This is a big week for "Austin City Limits." Saturday marks the premiere of the 40th season of the landmark PBS television show — not to mention the 12th year of the music festival that kicks off Friday.
On the eve of the festival, it’s easy to get lost in the hubbub of planning and forget that "Austin City Limits" has been a local institution for four decades. But how did "Austin City Limits" go from Willie Nelson singing "Whiskey River" on the 1974 pilot to an internationally recognized phenomenon that includes a two-weekend festival with headliners like Eminem and Skrillex?
For that we turn to Tracey Laird, author of Austin City Limits: A History, which was released this week — just in time for the landmark anniversary premiere. Austin City Limits: A History is a 10-year labor of love in which Laird tells the full story of the "Austin City Limits" brand, one that's also the story of Austin and our city's dedication to developing its kaleidoscope musical culture.
Though she's not a native Texan (Laird was born in Shreveport, Louisiana and currently resides in Georgia), "Austin City Limits" has long been part of Laird's life. "Certain parts of [my] life can be marked by who was on Austin City Limits at the time," says Laird, a professor of music at Agnes Scott College.
After writing about another landmark musical program, Louisiana Hayride, Laird's interest in "Austin City Limits" resurfaced when, in 2002, she spoke on a panel regarding its then 30-year significance. That re-ignited fascination led to an additional decade of research for the newly released book.
In Austin City Limits: A History, Laird packs 40 years of history (and that decade of research) into a short, entertaining read full of interesting tidbits and a compelling narrative. To fully grasp the legend of "Austin City Limits," Laird doesn't just tap into people's stories — she embarks on an expansive history of both the television show and the festival.
The book begins by explaining the popularity of Austin’s progressive country scene in the 1970s and how booking Willie Nelson for the pilot episode was a monumental decision. Building off of Nelson and other local “cosmic cowboy” artists gave Austin City Limits the attention it needed to start attracting a wider audience and a broader spectrum of musical styles, Laird explains. As a result, ACL moved away from showcasing local progressive country tunes within the first two seasons, but never lost sight of its inherently "Austin" roots.
The innate ability to honor its heritage while also looking to the next music trend, Laird says, is the magic “balance” that has kept Austin City Limits on the air for 40 years and let the name grown into a nationally recognized brand. “'Austin City Limits,'" Laird says, "creates a space where Willie Nelson can be there and Eminem is at the festival.”
As the “Austin City Limits” experience moves and evolves, it never forgets where it all began. Former KLRU general manager Bill Arhos, the man credited with “creating” ACL, had a business card in the '90s that described the show’s genre as “free form country folk rock science fiction gospel gum existential bluegrass guacamole opera music.” Even now the phrase could not be more true to the spirit of "Austin City Limits" and the music that the show and the festival embrace year after year.
This weekend, whether you’re at Zilker Park for the Austin City Limits Music Festival, at home watching the 40th season premiere with Beck, take the time to remember your roots. You live in Austin — and “ACL” is as much a part of this city as Austin is a part of its name.
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You can find Austin City Limits: A History by Tracey E. W. Laird at BookPeople or at Barnes and Noble.
Tracey Laird is a professor of music and chair at Agnes Scott College in Decatur, GA and author of Austin City Limits: A History.
The skyline view from Zilker Park never gets old.Photo by Kenn Box
The Strokes kicked off their headlining set with “Bad Decisions” from their latest full length album, The New Abnormal, a fitting opener for new fans of the indie sleaze legends. Photo by Kenn Box
Fresh off their North American tour with British legends Oasis, Cage the Elephant braved the setting sun on Saturday and ripped through an hour of songs on the American Express Stage.Photo by Daniel Cavazos
Wet Leg amplified the energy on the American Express stage on Sunday afternoon, which later featured 2000s R&B/hip hop legend T-Pain and 2000s indie rock icons The Killers (who replaced Doja Cat when she dropped off the lineup).Photo by Kenn Box
Nighttime is a barricader's best friend after spending hours in the blazing heat.Photo by Kenn Box
Stranger Things star and indie icon Djo played a fun evening set on the Lady Bird stage before appearing as the surprise “Juno” arrestee at Sabrina Carpenter’s short-and-sweet headlining set. Photo by Kenn Box
Joey Valence and Brae threw it back to the 80s with their retro take on hip hop on the BeatBox stage. Photo by Kenn Box
Whether it’s 3:15 am or 3:15 pm, The Dare knows how to throw a hedonistic party where the energy doesn't stop. Tons of Gen Z fans crowded around the Miller Lite stage, donning their best indie sleaze clubwear.Photo by Kenn Box
The ACL flags have long been a popular spot for festival goers to capture the festival vibes, whether it be via smartphone or that now-hip-again 2000s point-and-Sporting a two-piece blue silk set, lead singer Mica Tenenbaum of Magdalena Bay utilized every inch of the Lady Bird stage on Saturday. shoot digital camera. Photo by Kenn Box
Sporting a two-piece blue silk set, lead singer Mica Tenenbaum of Magdalena Bay utilized every inch of the Lady Bird stage on Saturday.Photo by Kenn Box
Australian electro-pop duo Confidence Man made their return to Austin following South by Southwest (SXSW) 2025, when they spent a week in town playing shows.Photo by Kenn Box
Fellow Australians Empire of the Sun dazzled the ACL crowd with a theatrical set including dancers, costume changes, and a light show that took advantage of the set time at dusk.Photo by Kenn Box
The mystery man in the Banana costume seemed to delight anyone who crossed his path.Photo by Kenn Box
Grammy winner Doechii brought a lusciously curated set design to the American Express stage. The crowd screamed along to every word of her all-hits setlist.Photo by Kenn Box
Despite the 6 pm slot, Role Model played a headline-worthy set to a large crowd of fans. He’s back on the same stage next Friday, a day before his musical debut on Saturday Night Live.Photo by Kenn Box
Nothing beats singing along to your favorite artists’ song with your best friend.Photo by Kenn Box
King Princess is no stranger to the T Mobile stage, having played it in 2019 when it was then known as the Honda stage. Her fashion was just as good the second time around.Photo by Kenn Box
Brisbane star Mallrat played an opening set on the Miller Lite stage on Saturday to a growing crowd of early-bird concert goers. Photo by Kenn Box
Ending the weekend on the BeatBox stage, Sarah Barthel of New York duo Phantogram hypnotized the crowd with her movements set to a strobe-filled light show.Photo by Kenn Box
A classic spot to get a worthy lead photo for your post-ACL Instagram photo dump. Photo by Kenn Box
Rising country star Willow Avalon sang her heart out as diehard fans sang right back to her on the Lady Bird stage during the hottest point of the day. Photo by Kenn Box
Quirky Australian indie rock band Spacey Jane played an early set on the T-Mobile stage to a rapidly filling crowd who were ready to park all day for the Strokes closing set on Saturday.Photo by Kenn Box
Ashville, North Carolina’s sweetheart MJ Lenderman is, at the young age of 26, is already considered an indie darling. Still riding the high off of “Wristwatch” from last year's release, Manning Fireworks, Lenderman made his ACL 2025 appearance on the Beatbox stage. Photo by Kenn Box
The two flag fields on the ACL grounds have always been the most popular meeting site at Zilker.Photo by Kenn Box
New York City rock band Hotline TNT, who released their third studio album, Raspberry Moon, earlier this summer, played the opening slot on the T-Mobile stage. Photo by Kenn Box
Moody Joody brought the energy to the BMI stage on Friday. They played to hardcore fans holding signs, donning customized t-shirts, and singing every word with the Nashville act. Photo by Kenn Box
As the sun set on the final day of weekend one, the crowd's energy seemed to settle as people made their way to the headlining stages of their choice.Photo by Kenn Box