Few artists can make a stage as storied as Austin City Limits feel like their own personal playground, but Role Model did just that. The rising indie pop star, known offstage as Tucker Pillsbury, delivered a magnetic set for a Season 51 taping of the longest running music program on television. Equal parts sharp, sentimental, and self aware, Pillsbury brought humor, vulnerability, and a natural flair for storytelling to the ACL stage, striking the delicate balance between pop polish and personality driven authenticity that has made him one of the most exciting new artists today.
Fans had been lining up outside the Moody Theater before dawn, many arriving as early as 6 a.m. to secure a prime spot inside the intimate venue. For some, it was the thrill of witnessing a bucket list moment for the “Divas,” Role Model’s affectionate name for his fanbase, while others were simply eager to be part of history. The crowd’s patience paid off. Backed by Mason Stoops and Taylor Mackall, acclaimed collaborators of Lizzy McAlpine, Role Model took the stage in a light button up shirt, brown jacket, and jeans, instantly winning over the packed house with his signature blend of awkward charm and confidence.
From the start, Pillsbury acknowledged the significance of the night with his trademark humor.
“Thank you all for coming. This will be the only show I’m serious, I think, ’cause it’s televised. Some of these people don’t know me, so I’m gonna be polite. I’m gonna be a good boy.”
Of course, “good” is a relative term, especially for a performer whose lyrics often revel in emotional chaos. Since PBS tapings don’t exactly encourage profanity, he cleverly deputized the audience to fill in any four letter gaps. During his cover of The 1975’s “Somebody Else,” fans joyfully shouted “f— that, get money!” with unbridled energy, earning laughter from Pillsbury.
The setlist spanned the highs and heartbreaks of Pillsbury’s acclaimed sophomore effort, Kansas Anymore. Role Model gave fans something rare, a showcase of deep cuts and often shelved tracks that rarely appear even in his own headlining shows. Performances of “Compromise,” “A Little More Time,” and “Something, Somehow, Someday” offered a glimpse into the quieter corners of his artistry, moments where humor gave way to heartfelt vulnerability. Before the latter, he walked onstage with a stool and a leather bound journal in hand, explaining,
“I have a song of mine that I literally cannot remember all the words to, but it’s one of my favorites. I’d rather read it from a book, this feels cooler than a teleprompter.”
The crowd hung on every word, a mixture of laughter and reverence echoing through the theater. Between songs, Pillsbury’s playful banter kept the tone light. “This next song I want to bring out my new friend Ed Sheeran…” he teased to a wave of excitement before deadpanning, “You kidding me? Ed Sheeran’s not here, you freaks.”
Later, when “Sally, When the Wine Runs Out” began, the audience collectively buzzed with anticipation. The track, often featuring surprise celebrity “Sally” cameos from Hilary Duff, Natalie Portman, and Conan Gray, ended up having none, perhaps a concession to the PBS cameras. Fans still enjoyed it all the same as Pillsbury danced alone, crowning himself the night’s “Sally,” a moment that felt oddly poetic.
As the show built momentum, songs like “Slipfast” and “Some Protector” reminded everyone that Role Model’s music thrives on contrast, heartbreak wrapped in humor and melancholy disguised as confidence. During the bridge of “Some Protector,” he urged fans to go all in. “I know some of you are shy with cameras around, but you can’t be shy for this part!” Within a couple minutes, the floor was bouncing with headbanging that would have made a Slipknot crowd proud.
What stood out most was how naturally Pillsbury seemed to fit into the legacy of Austin City Limits. Between the jokes and moments of vulnerability, there was a genuine sense that he understood the weight of the stage beneath him. He spoke with appreciation about performing on such an iconic show, one he said he often watches on flights between tour stops, and that admiration translated into a performance that felt both grounded and grateful. Even with his growing fame and busy schedule, he carried himself with the same down-to-earth charm that first drew fans to him, confident, but still humbled by where his music has taken him.
It has been a whirlwind season for Role Model. Fresh off his Weekend One performance at ACL Fest, he is gearing up for a Saturday Night Live appearance alongside host Amy Poehler, while also sharing the weekend with Austin for Weekend Two of ACL Fest. Between the touring, acting in Lena Dunham’s upcoming Netflix film Good Sex with Natalie Portman and Mark Ruffalo, and a growing discography of earnest and confessional pop songs, it is clear that Role Model’s rise is not slowing down anytime soon.
By the time the final chords of “Deeply Still in Love” rang out against the glowing Austin skyline backdrop, it felt like everyone in the room knew they had witnessed something special, a performance equal parts milestone and mirror, reflecting the sincerity that has always been at the core of Pillsbury’s artistry.
Fans should be sure to catch the episode when it airs on November 22nd on Austin PBS or the PBS app, and follow @acltv for updates. And in true PBS spirit, consider supporting public television by donating at AustinPBS.org/donate. With Austin City Limits facing a nearly three million dollar funding shortfall next year due to federal cuts to public media, every donation helps keep this cultural institution and unforgettable performances like Role Model’s alive for future generations. After all, as he might say himself, you would not want to hear through the grapevine that you missed one of the best ACL tapings of the year.
Setlist — Role Model at Austin City Limits (October 7, 2025)
- Writings on the Wall
- Look at That Woman
- Scumbag
- Oh Gemini
- A Little More Time
- Superglue
- The Dinner
- Frances
- Slut Era
- Somebody Else (The 1975 cover)
- Something Somehow Someday
- The Longest Goodbye
- Old Recliners
- Slipfast
- Compromise
- Some Protector
- Sally When the Wine Runs Out
- Deeply Still in Love
The Early Registration 