Cover Janis Joplin by Miley Cyrus; Charley Crockett’s Whataburger Order
Miley brings down the house with Janis Joplin’s “Maybe”
Covering Janis Joplin in her home country can be a dangerous move, but if anyone had the courage (and the talent) to succeed, it was Miley Cyrus. In an energetic setting that spans from his Disney days to his recent album, Plastic hearts, Cyrus also made the crowd happy with a few blankets, and none were more impressive than her. incredible interpretation of “Maybe” by Joplin. Cyrus was not shy about sharing her feelings about the massive life events she has experienced over the past few years, including the loss of her Malibu home to a wildfire, her divorce in 2020 from actor Liam Hemsworth and the pandemic ending all plans to represent live last year. Taking a moment to reflect on these changes, she addressed the crowd saying that people often categorized her as brave, without excuse and as someone who “doesn’t give in …”. She agreed that she could be all of these, but also admitted that at times she was sad, anxious, cared too much and felt trapped in the image created for her by fans and the media.
“This next song is one that represents freedom to me – it represents evolution, authenticity and daring,” she told the crowd, explaining that she sees Joplin as an artist who also felt the pain of being locked up. “This song is one that I do for myself. More than the characteristic hoarse voice of her voice, Joplin was known for the power and emotion she conveyed through the blues influenced music she sang. Cyrus a channeled that same intensity on stage; she felt every word. She brought down the house and did Joplin justice. —Cat Cardenas
Brett Goldstein draws hundreds of Ted lasso Superfans
On the Saturday of ACL’s second weekend, hundreds of people flocked to a small side stage, moving away from festival headliners Doja Cat and Modest Mouse in favor of everyone’s favorite TV grumpy Roy Kent ( Brett Goldstein). Recording a live episode of his podcast, Unblock us, motivational speaker and bestselling author Brené Brown joined the Ted lasso actor and writer for a conversation about the hit show Apple TV and the smash hit of Goldstein playing a gruff British football player with a heart of gold. The duo took to the stage to cheers from the crowd after Austin musicians Carrie Rodriguez and Gina Chavez warmed them up with the singing of the show: “He’s here, he’s there, he’s everywhere. Roy Kent! Roy Kent! “
“Is this strange to you?” Brown asked Goldstein, pointing to the audience. “Of course it’s fucking weird! Look at this madness, ”he laughed. The star has kept his cat spoiler-free (according to some shouted requests from the crowd), but revealed that despite some critical reviews of the second season, he’s proud the show has stayed true to the writers’ vision. “I think there are things in there that people may not want [this season], but you’ve got to believe we did something the first time you liked it, so stick with us, ”he said, revealing that co-creator Jason Sudeikis has already figured out how Ted lasso will end. Goldstein dug into the show’s creative process, sharing that Brown (who received a scream in season two) is a frequent topic of conversation among showrunners, especially when discussing the vulnerabilities and psychologies of the characters who are in the heart. a spectacle. “I think most of this Ted lasso it’s taking someone you don’t like and hopefully everyone has their reasons why they are the way they are and we try to make them forgivable, ”he said. —Cat Cardenas
Backups steal the show. . .
Phoebe Bridgers’ ACL ensemble was a showcase of her strong storytelling skills and ironic, sad charisma. Her first weekend performance ended with “I Know the End” which usually means a lot of screaming and guitar bashing that (some men) critics hate so much. It was difficult to leave the show without feeling a little fit, especially because trumpeter JJ Kirkpatrick organized a clinic. His soaring solos made the set all the more distinctive (“I think this is the only time in my career that I’ll open for Doja,” Bridgers joked), and his brass bravado was the perfect complement. to his melancholy singer. Even after their sound was cut off unceremoniously towards the end of “I Know the End” in their second performance of the weekend for working overtime, Bridgers and Kirkpatrick continued to rock. Elsewhere in Zilker, backup players continued to attract their fair share of the spotlight. On the Saturday of the first weekend, Austin’s band Sir Woman took to the stage with a saxophone, drummer and two backing vocals, each of whom brought energy to take to the church in the so-called “Gospel tent” of the festival. And of course, no conversation about backing groups would be complete without mentioning Megan Thee Stallion. Sure, Miley took to the stage for a crowd-pleasing twerk-fest, but it was Meg’s backup dancers who burned the stage on several occasions. That Hot Girl Summer never ends. —Tyler Hicks
. . . And the T-shirts too
We’ve already established that the ACL 2021 is a hotbed for bold and admirable fashion choices. But even those who didn’t wear leather and latex boots found a way to make compelling (and often funny) statements. As a 37-year-old mother and mushroom lover taught me the virtues of Machine Gun Kelly, a man nearby cooled off with a folding fan that simply said “SLUT.” Nearby, a T-shirt of a man in his twenties posed the question that is probably on the heads of every man in his fifties: My favorite was a young woman’s shirt that proudly declared, “This body belongs to to Mr. 305 ”, an apparent reference to rapper Pitbull. And just in case someone forgot about COVID (which, judging by the lack of masks, most people have), there were at least a few shirts to remind us of that. One of them, worn by a young woman probably in her twenties, said, “COVID? She doesn’t even go here. The other was a sleeveless tank top her model paired with a George Strait-style cowboy hat, and it summed up the festival vibe better than any fashionista could: “Sorry,” read the shirt, ” I can’t hear you at the sound of my freedom. —Tyler Hicks
Megan Thee Stallion Hosts Twerk Team Auditions
Houston’s Megan Thee Stallion deserves everyone’s attention at this point. But halfway through her two sets, she shone the spotlight on die-hard front row fans, inviting a few to take the stage. “I want my daughter with the flower crown,” commanded Meg, dressed in black leather leggings, from the stage on the second weekend. A girl climbed dressed in a pizza costume.
When Megan reminded her DJ, “drop that s—” lucky fans got to work. What followed was one of the most heated roundabouts I have ever seen. It looked like Twerk with the stars, Where So you think you can send it back.
“After the music played, I just started to throw ass,” said Khiara Estrada, 21, who seized the moment and twerked in a split as Gucci Mane’s “Big Booty” played back- plan.
Megan isn’t the first to do this at ACL, but this level of fan involvement rarely happens with an artist her size. His patience was admirable, posing with fans for selfies and leaving some screaming into the mic. The public couldn’t stop talking about it afterwards. “Wow, she’s for the fans,” I heard the woman next to me say. —Ben Moscow
Remi Wolf leaves an impression. . .
Each set plays a crucial role in creating a successful music festival, no matter how hard you may have to squint to read the lineup. Twenty-five year old newcomer Remi Wolf was the first of many powerhouses to steal my heart during the first weekend. Her feet never stopped moving, whether she was jumping up and down or twisting to reach the perfect height. Wolf hit all the lyrics and worked on stage making sure to interact with fans on all sides. And as if I couldn’t be more obsessed, the young singer wore a large, fluffy, multicolored hat as part of her festival look, a perfect match for her eccentric personality. —Lauren Castro
The ultimate joy of attending a music festival is discovering music that you probably would never have encountered otherwise. At the ACL Fest, I discovered Hu, a heavy metal band from Mongolia, which can be considered as the Texas of Asia: gigantic and wide open spaces; a territory controlled by different empires through time, including the largest contiguous land empire in human history, the Mongol Empire of Genghis Khan; and populated by proud people with their own cowboy culture – riders who hunt foxes with golden eagles. The Hu uses standard heavy metal instrumentation as well as electric versions of Mongolian stringed instruments and traditional throat singing, which have a deep, low sound. om-like a sound that produces an almost spellbinding effect. All of the Hu’s music is sung in Mongolian, and the band members swing their hips in Mongolian warrior attire. I’m no metalhead, but after just a few songs I was banging my head with some long haired guys and girls and chanting “HU! Between each song. It wasn’t the first time the Hu had devastated Austin; they sold out in 2019 at Emo. —Josh Alvarez