While the history of Austin City Limits will continue to be written for years to come, the third and final day of the festival proved that its roots remain a defining influence in the creative world. With a strong commitment to the country genre, while still celebrating artists across other genres, the day felt like a true homage to the Texas soul, embodying the idea that music only needs to be “three chords and the truth.
Kicking off the day on the Miller Lite stage, California alt-act DeathbyRomy embraced the dark side of rock with a high-intensity performance. With an aesthetic reminiscent of Marilyn Manson, her performance was nothing short of electrifying and authentic to her brand, as she hardly paused to catch her breath during the adrenaline rush of the show.
Johannesburg-born country star Orville Peck embodied the spirit of Austin country as he captivated the audience, leading them through his life’s work in song. His resonant, almost Elvis-like vocal timbre echoed through the park, with his smooth vibrato deeply connecting with those in the crowd. Early in the show, he took a moment to express his compassion and sentimentality, saying, “If at any point you feel like crying, you have to cry,” before performing his 2022 single, “C’mon Baby, Cry.” His lyrical excellence and refined musicality captured the best qualities of classic country songwriting with a modern flair, holding everyone’s attention with singles like “Big Sky,” “Dead of Night,” and “No Glory in the West.”
Arguably the biggest summer success story of any artist in recent memory, Midwest princess Chappell Roan took the main stage at dusk on Sunday before the weekend's largest crowd. It was hard not to feel for any other acts scheduled during the 6:00 hour, as the vast majority of fans seemed to have built their day around her show. Roan did not disappoint; fans screamed from the moment the music began as she opened with her recent single, “Femininomenon.” While her dialogue with the audience was minimal outside of what she conveyed through song, her setlist was packed with catchy tracks, leaving little to be desired, including “Naked in Manhattan,” “HOT TO GO!” and “My Kink is Karma.”
Closing out the night and the weekend on the Honda stage, industry veteran and modern torchbearer of Outlaw Country, Kentucky’s own Sturgill Simpson, delivered a much-anticipated performance to send the audience off into the night. As the show began, bright lights flashed around the stage as the band walked on and kicked off their set with an electrifying rendition of Simpson’s 2019 single “A Good Look.” The musicians’ love for their craft was evident in every note, with each song following its own roadmap as the bandmates took time to face each other and extemporize throughout the set. While the evening primarily celebrated Simpson’s storied career, the momentum took a pause as they covered When in Rome’s defining 1988 single “The Promise” at a slowed tempo, allowing Simpson to emphasize the meaning of every line. Though he spoke sparingly to the audience between songs, his music conveyed a depth that words alone could not, as he told his life story through his setlist. Ending with the energy that embodies his soulful vibrancy, he sent everyone home with a spirited delivery of his 2016 single “Call to Arms.”
