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Miss Lavelle White performing at her Antone’s residency.
Cameron Duddy takes a leap.
Singer-songwriter Molly Burch at Arlyn Studios.
ON THE COVER Jess Carson, Mark Wystrach and Cameron Duddy of Midland. Photograph by Harper Smith
22 MARCH 2018 |
Social Hour p. 28
Karen’s Pick p. 86
Kristin’s Column p. 34
Dining Guide p. 88
Community Profile p. 36
A Look Behind p. 92
Tribeza Talk p. 40 Arts & Entertainment Calendars p. 42
Music Pick p. 43
Midland p. 50
Art Pick p. 44
Listen Up p. 60
Event Pick p. 46
Movie People p. 72
Style Profile p. 82
Soul Sessions p. 76
for granted. My grandmother spoke about Willie Nelson as if he was an old friend, Tuesday’s in high school were marked by Bob Schneider’s standing gig at Antone’s, and Matthew McConaughey could readily be found filming his latest movie at Scottish Rite Dormitory. After living in New York City for 10 years and returning home, I no longer take this bounty of my youth for granted. Austin continues to produce world-class musicians and filmmakers, many of whom have chosen to call our great city home, and in this issue, my first as editor, we are thrilled to be sharing their stories. Upon my return to Austin in December 2014, after a big and exhausting move with two young children in tow, my husband and I were taken out for what else but live music and whiskey. We ended up perched in a booth on South Congress as Miss Lavelle White sang her heart out and slowly nursed us back to life. White is a legendary performer and songwriter who has been singing the blues in Austin since the ’70s, and I can’t wait for you to read the candid conversation she had with fellow musician and fan, Zach Ernst (“Soul Sessions”). While the legacy of Austin music is firmly established, it is remarkable how much talent continues to re-create our local musical landscape. In “Listen Up,” we speak with six such musicians, all of whom are deserving of attention far beyond the city limits. On a sunny day in January, as they all filed into Arlyn Studios, music and conversation could be heard throughout the hallowed space. In between shots, Mobley and Emily Gimble could be found on the piano, Glenn and Alex Peterson (aka the Peterson Brothers) were excitedly describing their recent performance in New York, Paul Cauthen was making us laugh while strumming a guitar, and Molly Burch was sharing what she loved about living in Lockhart. We also had the chance to sit down with Midland just before they set off on their Breakers Tour (“The Right Time for a Good Time”). The Grammy-nominated trio, whose members live in Dripping Springs and Austin, are certainly on the verge of country-music superstardom. This group is doing things their own way, singing music that harkens back to country’s golden age. I feel secure in saying that we Austinites will be happily listening to their music for years to come. Of course, music is often the art form that tourists and locals alike first associate with Austin. Movie greatness is all around us too, thanks, in no small part, to the SXSW Film Festival, the Austin Film Society and the many screenwriters and actors and directors (like Sandra Adair, “The Editor) who live among us. Stephen Harrigan and his daughter Dorothy Guerrero truly bring this point home with their hilarious and endearing walk down Austin-movie-theater memory lane (“Movie People”). Their recounting of a lifetime (two, in fact!) of moviegoing is a delight. Thank you, Stephen and Dorothy, for sharing your immense talents with our readers and reminding us that Austin, while constantly in flux, is ever a place for family, community, and a day spent at the movies. We hope you enjoy reading this issue as much as we have enjoyed putting it together! Margaret Williams
24 MARCH 2018 |
P H OTO G R A P H B Y M A D E L E I N E L A N D R Y
ROWING UP IN AUSTIN, IT WAS EASY TO TAKE LIVE MUSIC AND GREAT FILM
LOEWY LAW FIRM
TRIBEZ A AUSTIN CUR ATED
M A R C H 2 01 8
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CEO + PUBLISHER
DIGITAL MEDIA MANAGER
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Krissy Hearn Errica Williams INTERN
Neal Baker PRINCIPALS
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Kristin Armstrong Karen Spezia WRITERS
Nicole Beckley Dorothy Harrigan Hannah Morrow PHOTOGR APHERS
Miguel Angel Andrew Bennett Warren Chang Matt Conant Holly Cowart Jonathan Garza Leah Muse Taylor Prinsen Harper Smith
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Founded in March 2001, TRIBEZA is Austin's leading locally-owned arts and culture magazine. Printed by CSI Printing and Mailing
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SOCIAL HOUR 2
TRIBEZA INTERIORS TOUR KICK OFF & WRAP PARTY
On January 18, Tribeza launched its 5th annual Interiors Tour with a bash at Sparrow Interiors & Gifts. Friends and design lovers enjoyed bites by Aviary Aviary Wine & Kitchen and Spread & Co., before commemorating the night in the Vannagram mobile photo booth. The tour, which featured homes from 10 acclaimed Austin-based interior designers, culminated with a wrap party at Four Hands Home on January 21. As guests grooved to beats by DJ ulovei, one lucky winner took home a $300 Four Hands Home gift card.
ST. GABRIEL’S CATHOLIC SCHOOL FUNDRAISING GALA
Parents and Austin community leaders gathered at the Four Seasons Hotel on January 20 for St. Gabriel’s Catholic School’s 19th annual fundraising gala. The Roaring Twenties-themed event included a sit-down dinner, amazing auctions, and music by DJ David Garza. Proceeds went toward the school’s mission to employ the best practices in teaching, learning, and empowering students.
On January 26, UT Austin’s public art program, Landmarks, revealed its recent installation to Robert B. Rowling Hall, a remarkable 4,000-square-foot mural by distinguished artist José Parlá. The breathtaking piece, which highlights the duality of Austin’s natural environment and urban cityscape, furthers the efforts of Landmarks to develop an exceptional public art collection for the enjoyment of generations to come.
8 6 10
TRIBEZA INTERIORS TOUR KICK OFF / WRAP PARTY: 1. Hugh Randolph, Christen Ales, Merrick Alex & Leonid Furmansky 2. Margaret Williams & Camille Styles 3. Callie Jenschke, Kim West & Kristin Gish 4. Megan Beagel, Natalie Gren & Tristan Cliff 5. Katie Boswell, Calhan Hale & Michelle Nash ST. GABRIEL’S CATHOLIC SCHOOL FUNDRAISING GALA: 6. Jannell & Scott Brown 7. Laura & Alan Smith 8. Melissa & Rob Webb JOSÉ PARLÁ MURAL UNVEILING BASH: 9. José Parlá, Rey Parlá & Bryce Wolkowitz 10. Emmy Laursen & Michael Barnes 11. Jennalie Lyons & Jill Wilkinson 12. Dan & Paula Daly
28 MARCH 2018 |
P H OTO G R A P H S B Y TAY LO R P R I N S E N , CO U R T N E Y P I E R C E , WA R R E N C H A N G , L AW R E N C E P E A R T, C H R I S T I N A M U R R E Y A N D L A U R E N G E R S O N
JOSÉ PARLÁ MURAL UNVEILING BASH
TATSU AIKAWA NYESHA ARRINGTON LIDIA BASTIANICH JAMIE BISSONNETTE DEVON BROGLIE TYSON COLE CRAIG COLLINS SONYA COTÃ‰ DREW CURREN MARY CATHERINE CURREN CASSIDEE DABNEY JASON DADY TODD DUPLECHAN BILLY DURNEY KEVIN FINK MICHAEL FOJTASEK AMANDA FREITAG DIEGO GALICIA RAY GARCIA STEPHANIE IZARD HELEN JOHANNESEN PAUL KAHAN TIM LOVE JUNE RODIL RODNEY SCOTT RICO TORRES BRYAN VOLTAGGIO MICHAEL WHITE ANDREW WISEHEART & MANY MORE!
T I C K E T S O N S A L E N O W AT A U S T I N F O O D W I N E . C O M
HUMAN RIGHTS CAMPAIGN GALA
The Human Rights Campaign’s 2018 Gala Dinner took place on January 27, when more than 700 guests gathered at the JW Marriott Austin to celebrate love and equality. Along with a cocktail reception, an exciting silent auction, and an elegant black-tie dinner, the night featured live music and inspiring guest speakers, including actress Clea DuVall, who received the HRC Visibility Award.
2018 EBERLY LUNCHEON
The Austin History Center Association held its highly anticipated Angelina Eberly Luncheon at the historic Driskill Hotel on February 2. The incredible panel included Luci Baines Johnson, Monte Akers, and Julian Read. The luncheon featured Akers’ latest book, “The Grande Dame of Austin, History of the Driskill Hotel,” while honoring the rich and diverse history of Austin.
8 HUMAN RIGHTS CAMPAIGN GALA: 1. Erin Gurak & Congressman Lloyd Doggett 2. Andre Underwood & Kyle Schierer 3. D’Lanie Bockholt & Lauren Worsley 2018 EBERLY LUNCHEON: 4. Monte Akers, Charles Peveto, Luci Baines Johnson & Julian Read 5. Steve Manning & Jeff Cohen 6. Diane Land & Mayor Steve Adler 7. Charles Page, Michelle Slattery & Madeline Clites CASABLANCA GALA: 8. Kinda & Joe Lincoln, Donna & Kevin Bell 9. John Berkowitz, Jody Platner & Alina Berkowitz 10. LuAnn & Jack Gilmore 11. Yolanda & Chris Conyers
30 MARCH 2018 |
P H OTO G R A P H S B Y M I G U E L A N G E L , A N N E W H E AT, J I M I N N E S , A N D C H A D W . A DA M S
The 25th Annual CASAblanca Gala was an evening of art and inspiration focused on creating brighter futures for Austin’s children. The event featured an aerial performance by Violet Crown Collective, the Verbena Floral Design Bloom Bar, Beatles tribute band The Eggmen, Kendra Scott mystery boxes, and a casino after-party. This year’s gala raised a record-breaking $972,000 for children in foster care.
THE ADDERLEY SCHOOL’S “AN AFTERNOON WITH JACK DYLAN GRAZER”
Janet Adderley’s The Adderley School for the Performing Arts announced its new nonprofit, The Adderley School, to provide scholarships to lowincome Austin students for the school’s theater program. On February 3, they hosted “An Afternoon With Jack Dylan Grazer” at AFS Cinema with Adderley alum and “It” star Jack Dylan Grazer.
ERIN CONDREN FLAGSHIP GRAND OPENING
Organization expert Erin Condren celebrated the grand opening of her new flagship location at the Domain Northside with an intimate party on February 9. Guests chatted over cocktails while exploring the stunning new space, which will offer everything from customizable LifePlanners and office supplies to stylish home décor and apparel.
ELLSWORTH KELLY’S “AUSTIN” GRAND OPENING DINNER
On February 10, the Blanton Museum of Art held an exclusive black-tie fundraising dinner for the unveiling of Ellsworth Kelly’s (Kelly died in December 2015 at the age of 92) latest installation, “Austin.” The 2,715-square-foot stone building features dazzling multicolored glass windows and is the only freestanding building designed by the celebrated artist. The extraordinary piece officially opened to the public on February 18, becoming a central part of the Blanton’s permanent collection.
THE ADDERLEY SCHOOL’S “AN AFTERNOON WITH JACK DYLAN GRAZER”: 1. Alana Adderley & Jack Grazer 2. Heather Wagner Reed & Stacy Barnes 3. Jack Grazer & Janet Adderley ERIN CONDREN FLAGSHIP GRAND OPENING : 4. Olivia Anderson & Earl Henderson 5. Tim & Heather Willison 6. Mark & Jennifer Ansier 7. Shannon Freeborn & Erin Condren 8. Tara Aguilar, Carly Aguilar, Jenny Mendoza & Andrea Fell ELLSWORTH KELLY’S “AUSTIN” GRAND OPENING DINNER: 9. Elle Moody & Ross Moody 10. Doug Deason & Stacy Hock 11. Dorothy Lichtenstein, Simone Wicha & Suzanne Deal Booth
32 MARCH 2018 |
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Waking UP By Kristin Armstrong Illustration by Heather Sundquist
WENT TO A RECENT MEDITATION SESSION
(part of my New Year’s resolutions! More meditation!) where the leader made an interesting parallel between film and consciousness. Imagine yourself sitting in the theater, completely engrossed in a movie. The lights are low, the surround sound puts you in the center of the scene as it’s unfolding. You can feel the bass drumming with responsiveness in your chest. You are feeling what the characters are feeling. Maybe your eyes well with emotion; or your heart races with adrenaline, fear, or lust; or shame makes you cringe and turn your face. You join them on a quest for understanding, love, redemption, or adventure. You lose awareness of the passage of time, totally immersed in someone else’s storyline. Until suddenly … the credits roll and the lights come up. Or the person next to you starts hacking, talking, or rustling around in the popcorn bag with greasy fingers, chomping, slurping soda,
34 MARCH 2018 |
or texting on a glowing screen. Or you realize you have to pee and remember that you are simply sitting in a theater, watching a movie. You paid good money to be entertained, to escape, to relax, to laugh, cry, learn, or be inspired. This. Isn’t. Real. My meditation teacher compared the experience of seeing a film to the experience of living life and waking up and becoming truly conscious. Before such an awakening, we live life much like a moviegoer. We settle into a comfortable pattern and are lulled into the story and the characters until it seems that the film is all there is, all that exists. We are manipulated by the musical score, getting extremely anxious, melancholy, romantic, or triumphant accordingly, as we’re cued. We are pulled completely into every conflict without a thought as to whether it truly involves us, because this is what we do. We assume we have no power in casting decisions or script rewrites, because after all, we’re just spectating. We expend enormous amounts of energy in this way.
Does this make any sense to you? Put another way, have you ever been totally sucked into some sucky situation (bad circumstance, toxic relationship, pattern of conflict or addiction, someone else’s business or drama) only to have a brief, jolting moment of lucidity where you ask yourself a life-changing question: Hold on. What the hell am I doing? For a moment, a transcendent, beautiful moment, you have a blissful sense of separation between yourself (your Self, with a capital “S”) and the situation (now, thankfully, with a lowercase “s”). And in that space of separation, you gain the perspective you need to realize that the situation is not you, maybe doesn’t even have anything to do with you at all. Suddenly the very thing that seemed looming, dreadful, or inescapable shrinks to a shrug and a hmmph. That is the awakening she’s talking about. It may not sound as profound as it is, but it changes everything after that. The drama loses its power over you when you wake up and remember it isn’t real. You can actually choose to leave the movie and go home. I have had this realization or awakening on several occasions now, and all I know is that I want it more often. I want to expand this awareness from separate occasions, to perhaps a series of such occasions strung together, to finally a more consistent life of consciousness. I want to move more fluidly from What the hell am I doing? to consciously letting go and moving on. It’s an evolutionary, energetic shift. I know it won’t happen all at once, as impatient as I am. It took me many years to create my movie-going patterns, so it will likely take some time to change them. I get so frustrated with myself when I realize (still usually after the fact, but more quickly
I T HOUGH T T HIS K IN D
OF AWA K EN ING WA S
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IN T R A FFIC , A N D GET GROCER IES . BU T IT ’S ME A N T FOR A LL OF US .
than years or even months ago) that I have taken the bait, allowed an old trigger to flip me into an old, reactive pattern. My meditation teacher doesn’t entertain the option of frustration with Self. She gets more excited about growth. She says we need to view a trigger not as a trigger, which has negative connotations, but instead as a catalyst. Ahhh, I like that much better — a catalyst, a harbinger of or a precursor to change. I thought this kind of awakening was reserved for gurus, real yogis, or people in sweat lodges doing peyote, not really middle-aged women who raise kids, work, drive around in traffic, and get groceries. But it’s meant for all of us. Time to turn the house lights on. tribeza.com
| MARCH 2018
Film editor Sandra Adair, not far from her East Austin workspace.
N HER EDITING BAY, SANDRA ADAIR SCULPTS MOMENTS. TO SAY SHE
THE EDITOR A SCULPTOR OF FILM, SANDR A ADAIR SHAPES THE MOVIES WE ALL WANT TO BE WATCHING By Hannah Morrow Photographs by Taylor Prinsen
36 MARCH 2018 |
“creates” them would do a disservice to the raw material from which she chisels; unlike a block of marble or a hunk of clay, the footage she receives isn’t raw at all. It’s the product of effort, vision, and production of a creative army over the course of weeks, months, or in one case, years. “My job is to go into what we have and pull out the gems that best respect the vision of the director,” she says, sitting in her Mueller studio. “A lot of moments peek out, and then you try to carve around so it can surface a little bit better. Other times, you just have to wait to see how you can make them emerge.” Adair has masterminded the moments of more than 30 films through her career, many of which garnered critical acclaim: 1993’s cult classic “Dazed and Confused,” 2003’s jovial “School of Rock,” 2011’s finely tuned tragicomedy “Bernie,” and 2014’s ode to adolescence “Boyhood.” Besides Adair, the common denominator of these films is her longtime confidant, director
“ IT ’S HER E Y E , T R A IN ED TO C A RV E OU T T HE PER IPHER A LS , T H AT SH A PES T HE MOMEN TS T H AT AU DIENCES LONG TO SEE .” Richard Linklater. But it’s her eye, trained to carve out the peripherals, that shapes the moments that audiences long to see. Born in New Mexico and raised in Las Vegas, Adair wasted no time moving to the industry epicenter, Los Angeles, after her high school graduation. Her brother, Robert Estrin (“Badlands,” “The Candidate,” “A River Runs Through It”), was working as an editor and hired her on as an apprentice, spending days rewinding film, edge coating, and syncing dailies. “That was back in the day when everything was on film,” she emphasizes. “I didn’t know anything about film or editing.” Through her 20s, she worked for different editors around Hollywood, learning cutting technique and, equally important, cutting-room etiquette. “When you’re green and you come into that situation, you don’t really understand,” she says. “You have to learn what your job is in the context.” High on the hierarchy was Verna Fields, whom Adair grew fond of as a mentor. Young directors like George Lucas and Steven Spielberg, whom she taught as a professor at the University of Southern California in the 1960s, had dubbed Fields “Mother Cutter” for her indisputable sound- and film-editing talent. While Fields was on location in Martha’s Vineyard shooting “Jaws” in 1974, Adair found herself housesitting Fields’ home in Sherman Oaks. “They didn’t kick me out, so I just kept living there,” Adair says now with a laugh. She hung around to watch, fascinated by the ingenuity and creativity of her process, while Fields edited what would unexpectedly become one of America’s highest-grossing cinematic masterpieces. Fields would go on to receive an Academy Award and an American Cinema Editors Award for the work that Adair partly witnessed. Subsequently, Universal Studios appointed Fields as vice president for feature production at Universal Studios in 1975, making her one of the first women to enter upper-level management at a major studio. “Jaws” would be the last of her films, as she died from cancer in 1982. Reflecting on that piece of personal and cinematic history, Adair is still struck by Fields’ confidence in her craft. “It’s so intimidating to be on a huge movie like “Jaws” and have a young Steven Spielberg darting around and a big studio and all that money and all that pressure … and she was very calm and focused,” says Adair. “When you see people doing a job like that, not being frazzled and frayed and unkind and barking orders, but just being normal, it’s pretty awesome. I’ve always kind of held her in high regard because of the way she dealt with people around her.”
Around the same time, Adair made her first visit to Austin. She met her husband, Dwight Adair, here in 1976. They married and returned to L.A., having two children before the recession and calamity of the early ’90s struck the city. Seeking sanctuary and employment, the family trailed back to Austin in 1993. After nine months without a job, Adair sculpted an offscreen moment, the locomotion of which would be the beginning of an immense friendship and career. It was a pen-to-paper letter to Linklater that brought on their first meeting. Not long after, Adair began editing “Dazed and Confused.” A textbook sleeper hit, “Dazed” remains one of Linklater’s most iconic and an early indication of his thematic Venn diagram: nostalgic, universally personal, and more or less plot-less. He’s a prolific filmmaker whose work inspires think pieces and begs introspection. Commendable, too, is his loyalty: to films, like “Boyhood,” which was filmed over the course of 12 years; to actors, like Matthew McConaughey and Ethan Hawke, who have starred in several of his titles; and to his editor, Adair. “He’s not a director for hire,” says Adair. “I love being able to do my craft and pursue my art and have it be in collaboration with a person of such integrity. His projects, the ones he commits to, mean something to him,” she says. The loyalty is mutual, as she’s purposely stayed in sync with Linklater projects, not that it wasn’t difficult at times. “He’s always got things lined up like planes coming in for a landing,” she laughs. In what little time she has
Adair raised over $56,000 on Kickstarter to produce her directing debut “The Secret Life of Lance Letscher,” which was released last year. tribeza.com
| MARCH 2018
COMMUNITY PROFILE Adair at work in her office at Detour Film production’s double-wide on the Austin Studios lot.
off, she’s edited other projects, like 2010’s “Everything Must Go” starring Will Ferrell and documentaries like 2011’s “Sushi: The Global Catch” and 2015’s “A Single Frame.” Amid a Linklater interlude, less than a year after she received an Academy Award nomination for best editing on “Boyhood,” Adair’s cousin mentioned she had commissioned an artist to do a metal collage on the southern exterior of her store, South Congress Books. By July, Adair had begun filming a documentary on the artist, Lance Letscher. Though she never intended on directing her own work, “The Secret Life of Lance Letscher” became a passion project that she would end up not only directing but also co-producing and editing. The more she befriended Letscher, the more compelling his story and work became. Letscher, an Austin native and University of Texas grad, produces kaleidoscopic collages, impossibly pieced together from bits of matured books and ripe folios. The film, which premiered at SXSW last year, draws a portrait of Letscher’s intricate process and personal chaos from which he has long derived his art. Letscher admits in the documentary: “It’s a complex and mysterious process, and I don’t fully understand it. But I’m aware of it. I can coax it along, or I can get out of the way and let it happen.” A chaotic score by Austin-based composer Graham Reynolds bolsters Letscher’s intensely fantastical pieces, but it’s how Adair articulates Letscher in all his endearing grace that has the film delving deeper than the usual chronological biography. It pulls back the veil on the artist and his mind, its earnest poignancy expertly extricated by Adair. “The measure for me was going to be trying to make a film that would do him justice and his work justice,” she says. “He’s a very sensitive person and a very thoughtful person, and I wanted the film to reflect that.” It’s hard not to draw similarities from Letscher’s work to Adair’s. Highly focused for months at a time, she cuts and crops, adding layers and structure and stories. There are always an unthinkable number of moving parts, and every piece of work is a challenge, with its own unique characters, conflicts, and vulnerabilities. She’s currently in post-production on a Linklater project, “Where’d You Go, Bernadette?” due out later this year. Based on the 2013 novel by Maria Semple, the film stars Cate Blanchett, Kristen Wiig, Billy Crudup, and Laurence Fishburne. It will be her 23rd film in collaboration with Linklater, continuing a streak of admirable allegiance between artists. Young filmmakers and editors often ask Adair advice on how to get such a dream job. The answer, she says kindly, is simple: “Make yourself indispensable.”
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T R I B E Z A TA L K
AN INSIDER’S GUIDE TO WHAT’S BUZ ZING AROUND AUSTIN By Nicole Beckley
Since the 1970s, Gary P. Nunn has been a staple of the Austin music scene, and he’s got the stories to prove it. Released in January, the 72-year-old’s memoir, “At Home With the Armadillo,” chronicles life and shows on the road over the past few decades. An integral part of the early independent music scene in Texas, Nunn’s “London Homesick Blues” song long served as the theme to “Austin City Limits.” He hasn’t slowed down since. His song “The Last Thing I Needed, the First Thing this Morning” was recently recorded by Chris Stapleton.
As a member of The Bright Light Social Hour, Curtis Roush has played energetic psych-rock in Austin for more than a decade. But to create his debut solo album, “Cosmic Campfire Music,” released February 9, Roush wanted to take a different approach. Drawing on the desert landscape of Marfa, Roush wrote an album of songs with a softer shoegaze feel. “All the songs are deeply personal in their themes,” Roush says. “It’s dealing with standard song stuff like breakups and finding new love, and I was dealing with the loss of The Bright Light Social Hour’s manager and [bandmate] Jack [O’Brien]’s brother Alex, who passed away a couple years ago.” The result is an album that’s personal lyrically, as well as musically, as Roush played every instrument on the record. “I’d always had ideas in the back of my head, like, What if the drums were a little more like a ’70s studio drummer? So having a solo record gave me an opportunity to run wild with all that.”
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C U R T I S R O U S H P O R T R A I T B Y M AT T L I E F A N D E R S O N . G A R Y P. N U N N B O O K COV E R P O R T R A I T B Y VA L E R I E F R E M I N .
As SXSW has branched out over the past few years with EDU, focused on education, and Gaming, focused on the gaming landscape from tabletop to e-sports, in 2018 the organization tackles a new space: wellness. The inaugural SXSW Wellness Expo aims to present goods and services for body and mind and host health-oriented workshops, speakers, and fitness classes. Visit the expo at the Palmer Events Center March 10 and 11.
The STARS At Night Good news for Hill Country cinema lovers: The magic of the movies has gotten a lot closer. Sky Cinemas opened its doors in late January. Created by the team behind downtown Austin’s Violet Crown Cinema, the Dripping Springs theater promises to screen a variety of films, including independent and blockbuster releases, and offer local beers and made-to-order food. Picture date night with a shorter drive. SKYCINEMAS.COM
AT X M I S S E D CO N N E C T I O N S P H OTO G R A P H B Y S T E V E R O G E R S
Local Connections “I’ve been a big fan of the Missed Connections section and remember in college my roommate and I would stay up late and look for the best ad or the funniest ad and would share them back and forth,” says Chelsea Bunn. The Craigslist personals category for strangers and acquaintances looking to connect served as the inspiration point for the Bunn-directed improvised stage show “Missed Connections ATX” at ColdTowne Theater. The show’s performers create scenes and musical numbers inspired by real Austin ads, often featuring encounters at Barton Springs and Hippie Hollow. “Austin definitely has its own unique, quirky Austinite voice in the ads; we [see] a lot of love letters to folks keepin’ it weird,” Bunn says. The show debuted in 2017 and enjoyed a sold-out run. In case you missed it, just like a missed connection, you’ll get a second chance to catch it on Saturday nights until March 24. COLDTOWNETHEATER.COM
Blossoming ARTIST 2017 was a busy year for musician Whitney Rose. In January she released a six-song EP, “South Texas Suite,” and in October she put out her third full-length album, “Rule 62.” “I’m constantly writing,” Rose says. “It’s a good way to stay sane on the road too, keeping creative.” A native of Canada, Rose grew up on Prince Edward Island. “[It’s] basically 10 percent beach, 80 percent farmland, and 10 percent small town,” Rose says. Raised on country music, Rose felt called to Austin, making the move permanent in 2015. See Rose most Tuesday nights during her happy hour residency at The Continental Club until her European tour begins in April. WHITNEYROSEMUSIC.COM
| MARCH 2018
Entertainment MUSIC 101X CONCERT SERIES: AWOLNATION
March 2 Stubb’s BBQ
PAT BENATAR & NEIL GIRALDO
March 20 ACL Live at The Moody Theater BRET MICHAELS
March 21 One World Theatre
THE AVETT BROTHERS W/ ASLEEP AT THE WHEEL
March 3 Long Center
EARTH, WIND, AND FIRE
March 4 ACL Live at The Moody Theater MISS LAVELLE’S DANCE PARTY & POTLUCK
March 4 Antone’s Nightclub
NOEL GALLAGHER’S HIGH-FLYING BIRDS
March 5 ACL Live at The Moody Theater BLACK VIOLIN
AUSTIN SYMPHONY ORCHESTRA - ODE TO THE ORGAN
March 22 & 23 Long Center
March 8 ACL Live at The Moody Theater FLOGGING MOLLY
March 9 Stubb’s BBQ
March 9 – 17 Various Locations
JERRY JEFF WALKER 2018 TEXAS BASH
ROOFTOP ARCHITECTURE & DESIGN FILM SERIES: BIG TIME
March 24 Paramount Theatre
March 28 The Contemporary Austin - Jones Center
WHY DON’T WE
THE AUSTIN FLY FISHING FILM TOUR
March 29 Mohawk
BRIAN FALLON & THE HOWLING WEATHER
March 30 Emo’s Austin
ORIGINAL PINETTES BRASS BAND + BETTY HARRIS
March 30 & 31 Antone’s Nightclub
URBAN MUSIC FESTIVAL
March 30 & 31 Auditorium Shores tribeza.com
March 8 Bullock Texas State History Museum
March 23 Paramount Theatre
March 30 Stubb’s BBQ
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TEXAS FOCUS: COMPUTER CHESS
March 12 Alamo Drafthouse - Village
March 12 – 18 Various Locations
March 8 AFS Cinema
ATTIC FILM FESTIVAL
March 9 Emo’s Austin
SXSW MUSIC FESTIVAL
2018 TEXAS FILM AWARDS
VICTOR WOOTEN TRIO
March 23 Stubb’s BBQ
March 10 Emo’s Austin
March 2 Alamo Drafthouse - South Lamar
SXSW FILM FESTIVAL
101X PRESENTS K.FLAY
AGFA SECRET SOCIETY
GABY MORENO W/ DAVID GARZA
March 28 Emo’s Austin
March 7 Long Center
March 29 Paramount Theatre
LEANING INTO THE WIND – ANDY GOLDSWORTHY
March 30 – April 5 AFS Cinema
THEATER NOISES OFF
Through March 10 The City Theatre WAKEY, WAKEY
March 1 – 30 Hyde Park Theatre
MUSICAL THRONES: A PARODY OF ICE AND FIRE
March 8 Bass Concert Hall
BILL MURRAY, JAN VOGLER & FRIENDS
March 18 Long Center
A GENTLEMAN’S GUIDE TO LOVE AND MURDER
March 20 – 25 Bass Concert Hall
SHAKESPEARE IN LOVE
March 23 – April 22 Austin Playhouse CHE MALAMBO
March 27 Bass Concert Hall
DANCE REPERTORY THEATRE PRESENTS TRANSCENDENCE
March 28 – April 8 B. Iden Payne Theatre
CIRQUE ÉLOIZE: SALOON
March 29 & 30 Long Center
COMEDY PUDDLES PITY PARTY
March 3 Paramount Theatre
MISSED CONNECTIONS ATX
March 3 – 24 ColdTowne Theater MARTHA KELLY
March 7 – 10 Cap City Comedy Club LOVETT OR LEAVE IT
March 9 ACL Live at The Moody Theater SXSW COMEDY FESTIVAL
March 9 – 17 Various Locations TONY DEYO
March 14 – 17 Cap City Comedy Club
RANDY RAINBOW LIVE!
March 22 Paramount Theatre
BRIAN GA AR W/ ANDREW WOODS
March 23 The Velveeta Room
THE JIMMY DORE SHOW LIVE!
March 25 Paramount Theatre
March 30 Paramount Theatre
CHILDREN GOODNIGHT MOON THE MUSICAL
March 3 – May 27 ZACH Theatre
NUGGET & FANG
March 10 One World Theatre
BUBBLE GUPPIES LIVE! “READY TO ROCK”
March 11 Long Center
March 11 UMLAUF Sculpture Garden & Museum ROBOT MANIA
March 12 – 16 Science Mill
OTHER SPICE FOR LIFE CHILI COOK-OFF
March 3 Stubb’s BBQ
SHERWOOD FOREST FAIRE
March 3 – April 22 Sherwood Forest
ABC KITE FEST
March 4 Zilker Park
AN EVENING WITH SAM HARRIS & MICHAEL SHERMER
March 5 Long Center
POD TOURS AMERICA
March 9 ACL Live at The Moody Theater SXSW EXPOS
March 9 – 17 Various Locations 2018 BEST OF TEXAS HOT AIR BALLOON FESTIVAL
March 10 Victory Cheval Polo Club RODEO AUSTIN
March 10 – 24 Travis County Expo Center ST. PATRICK’S DAY FESTIVAL
March 17 Jourdan-Bachman Pioneer Farms WWE LIVE ROAD TO WRESTLEMANIA
March 19 H-E-B Center at Cedar Park AUSTIN CONSERVATION LUNCHEON
March 20 JW Marriott Downtown Austin 2018 AUSTIN SPRING HOME & GARDEN SHOW
March 23 – 25 Palmer Events Center
PIRELLI WORLD CHALLENGE GRAND PRIX OF TEXAS
March 24 & 25 Circuit of the Americas
BEARDS & BOW TIES FASHION SHOW
March 29 George Washington Carver Museum DEEPAK CHOPRA: THE FUTURE OF WELLBEING
March 31 Long Center
Cameron Carpenter— “Ode to the Organ” By Neal Baker
LONG CENTER MARCH 22 & 23, 8 P.M.
There’s something overwhelming about the organ that seems to be by design. Almost more a work of architecture than an instrument, it fills a cathedral with its size and sound. Some omnipotent force controls sets upon sets of innumerable keys, buttons, and pedals, commanding the expulsion of wind from an enormous array of pipes reaching up to the heavens. Very romantic, isn’t it? When met with this sublime piece of engineering and divine musicality, Cameron Carpenter’s impression was this: “I can do better.” This is a paraphrase, of course, of what the virtuosic and world-renowned organist has told us through the work he has done first in mastering the organ and second in reinventing it. After showing his skills and his rock-star flair on some of the biggest instruments in some of the biggest halls around the world, he decided his ambitions were too great for those organs. Thus the International Touring Organ was born, a digital version of the instrument that is only slightly less imposing but can go with him wherever he wants. And next on his list of destinations is the Long Center. On March 22 and 23 he’ll be playing alongside the Austin Symphony in a program titled “Ode to the Organ.” After unloading his supercomputer and speakers, he’ll perform Joseph Jongen’s Symphonie concertante for Organ and Orchestra and Camille Saint-Saëns’ Symphony No. 3 in C minor. But whether you’re literate in organ repertoire or not, Carpenter will find a way to amaze you. tribeza.com
| MARCH 2018
ARTS C ALENDAR
Arts RESIDUAL: KATY HORAN & TERUKO NIMURA
Through March 17 ICOSA Collective Gallery 12 X 12
Through April 1 grayDUCK Gallery NATE OTTO ART SHOW
Through April 1 Yard Dog Art Gallery
Salvador Dalí: The Argillet Collection
SALVADOR DALÍ: THE ARGILLET COLLECTION
March 1 – 31 Russell Collection Fine Art Gallery
By Neal Baker
SCULPTOR MARK YALE HARRIS
THE RUSSELL COLLECTION FINE ART GALLERY, MARCH 10 – 24
With the dust still settling in the Russell Collection’s new gallery, an immensely unique set of works is going up on the walls. Recognizable to almost anybody, the style of Salvador Dalí can be dark, distorted, grand, erotic, and sometimes incomprehensible. But while he is perhaps best known for his paintings, this upcoming exhibition has more to offer. The person behind this look into Dalí’s collection is Christine Argillet, daughter of the artist’s own publisher, Pierre Argillet. With Madame Argillet’s intimate connection, this collection provides an opportunity to see some of Dalí’s most masterful pieces, from his work in etchings, tapestries, and watercolors. Open every day in the month of March, this exhibition shows the capabilities not only of Dalí but also of Pierre Argillet, who was trusted by the artist not just in business but in art and life. The two worked together for the greater part of their lives, and while Argillet was an important part in the production of many surrealist and dada
44 MARCH 2018 |
artists, his most notable efforts as a publisher were on Dalí’s etchings. For an art enthusiast, this is a look into some of the more-rare permutations of Dalí’s unmistakable imagination. For an art historian, it’s a window into a collaboration between two of the most important people in their school of thought presented by the person who embodies their legacies. Dalí walking with Pierre Argillet, his legendary publisher and confidante.
March 1 – 31 Russell Collection Fine Art Gallery THE RELATIONSHIP OF THINGS
March 3 – April 14 Davis Gallery
PUNK NOIR: DAWN OKORO
March 8 – July 21 George Washington Carver Museum 2018 SXSW ART PROGRAM
March 9 – 17 Various Locations
March 10 The Contemporary Austin Laguna Gloria HELMUT BARNETT: SOLO SHOW
March 10 – 31 Wally Workman Gallery
March 10 – April 19 Women & Their Work ORNA FEINSTEIN
March 17 – April 14 CAMBIAart Gallery
SPENCER FIDLER: VASCULUM
March 17 – April 28 Flatbed Press
BLANTON BLOCK PARTY 2018
March 24 Blanton Museum of Art
Wa lly Wor km a n Ga l l ery
1 2 0 2 West Si x t h St reet A u st i n , Tex as 78703 wa l l y wo r k manga l l er y.co m 5 1 2.472.7428 Image: Transformed (detail), acrylic on collage on panel, 55 x 49 inches
A R T S PAC E S
Art SPACES MUSEUMS BLANTON MUSEUM OF ART 200 E. MLK Jr. Blvd. (512) 471 7324 Hours: Tu– F 10–5, Sa 11–5, Su 1–5 blantonmuseum.org THE BULLOCK TEXAS STATE HISTORY MUSEUM 1800 Congress Ave. (512) 936 8746 Hours: M–Sa 9–5, Su 12–5 thestoryoftexas.com THE CONTEMPORARY AUSTIN: JONES CENTER 700 Congress Ave. (512) 453 5312 Hours: W 12-11, Th-Sa 12-9, Su 12-5 thecontemporaryaustin.org
Rodeo Austin By Neal Baker
TR AVIS COUNT Y EXPO CENTER, MARCH 10 – 24
For all the effort Austin puts into being progressive and keeping it weird, nothing will ever take away its Texas sensibilities. For the cowpoke in us all, Rodeo Austin is here to provide a place to scuff up your boots. Starting March 10 and running through the 24th, the rodeo is much more than just that. Live music is scheduled every day of the festival, with acts such as Josh Turner, Young the Giant, Lanco, and Ludacris. Also included in the experience is the fair, where you can get more than your fill of carnival rides, funnel cakes, and pig races. Of course, at its core is the competitive wrangling of the rodeo itself. Some of the best in their sport will be there to show how it’s done in eight seconds or less. Finally, the rodeo will conclude with the Bullet Proof Blowout, a two-day, event featuring Tinney’s BBQ and even more live music. Something that really makes this event special, though, is Rodeo Austin’s charity mission. The organization is a nonprofit that raises money for its scholarship program, which helps send students to Texas universities. The fundraising efforts continue year-round, so if you like the rodeo, mark your calendar for Bulltober Fest in October and its gala in February.
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THE CONTEMPORARY AUSTIN: LAGUNA GLORIA 3809 W. 35th St. (512) 458 8191 Driscoll Villa hours: Tu–W 12-4, Th-Su 10–4 Grounds hours: M–Sa 9–5, Su 10–5 thecontemporaryaustin.org ELISABET NEY MUSEUM 304 E. 44th St. (512) 458 2255 Hours: W–Sa 10–5, Su 12–5 ci.austin.tx.us/elisabetney FRENCH LEGATION MUSEUM 802 San Marcos St. (512) 472 8180 Hours: Tu–Su 1–5 frenchlegationmuseum.org
GEORGE WASHINGTON CARVER MUSEUM 1165 Angelina St. (512) 974 4926 Hours: M–Th 10–9, F 10–5:30, Sa 10–4 ci.austin.tx.us/carver HARRY RANSOM CENTER 300 E. 21st St. (512) 471 8944 Hours: Tu–W 10–5, Th 10–7, F 10–5, Sa–Su 12–5 hrc.utexas.edu LBJ LIBRARY AND MUSEUM 2313 Red River St. (512) 721 0200 Hours: M–Su 9–5 lbjlibrary.org MEXIC–ARTE MUSEUM 419 Congress Ave. (512) 480 9373 Hours: M–Th 10–6, F–Sat 10–5, Su 12–5 mexic–artemuseum.org O. HENRY MUSEUM 409 E. 5th St. (512) 472 1903 Hours: W–Su 12–5 THINKERY AUSTIN 1830 Simond Ave. Hours: T-F 10-5, Sa-Su 10-6 thinkeryaustin.org UMLAUF SCULPTURE GARDEN & MUSEUM 605 Robert E. Lee Rd. (512) 445 5582 Hours: T-F 10-4, Sat-Su 12-4 umlaufsculpture.org
A R T S PAC E S
Art SPACES GALLERIES 78704 GALLERY 1400 South Congress Ave. (512) 708 4678 Hours: M–F 8-5 78704.gallery ADAMS GALLERIES OF AUSTIN 900 RR 620 S., Unit B110 (512) 243 7429 Hours: T–Sa 10–6 adamsgalleriesaustin.com ART ON 5TH 3005 S. Lamar Blvd. (512) 481 1111 Hours: M–Sa 10–6 arton5th.com ARTWORKS GALLERY 1214 W. 6th St. (512) 472 1550 Hours: M–Sa 10–5 artworksaustin.com AUSTIN ART GARAGE 2200 S. Lamar Blvd., Ste. J (512) 351-5934 Hours: Tu–Sa 11–6, Su 12–5 austinartgarage.com AUSTIN ART SPACE GALLERY AND STUDIOS 7739 North Cross Dr., Ste. Q (512) 771 2868 Hours: F–Sa 11–6 austinartspace.com AUSTIN GALLERIES 5804 Lookout Mountain Dr. (512) 495 9363 By appointment only austingalleries.com BIG MEDIUM GALLERY AT BOLM 5305 Bolm Rd., #12 (512) 939 6665 Hours: Tu-Sa 12-6 bigmedium.org
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CAMIBAart 2832 E. MLK. Jr. Blvd., Ste. 111 (512) 937 5921 Hours: Tu–F 10–5, Sa 12-5 camibaart.com
FLATBED PRESS 2830 E. MLK Jr. Blvd. (512) 477 9328 Hours: M–F 10-5, Sa 10-3 flatbedpress.com
CAPITAL FINE ART 1214 W. 6th St. (512) 628 1214 Hours: M–Sa 10-5 capitalfineart.com
FLUENT COLLABORATIVE 502 W. 33rd St. (512) 453 3199 By appointment only fluentcollab.org
CO-LAB PROJECTS: PROJECT SPACE 721 Congress Ave. (512) 300 8217 By event and appointment only co-labprojects.org
GALLERY 702 702 San Antonio St. (737) 703 5632 Hours: Tu–Su 10-6 gallery702austin.com
DAVIS GALLERY 837 W. 12th St. (512) 477 4929 Hours: M–F 10–6, Sa 10–4 davisgalleryaustin.com DE STIJL | PODIUM FOR ART 1006 W. 31st St. (512) 354 0868 Hours: Tu-Thu, Sa 1-5 destijlaustin.com
GALLERY BLACK LAGOON 4301-A Guadalupe St. (512) 371 8838 Hours: Sa 1-5 galleryblacklagoon.com GALLERY SHOAL CREEK 2832 MLK Jr. Blvd. #3 (512) 454 6671 Hours: Tu–F 10–5, Sa 12–5 galleryshoalcreek.com
DIMENSION GALLERY SCULPTURE AND 3D ART 979 Springdale, Ste. 99 (512) 479 9941 dimensiongallery.org
GRAYDUCK GALLERY 2213 E. Cesar Chavez Austin, TX 78702 (512) 826 5334 Hours: Th -Sa 11-6, Su 12–5 grayduckgallery.com
DOUGHERTY ARTS CENTER 1110 Barton Springs Rd. (512) 974 4000 Hours: M-Th 10-9, F 10-5:30, Sa 10-2 austintexas.gov/department/ dougherty-arts-center
JULIA C. BUTRIDGE GALLERY 1110 Barton Springs Rd. (512) 974 4025 Hours: M–Th 10–9, F 10–5:30, Sa 10–2 austintexas.gov/department/ doughertygallery
FAREWELL BOOKS 913 E. Cesar Chavez St. (512) 473 2665 Hours: M-Sa 12–8, Su 12–7 farewellbookstore.com
LA PEÑA 227 Congress Ave., #300 (512) 477 6007 Hours: M–F 8-5, Sa 8-3 lapena–austin.org
FIRST ACCESS GALLERY 2324 S. Lamar Blvd (512) 428 4782 Hours: Tu-Sa 10-7, Su 12-5 firstaccess.co/gallery
LINK & PIN 2235 E. 6th, Ste. 102 (512) 900 8952 Hours: Sat & Su, 11-4 linkpinart.com
LORA REYNOLDS GALLERY 360 Nueces St., #50 (512) 215 4965 Hours: W–Sa 11-6 lorareynolds.com
SPACE 12 3121 E. 12th St. (512) 524 7128 Hours: T-F 10-5 space12.org
LOTUS GALLERY 1009 W. 6th St., #101 (512) 474 1700 Hours: M–Sa 10-6 lotusasianart.com
STEPHEN L. CLARK GALLERY 1101 W. 6th St. (512) 477 0828 Hours: Tu–Sa 10–4 stephenlclarkgallery.com
MASS GALLERY 507 Calles St. (512) 535 4946 Hours: F 5-8, Sat & Su 12-5 massgallery.org
STUDIO 10 1011 West Lynn St. (512) 236 1333 Hours: Tu–Sa 11–5 studiotenarts.com
MODERN ROCKS GALLERY 916 Springdale Rd., #103 (512) 524 1488 Hours: Tu - Sa 11- 6 modernrocksgallery.com
THE TWYLA GALLERY 1011 West Lynn (512) 236 1333 Hours: Tu–Sa 11–5 studiotenarts.com
MONDO GALLERY 4115 Guadalupe St. Hours: Tu - Sa, 12- 6 mondotees.com
VISUAL ARTS CENTER 209 W. 9th St. (800) 928 9997 Hours: M-F10-6 twyla.com/austingallery
OLD BAKERY & EMPORIUM 1006 Congress Ave. (512) 912 1613 Hours: T–Sa 9–4 austintexas.gov/obemporium
WALLY WORKMAN GALLERY 1202 W. 6th St. (512) 472 7428 Hours: Tu–Sa 10–5 wallyworkman.com
PUMP PROJECT ART COMPLEX 702 Shady Ln. (512) 351 8571 Hours: Sa 12–5 pumpproject.org
WOMEN & THEIR WORK 1710 Lavaca St. (512) 477 1064 Hours: M–F 10–6, Sa 12-6 womenandtheirwork.org
ROI JAMES 3620 Bee Cave Rd., Ste. C (512) 970 3471 By appointment only roijames.com RUSSELL COLLECTION FINE ART 1137 W. 6th St. (512) 478 4440 Hours: Tu–Sa 10–6 russell–collection.com
YARD DOG 1510 S. Congress Ave. (512) 912 1613 Hours: M–F 11–5, Sa 11–6, Su 12–5 yarddog.com
FREDERICKSBURG ARTISANS — A TEXAS GALLERY 234 W. Main St. (830) 990-8160 artisanstexas.com CATE ZANE GALLERY 107 N. Llano St. (830) 992-2044 catezane.com FREDERICKSBURG ART GALLERY 405 E. Main St. (830) 990-2707 fbgartgallery.com FREDERICKSBURG ART GUILD 308 E. Austin St. (830) 997-4949 fredericksburgartguild.org INSIGHT GALLERY 214 W. Main St. (830) 997-9920 insightgallery.com KOCH GALLERY 406 W. Main St. (830) 992-3124 bertkoch.com LARRY JACKSON ART & ANTIQUES 201 E. San Antonio St. (830) 997-0073 larryjacksonantiques.com RIVER RUSTIC GALLERY 222 W. Main St. (830) 997-6585 riverrustic.com RS HANNA GALLERY 244 W. Main St. and 208 S. Llano St. (830) 307-3071 rshannagallery.com URBANHERBAL ART GALLERY 407 Whitney St. (830) 456-9667 urbanherbal.com
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50 MARCH 2018 |
Right Time For a
There’s a lot to be said for being in the right place at the right time. That the place might be Dripping Springs and that the time might be, well, now seems like a bit of a surprise. But for Midland, the country music trio on the brink of full-fledged stardom, the right place and time are exactly what they’ve been waiting for. BY
| MARCH 2018
From left to right, Carson, Wystrach, and Duddy, in Dripping Springs.
T’S A CHILLY DAY AT THE BEGINNING OF FEBRUARY AND
early enough in the morning that there’s a rooster crowing on Cameron Duddy’s ranchland in Dripping Springs. Midland has recently returned from the Grammy Awards — their hit single “Drinkin’ Problem” was nominated for best country song and best country duo/group performance (the awards went to Little Big Town and Chris Stapleton and Mike Henderson, respectively) — and they’re sneaking in a bit of rehearsal time before setting oﬀ on a 26-city tour with Little Big Town. It’s been a whirlwind few months for the band, whose debut, “On the Rocks,” was released in September 2017 and named the best album of the year by the Washington Post. They learned about their Grammy nominations in between performing on “Late Night With Seth Meyers” and the “Today” show. As quick as this success has seemed to come, in a lot of ways it’s what the band — Duddy, Mark Wystrach, and Jess Carson — had long been hoping for. “Today, coming back for the first time a"er the year that we’ve had, is pretty wild,” Wystrach, the band’s lead vocalist, says. “It’s very surreal, and it’s getting kind of crazier, it seems like.”
52 MARCH 2018 |
| MARCH 2018
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Carson and Wystrach bonded over a love of country music and exposed Duddy to deeper cuts.
YSTRACH strolls into Duddy’s living room shortly a"er 8:30 a.m. in tan suede cowboy boots and a matching tan cowboy hat featuring a tu" of brown feathers and a pin reading “Kiss My Grits.” Wystrach is tall, with a slim, athletic build and feeling blue eyes. A former model and actor, he o"en draws attention because of his looks, but his vibe is calm and amiable. At some point, Duddy’s toddler, Kit, plops himself down in Wystrach’s lap, perfectly at home, while Wystrach recounts Midland’s origin story. To hear him tell it, Midland started with a literal lightning strike. Wystrach and Carson were in Jackson Hole, Wyoming, for the wedding of Duddy and photographer Harper Smith. The three men had met years earlier in Los Angeles, where Wystrach and Duddy were neighbors and bandmates in a country-rock outfit called The Young Whiskey. Duddy and Carson had played together in an Americana band called Major Grace before Carson le" L.A. for Portland, Oregon. “That first night we were sitting in Harper’s mom’s cabin, overlooking the Tetons, drinking beers and we brought the guitars out, and Jess started playing, like, American Songbook, old country songs, like Moe Bandy songs and Gary Stewart songs, and I kind of was looking at him like, what?” Wystrach says. Quickly bonding over their shared love of country music, the three guys traded stories and songs and got onstage as part of the wedding’s talent show. The day of the wedding, while waiting out a thunderstorm, “Jess looked at me and goes, ‘Man, we should do something, we should all do a project together,’” Wystrach says. “And strike me down if I’m lying, but a big ol’ bolt of lightning hit right at the ranch, just exploded and was loud as hell.”
With shaggy, graying hair and an open, broad smile, Duddy cops to being the organizer in the group. “If you want to say the word ‘bandleader,’ that’s fine,” he oﬀers. Duddy grew up in California, in Los Angeles and San Ramon, settling in L.A. a"er high school and making a name for himself as a music-video director. He’s worked on projects with Jennifer Lopez, Britney Spears, and frequently Bruno Mars — notably directing the videos for “Uptown Funk” and “24K Magic.” While his own successful music career in L.A. had eluded him, with the ideas for Midland swirling, Duddy wanted to apply the same ambition and hustle he’d used to land directing gigs to building a band. Shortly a"er Duddy’s call, the guys holed up for 10 days at the Sonic Ranch, about an hour southeast of El Paso, to record demos. They chose the name “Midland” as a reference to the Dwight Yoakam song “Fair to Midland” and for its more ambiguous properties. “If we’re gonna get super-thoughtful on it and wax poetic, it’s kind of like this common ground that we all meet at when we make music,” says Duddy. There was some rare alchemy in their coming together. “When we arrived at our sound out here in Texas, it was like something all of us had collectively been searching for for our whole lives,” Duddy says.
he key that turned the music box might ultimately belong to Carson. He grew up on a Christmas tree farm in Oregon and, a"er years in the L.A. music scene, relocated to Portland. He met his wife, Camille, and opened a high-end vintage clothing shop, but the couple wanted to find a place where they could settle down and where Camille could do the rodeo sport of cutting. (This is where a rider on horseback “cuts” a cow out of a herd.) “We’d been to Austin and fallen in love with it,” Carson says. By the time of the Sonic Ranch sessions, Carson was living in Texas, playing spots like Hotel Vegas. Duddy came for a weekend visit and returned two days later to put an oﬀer on a house in Dripping Springs. Shortly a"er that, Wystrach moved in. “When we walked away from the Sonic Ranch sessions, I think we all knew that we needed to pursue this,” Wystrach says. “Austin was just the obvious answer.”
hile plenty of people might have had a good time at the wedding and moved on, Duddy didn’t let the idea pass. Six months later, in January 2014, haunted by a fever and a viewing of the “History of the Eagles” documentary, Duddy made some calls. “I hadn’t thought about playing music in five years, and I called those guys and said, ‘Jess has got these songs; Mark, you’ve got such a great voice; I’ve got money from when I got married saved up. Let’s go and record demos and start a band,’” Duddy says. tribeza.com
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When we arrived at our sound out here in Texas, it was like something all of us had collectively been searching for our whole lives.
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For Wystrach, their music is inspired by growing up in the 1980s, listening to the likes of Merle Haggard, Conway Twitty, and Alabama.
Making the move to Austin felt like something of a natural fit for Wystrach, who grew up on a ranch outside Tucson, Arizona. “My mother was born in Marfa. That’s where we got into the ranching business in 1933,” Wystrach says. “My grandfather used to know Liz Lambert’s family. They were in the West Texas Hereford Association together.” His parents owned, and still run, a place called The Steak Out, where, in Wystrach’s recounting, his uncle “Fast Eddy” bartended, fights broke out in the dirt parking lot, and local country bands played. “Coming out here and playing the honky-tonks to me was like going back home,” Wystrach says. “Especially a"er spending 10 years in L.A.”
t has, by all accounts, been a quick rise. In 2015 Midland was playing around Austin, including at the Broken Spoke. “I don’t think in my 54 years I’ve ever seen a band rise up to national attention as fast as what they did,” says James White, owner of the Broken Spoke, noting that he’d booked George Strait at the Broken Spoke for seven years before the singer hit it big with “Unwound.” “Usually [with] a band that I book, I keep them up front for quite a while before I let them play the dance hall, and they jumped right into that and did a great job,” White says. A"er their L.A. years, they were ready to let loose in Texas. “It was such a gamble, and the thing that kept us together, the thing that drove us was always the music,” Wystrach says. While some want to gravitate to the more salacious elements of their biographies (certainly there are results to be found if you Google “Midland” and “underwear model” or “Bruno Mars 24K Magic”) as some kind of demerit against their “authentic country” credibility, there seems to be overwhelming consensus about the quality of their music and musicianship. “They’re so talented and [with] beautiful voices,” musician Gary P. Nunn says. “Totally professional and committed to their work. So I’m happy and pleased to see that they’re getting to the top.” If their backgrounds have drawn some ire, they’ve also uniquely qualified them for the spotlight — navigating a public profile is no small feat. And the music industry is not one that guarantees success or longevity. “I gotta hand it to them for basing their operations out of Texas and still being able to work the Nashville scene so well,” Nunn says. Midland signed with Big Machine Records in March 2016.
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Of course, with more visibility, they’ve caught flak for all kinds of things. “Somehow in the short amount of time that we’ve been exposed in Nashville, I think we’ve got some sort of reputation that we like to raise hell. I mean, we do, that’s the truth, we do like to have a good time,” Duddy says, though he notes they’ve only come across a few others — Darius Rucker, Jon Pardi, the Little Big Town crew — willing to join in. To the idea of hell-raising, Nunn says, “Well, you know, they’re musicians. Part of the whole deal is to have as much fun as you can.” And when you’ve cultivated a retro-chic look that swings from Gram Parsons-inspired Nudie suits to unironic “Dazed and Confused”-style thri" finds, you’re not exactly looking to stay under the radar. (Their Fort Lonesome-embroidered Grammys attire received high praise from “Vogue.”)
ack in Dripping Springs, the guys are prepping to have their photos taken alongside Carson’s Chevy C10. As Duddy decides on his clothes, he conjectures, “Midland is in a critical golden age right now, because we have enough success so that we are cocky but not enough that we are not willing to put ourselves on the line.” Moments later Duddy is running down the street pants-less, in a T-shirt, boots, and black underwear, encouraged by his wife, who thought it would make a great picture, as he made the roadside wardrobe change. Pants back on, Duddy hops behind Carson’s truck for a few more photos. The guys are at ease, jovial, having a good time. There’s a natural chemistry — something that spills into their music and is present in their harmonies. A week later, on a rotating stage under electric lights in the Frank Erwin Center, as the guys harmonize on “The Gator Boys” (a song not on “On the Rocks”), the chemistry sparks again. A"er opening with “Check Cashin’ Country,” Midland blows through their too-short seven-song set with the polish of a band that won’t be an opening act for long. Introducing themselves as an Austin band almost feels inaccurate; geography can’t contain them. When they close with “Drinkin’ Problem,” the crowd is singing along. “Their sound is so very contemporary with what’s going on right now. They sound like hit records when you hear their songs,” Nunn says. “It’s just right where country music is these days. The right place at the right time.”
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Pictured in the Â recording roomÂ at Arlyn Studios, left to right: Glenn Peterson, Jr., Alex Peterson, Molly Burch, Paul Cauthen, Emily Gimble and Mobley.
ANNE BRUNO ANDREW BENNETT
LISTEN PHOTOGRAPHS BY
I N A CITY OVERFLOWING WITH TALENT, THESE SIX AUSTIN MUSICIANS COMMAND OUR ATTENTION
Like the Colorado River that starts just south of Lubbock and travels through the Hill Country, music has long flowed through Texas. In the river’s case, it took a dam to hold some of the waters here in Austin; with the music, it’s a diﬀerent story. Musical talent pooled here naturally, the result of a community always thirsty for more and the cultivation of a free spirit that encourages artists to do what artists do best: express themselves. While these six Austin musicians represent diﬀerent styles, they all oﬀer a genuine and personal perspective delivered in a way that warrants your attention.
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GIMBLE “I’m all about the saltiness,” Emily Gimble says, laughing. By that she means that she’s about what’s real, unfussy, accessible, and absolutely unpretentious. With an easy smile and the quiet confidence of someone who knows how to get things done, Gimble has made a name for herself as a talented vocalist and keyboard and fiddle player who can’t be boxed into one specific genre. She likes that just fine. Gimble, a native of Crawford who also spent a lot of time in Waco, plays and sings with an open heart, which is one reason she quickly connects with an audience, no matter the style of music she’s making at any given time. Gimble has opened for Hayes Carll, among others, and when not touring can frequently be found performing at The Continental Club’s Gallery and C-Boy’s Heart & Soul or hanging out at The ABGB, enjoying Warren Hood. Growing up playing and singing alongside her legendary grandfather, fiddler Johnny Gimble, and her father, Dick Gimble, a music professor, Emily saw music as a path worth pursuing. Her two-year stint with Asleep at the Wheel only honed her Texas Swing skills but by no means defines her musical curiosity or expertise, as proven in her soulful EP released last year, “Certain Kinda.” The Greyhounds’ Andrew Trube collaborated and pushed her “in a really good way.” A lover of jazz, Emily describes listening to Thelonious Monk as being “like hearing a bell that can completely clear my mind. If I could ever express myself like he does …,” she says, smiling. As her voice trails oﬀ, it leads somewhere that definitely makes you want to follow.
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MOBLEY The true definition of a one-man band, Mobley has an aﬃnity for visual storytelling, as well as songwriting, producing, and performing. He’s composed scores for film and television projects, and a conversation with the introspective artist is peppered with visual images. Which isn’t a surprise, given that he studied both film and linguistics on an academic scholarship to The University of North Carolina in Chapel Hill. The cover art he created for his upcoming 10-track release, “Fresh Lies Vol. 1,” projects the ambiance of a sophisticated set design, and videos for “Solo” and “Tell Me” are beautiful stand-alone short films. “As much as possible, I like to do everything myself, because it lets me share my total vision for something,” he says. The music Mobley makes is melodic, high-energy, and addictive, but there’s a lot more going on than a casual listen might reveal. Using what he calls a “thematic and conceptual approach,” he likes to explore big ideas, things like nationhood, identity, and what it means to be a black man in America. “A lot of people hear with their eyes,” he says, referencing an instance when he was mistakenly referred to in the media as a rapper, when rap is something Mobley has never done. He acknowledges the topics he pursues in the guise of love songs are worthy of a lifetime of exploration, and it seems part of Mobley’s DNA to constantly absorb ideas, then put them out into the world again, expanded through fresh eyes. Lest you think he leans heavier on concept than on execution, talk to anyone who has experienced one of his live shows. Mobley’s music moves the body and soul, not just the mind.
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BURCH With a vibe o"en described as “vintage” and a voice that harkens back to female vocalists of incredible range (think Patsy Cline), one could be forgiven for thinking Molly Burch has been making her music forever. Spend a little time talking with her, though, and you’ll discover that what Burch makes sound eﬀortless is actually the product of some serious boundary-pushing and risk-taking on the part of the introverted Los Angeles native. “I always knew I liked to sing, but the idea of doing it in front of anyone terrified me,” she says. “Even so, I grew up in a family where everyone’s creative, so it seemed natural to try and figure out what I was good at and then go do it.” A circuitous route led Burch to study jazz vocals in North Carolina and ultimately land in Austin in 2013. Make that Lockhart, as of last summer. For a big-city girl who knew exactly one person when she moved to Texas, taking risks seems to be paying oﬀ. Her highly regarded debut album, “Please Be Mine,” was released last year, and she’s working on her second album now. Burch’s feelings about songwriting, like singing, have changed over time; she says she’s gone from being nervous about showing her songs to even her backing musicians to walking in and saying, “Okay, here’s what we’re going to do next.” As for her most recent risk — moving from Austin to a small town — Burch says, “At the very beginning, it felt strange, but I’ve come to find the physical space around me very calming. I love the space and the time I now feel like I have to write.”
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CAUTHEN The word “authentic” seems to be the buzzword of the decade, but no one told Paul Cauthen that when he was busy growing up in Tyler, trying to figure out how to be the best version of himself. Through his music, he seems to have hit the mark, coming by his authenticity in the most natural way possible. Cauthen’s old-soul voice is certainly loud (something he learned in Church of Christ choirs), but it’s his urgent honesty, not the volume, that grabs your attention. His grandfather, who taught Cauthen to play the guitar, was his greatest mentor, and a"er he passed away, when Cauthen was only 10, Cauthen started to write. “I guess that’s when I had something I really needed to say,” he explains. “There was a lot going on inside that I had to get out. Songwriting’s still cheaper than therapy.” His “My Gospel” LP, released in 2016, bears witness to one of Cauthen’s central beliefs: Life is short. While Cauthen clearly enjoys going his own way, collaborating with like-minded musicians and engineers is a big part of his creative process. He recently finished a tour opening for Margo Price and is excited about what he calls the “Loretta-and-Conway-style” duets they’ve been working on. He calls Austin’s Arlyn Studios his home base but has worked in Nashville and recorded in Dallas, Denton, and Muscle Shoals. His EP “Have Mercy” is due out in May. Equal parts heart and hustle, Cauthen says that what he’s doing is a lot of fun but hard work too. “It’s about how much do you want it and what are you willing to do.”
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PETERSON BROTHERS If, as many of us happily believe, music can make dreams come true, Glenn Peterson Jr. and his younger brother, Alex, are on both the giving and receiving end of the deal. The Peterson Brothers describe their music as a modern blend of blues, soul, and funk, but that doesn’t begin to capture the magic of the 21- and 18-yearold brothers from Bastrop. To see them live is to know freedom and joy, the kind, for the performer as well as the audience, that comes from not knowing exactly what’s going to happen next but understanding that, whatever it is, you’ll want to do it again. While they’ve toured with Gary Clark Jr. and played shows like the Chicago Blues Festival, the Petersons have maintained a regular gig at The Continental Club for the past five years with Glenn on guitar and Alex playing bass and occasionally violin, his first instrument. “It’s great because we get to try out new things and do what we feel works at that moment,” explains Glenn. “We love improvising. It’s what keeps us learning all the time, which is important.” Shared mannerisms and knockout smiles make it obvious they’re siblings, but the musical mind-melding onstage is more than basic brotherhood. About their recent dream-come-true opening for Robert Randolph & the Family Band’s Grammy-nomination party in New York, Alex says, “The whole thing was unbelievable for us. The best part is,we didn’t have to try and explain what it was like to our parents, because they travel with us. They do everything to support our music, and it was even better that we were all there together.”
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Two lifetimes in Austin theater-going STEPHEN HARRIGAN AND HIS DAUGHTER DOROTHY GUERRERO are two film-obsessed Austin writers who have been going to movies together for more than 30 years. Now they’ve found their dream theater: Alamo Dra"house Mueller. Tribeza recently sent them to see “Jumanji: Welcome to the Jungle” and asked them to have a conversation about what makes a great movie theater, the most memorable movie experiences of their pasts, and whether popcorn is best eaten from a bag, a box, or a silver bowl. DOROTHY GUERRERO: So,
Dad, we’ve come to the Alamo Dra"house at 2:45 p.m. on a Saturday in January to see “Jumanji.” Why are we here? Uh, you invited me? Something about me deliriously posting on Facebook a few months ago that the Alamo Dra"house Mueller was the greatest movie theater in the history of the world? OK, I’ve calmed down now — maybe the history of the world is a bit too much. But of all the movie theaters I’ve known and loved in Austin for the past half-century, this one is my favorite. It just feels right. And don’t you think that “Jumanji” is somehow the perfect father-daughter movie outing? STEPHEN HARRIGAN:
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Artist Connie Arismendi has been involved with W&TW since the 1980s. DG: That’s right, I remember now. Shouldn’t we
while watching a movie is a natural human thing to do, but I love not having to stress about whether waiting in line at the concession stand is going to cause me to miss the opening credits.
take a moment to warn our readers that there could be important “Jumanji: Welcome to the Jungle” spoilers ahead? Yes, but let’s watch the movie before we spoil it for our readership. [Pause for 1 hour and 59 minutes.] SH:
SH: Well, looks like they all died. But since they
each had three lives they’re OK. The movie’s over, but do you mind if we just sit here for a minute? This is a great place to hang out even when nothing is on the screen. It’s cozier than a womb in here. And we need time to reflect. “Jumanji” was — I’m just going to say it — a brilliant film? DG:
Don’t be ashamed. I feel it too. And this could be The Rock’s — sorry, I still call Dwayne Johnson that — best performance ever. I’m convinced he really should be our next president. SH:
I was on board from day one and never looked back. Now the idea of going to a regular theater without the promise of chardonnay and fried pickles makes me deeply uncomfortable. We weren’t even here for an oﬃcial mealtime, but the second we walked in and the smell of personal pizzas hit my nostrils, I was famished. DG:
“I’M REMEMBERING ONE-SCREEN MOVIE PALACES, BUT THAT WAS MY CHILDHOOD, NOT YOURS. YOU AND YOUR SISTERS ARE CHILDREN OF THE MULTIPLEX.”
I prefer the formal “Dwayne ‘The Rock’ Johnson.” What a time to be alive! It’s more likely than not that he’ll at least be our next Secretary of the Interior. So, tell me, why do you like this particular Alamo? I agree with you, but you are older, so you can list your reasons first.
SH: It’s pure Pavlovian manipulation, but that’s
OK. And I may be wrong, but I think this is the first Alamo Dra"house to have cup holders in addition to the little school desk tray in front of you. I also like the communal sense of being in a theater that seems to have been built for you and your tribe, that is sleek and forward-looking but also determined in its way to bring back the movie-going grandeur of our collective memory.
they had me at the seats. So supple and supportive. Plus, getting up to go to the bathroom in the middle of the show is so much more dignified than it used to be. Remember the original Alamo downtown, where you basically had to reverse pole-vault yourself under the table and into the aisle in front of you? No more!
SH: Well, you have to be in tune with the basic Alamo experience: i.e., food ser-
vice and a little dose of hipster snark. But if you’re down with that, for starters there’s a broad, gleaming staircase leading up to all the auditoriums that makes you feel you’re headed someplace special. And don’t you like these reclining seats we’re in? The aisles between rows are wide, which means we don’t feel like we’re stuck in an airplane middle seat in coach. When I first started going to the Alamo, I didn’t like the fact that they served popcorn in silver bowls instead of the traditional boxes or paper bags. But I’m woke about that now. DG: And
you complained about the hunched-over waiters darting back and forth. Have you surrendered to the theater-restaurant hybrid? SH:
I guess so, sure. Still not totally convinced that actually eating dinner
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there was some Pilates skill required at the original Alamo. By the way, when I just said “our collective memory,” I forgot that we’re from diﬀerent generations. I’m remembering one-screen movie palaces, but that was my childhood, not yours. You and your sisters are children of the multiplex. Do you remember your first movie experience? DG: Not the first, but I have very fond memories of Austin theaters. Remem-
ber the thundering cotton clouds on the ceiling at the original Arbor? How funny that they went to all that trouble. Also, I remember being completely wowed when our city got its first cinema with stadium seating! The Barton Creek Cinema brought that into our lives. I can’t believe we went so long without them.
The old Arbor is now a Cheesecake Factory. Austin is haunted by the ghosts of abandoned or repurposed movie theaters. The Yarborough Branch Library on Hancock Drive is where the old Americana Theatre used to be — where I saw “Doctor Zhivago” in 1966! Do you remember when we used to take you to the Southwood Theatre on Ben White—back when Ben White was a mighty thoroughfare and not a feeder route for 290 and 71? That theater is now a laser tag place. And back then there was also still a drive-in on Ben White, the Southside Twin. We took you to see a jungle princess-warrior movie called “Sheena” there when you were three. We thought it was important that you experience other lands and cultures. SH:
don’t remember, but I’m sure it seeped into my veins, so I thank you very much.
perately wanted to see, but when I turned around to find it again, it wouldn’t be there. It was the movie theater equivalent of the Flying Dutchman. OK, they’re sweeping up. I guess we should go. [They exit.] DG: My
Netflix-sponsored children will never understand any of this. You might as well be talking about walking five miles in the snow to school … each way … barefoot … carrying buckets of coal. But back to Mueller, this view from the deck on the second floor really makes you think about Austin, doesn’t it? It seems like none of this was here a week ago. Even though we are grumpy old townies most of the time, I have to say, this is one spot in our pumped-up, sprawling city that doesn’t make me want to shake my fist at the sky. It makes me feel like it all might work out for the best.
SH: I knew you would thank us one day. The sacrifices we made! SH: I DG: Do you remember your first theater experience? SH: The most indelible was seeing “Davy Crockett: King of the Wild Frontier”
agree. Every generation — yours or mine — carries around a cherished idea of what Austin once was or should still be. But a place like the Alamo Mueller somehow defies the laws of time and space and sucks you right into an exact, perfect world. Hey, just like in “Jumanji”!
in Abilene at the Paramount Theatre in 1955 when I was seven years old. I was in Abilene recently and walked into the Paramount — which is still there — and I could remember the very seat where I watched Davy Crockett die. Was there a one-two punch of movie and theater that knocked you out when you were a kid? DG: Yeah, remember when we had my birthday party at the theater at North-
cross Mall? You and Mom took an entire class of third-graders to see “Home Alone.” I remember being so proud as y’all were wrangling children and taking dozens of popcorn and candy orders. I thought to myself, “Us Harrigans — we really are movie people.” SH: Say it loud, say it proud. There was also the time we took you to “Pee-wee’s
Big Adventure” — I think that was at the Northcross too — and there was a breathless moment a"er Large Marge’s eyeballs popped out of her head when I thought you would be traumatized and blame me forever. But you just erupted in laughter instead. Whew. And, you know, life wasn’t always that easy for a movie person. When I was in college, Austin had like five or six movie screens — not theaters, but screens — for the whole city, and if a movie was really popular, it could hog one of them for three or four months. I developed this strange recurring dream that there was an “undiscovered” movie theater in Austin — somewhere around East 51st Street, I think. In the dream, I would be driving down the street and see its marquee all lit up and showing some new release I destribeza.com
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Miss Lavelle White & Zach Ernst in Conversation BY
MARGARET WILLIAMS PHOTOGRAPHS BY
Miss Lavelle White, blues and soul icon, began singing as a child, first with her mother in church and later as a performer in Houston’s blues clubs. Known for her deep songwriting, rich voice, and raucous performances, White has called Austin home since the ’70s, when she first met Cliﬀord Antone and began performing at his legendary club’s original location (Antone passed away in 2006). With Antone’s help, White released her first, self-titled album in 1994 and, decades later, is still
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wowing audiences with her ongoing Sunday residency at the venue’s newest incarnation on Sixth Street. Zach Ernst, Antone’s booker and a longtime fan of White’s, knew the importance — both spiritually and musically — of having her involved in the club when it reopened two years ago. The two sat down recently to discuss White’s career and history and managed to cover everything from memories of her childhood to her famous Sunday night potlucks.
White, pictured at Antoneâ€™s earlier this year, has been performing in Austin since the â€˜70s. Henderson and Culp, co-creators of A Tribe Called Brunch. tribeza.com | MARCH 2018 77
Ernst, co-founder of Black Joe Lewis & the Honeybears, spoke with White about her gift for songwriting and performing.
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Well, for people who are just discovering you, Miss Lavelle, could you share a little bit of your history? ZACH ERNST:
LAVELLE WHITE: Really where I first started was in church with my mother sing-
ing spirituals, down in Louisiana and Mississippi. Then later on I started singing around Houston with guys like Clarence Holliman and Johnny Copeland, all those people. I would sing at clubs, making $20 a night. It was kind of a hard thing to start. People would tell me, “You ain’t never going to make it.” “Sit down, we don’t wanna hear you.” They would make fun of me a lot, but I kept pushing. ZE: What I love about your early recordings is your songwriting. I heard that
started because you were writing poetry as a little girl and turning those poems into songs. LW: Yes. I wrote poetry as a little girl, made things rhyme — silly stuﬀ. ZE: The stuﬀ you’ve written isn’t silly at all. Some of the lyrics you wrote, even
at a very early age, are very heavy. “Lead Me On” is very deep and sounds like someone who has experienced — LW: That
song is about my mom. I wrote that with tears in my eyes. Lots of those early songs have a very sensitive feeling of mercy. I write with mercy and with feeling. ZE: What brought you to Austin? LW: I
first came to Austin in the ’70s. Cliﬀord had opened his first club right over there [motions behind to Antone’s original location on Sixth and Brazos], and that’s when I started singing “Stop These Teardrops.” ZE: What is your favorite memory of Cliﬀord?
Custom designed print by Noel Waggener, commemorating White’s residency.
LW: Oh, man, he was beautiful. He was beautiful. He helped all the blues sing-
ers. He was almighty. LW: I ZE: How was he a part of getting you to record your first album?
can play a little bit of drums. Just a little bit. I’m trying to play the harmonica. I don’t want to sound like everybody else. I’m trying to teach myself, which is the best thing to do with harmonica, teach yourself.
LW: Well, I recorded it for him, and he did have a whole lot to say about that.
I still can feel him. heard a story that at Antone’s downtown one day, someone came into the club during the daytime, and Cliﬀord was playing bass, Jimmy Reed was playing guitar, and you were playing drums. Is that true?
someone is thinking about coming to see the Lavelle show at Antone’s on Sunday for the first time, what would you tell them they’re in for?
LW: Yeah, that is true. ZE: So you can play drums?
LW: I try to capture the feeling of the audience when I sing. I say, “Can you feel
us? Can you feel us?” and they’ll say, “Yeah!” I got everybody up in the house last night! I like to do it in my own way and in my own time with my band, The L Men. They’re the greatest. I like to see people dance, and I like to do a lot of funk with blues and all the serious stuﬀ. I like to do it in my own way, in my own time, and it is right in this spot. tribeza.com
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“THOSE EARLY SONGS HAVE A VERY SENSITIVE FEELING OF MERCY. I WRITE WITH MERCY AND WITH FEELING.” ccccccc One of the most amazing things about you, Lavelle, is how great your voice sounds. Of course, everybody knows that you’ve been in this business for a very long time, but there are singers half your age who can’t sing as well as you. I think that you actually sing better now than you ever have. ZE:
LW: Thank you so much. It’s God almighty. And he’s with me all the time. And
I never used none of that hard stuﬀ. [Looks at Zach.] Love you, boy. ZE: I love you too. LW: Thinking about us loving each other, I forgot that I need to run home and
get some food for the potluck. ZE: Of course! You’re famous for your blues signing, but the crew around here
also knows you as a great cook. LW: Well, thank you. Honestly I usually throw it together. ZE: What
are your favorite things to make when you cook for our Sunday
potluck? LW: I make collard greens, cornbread — you know what chicharrones are? ZE: Pork skins? LW: Yeah. I soak them in water and then I make cornbread. I put those in with
some corn and jalapeños. I’m going to make that next Sunday, I think. This interview has been edited and condensed for clarity. A native of College Station, Zach Ernst co-founded Black Joe Lewis & The Honeybears in 2007 and served as the band’s rhythm guitarist until 2012. He started his job as music booker for the Paramount Theatre in 2013 and has also booked Antone’s since it reopened downtown in 2016. Miss Lavelle White performs every Sunday at 6:00 p.m. at Antone’s, located at 305 East Fi!h Street.
80 MARCH 2018 |
White performing in January 2018.
| MARCH 2018
ART HOUSE MEET THE LOCAL MINDS WHO PUT THEIR MARK ON AUSTIN FILM SOCIET Y’S EMBLEMATIC THE ATER By Margaret Williams
The Austin Film Society and its newly reopened AFS Cinema have given Austinites a stylish reason to head out to the movies. It’s a space that has movie lovers and design enthusiasts alike rejoicing over the opportunity to see a 35 mm projection, then belly up to the über-stylish bar and trade notes with your film-buff bartender. Born out of a love for film culture and brought to life through a collaboration between Michael Hsu, Designtrait, and, of course, the Austin Film Society, everyone involved was committed to working with talented local creators and fabricators to make the space sing. Need a reason to plan a night out? Now you have it. See you at the pictures.
82 MARCH 2018 |
Unsurprisingly, EVAN VOYLES OF NEON JUNGLE designed and created the trademark
neon sign that greets moviegoers as they arrive and pass under LISA LARATTA’s handstenciled barrel vault. Laratta, a local set designer, also worked her magic on the velvet curtains that ease film fans into the theater itself. The AFS Cinema features state-of-the-art technology, all of which was also locally sourced.
P O R T R A I T B Y DAV I D B R E N DA N H A L L . E X T E R I O R P H OTO G R A P H B Y E L L E N B R U X VO O R T. O P P O S I T E PAG E ; P H OTO G R A P H B Y J A M E S M I N N E S .
“Having worked with the local film industry for over 25 years, I was already keenly aware of how important the Austin Film Society is to the local community. I was happy to get to inject some of my craft initiatives into this piece!” —EVAN VOYLES
JAY COLOMBO (MICHAEL HSU OFFICE OF ARCHITECTURE) & BECKY JEANES (DESIGNTRAIT)
were tasked with organically turning this ’80s-era building into a space rich with texture and style reminiscent of classic movie houses associated with film’s golden age. tribeza.com
| MARCH 2018
The newly redesigned AFS Cinema.
84 MARCH 2018 |
(founder of the Austin Film Society) happily donated vintage movie posters and original film art from his personal collection, adding an important layer of history and character.
“We were humbled to work with a group as visionary as AFS and excited to help create a space that celebrates and encourages the passionate discussion of meaningful films. We wanted to fundamentally reimagine how a theater cannot only be a place of film screening but become an active part of the art community of Austin.”
The art and vintage posters hung throughout the AFS Cinema are all from Linklater’s personal collection.
—WARBACH LIGHTING AND DESIGN A R T A N D V I N TAG E P O S T E R S P H OTO G R A P H B Y J A M E S M I N N E S . R I C H A R D L I N K L AT E R P O R T R A I T B Y DAV I D B R E N DA N H A L L . WA R B AC H L I G H T I N G A N D D E S I G N A N D L I T M U S I N D U S T R I E S P O R T R A I T S CO U R T E S Y O F T H E I R R E S P E C T I V E CO M PA N I E S . O P P O S I T E PAG E ; P H OTO G R A P H B Y J A M E S M I N N E S .
WARBACH LIGHTING AND DESIGN
created the space’s central light installation, which harkens back to a vintage marquee and floats above a custom couch designed by LITMUS INDUSTRIES. This spot, designed to encourage community and conversation, is the heart of the AFS Cinema and sets the tone for all that’s to come.
The team at Litmus Industries.
Nathan Warner and Buck Hubach of Warbach Lighting and Design.
| MARCH 2018
ERE’S MY FOOD FANTASY: SOME OF
FAREGROUND AUSTIN’S FIRST FOOD HALL BRINGS TOGETHER A DELICIOUS, AND ALL-LOCAL, LINEUP By Karen Spezia Photographs by Leah Muse
86 MARCH 2018 |
Austin’s tastiest, coolest restaurants are all in one spot, no longer requiring me to shuttle around town in search of our city’s best eats. Well, dreams do come true. Say hello to Fareground, a terrific new food hall hosting outposts of local favorites under a single roof. Located at the nexus of downtown, Fareground is not your soulless, mall-variety food court. Instead, this stylish space showcases Austin-only eateries with nary a fast-food chain in sight. Plus, there’s a full-service bar — a bonus not found at most malls. The beauty of a food hall is that there’s something for everyone, and Fareground ticks all the boxes. There are seven delicious options, spawned by local darlings Dai Due, Easy Tiger, Emmer & Rye, Contigo, Komé Sushi/Daruma Ramen, and Antonelli’s Cheese Shop. Most are open for breakfast, lunch, and dinner, and all stay open until 10 p.m. If you’re in the mood for Mexican, head to DAI DUE TAQUERIA . Like its hyperlocal East Side sibling, it showcases Texas game and Gulf seafood. But here the flavors skew south of the border with tacos and torta sandwiches. To wake up your palate, try the breakfast taco with wild-boar chorizo on a homemade blue-corn tortilla. If Asian is your thing, there’s NI-KOMÉ , the love child of Komé Sushi Kitchen and Daruma Ramen. The sushi bar crafts made-to-order nigiri and rolls, plus steaming bowls of ramen, including Daruma’s beloved whole-chicken broth version. Looking for some Texas classics? CONTIGO FAREGROUND features ranch-inspired favorites like juicy burgers and locally sourced rotisserie chicken. Check out creative sides like the crispy green beans and knockout pastries like the Fried Hand Pie. Not sure what you want? HENBIT fits the bill. This new concept from the team behind Emmer & Rye has a bit of everything — and it’s all delicious. For breakfast, the kolache — stuffed with ham, cheese, and chiles — is one of the best in town. For lunch or dinner, offerings include
“ LOC AT ED AT T HE N EX US OF DOW N TOW N, FA R EGROU N D IS NOT YOU R SOU LLESS , M A LL-VA R IET Y FOOD COU RT.”
crispy short ribs and a lemongrass shrimp bowl. EASY TIGER, the outpost of the popular Sixth Street bakery and beer garden, overflows with fresh-baked artisanal breads, tempting pastries, and house-cured meats folded into hearty sandwiches. Don’t miss the German-style pretzel with addictive beer cheese. Like its acclaimed Hyde Park store, ANTONELLI’S CHEESE SHOP offers a dazzling selection of cut-to-order cheese, charcuterie, and accoutrements, but also entrées that showcase its wares,
like cheese plates, gooey grilled cheese sandwiches, and creamy mac and cheese. Need something to wash down all this great local food? The full-service FAREGROUND BAR has everything from soft drinks to craft beers, wines, and creative cocktails. Later this year, a second, street-level bar will offer beverages and small plates from the market vendors. Designed by world-class Michael Hsu architects, Fareground is a stylish space that makes you want to linger. A variety of comfortable seating areas are illuminated by soaring two-story windows framing a shaded urban plaza. High-quality finishes like marble, brass, polished wood, and leather upholstery are featured throughout. This ain’t your teenager’s food court. Instead, it’s a civilized, convenient way to sample the best of what Austin has to offer. Live the dream! FAREGROUND 111 CONGRESS AVENUE FAREGROUNDAUSTIN.COM
Designed by Michael Hsu Office of Architecture, Fareground offers options from seven local restaurants, including Antonelli’s Cheese Shop and Henbit
| MARCH 2018
BLUE DAHLIA BISTRO
600 N. Lamar Blvd. | (512) 472 5400
6555 Burnet Road, Suite 400 | (512) 394 8150
1115 E. 11th St. | (512) 542 9542
Chef Andrew Curren’s casual eatery promises delicious
James Beard Award-nominated chef Bryce Gilmore encour-
3663 Bee Caves Rd.
plates 24/7 and a menu featuring nostalgic diner favor-
ages sharing with small plates made from locally sourced
A cozy French bistro serving up breakfast, lunch, and
ites. Order up the classics, including roasted chicken,
ingredients, served at communal tables. Try the parsley
dinner in a casual setting. Pop in for the happy
burgers, all-day breakfast, and decadent milkshakes.
croissants with bone marrow or Gilmore’s unique take on
hour to share a bottle of your favorite wine and a
34TH STREET CAFE 1005 W. 34th St. | (512) 323 2000
BUENOS AIRES CAFÉ
This cozy neighborhood spot in North Campus serves up
1201 E. 6th St. | (512) 382 1189
soups, salads, pizzas and pastas — but don’t miss the chicken
13500 Galleria Circle | (512) 441 9000
piccata. The low-key setting makes it great for weeknight
Chef and Argentine native Reina Morris wraps the
dinners and weekend indulgences.
f lavors of her culture into authentic and crispy empanadas. Don’t forget the chimichurri sauce!
Follow up your meal with Argentina’s famous dessert,
1816 S. 1st St. | (512) 401 3161
alfajores — shortbread cookies filled with dulce de leche
Chefs Alma Alcocer and Jeff Martinez serve up some of
and rolled in coconut f lakes.
the city’s best Latin American-inspired seafood. Stop by for lunch, happy hour, dinner, weekend brunch, and
start your visit with a blood-orange margarita and the
4807 Airport Blvd. | (512) 474 2029
crab and guacamole.
Chef Shawn Cirkiel transports diners to the south of Spain for classic tapas, including croquettes and jamón
ANNIE’S CAFÉ & BAR 319 Congress Ave. | (512) 472 1884 Locally minded American offerings in a charming setting; perfect spot for a decadent downtown brunch.
ASTI TRATTORIA 408 E. 43rd St. | (512) 451 1218 The chic little Hyde Park trattoria offers essential Italian dishes along with a variety of wines to pair them with. Finish off your meal with the honey-and-goat-cheese panna cotta.
Serrano. The white-brick patio invites you to sip on
FONDA SAN MIGUEL
2330 W. North Loop Blvd. | (512) 459 4121 fondasanmiguel.com There is always something NEW at Fonda San Miguel.
some sangria and enjoy the bites.
CAFÉ JOSIE 1200 W. 6th St. | (512) 322 9226 Executive chef Todd Havers creates “The Experience” menu every night at Café Josie, which offers guests a prix fixe all-you-can-eat dining experience. The à la carte menu is also available, featuring classics such as smoked meatloaf and redfish tacos.
CAFÉ NO SÉ
BAR CHI SUSHI 206 Colorado St. | (512) 382 5557 A great place to stop before or after a night on the town, this
1603 S. Congress Ave. | (512) 942 2061 South Congress Hotel’s Café No Sé balances rustic decor and a range of seasonal foods to make it the best
sushi and bar hotspot stays open until 2 a.m. on the weekends.
place for weekend brunching. The restaurant’s spin on
Bar Chi’s happy hour menu features $2 sake bombs and a
the classic avocado toast is a must-try.
variety of sushi rolls under $10.
88 MARCH 2018 |
V I S I T T R I B E Z A .CO M TO VIEW THE ENTIRE ONLINE DINING GUIDE
CRU FOOD & WINE BAR
FOREIGN & DOMESTIC
2nd Street: 238 W. 2nd St. | (512)472 9463
306 E. 53rd St. | (512) 459 1010
105 Tillery St. | (512) 366 5908
Small neighborhood restaurant in the North Loop area
This charming East Austin spot lies somewhere between
serving unique dishes. Chefs/owners Sarah Heard and
traditional Tex-Mex and regional Mexican recipes,
Nathan Lemley serve thoughtful, locally sourced food with
each fused with a range of different f lavors and styles.
an international twist at reasonable prices. Go early on
The attention to detail in each dish shines, from dark
Tuesdays for $1 oysters.
mole served over chicken brined for 48 hours down to the
Domain: 11410 Century Oaks | (512) 339 9463 CRU’s wildly popular ahi tartare is the perfect compliment to any of over 300 selections, 80 premium wines by the glass, or 15 wine f lights. A state-of-the-art wine-preservation system with temperature control ensures optimal taste and appreci-
tortillas made in-house daily.
709 E. 6th St. | (512) 614 4972
2402 San Gabriel St. | (512) 220 0953
From the ELM Restaurant Group, Easy Tiger lures in both
Housed in a historic Austin landmark, smoke imbues
drink and food enthusiasts with a delicious bakeshop upstairs
the f lavors of everything at Freedmen’s — from the bar-
and a casual beer garden downstairs. Sip on some local brew
becue, to the desserts and even the cocktail offerings.
and grab a hot, fresh pretzel. Complete your snack with beer
Pitmaster and chef Evan LeRoy plates some of the city’s
cheese and an array of dipping sauces.
best barbecue on a charming outdoor patio.
EL ALMA 1025 Barton Springs Rd. | (512) 609 8923 This chef-driven, authentic Mexican restaurant with unmatched outdoor patio dining stands out as an Austin dining gem. The chic yet relaxed setting is perfect for enjoying delicious specialized drinks outside for the everyday 3 p.m. – 5 p.m. happy hour!
ELIZABETH STREET CAFÉ 1501 S. 1st St. | (512) 291 2881 Chef Larry McGuire creates a charming French-Vietnam-
4800 Burnet Rd. | (512) 458 1100 Upscale casual Italian in the heart of the Rosedale neighborhood. Fresh pastas, hand-tossed pizzas, incredible desserts (don’t miss the salted caramel budino), and locally sourced, seasonally inspired chalkboard specials. Full bar with craft cocktails, local beers on tap, and boutique wines from around the world.
605 Davis St. | (512) 476 4755
Located inside Rainey Street’s Hotel Van Zandt, Ger-
1209 E. 11th St. | (512) 628 0168
aldine’s creates a unique, fun experience by combining
Hillside Farmacy is located in a beautifully restored
1950s-style pharmacy with a lovely porch on the East
cocktails, shareable plates, and scenic views of Lady
Side. Oysters, cheese plates, and nightly dinner specials
Bird Lake. Enjoy live bands every night of the week as
are whipped up by chef Sonya Cote.
you enjoy executive chef Stephen Bonin’s dishes and cocktails from bar manager Caitlyn Jackson.
HOME SLICE PIZZA 1415 S. Congress Ave. | (512) 444 7437
ese eatery with a colorful menu of pho, banh mi, and sweet
GOODALL’S KITCHEN AND BAR
treats. Both the indoor seating and outdoor patio bring com-
1900 Rio Grande St. | (512) 495 1800
fort and vibrancy to this South Austin neighborhood favorite.
Housed in the beautiful Hotel Ella, Goodall’s provides
Don’t forget to end your meal with the housemade macarons.
modern spins on American classics. Dig into a fried mortadella egg sandwich and pair it a with cranberry
GUSTO ITALIAN KITCHEN
For pizza cravings south of the river, head to Home Slice Pizza. Open until 3 a.m. on weekends for your post bar-hopping convenience and stocked with classics like the Margherita as well as innovative pies like the White Clam, topped with chopped clams and Pecorino Romano.
2307 Hancock Dr. | (512) 371 6840
3110 Guadalupe St. | (512) 537 0467
A café and grocery with both Louisiana and French
A gastropub with French inclinations, offering a beauti-
sensibilities by Thomas Keller–trained chef Sarah
ful patio and unique cocktails. The beer, wine, and
McIntosh. Lovers of brunch are encouraged to stop in
cocktail options are plentiful and the perfect pairing for
here for a bite on Sundays.
the restaurant’s famed steak frites and moules frites. tribeza.com
| MARCH 2018
123 W. 6th St. | (512) 660 5390
1900 Simond Ave. | (737) 212 1876
Chef Andrew Curren of 24 Diner and Easy Tiger presents
Located in the Mueller development, chef Fiore Tedesco
simple, rustic Italian plates. Don’t miss the sweet delicacies
delivers contemporary Italian cuisine with a strong nod to the
from pastry chef Mary Katherine Curren.
classics. Alongside delicious plates, guests will enjoy impressive
JACOBY’S RESTAURANT & MERCANTILE
cocktails, wine, and a great craft beer selection.
3235 E. Cesar Chavez St. | (512) 366 5808
Rooted in a ranch-to-table dining experience, Jacoby’s Restau-
1807 S. 1st St. | (512) 215 9778
rant and Mercantile transports you from East Austin to a rustic
A gorgeous spot to enjoy a luxurious French-inspired prix-fixe
Southern home nestled in the countryside. The menu features
meal. Almost every ingredient served at Lenoir comes local-
the best dishes southern cooking has to offer, including beef
ly-sourced from Central Texas, making the unique, seasonal
from Adam Jacoby’s own family brand based in Melvin, TX.
specialties even more enjoyable. Sit in the wine garden for happy
hour and enjoy bottles from the top wine-producing regions in
1204 W. Lynn St. | (512) 477 5584
America,” this historic Clarksville favorite has maintained the execution, top-notch service, and luxurious but welcoming atmosphere that makes Jeffrey’s an Austin staple.
JOSEPHINE HOUSE 1601 Waterston Ave. | (512) 477 5584
SALTY SOW 1917 Manor Rd. | (512) 391 2337 Salty Sow serves up creative signature drinks, including a Blueberry-Lemon Thyme Smash. The food menu, heavy with sophisticated gastropub fare, is perfect for late-night noshing.
Rustic continental fare with an emphasis on fresh, local, and organic ingredients. Like its sister restaurant, Jeffrey’s, Josephine House is another one of Bon Appétit’s “10 Best New Restaurants in America.” Find a shady spot on the patio and indulge in fresh baked pastries and a coffee.
3201 Bee Caves Rd., #122 | (512) 327 9889 | laspalomasrestaurant.com One of the hidden jewels in Westlake, this unique restaurant and bar offers authentic interior Mexican cuisine in a sophis-
310 Congress Ave. | (512) 472 7555 10201 Jollyville Road | (512) 345 1042
ticated yet relaxed setting. Enjoy family recipes made with
A local Austin favorite with a reputation for high-
fresh ingredients. Don’t miss the margaritas.
quality regional Mexican food, fresh pressed
cocktails, margaritas and tequilas. Try the Chile
1906 E. Cesar Chavez St. | (512) 605 9696 Though it may not be as famous as that other Austin barbecue
Relleno del Mar with Texas Gulf Shrimp, day boat scallops, and Jumbo Blue lump crab, or Manuel’s
joint, La Barbecue is arguably just as delicious. This trailer,
famous mole. Located downtown at the corner of 3rd
which is owned by the legendary Mueller family, whips up
and Congress Avenue and in the Arboretum on Jolly-
classic barbecue with free beer and live music.
ville Road. One of the best happy hour deals in town.
90 MARCH 2018 |
PIEOUS 12005 U.S. 290 West | (512) 394 7041 Unequivocally some of the best pizza Austin has to offer, Pieous brings together the unlikely, yet perfect combination of Neapolitan pizza and pastrami, with all dishes made from scratch. Decked out in prosciutto and arugula, the Rocket is a crowd favorite and a must-try. RED ASH ITALIA 303 Colorado St. | (512) 379 2906 Red Ash Italia strikes the perfect balance between high-quality food and enticing ambiance. Located in downtown’s sleek Colorado Tower, this Italian steakhouse is led by an all-star team including Executive Chef John Carver. Sit back, relax and enjoy an exceptional evening.
Named one of Bon Appétit’s “10 Best New Restaurants in
OLAMAIE 1610 San Antonio St. | (512) 474 2796 Food+Wine Magazine’s best new chef Michael Fojtasek creates a menu that will leave any Southerner drooling with delight over the restaurant’s contemporary culinary concepts. The dessert menu offers a classic apple pie or a more trendy goat cheese caramel ice cream. Also, do yourself a favor and order the biscuits.
SWAY 1417 S. 1st St. | (512) 326 1999 The culinary masterminds behind La Condesa cook up Thai cuisine with a modern twist. An intimate outdoor area, complete with a Thai spirit house, makes for an unforgettable experience. THE PEACHED TORTILLA 5520 Burnet Rd., #100 | (512) 330 4439 This cheerful spot is sure to clear your weekly blues with friendly staff, fun food, and a playful atmosphere. Affordably priced, you’ll find culinary influences from around the world with a healthy dose of Asian and Southern options.
V I S I T T R I B E Z A .CO M TO VIEW THE ENTIRE ONLINE DINING GUIDE
THE YARD AT WALLER CREEK 701 E. 11th St. | (512) 478 1111 The YARD is not your typical hotel dining experience. Led by Executive Chef Lonny Huot, enjoy savory American cuisine with Texas f lavors like the Beer Braised Short Rib and the Chorizo & Pepper Jack Grits Cakes Benedict. TRUE FOOD KITCHEN 222 West Ave. | (512) 777 2430 Inspired by Dr. Andrew Weil’s anti-inflammatory diet, True Food Kitchen combines decadent favorites with health-conscious eating, striking the perfect balance. The restaurant, located in downtown’s chicest new entertainment district, offers a full range of vegetarian, vegan, and gluten-free options.
UCHIKO 4200 N. Lamar Blvd., Ste. 140 | (512) 916 4808 The sensational sister creation of Uchi and former home of Top Chef Paul Qui and renowned chefs Page Presley and Nicholas Yanes, Uchiko is an Austin icon that everyone should visit at least once. Try the bacon tataki.
VINAIGRETTE 2201 College Ave. | (512) 852 8791 This salad-centric restaurant off South Congress has one of the prettiest patios in town. Along with an inviting ambiance, the salads are fresh, creative, bold, and most importantly delicious, with nearly two dozen options to choose from.
WINEBELLY 6705 Hwy 290, # 503 | (512) 584 808 3016 Guadalupe St., Suite 100 | (512) 358 6193 Named as one of the top 20 wine bars in America by Wine Enthusiast, Winebelly boasts an international wine list and Spanish-Mediterranean small plates. The bistro maintains a local feel with it’s comfortable, laid back interiors. WU CHOW 500 W. 5th St., #168 | (512) 476 2469 From the curators of Swift’s Attic, Wu Chow is expanding Austin’s cuisine offerings with traditional Chinese dishes sourced from local purveyors and farmers. Don’t miss the weekend dim sum menu.
A L O O K B E H I N D 5…5
BEHIND THE SCENES WITH MIDLAND FOR THE BAND’S PHOTO SHOOT, WE SPENT A MORNING IN DRIPPING SPRINGS Photographs by Harper Smith Just outside of the rehearsal studio on Cameron Duddy’s property, he keeps pigs, chickens, donkeys, and a number of goats — appropriately named after country icons, including Dolly, Loretta, and Garth. The rehearsal studio, nicknamed “Little Pink,” is where the band first honed its harmonies.
MARK WYSTRACH , on taking a risk on Midland: “I think the reason we felt strong about this is because we had already gone all in on projects before, on bands and ideas before and failed, so we understood the failure part. I think also this time we felt like something was different, so much so that we were willing to put all the chips on the table.” p
MARK WYSTRACH , on the inspiration from classic country music: “The music and my voice, songwriting, all that stuff, so much of that comes from that wide-open songwriting style and performance that came out of that ‘70s, ‘80s, ‘90s.” p
CAMERON DUDDY, on his first band: “I think the reason we felt strong about this is because we had already gone all in on projects before, on bands and ideas before and failed, so we understood the failure part. I think also this time we felt like something was different, so much so that we were willing to put all the chips on the table.” t
JESS CARSON , on their “On the Rocks” album cover look: “Each of us put together a little scrap board of inspiration, stuff that meant something to us, mixed with some of the old Nudie suits that, like, Gram Parsons, Elvis, all those people wore, and then just handed it over to Fort Lonesome and they brought it to life.” p
92 MARCH 2018 |
LONDON GREY RUGS
LIVE ATX We all have passion. And passion springs from inspiration, which begins with your surroundings. That’s what home is. Family. Friends. A sense of place. An amazing view. It’s what makes a space a home – because your home is where you truly LIVE.
5 Austin-Area Locations See More at KuperRealty.com
Published on Feb 22, 2018