Jimmie Vaughan’s Suede-Smooth Sole ACL Return In fact, before finally utilizing all synths for the finale, Waddill promised a new track next week. Some chatty Kendrick Lamar campers nodded along for local favorite “I hate looking at engines” – previously self-released in 2021 and since scrubbed, hopefully due for reemergence. Only-out song “Sentence I” hit catchily second, while the third found Wadill leaving his synth post to wiggle briefly up front. Beyond bongos, and after an alternately frenetic/soft rock start, each track revealed more fonts. Auxiliary percussionist Logan Wagner perched next to drummer Jack Owens for a mega-setup of the Bauhaus-inspired band’s most consistent element. On Friday, Font looked extra road-ready on separate raised platforms, with the jumbotron eating up lead vocalist Thom Waddill’s san serif arm tattoo and furrowed brow. “What’s going on with Font?” Easy answer’s in Austin-based Ground Control Touring agent Timmy Hefner, who’s also booked Iceage and Japanese Breakfast. Booking at both Levitation and ACL this year, the latter on a headliner stage that debuting locals rarely land, plus recent dates opening for Japanese Sub Pop act CHAI – all riding on only one streamable 2022 track – has attracted the same excited or jealous inquiry from Austin scenesters. Opening up the 12:55pm American Express stage, Font presents our most likely homegrown, non-Marchtime edition of the clearly marketable phenomenon. Shame, Fontaines D.C., Squid – Austin has a history of falling during South by Southwest for five-piece, clean-cut, sometimes-group-singing post-punk bands, generally of the British variety. Just 5 minutes shy of hitting the 10pm cutoff, Lamar wound to a close with “Savior,” another nuanced choice after the hype of typical ender “Alright.” He left crowds with the same promise that concluded his breakout 2013 ACL headlining set: “I will be back.” – Abby Johnston Short interludes and more hidden gems, like a dusted-off delivery of iconic feature “Nosetalgia,” let the pacing settle between mega-hits. city track “Money Trees” came complete with six back-up dancers creating an onstage simulacrum of Compton – skateboarding, a laundry cart, milling about the streets – as Lamar commanded the crowd. Morale & the Big Steppers, was delivered with little frills and a sparse backing track, placing a laser focus on precision and delivery. ![]() If last week boiled down to the heavy hitters, the full time slot gave work spanning an immense career room to breathe, pairing can’t-miss singles – “DNA.,” “King Kunta,” “Bitch, Don't Kill My Vibe” – with deeper cuts for the “day ones in the house,” as Lamar put it at the top. But 5 minutes after the set was due to start, K.Dot arrived, launching into a whirlwind tour of his 13-year career. Kendrick Lamar (photo by David Brendan Hall)Īfter travel delays cut last week's headlining performance down to a slim 30 minutes, you’d forgive the gigantic crowd gathered at the American Express stage for squirming a bit as the minutes ticked past 8:40 with no Kendrick Lamar.
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