of dynamic hip hop. In the end, the lyrics pulled us closer to the stage and offered us a chance to listen in to the message behind the rhymes.
ACL was the first stop of 17 scheduled performances for California duo Hippie Sabotage. The fans packed in at the Miller Lite stage to dance to the hi-energy psychedelic electronic inspired tracks. The crowd went completely wild, starting mosh pits and crowd surfing while the brothers joined in and mixed their unique blend of EDM and hip hop. Sitting down was not an option as we heard the Saurer brothers mix, remix and blend electronic vibes.
(photo Sydney Gawlik)
I was looking forward to hearing Pink Sweat$ for the second time this week. I got to hear his ACL Fest Late show at Antone’s earlier in the week and was blown away by the soothing vocals and the subtle percussion. The Philadelphia singer’s version of R&B is undoubtedly fresh and unlike other artists being heard now in the genre. The set was tranquil and harmonic, filled with acoustic instruments, infused with drums and augmented by intentionally unassuming lyrics. As David Bowden performed the hit song “Honesty”, his remarkable talent was in full display and the crowd could not help but sing along. The rest of the set was unique and personable, with a lot of stunning melodies and memorable lyrics. Now we know why this guy has been blowing up since his 2019 SXSW appearance.
You may have heard a small band called the Foo Fighters before. Chris Shiflett is their amazing guitarist and a must see on our list. He’s recently branched out with a side hustle and gaining some buzz. Although his music doesn’t exactly resemble that of his “other” gig, his solo work embraces his twangier side. He brought the look too, with his attire and boots. His rock and country guitar skills, as well as the top notch group of musicians that comprise his band added depth and emotion to his performance. Undoubtedly, both fans and newcomers in the audience loved listening to his well forged songwriting and his killer riffs (and seeing a Foo band member).
(photo by Greg Noire)
Brittany Howard (of Alabama Shakes) had a killer set. With a full band and back-up singers, Howard proved why she can have her own solo gig. At times she sang and others she played guitar and sang as well. The depth and power of her voice are inspiring and her energy dancing around the stage was infectious.
(by Sydney Gawlik)
(photo Ryan Hackleman)
The legendary British post-punk band The Cure was headlining at the other end of the festival and sounded great. These rockers aren’t young anymore so I were impressed. I’ve seen The Cure many times and they always blow me away with their well known songs that almost make time stand still. As I sat on the grass on a brisk Saturday night, surrounded by 60,000 of my closest friends, it felt like no time had passed since I first heard songs like “Pictures of You”, “Just Like Heaven” and “Friday I’m in Love”. Robert Smith stays true to his goth look persona wearing black, crazy red lipstick, and hair that looks like he’s been electrocuted. He made a slow, moody entrance to the mic, pausing just to stare at the crowd in awe. The Cure’s performance was simply timeless, delighting fans with their distinctive vocals, the clean guitars and rich drums. Even though their music was conceived many decades ago, it’s clear to see why their music is able to transcend time and touch people so many years later. It was a fitting ending to a full day of amazing music.
(by Roger Ho)
Exotic Flamenco pop star Rosalia lit up the Honda Stage later in the day. To say that she is quite talented is a complete understatement. She is actually a force to be reckoned with. The Latin artist walked onstage featuring an eye popping outfit, long nails and 5 dancers dressed in white ensembles. The thousands of fans excitedly witnessed a 60-minute spectacle full of emotional Spanish songs, great choreographed dancing, amazing Andalusian guitar rhythms and powerful clapping (there was a lot of clapping). Rosalia even performed a heart stopping acapella song that left us all completely awe-struck. Ole!
(Kacey Muscgraves)
Houston’s singer/rapper Lizzo performed for one of the biggest ACL Fest crowds. If you saw weekend 1 or had friends there, you heard how huge the crowd was. Massive is a better description and it was impossible to get close to the set if you weren’t there early. She was likely booked for the fest before her recent hits and the crowd was displeased at the smaller stage she was on. To counter that, the fest had her set on the screens at nearby Honda stage. The meteoric rise of this young star was on full display by the huge numbers of screaming fans that sang, danced and hi fived each other during the set. Of course, Austinites have been lucky to see her many time over the last few years and loved her before her huge blow up this year with “Juice” and “Boys” (the video has over 24 million views). She even brought her famous flute out later in the set. Her positive message of self love and acceptance (against body shamers and bullies) reverbed through her words, her music and even her entourage. Of course she performed crowd favorites like “Boys”, “Truth Hurts”, “Good as Hell” and “Juice”. I read somewhere that it’s now Lizzo’s world and we are just living in it. I tend to agree.
(by Chad Wadsworth)