Fall Out Boy pairs sonic blasts with sensational visuals at Erwin Center concert

Pete Wentz of Fall Out Boy performs at the Erwin Center on September 23, 2018. ANA RAMIREZ / AMERICAN-STATESMAN

When you buy a concert ticket in the upper deck of the Erwin Center on the far end of the arena, it’s a given that you’ll be a long way from the action. Just being in the room is good enough if you really love the band, but you’re prepared for the performers to look pretty small from way back there.

So fans of Fall Out Boy who were in those seats must have been delighted when the Chicago rockers introduced an ingenious gimmick midway through their Sunday night show. First, drummer Andy Hurley and guitarist Joe Trohman set up on a platform at the end of a long runway that extended from the stage. Then suddenly singer Patrick Stump and bassist Pete Wentz appeared on another platform even further out, all the way at the other end of the arena.

As the band launched into their 2005 hit “Dance, Dance,” those faraway fans suddenly found themselves with quite a close-up view. Then the platforms gradually rose from suspended cables. By the time the band segued into “Wilson (Expensive Mistakes)” from their new album “Mania,” Stump and Wentz’s stage had elevated all the way up to mezzanine level. Those nosebleed-seat purchases now seemed like a steal.

That was the high point (literally and figuratively) of a stage production that sometimes seemed to be the star of the show. With seven albums and a slew of hit singles across a two-decade career, Fall Out Boy has been one of America’s most prominent rock bands of the 2000s. Even so, at times their musical performance almost seemed to be the canvas upon which some incredibly creative production designers created a spectacle of pop entertainment.

RELATED: More concert reviews on Austin360

Consider the video component. Behind the band, a huge screen displayed ever-changing thematic visuals for each song. A giant squid thrashed about in footage that accompanied “The Phoenix,” followed by majestic mountain scenes for “Irresistible.” Pixar-quality animation told a story behind “Immortals,” giving way to amusing scenes of giant muppet-like animal creatures playing instruments in a make-believe ensemble called the Rockafire Explosion as the band blasted through the opening track on its new album.

Then there was the song with zillions of emojis twirling in the background. Plus those action bits from the viral video game “Fortnite” for the early fave “Grand Theft Autumn/Where Is Your Boy.” And, naturally, scenes from various Uma Thurman films when they played their song titled “Uma Thurman.” Plenty more examples could be cited — the Princess Diana historical footage when they played “Champion,” anyone? — but you get the idea.

Oh, and the pyrotechnics: Lots of showering sparks and bomb-like blasts, plus bursts of fire including one stream that shot out from the headstock of Wentz’s bass on a couple of songs. Lest we forget the two dudes dressed in giant llama-like costumes who came out to toss T-shirts into the crowd while the band was making its way back to the main stage from the platforms.

The irony is that behind the razzle-dazzle, musically Fall Out Boy remains a pretty basic, straight-ahead four-piece guitar-drums-bass rock band. Stump is a powerful and tuneful singer, a perfect delivery vehicle for Wentz’s often angst-ridden lyrics. Shirtless and heavily tattooed Hurley attracts attention behind the drum kit; Trohman is less flashy but carries a lot of the musical weight on his shoulders with his guitar leads.

Their fans are hard-core devotees. Though the Erwin Center was a bit short of full for this show, maybe 75 percent of capacity for its south-stage setup, almost all in the house stood for the entire 90-minute set, and many sang along loudly throughout the evening. Fall Out Boy hadn’t played Austin in more than three years, and their last Erwin Center appearance was more than a decade ago. For their faithful followers, clearly it was worth the wait.

RELATED: Photos from Fall Out Boy at Austin360 Amphitheater in 2015

Machine Gun Kelly performs at the Erwin Center on September 23, 2018. ANA RAMIREZ / AMERICAN-STATESMAN

Two opening acts made for a longer-than-usual concert evening. In the middle slot, Machine Gun Kelly was somewhat hit-and-miss, trying hard to rev up the crowd with his energetic performance but never really getting the entire arena fully engaged. His music’s pretty different from the headliner, drawing heavily on rap music. A late-set highlight had a local connection: Kelly’s recent hit “Bad Things” cribs its catchy chorus from “Out of My Head,” a 1999 top-20 hit for Austin band Fastball. (Expect to hear it again at ACL Fest from Camila Cabello, whose supporting vocal was delivered via prerecorded track during Kelly’s performance.)

Opening act Nothing, Nowhere was different yet again, a heavily dramatic emo band from New England that has released three records since 2015. Leader Joe Mulherin charged through dark songs such as “Hopes Up” (as in, “I don’t want to get my hopes up”) and “Nevermore,” advising the crowd that “If you struggle with mental illness, keep fighting and stay positive.” Music seems to have been the right outlet for his own battle. His band may never reach mass-headliner status, but as an opener on a three-band bill, they held their own.

Joe Mulherin of Nothing, Nowhere performs at the Erwin Center on September 23, 2018. ANA RAMIREZ / AMERICAN-STATESMAN

Blues legend Buddy Guy revels in the moment at ‘Austin City Limits’ taping

Legendary blues guitarist Buddy Guy tapes “Austin City Limits” at ACL Live on Monday, September 17, 2018. Scott Moore for American-Statesman

“Whatever you see tonight, I didn’t rehearse it,” Buddy Guy told the crowd toward the end of Monday’s “Austin City Limits” taping at ACL Live. That wasn’t just a line. Usually, artists who play the iconic TV show make sure their performance is fine-tuned with an afternoon run-through that carefully adheres to the set list. But Buddy didn’t even HAVE a set list.

Once he takes the stage, you can see why. At 82, the legendary blues guitarist and Rock and Roll Hall of Famer has been doing this for long enough to know better than anyone what works best for him, and that’s mostly living in the moment. Sure, he’s got habits he’ll work into most every show — rubbing the guitar against his backside to make a squeal/scrape sound with the strings, or wandering out into the crowd to play close-up for some lucky fans. But mostly he’s just following his instincts, and feeding off the energy of the audience.

PHOTOS: Buddy Guy taping “Austin City Limits”

There was plenty of energy in the crowd on this night, as Guy heartily acknowledged early on. “We don’t get this kind of response everywhere we go — that’s why I like coming here,” he said as he wound down a 20-minute version of the Willie Dixon classic “Hoochie Coochie Man.” He teased the audience on occasion for not answering his call-and-response vocal cues loudly enough, but it always had the desired effect: By the time he got to the end of the roof-raising title track to his Grammy-winning 1994 album “Slippin’ In,” he had everyone in the room shouting along to its chorus.

Guy worked in newer material alongside the old favorites, delighting the crowd with the lively “Cognac” — pronounced “coe-nee-ack” in his charmingly drawn-out drawl — from this year’s album “The Blues Is Alive and Well.” He gave credit to drummer Tom Hambridge, the song’s co-writer, noting that Hambridge has also produced his last several albums. Props also went out to guitarist Ric Hall, keyboardist Marty Sammon and bassist Orlando Wright, who were the perfect backing crew all night long. They held back to a near whisper when called for, thundered forth when the moment arrived, and stayed right in the groove throughout.

Buddy Guy tapes “Austin City Limits” with keyboardist Marty Sammon, drummer Tom Hambridge, bassist Orlando Wright and guitarist Ric Hall at ACL Live on September 17, 2018. Scott Moore for American-Statesman

Guy’s ties to Austin run deep. He has a long history with Antone’s nightlcub, he’s used Austin players such as Tommy Shannon, Chris Layton and David Grissom on his records, and he’s previously appeared on “Austin City Limits” four times, all at the old KLRU Studio 6A location — most recently for 2014’s inaugural Austin City Limits Hall of Fame induction ceremony, where he jammed for the first time ever with Willie Nelson in helping to induct his late friend Stevie Ray Vaughan.

RELATED: More news and reviews from the “Austin City Limits” TV show

When Guy played ACL Live in 2015, he brought out Chicago transplant James Cotton, the legendary blues harmonica ace who moved to Austin in his final years, to join him onstage. Cotton died last year, but Guy also loves to share the spotlight with younger players, and so near the end of Monday’s show he brought out 19-year-old guitarist Quinn Sullivan (the opening act on that 2015 show) for a sweet but hot and soulful take on John Hiatt’s “Feels Like Rain.”

Sullivan stayed aboard for the rest of the ride, getting some spotlight solos and engaging in hot six-string duels with Guy as they roamed through licks that nodded to the influence of guitar greats such as B.B. King, John Lee Hooker, Eric Clapton and Jimi Hendrix. The finale was a bit abrupt — unrehearsed, naturally — as Guy set down his guitar while the band played on, wandered back out into the crowd to toss a few guitar picks to fortunate fans, and finally ambled off with a big smile and a wave, leaving his mates to finish it off with a closing jam.

Buddy Guy taping “Austin City Limits” at ACL Live on Monday, September 17, 2018. Scott Moore for American-Statesman


One Night in Austin: Longhorn afternoon gives way to a local music evening

[cmg_anvato video=4479416 autoplay=“true”]

The University of Texas football team’s home opener on Saturday may have been a disconcerting affair, but out on the LBJ Library lawn across from the stadium before the game, the new Longhorn City Limits live music series had an auspicious debut. We opted to bypass the game itself in favor of sampling other shows happening around town as the evening wore on. Video highlights are above; here’s the full recap:

4 p.m.: Longhorn City Limits with Jimmie Vaughn and the Nightowls at LBJ Library Lawn. It’s quality Austin music, it’s free, and it’ll happen before each home game this year: This new addition to pregame tailgating rituals is a no-brainer. The crowd was a bit thin early on — the Nightowls began at 3:30 p.m.; we arrived about halfway through their hourlong set — but the group’s horn-spiked soul revue set a lively tone for the day.

When blues guitar great Vaughan took the stage at 5 p.m. with his Tilt-A-Whirl Band, quite a few more people were in the crowd, about 99 percent of them wearing orange — including a few Longhorn cheerleaders who joined Vaughan onstage for a number early in the set. During the game later on, UT announced that country-rock band Reckless Kelly will be playing next week’s Longhorn City Limits concert before the USC game.

RELATED: It’s the final inning for Reckless Kelly’s Celebrity Softball Jam

6:15 p.m.: Bobby Whitlock & CoCo Carmel at Saxon Pub. A key member of Eric Clapton’s circa-1970 band Derek & the Dominos, Whitlock is one of those rock ’n’ roll treasures who happened to settle down in Austin, moving here many years ago with Carmel, his wife and musical partner. The duo generally plays every few weeks at the Saxon, and it’s one of the best gigs in town.

Whitlock’s prone to going off on tangents when he starts talking about the good old days, but those tangents are almost always fascinating. An integral musician who also played on key records by George Harrison and the Rolling Stones, Whitlock noted Saturday that “I hang my hat on ‘Layla,’ ‘All Things Must Pass’ and ‘Exile on Main Street.’ It’s a pretty good hat rack.” Indeed.

The pair played some songs on acoustic guitars before Whitlock moved to keyboards and Carmel picked up the saxophone. Both phases of the show were musically quite lovely, gradually building to the obvious yet still riveting finale of “Bell Bottom Blues,” the Whitlock-penned Dominos tune for which he’s most famous. Tagging it with the iconic piano coda that he added to Clapton’s “Layla,” Whitlock gave the crowd a smile, thanked everyone for coming and invited them back again soon. If you’re an Austin music fan and you haven’t taken in this gig yet, move it to the top of your list.

8 p.m.: Michael Nesmith & the First National Band at Paramount Theatre. A square peg amid our typically local-focused “One Night” itineraries, this touring show by the legendary Monkees member played up his early-1970s years playing country-folk-rock music. That focus made for quite a nice segue from Whitlock, whose heyday overlapped with Nesmith’s in the fertile Southern California scene of that era. (Groovers Paradise record store owner Greg Ellis noted that Nesmith even covered the Whitlock/Clapton tune “I Looked Away” on one of the First National Band albums.)

No other original First National members are aboard for this tour; only drummer Jonathan Ware is still living. But Nashville ace Pete Finney did a fine job re-creating the late Red Rhodes’ pedal steel runs and thus was a key member here, along with Nesmith’s sons Jonathan and Christian on guitars.

The most lovely moment, however, came mid-set when the band departed and left Nesmith to deliver three of his best-known compositions — “Propinquity,” “Different Drum” and “Papa Gene’s Blues” — just as he had done at L.A.’s famed Troubadour nightclub right after he wrote them. “Here I am, 50 years later,” Nesmith marveled, as the crowd basked in the special moment.

Marlon Sexton fronts the new band Marfa Crush, which played Saturday at ABGB as part of the venue’s new monthly series that focuses on emerging acts. Peter Blackstock/American-Statesman

9:40 p.m.: Marfa Crush and Midcentury at ABGB. We caught only the last minute or so of Midcentury’s final song, but their closing instrumental jam was tight and impressive, whetting the appetite for catching them again another time. On this night, we were there mainly to see Marfa Crush, the new project of 19-year-old Marlon Sexton.

If you follow Austin music (or Bob Dylan, for that matter), you’re well aware of his father Charlie’s accomplishments. It’s easy to see a young Charlie in Marlon’s face, yet he’s a very different kind of singer, and the songs he’s writing with this band of similar-age friends have more to do with envelope-pushing atmospheric rock than anything Dylanesque. Marfa Crush is still in its infancy, but their charismatic performance on this night suggests this is a young band with enormous potential.

10:45 p.m.: The Mrs. at Lamberts. Celebrating the release of their new EP “Five Minutes,” this quartet featuring singer-guitarist Mandy Prater, singer-keyboardist Larissa Ness, bassist Jenny Mason and drummer Andra Liemandt drew a sold-out crowd to the small bar above Lamberts BBQ. Opening with the effervescent single “Hurricane” from the new EP, the group kept the mood in the room lively throughout.

A cover of the Lumineers’ signature tune “Ho Hey” went over well but seemed unnecessary, as the women write strong enough material on their own to let it carry them. They’re still relatively new (the group’s debut release came out last year) and perhaps are still building their catalogue, but the title track to the new EP suggests they’re hitting their stride and could become a breakout mainstream-pop act.

RELATED: More videos in our “One Night” series

Margo Price, Hayes Carll light up ACL Live to benefit Hill Country Conservancy

Margo Price performs at the Hill Country Conservancy’s 12th Annual Hill Country Nights at ACL Live on September 7, 2018. Scott Moore for American-Statesman

“Maybe songs aren’t about Arkansas aren’t appropriate tonight,” Hayes Carll wisecracked after playing his early hit “Little Rock” for the crowd at ACL Live that gathered Friday night to raise a Texas-sized bounty for the Hill Country Conservancy.

Carll and headliner Margo Price sent patrons home with plenty of good songs in their hearts, capping a long evening that included a pre-concert dinner and live auction which raised $430,935 for the organization. The nonprofit land trust works to protect natural outdoor spaces in Central Texas as well as the area’s working farms and ranches.

Carll is, like Bob Schneider, the rare Austin act who can play regularly at the intimate Saxon Pub while also occasionally stepping up for special shows at the city’s marquee concert hall. He’s played here before for other major fundraisers, and to tape the “Austin City Limits” TV show.

RELATED: Our 2016 interview with Hayes Carll

On this night, backed by a four-piece crew that included ringer Emily Gimble on piano, Carll ran through a set of his best material, supplementing songs from 2016’s “Lovers and Leavers” with older favorites such as “I Got a Gig,” the Ray Wylie Hubbard co-write “Drunken Poet’s Dream” and the set-closing “KMAG YOYO.” Gimble handled the female duet vocal part on “Another Like You,” the quasi-political love song Carll prefaced by suggesting that “there’s nothing we can’t overcome with a little bit of physical attraction and a whole lot of alcohol.”

Hayes Carll and band perform at the Hill Country benefit at ACL Live on September 7, 2018. Scott Moore for American-Statesman

Price has played Austin a few times this year, including a tour-de-force performance at Emo’s back in January plus gigs with Willie Nelson at the Luck Reunion event during South by Southwest and his annual Fourth of July Picnic at Circuit of the Americas. Each time through, she seems to win over new fans; her steady rise has been a sharp study in the triumph of natural talent when combined with a lot of hard work.

READ MORE: Our 2018 interview with Margo Price

Of particular note on this night were a couple of new songs, most notably “Long Live the King,” delivered early in the set. A show-stopping number that puts Price’s powerhouse vocals way out front, its three verses address a trio of 20th-century icons: first Elvis Presley, then Martin Luther King Jr. and finally John Lennon.

The nature of the fundraising event meant Price’s set was a little shorter than her usual headlining show, so we missed a couple of her finest numbers: the sweeping “Hands of Time” from her 2016 breakthrough album “Midwest Farmer’s Daughter,” and the emotional title track to last year’s “All American Made” that she often plays solo on piano.

One highlight still intact from her Emo’s set earlier this year, though, was the auxiliary drum kit set up next to her drummer Dillon Napier, placed there so Price could go back and hammer away at the end of “Cocaine Cowboys” (and later, “Paper Cowboy”). The crowd loved it: “That was awesome!”, shouted out one attendee at the end of “Cocaine Cowboys.”

A couple of choice covers illuminated where Price draws some of her songwriting and performance inspiration. Guy Clark’s “New Cut Road” was a hot-pickin’ mid-set highlight, and she closed the show with a rousing version of Dolly Parton’s “9 to 5.” (When Price performed it with Brandi Carlile at the Newport Folk Festival earlier this summer, Parton’s complimentary tweet about their version “made my day/week/year/life!”, Price beamed on Twitter.)

Still, the best elements of Price’s repertoire are her own songs. Standouts on this night included the blazing indictment “Four Years of Chances,” the swinging groove of “A Little Pain” and especially “Weakness,” a rocking honky-tonker in which Price confesses, “Sometimes my weakness is stronger than me.” That’s no doubt true for her, and all of us. But judging from her impressive career ascendance in the past few years, Price is winning that battle by a good country mile.

RELATED: Hill Country Conservancy helps to preserve Hays County ranch land

Make that 4 shows in 3 nights: Jason Isbell sits in with Booze Weasels at Continental Club

Jason Isbell, center, sits in with Austin’s Booze Weasels at the Continental Club on Saturday, Aug. 25, 2018. Booze Weasels band members are, from left, David Grissom (guitar), Jimmy Pettit (bass), Davis McLarty (drums) and David Holt (guitar). Contributed/Mike Fickel/Winged Monkey Media

Grammy-winning singer-songwriter Jason Isbell wrapped up a three-night stand with his band the 400 Unit at Bass Concert Hall on Sunday, but between the big shows, he squeezed in another gig. After the Saturday performance, Isbell headed down to the Continental Club and wound up joining ace Austin bar band the Booze Weasels for all of their second set.

READ MORE: Our interview with Jason Isbell

The Booze Weasels formed about 30 years ago when its four members — guitarists David Grissom and David Holt, bassist Jimmy Pettit and drummer Davis McLarty — were all part of Joe Ely’s backing band. None of them really knew Isbell, though McLarty says that Grissom and Isbell had met a few years ago when both were part of an Austin City Limits Hall of Fame show at ACL Live.

“What really happened is that Isbell called (Continental Club owner Steve) Wertheimer to see who was playing at (the club) on Saturday, and Steve contacted us to see if Jason could sit in,” McLarty explained by email on Monday morning. “He showed up, was super nice, and simply wanted to sit in.  He played the entire 90-minute second set.”

Isbell’s manager, Traci Thomas, said that for Isbell’s part, “Jason loves nothing more than just sitting in playing guitar, so playing with those guys made his day.”

RELATED: Jason Isbell speaks out about his guiding values and principles

Intrepid Austin photographer and music fan Mike Fickel was on hand to capture it. That’s his shot above, as are these galleries he posted to Facebook:

Another fan on hand Saturday night, Patrick Morehead, captured a few minutes on video, including a rendition of the R&B classic “I Hear You Knocking”:

Jason Isbell & the 400 Unit begin 3-night run at Bass Concert Hall with grace and grit

Jason Isbell & the 400 Unit performing at Bass Concert Hall on Friday, Aug. 24, 2018. Peter Blackstock/American-Statesman

Peak musical magic in Jason Isbell & the 400 Unit’s first of three nights at Bass Concert Hall on Friday came in the exact middle of the set — somewhat surprisingly on a song that wasn’t an uproarious rocker but rather a gentle acoustic number.

When Isbell said he was about to play a tune that’ll appear on a live album due out in October, his fans probably expected something like the blistering “Super 8” from his 2013 breakthrough disc “Southeastern,” or maybe the Drive-By Truckers-era burner “Never Gonna Change.” Instead, he graced the crowd with “Last of My Kind,” the subtle yet deeply affecting first track on last year’s Grammy-winning album “The Nashville Sound.”

The recorded version runs four and a half minutes, but onstage Isbell and his four 400 Unit bandmates stretched it out quite a bit longer — not with pointless or meandering jams, but by exquisitely supporting and extending the song’s beautiful melody. As Isbell backed away from the microphone in the middle of the last line of the chorus, he handed off to his crew, letting Derry deBorja’s rich keyboard accents, Sadler Vaden’s tasteful slide guitar and the steady rhythms of bassist Jimbo Hart and drummer Chad Gamble swing low to carry it home.

If you noticed one key name missing from that lineup, the band’s fans certainly missed her on this night too. Isbell’s wife, fiddler and singer Amanda Shires, is in the Pacific Northwest this weekend, touring behind her own acclaimed new album “To the Sunset.”

RELATED: Austin360’s Jake Harris talks to Amanda Shires about “To the Sunset”

The 400 Unit can carry the show without her — Vaden’s slide work and backing vocals help to cover for her fiddle parts and harmonies — but there’s a spark that’s clearly missing without her presence. It may or may not be a good idea to add a fill-in fiddler/singer when Shires is otherwise occupied, but it’s intriguing to think of how they’d sound with, say, longtime Alejandro Escovedo cohort Susan Voelz stepping in as a ringer of a sub.

Isbell prides himself on presenting a live show that bends from full-throttle rock ’n’ roll to more contemplative country-folk with a sonic clarity that always serves his lyrics. That balance worked well at Bass Concert Hall as he supplemented highlights from “The Nashville Sound” (playing more than half the album) with tunes from four of his five previous records plus two standouts from his Drive-By Truckers days.

Bass was less ideal of an environment for serving the varied concert-experience preferences of Isbell’s audience. His multi-night stands at ACL Live in recent years more easily accommodated the mix of older and younger fans with that venue’s standing-room floor and seated balcony options. It’s all seats at Bass, and while the crowd was polite throughout, the energy in the room felt a little flat for most of the night. It wasn’t until the finale and encore — when the aforementioned rockers “Never Gonna Change” and “Super 8” finally got their due — that the majority of the crowd rose to their feet and let loose.

RELATED: Our interview with Jason Isbell

Thanking his fans at the end of the night, Isbell welcomed them back for more on Saturday and Sunday. Many of his most fervent followers no doubt did buy tickets for multiple nights, and he promised that there’d be some changes in the set for those who returned. Expect such obvious highlights as “Hope the High Road,” “24 Frames,” “Cover Me Up” and “If We Were Vampires” (which closed the show Friday on a beautifully tender note much like that grand mid-set “Last of My Kind” moment) to be repeated. But there’s plenty of room to work in standouts such as “Traveling Alone,” “Speed Trap Town” and “Outfit” that didn’t make it into the first night’s set list.

Isbell also extended a sincere thanks to opening act Marie/Lepanto, which featured Austin-based indie singer-songwriter Will Johnson on guitar. A partnership between Johnson and Justin Peter Kinkel-Schuster of Arkansas (who mostly played bass on this night), the group was joined for the occasion by drummer Matt Pence, who previously teamed with Johnson in the long-running Denton band Centro-Matic. Isbell’s 2015 song “To a Band That I Loved” was written for Centro-Matic, so it’s clear that having Marie/Lepanto on the bill meant a lot to him.

Their 40-minute set seamlessly blurred the line between melodic country-folk and atmospheric noise-rock. In brief and kind comments to the crowd, Johnson acknowledged his local bona fides. “I live about 10 blocks from here,” he said. “I take the 5 bus to the concert.”

Marie/Lepanto also opens Saturday’s show. Sunday’s opening act will be Oklahoma singer-songwriter John Moreland.

READ MORE: Jason Isbell speaks out about his guiding values and principles

Set list:
1. Hope the High Road
2. 24 Frames
3. White Man’s World
4. Decoration Day
5. Molotov
6. Something More Than Free
7. Alabama Pines
8. Last of My Kind
9. Tour of Duty
10. Dress Blues
11. Cumberland Gap
12. Tupelo
13. Hudson Commodore
14. Stockholm
15. Flying Over Water
16. Cover Me Up
17. Never Gonna Change
18. Super 8
19. If We Were Vampires

Long Center celebrates 10 years with free Grupo Fantasma concerts, goat yoga

The Long Center, turns 10 this year and the downtown performing arts hub is throwing a free, family-friendly bash to celebrate. The party takes place September 9 from 1 to 5 p.m.

Austin Latino funk maestros Grupo Fantasma.

The event will feature two live sets from Austin’s world class Latin ensemble, Grupo Fantasma. Seating for the shows is general admission and doors to Dell Hall will open at 1:45 and 3:45 p.m.

In addition to the music the Long Center has curated a roster of fun activities, including goat yoga presented by GOGA. (You can sign up for a slot to get your downward dog on with friendly goats here.)

The festivities will also include a bounce house, face painters bubbles and more on the Long Center’s front lawn.

More information.

Ethan Hawke, Ben Dickey to celebrate ‘Blaze’ at Waterloo Records

Waterloo Records will host a free celebration of the Blaze Foley biopic, “Blaze,” at Waterloo Records on Sunday.

Ben Dickey, left, and Ethan Hawke play to a small crowd in the Gibson guitars showroom in Austin during SXSW 2018. JAMES GREGG/AMERICAN-STATESMAN.

The event is billed as a “Q&A and performance,” featuring director Ethan Hawke and actor Ben Dickey, who plays the Austin musician Foley in the film. It kicks off at noon.

RELATED: ‘Blaze’ is a terrific portrait of the artist as a poetic screw up

KUTX DJ Elizabeth McQueen will interview Hawke and Dickey and Dickey will perform a handful of songs at the event. Both men will also sign autographs.

Fans who want a priority admission wristband to the event can pre-purchase the “Blaze Original Cast Recording” from Waterloo Records beginning on Friday.  The album will be released on Sept. 21.

Weekend music picks: Big brass, hot jams with Brownout, Dispatch, more

Our top picks for live music in Austin this weekend.

Saturday-Sunday: Dispatch at Stubb’s outdoor. Not many jam-bands this century have been more successful than Dispatch, a trio that began in Vermont in the 1990s. After disappearing for most of the previous decade (save for the occasional reunion show), they’ve returned with a vengeance in the 2010s, issuing a slew of albums and EPs including this fall’s upcoming “America, Location 13” on the heels of a summerlong biweekly release of tracks from it. Nahko and Medicine for the People open. $46-51. Doors at 6 p.m. Saturday and 5:30 p.m. Sunday. 801 Red River St. stubbsaustin.com. — P.B.

Brownout in the Statesman Studio. Reshma Kirpalani/American-Statesman

Saturday: Brownout at Scoot Inn. Austin Vida presents an evening of fantastic Latin music at the historic East Austin venue. The bill is helmed by Austin’s fiercest instrumental attack squad, Brownout, who followed up a solid 2017 collection of originals with “Fear of a Brown Planet,” a brilliant take on the Public Enemy classic, this spring. Also on the roster are Chicago’s powerhouse quintet Dos Santos, Houston’s percussive electronica outfit Gio Chamba and Bang Data. $17. 6:30 p.m. doors. 1308 E. Fourth St. scootinnaustin.com — D.S.S.

Sunday: Anthony Da Costa, Raina Rose at Radio Coffee & Beer. Da Costa’s move to Nashville a couple of years ago was a loss to the local music community but a good move for Da Costa, who’s been touring with renowned folk singer Aoife O’Donovan. He comes back to visit with some regularity, as he’s still tied into a tight-knit group of fellow musicians here, including Raina Rose, who opens this show. Free. 8 p.m. 4204 Manchaca Road. radiocoffeeandbeer.com. — P.B.

Sunday: Willie Green Project at Sahara Lounge. Drummer Willie Green is part of a rising generation of jazz artists from the city that gave birth to the genre. The NOLA-based artist grew up performing gospel music as a child in his father’s church. While attending Loyola university he studied and performed with some of the Crescent City’s finest band leaders. Now he has gathered his own ensemble of like-minded players to create engrossing contemporary compositions. Robert & the Golden Vibez opens. 7 p.m. 1413 Webberville Road. saharalounge.com — D.S.S.



Ski Mask the Slump God at Empire

Vacationer, Sego at Antone’s

DJ Mel at the Scoot Inn (early set)

Jarren Benton, Kato on the Track at Barracuda

Hard Proof 10th anniversary at Continental Club

Rival Waves album release, Darkbird, Midcentury, James Junius at Empire

Selfless Lovers album release at Stubb’s indoors

ATLiens, Eliminate at Vulcan Gas Company

Mike Flanigin Trio with Jimmie Vaughan & George Rains, Rosie Flores Revue at C-Boy’s

Jonathan Terrell, Altamesa, Rattlesnake Milk, Roger Wallace at White Horse

Jon Dee Graham, Denny Freeman at Saxon Pub

Sanco Loop, Rooney Pitchford at Cactus Cafe

Sun June at Waterloo Records

Zissou Bellaforte EP release at Hole in the Wall

Yacht Rock Hoot Night at Hotel Vegas

Brass in Pocket at Threadgill’s South

Sigala at Parish

Scrapelli at Radio Coffee & Beer


Poster Children at Barracuda

South San Gabriel at Mohawk indoor

Charlie Mars, Johnny Nicholas & Hell Bent, Bobby Whitlock & CoCo Carmel at Saxon Pub

Jack LNDN at Empire

Mike Flanigin Trio with Jimmie Vaughan & George Rains at C-Boy’s

Chief White Lightning, Deals at ABGB

El Tule, Grupo Fuerza Musical, DJ Mega Bass at Hotel Vegas

DJ Mel’s Rock the Casbah at 3Ten

Kev Bev record release at Threadgill’s South

Blistering Speeds album release, Midgetmen at Townsend

Tish Hinojosa at Threadgill’s North

Giulia Millanta at One-2-One Bar

Emily Gimble, Lost Counts at Continental Gallery

Alvin Crow at Broken Spoke

Tenor Madness at Elephant Room

Classic Albums Live play Pink Floyd’s “Dark Side of the Moon” at Empire

Andy Pickett, Mamalarky, Hyah at Electric Church


Savage Poor at One-2-One Bar

Chris Beall, Resentments, John Gaar at Saxon Pub

Brett Benton, Lavelle White, James Bullard at Antone’s

Willie Green Project, Robert & the Golden Vibez at Sahara Lounge

Helsott, Sicosis, Dark Visions of Terror at Come and Take It Live

Lo Jinx Supper Club, Purgatory Players at El Mercado Backstage

Derk O’Brien at Hilton Cannon & Belle

Lil Ugly Mane, the Teeta at Barracuda

Freedom Night with Ufulu Child at the Gatsby

Brother Roscoe, Luke Redfield, Haydon Hoodoo at Hole in the Wall

Trace of Lime, Wrongbird at Hotel Vegas

Roy Heinrich & the Pickups, 3 Chord Rodeo at Sam’s Town Point

SXSW standout Billie Eilish coming to Austin this fall

Teenage pop sensation, Billie Eilish made a big splash at SXSW this spring. She displayed an impressive range of songwriting skill and emotional depth in an intimate performance at the Vevo House during the fest. 

Billie Ellish performs at the VEVO House during South by Southwest on March 14, 2018. (Photo by Erika Rich)

Last week, she dropped the defiant industrial dirge “You Should See Me in a Crown,” a fitting answer to anyone who’s ever dared tell her to smile more.

This week, she announced a new string of tour dates including a November 14 stop at Emo’s.

Tickets to the show go on sale Friday at 10 a.m., and it’s worth noting Eilish’s shows have been selling out swiftly.