Relive it here.

Photos by Cambria Harkey, Dave Mead, Scott Newton, Heather Lovegreen, and Brian Fitzsimmons.

Friday arrived hot and humid, but still a large early crowd amassed outside the main gates in time for the 11 am opening that marked the official start of the 2005 Austin City Limits Music Festival. The only sign of Hurricane Rita's presence in the weather was an occasional stiff breeze and some high clouds that slowly gathered from the late afternoon through the evening, though certainly many people had the Texas and Louisiana coastal regions on their minds. One randomly spotted t-shirt in the afternoon crowd read "Rita Hates Music," with a hurricane flag on the back.

The Rita-related cancellation of Kate York led to my first pleasant musical surprise of the day. Chugiak, Alaska native Kate Earl filled in as York's last minute replacement and won over the crowd at the BMI Stage with her soulful voice and well-crafted songs. Hopefully here ACL Festival appearance will earn her the wider audience she deserves.

The main stages kicked off at 12:30 with Asleep at the Wheel on the Cingular Stage. An Austin institution, Ray Benson's venerable western swing purveyors again showed they know how to get the party started. Across the park at the SBC Stage, Phish bassist Mike Gordon joined acoustic guitar wizard Leo Kottke. Kottke had an easy rapport with the crowd and shared stories, including an especially funny introduction to the song "William Powell," between displays of his and Gordon's ample instrumental prowess.

Meanwhile on the Austin Ventures Stage, the heat didn't seem to bother too many people as the Hairy Apes BMX used electronic funk grooves to get heads bobbing and feet dancing. Emerging British dance-rock band Kasabian certainly didn't wilt in the blazing sunshine as the group played its set with tremendous energy, much to the delight of the growing crowd at the AMD Stage. The UK hit single "Club Foot" got an especially enthusiastic reception. Back on the Austin Ventures Stage, dios (malos), whose buzz in both the US and UK is steadily growing, shaded shimmering melodies with just a touch of psychedelia and showed itself to be the best pure pop band to come out of Hawthorne, California since the Beach Boys.

From there, I headed back to the Cingular Stage to hear Steve Earle and the Dukes. Earle, who always draws a loyal Austin crowd, is rightly receiving due recognition as one of the country's premier songwriting social critics. He also still puts on a potent live show. A quick walk toward Town Lake found that the crowd was taking full advantage of the almost ampitheater-like hillside looking down on the AMD Stage where husband-wife duo Mates of State cranked out a big sound that seem to defy its small number of members. Back in front of the rock formation that outlines the Austin Ventures Stage, rising UK band Nic Armstrong and the Thieves turned heads with its tuneful, jangly sound that nodded to the classic pop of the Beatles and Kinks while still sounding cutting-edge.

A brief trip over to the SBC Stage saw Lucinda Williams, former Austin resident and longtime local favorite, in fine form as the sun finally began to cast some shadows. A visit to the HEB Austin Kiddie Limits tent with my small traveling companions found lines for face-painting and sand art creation. On the Kiddie Limits stage, the Palm Elementary School Choir drew large numbers of casual passers-by into the tent. This group of singers from Palm Elementary in Southeast Austin performs original material written by its director Gavin Tabone, with a group of noted Austin rock musicians backing up the ensemble.

Next, the side of the AMD Stage provided welcome shade, though the increasing wind stirred up dust and dirt, coating nearly everything. The nearby misting stations and free water were popular throughout the day, with the several misting fans next to the Gibson Lounge easily accessible most of the time. Back at the AMD Stage, Spoon played the third installment in its a series of great ACL Festival appearances. Britt Daniel and company ended the afternoon in front of a huge crowd who gave loud shouts of support for both songs from the band's latest record, Gimme Fiction, and older favorites.

Shortly after Spoon left the adjacent AMD Stage, songwriting legend John Prine appeared on the Cingular Stage. A highlight of his set was a spirited version of "Your Flag Decal Won't Get You Into Heaven Anymore," which is still vital and relevant nearly 35 years after he first recorded it. Directly opposite from Prine on the SBC stage, another group of veteran musicians was taking its audience on a trip through the past. The Allman Brothers do not seem to have lost anything over the years and ran through a number of old favorites including "Midnight Rider" and "Jessica," as well as a ripping version of "Whipping Post." Another unexpectedly great set was turned in by Dan Dyer and his band, who replaced the Massacoustics on the BMI Stage on short notice, offering up a great mix of catchy songs and rootsy twang.

The night's headlining shows began with Blues Traveler finishing up the day on the Heineken Stage with a set that signaled the group's return to the jam band scene's upper echelon. Closing out the Austin Ventures Stage for the night, San Marcos' finest, Blue October, played its radio-ready modern rock for a sizeable crowd who sang along with a number of songs. Nearby, AMD Stage headliner Keane delivered one of the early contenders for best set of the day. This trio, from a small town in East Sussex, England in the countryside outside London, creates a huge sound even though they consist only of a piano player, drummer, and vocalist Tom Chaplin. It was a truly memorable moment when Chaplin stepped away and let the crowd sing the words to "Somewhere Only We Know."

With all of the side stages wrapping up, it was up to the main stage headliners to close out the day. On the Cingular Stage, Lyle Lovett and his Large Band played Lovett's signature mix of country, folk, gospel, and western swing. Some in the crowd may have even remembered him from his time as a local Austin singer-songwriter some two decades ago. One high point was a rousing version of "Church," complete with gospel backing singers. Over on the SBC Stage, the Black Crowes played a stellar 90-minute set that drew heavily from 1992's The Southern Harmony and Musical Companion, which is my personal favorite. Highlights included a sterling version of "She Talks To Angels" and an epic "Thorn In My Pride."

After being in the sun and dust all day, I decided to leave the festival and walk over to Barton Springs to cool off. At around 9:30, I dove into the water and then sat and listened to the rest of the Black Crowes. What a way to start the weekend! Time to get my tired feet some rest and get ready to head back down tomorrow.


- Andy Smith