Sturgill Simpson Schools ACL: Why Real Music Matters

Well, folks, Sturgill Simpson just reminded Austin City Limits what a guitar is supposed to sound like. With his trusty red Gretsch and slide-guitar maestro Laur Joamets by his side, he blew the competition out of the water.

While trendy indie rockers like Bakar were busy with karaoke and fashion shows, Simpson got down to business. His set was a no-nonsense, banter-free masterclass in musicianship. Even his cover of "The Promise" was packed with emotion and killer solos.

You'd think at a festival like ACL, built on live guitars, there'd be more god-tier shredding. But no, we're drowning in whatever the cool kids are listening to this week. Someone had to honor the legacy of relentless noodling, and Simpson stepped up.

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Simpson's set was a breath of fresh air. More emotion than Guns 'N Roses, more churn than Pearl Jam, more angst than Radiohead, and more thunder than that uncool supergroup Them Crooked Vultures. And he's got the storytelling chops to back it up.

Every song was a stern PSA. Like "When you play with the devil you get the horns" on "Brace for Impact," or the harsh reality of "I don’t have to do a thing but sit around and wait to die" on "Living the Dream." And who can forget the slippery romance of "I Don’t Mind"?

Simpson's like Dak Prescott, always improving, always consistent. Eight albums in, he's dabbled in everything from bluegrass to outlaw country to prog rock. And it all comes together in that distinctly American, drawl-rich sound.

Now, if you'll excuse me, I've got a lawn to mow.