In the first episode of our new series, the Grammy-winning artist talks about writing sad songs and tells a great dirty joke she learned from Nelson himself.
An Austin man ponders the unthinkable.
We didn’t really need a reason to write a bunch of stories about the Red Headed Stranger. But we had a few.
Over the decades, he and Trigger have created an unmistakable—and uncannily human—sound.
Everyone knew Willie could write great songs and sing them too. But no one—except Willie, of course—believed he could masterfully cover Gershwin and Ellington.
The man from Abbott has never forgotten his humble roots—and has tirelessly devoted himself to helping others.
Before he moved his home and his headquarters out to the Hill Country, Willie conducted an experiment in communal living right in the heart of Austin. It was as crazy as you might expect—and helped turn a sleepy college town into the Live Music Capital of the World.
Learning to love Texas’s most iconic country musician, one song at a time.
Simple is simply moving to me: How Willie does so much with so little.
The monthly music and talk program features a star-studded guest lineup and artist roster from the Lone Star State.
In a career that spanned six decades, Davis wrote hits for Elvis and Dolly Parton, found solo success, and acted on Broadway and in film.
Plus: Jamie Foxx recharges his Spider-Man villain, Megan Thee Stallion heads to ‘SNL,’ and Woody Harrelson saves the world with dirt.
Join senior editor John Spong and artists you love for intimate conversations about the Willie songs that mean the most to them.
Plus, Liv Tyler won’t return to Fake Austin, Selena Gomez expands her moguldom, and Audie Murphy gets his own TV series.
The progeny of two country stars, Payne, who grew up in East Texas, writes songs informed by his struggle with substance abuse, trauma, and redemption.
Plus: a Dallas coffee shop, a Houston DJ’s playlists, and a haunting documentary.
From its origins airing the banter of bored firefighters to its robust classical programming today, Dallas’s WRR-FM has filled an unusual niche on the airwaves for nearly a century.
Plus, a Wes Anderson–inspired theater seat claims to protect against COVID, Dennis Quaid made a show about his cat, and Selena Gomez becomes an ice cream.
The psychedelic ensemble delivers a soul-stirring version of “A Change Is Gonna Come.”
Plus, Megan Thee Stallion gives away $1 million, ‘Supernatural’ and the Alamo Drafthouse plot their returns, and Barack Obama puts Texas on his playlist.
The prolific singer-songwriter believes that, now more than ever, love is all we need.
Austin songwriter Mobley recruited musicians to collaborate on an album in quarantine. It feels like a snapshot of a music scene seeking a new way forward.
The Austin Music Awards Best New Band Winner performs from atop a backyard treehouse.
A portrait of the man, in the words of those who know him best.
Plus: Selena Gomez joins Steve Martin–Martin Short series, Noah Hawley returns to ‘Fargo,’ and Cinestate’s school shooting thriller heads to Venice.
The prolific and proudly transient Rio Grande Valley native promises that post-quarantine, “as soon as they let me back out there, I’ll be twice as good.”
The Wimberley native performs “Johnny” and “Hometown,” and describes missing even the difficult parts of touring as she hunkers down post–album release.
Plus, Megan Thee Stallion’s latest collaboration, a true crime podcast about a UT campus murder, and a Dallas-based online vintage shop.
The new visual album features a potent through-line of ancestral guidance—one that caused me to reflect on my own relationship with forebears.
A special quarantine edition kicks off August 11 and will feature backyard performances by some of your favorite artists.
On his latest album, the Texan country musician sings of endurance within a fraught system.
Plus, William Jackson Harper of “The Good Place” gets an Emmy nod, Joe Rogan is moving to Texas, and Miranda Lambert is number one again.
The songwriter on creativity in a time of crisis and how he’s seeking camaraderie in isolation.
Plus, Beyoncé’s "Black is King" drops celebrity-filled trailer, a new doc on reopening Texas restaurants, and Post Malone’s “dark times” album.
“This Is Exactly What’s Wrong With Austin”: A White Band’s Digitally Altered Photo of an Iconic Black-Owned BBQ Joint Infuriates Locals
The musicians in Midland, a popular country band, have entered the conversation about gentrification in the worst possible way.
The band's first album in 14 years is vengeful and deeply reflective (and, yes, there's talk of boats).
Music journalist Maria Sherman discusses why she wrote 'Larger Than Life,' her exhaustive guide to an enduring cultural phenomenon.
A viral smash on TikTok, the song is part of a club music lineage that exists for the sole purpose of getting people moving.
After years of feeling isolated in my fandom, witnessing my favorite bands supporting Black Lives Matter has been both meaningful and conflicting.
The performing arts institution is facilitating forward-thinking conversations with artists and educators online.
For many listeners, Houston’s Sight into Sound is more than a radio station.
Plus, Beyoncé announces new visual album, Robert Rodriguez brings Ben Affleck home with him, and the ACL Festival gives in to the inevitable.
Khruangbin draws from a vast palette of sounds and traditions, making them a quintessentially Texan band.
Plus: a morning practice to spark creativity, a dish from Austin’s Suerte, and a nostalgic summer movie.
Plus, Pharrell works up a Juneteenth musical, Beyoncé debuts a new song of the summer, and Matthew McConaughey gets biblical.
The band’s social media now calls them ”The Chicks.”
After living most of my life in Texas, I finally gave Willie Nelson a serious listen and learned a few things about my Nigerian mom.
Plus, Elijah Wood vs. Ted Bundy, Cinemark vs. the future of moviegoing, and Beyoncé vs. Lizzo vs. Megan Thee Stallion at the BET Awards.
Sarah Lipstate, Iggy Pop’s new favorite guitarist, approached her new album as a puzzle.
The community has united to save the 73-year-old cinema and venue, which did not qualify for federal relief funding.