As rain came down, a local favorite western swing band walked onto the stage, dripping with experienced confidence despite the slippery stage, limited crowd and no rain jackets.
Since 2002, Asleep at the Wheel has set the vibe of Austin City Limits Music Festival by opening the first weekend, except in 2021, when a three-hour weather delay pushed them back. Today, despite similar conditions to 2021, the band kept their iconic opening, “Miles and Miles of Texas,” on the T-Mobile stage.
“For 25 years now, we’ve been playing this song to open up the festival,” frontman and guitarist Ray Benson said. “Thank y’all for coming out.”
The band followed with their first cover, “(Get Your Kicks On) Route 66,” originally written and performed by Bobby Troup. Fitted with a fiddle solo from Ian Stewart, the performance drew applause and highlighted the group’s connection to the old folk, western vibe continuing to decline in popularity in Austin.
Couples in the crowd took the band’s genre literally, swing dancing along the barricade to the next two covers, country legend Waylon Jennings’ “Bob Wills Is Still the King,” and “New San Antonio Rose” by Bob Wills & His Texas Playboys, the king of western swing.
Asleep at the Wheel came closer to the crowd, showing their love for the small audience with an intimate performance despite the large stage.
“Well well, you are the coolest people on earth,” Benson said. “You’re also the wettest, but we don’t care. What a great day it is, it’s cool.”
Showing off their ACL experience, the band continued with solos ranging from extended guitar riffs to jazzy saxophone melodies before transitioning into “Faded Love” and “Milk Cow Blues,” which featured Tim McGraw and Ray Benson when it was re-recorded for their Bob Wills tribute album Ride with Bob released in 1999.
A cover of “All My Ex’s Live in Texas” drew cheers from the attendees, many of whom approached the stage to sing along to the iconic George Strait song. Adding their own twist, Asleep at the Wheel performed a more soulful version with lower, drawn-out notes.
“Hot Rod Lincoln” got the crowd moving their feet and bobbing their heads to the fast-paced, vintage dancing song with nods to the frontman and theatrical lyrics about being pulled over by cops and getting checked by TSA. “Riding High in Texas” added to the old-time vibe, with Stewart showing off his yodeling.
Ending with “Big Ball’s in Cowtown,” Benson’s deep, soulful belt sounded similar to loud bass vibrations. Asleep at the Wheel took a well-deserved bow, blowing kisses to their dedicated, soaking wet crowd.
