For those that have never spent time in Austin, it is a town that’s notoriously in love with itself. Pictures from its past adorn walls from libraries to bars to coffee shops. Plaques commemorate historic moments. Citizens try and out-rank each other based on when they moved here, which always seem to harken back to some imaginary time when everything ‘was just a little bit cooler.’
That’s not to say that this kind of city-wide pride is unwarranted. After all, it’s a city that prides itself on being “the live music capital of the world,” and does have the kind of raw talent to back up that claim. While venues come and go, adjusting to a city more than a decade into some serious growing pains, the caliber of musicianship found in Austin is substantial.
Which is why, for the past 36 years, Austin has given itself a hearty self-congratulations by honoring those who’ve helped shape its musical landscape with the annual Austin Music Awards, which took place this year on February 28th at the Moody Theater. It’s a time when musicians, promoters, radio personalities, and devoted live music patrons come together to celebrate one-another.
This year, there was something different about the AMAs. Not “off,” per se, but a kind of restrained maturity. Perhaps reflective of the late-stage puberty of a city that’s gone from stoned and sleepy college town to a major metropolis — now ranked the 10th most populated city in the U.S. This year’s hosts Rick McNulty and Laurie Gallardo, both mainstays of KUTX (arguably the lifeblood of Austin’s music scene — and conspicuous winner of Best Radio Station), were poised in their demeanor, keeping the show running smoothly through live performances, inductions, and the actual awards themselves.
While the awards and inductions are pleasant, the performances themselves are what draws so many Austinites to the event year after year, bringing so many of the city’s most celebrated talent together on one stage. Mainstays like Alejandro Escovedo are always a fixture, this year singing while being backed up by a string sextet before being joined by John Hiatt, then Joe Ely, then John Hiatt and Joe Ely. Up-and-comers like Phoebe Hunt flaunt not only their talent but their knack for finding space inside the sometimes narrow convention of folk-tinged Americana, and David Ramirez delivers his signature growl to the crowd.
Still, as the oft-romanticized notion of a drifter with a guitar slung on their back, wearing a blazer worn down by the sun, and songs that drift back and forth between folk, rock, and country (I mean, there’s literally a Townes Van Zandt Award — this year given to Joe Ely), Austin does get more and more willing to accept the varying genres that have emerged over time.
Namely, the hip-hop group Third Root, who seized their moment on stage through two of their own songs — “I Got The Feelin'” and “Reflection Of The Times” — before being joined by Riders Against The Storm, Eric Burton, and Bavu Blakes for their third and final number. It was nothing short of electric, and added some much-needed social commentary to songs that were predominantly about the respective artists’ feelings. Not that there’s anything wrong with that.
Speaking of songs about feelings, honorary Austinite Lucinda Williams was one of the esteemed guests, who joined the house band for “Essence” and “Joy” after presenting hotel magnate Liz Lambert with the Margaret Moser Award — presented to those who make a significant impact on Austin’s music scene on or off stage.
The big surprise of the night was an appearance by Fiona Apple, who joined David Garza (an artist who splits his time between Austin and L.A.) on stage for two songs, including one they just wrote. While it was a little rough around the edges, Garza played piano and sang backup while letting Apple effortlessly overwhelm with her stage presence, it’s moments like those that make the AMAs such a memorable event.
Closing the night was a three-song set from Austin’s psychedelic superstars The Black Angels, who carry the torch for outsider artists like Roky Erickson, who defied the kinda-folk/kinda-country/kinda-rock normalcy and helped make the city a magnet for weirdos who embraced a lack of convention. Which later merged with the city’s traditional sonic landscape and, over several decades, helped it evolve even further.
Still, the real star of the show was Charlie Sexton, a local legend who cut his teeth as a kid playing shows as a kid, and pulled double duty as both music director and band leader, being able to lend his guitar proficiency to any act of the night. Provided it needed it, of course.
Congratulatory nature aside, the AMAs are an excellent showcase for both the quality and (increasingly) the diversity of the type of music and musicians that reside here. By condensing the show into two-or-three song sets, punctuated by occasional awards and inductee speeches, the entire show somehow came to an end about 35 minutes ahead of schedule. Perhaps a little indicative of the kind of polish that comes from a city that’s matured while still perpetually growing into its own.
Click here for a full list of winners and inductees
Select photos courtesy of David Brendan Hall
