Pop powerhouse Sabrina Carpenter didn’t just play Austin City Limits Festival on Saturday night — she completely owned it. Under the glowing festival lights and in front of tens of thousands of sweaty, screaming fans, the 26-year-old singer commanded the festival’s largest stage with effortless confidence and undeniable charisma.
“I have such a soft spot for Texas, you have no idea,” Carpenter said. “And your accents, I know they’re in there. If you’re singing along, do a big twang because I think it’s funny.”
Making her ACL debut, Carpenter charged through a tight, immersive set of her biggest hits. From the innately choreographed dance numbers to powerhouse vocal performances that showcased her range, she never lost a beat. The show opened with “Busy Woman,” flowed into the emotional vulnerability of “Sharpest Tool” and surged with the electric energy of “Manchild” along with a number of her other most famous songs.
The entire set unfolded conceptually as a part of “Sabrina Carpenter Live,” a fictional television program with tongue-in-cheek graphics, faux commercial breaks, and segments including 1-800-BED-CHEM, a play on her song “Bed Chem.” The playful, theatrical format amplified Carpenter’s self-aware humor and her knack for flirtatious innuendo, which stands as a hallmark of her brand as an artist.
The night’s biggest surprise arrived about halfway through the set, as Carpenter said that “gift-giving” was one of her love languages. Moments later, she welcomed country legend Shania Twain onstage to sing Twain’s 1997 single “That Don’t Impress Me Much.” Carpenter matched Twain’s electric energy beat for beat, turning the ’90s anthem into a glittery, cross-generational moment that blurred pop and country in a way Carpenter continues to master.
The guest appearances weren’t over just yet. Djo, who had just finished his set at the Lady Bird stage across the park, made a cameo from the crowd before Carpenter launched into her crowd-pleasing hit “Juno.”
Throughout the night, Carpenter broke up the setlist with comedic skits and heartfelt moments. At one point, she taught the crowd a makeshift Texas line dance before sliding into a more serious speech about finding closure within yourself and hoping the festival could serve as a joyful distraction for anyone struggling.
Carpenter possesses a rare ability to command a crowd of that size with total control. She orchestrated massive call-and-response moments, teased fans between songs and filled every pause with humor and warmth. By the middle of her set, she had Zilker Park in the palm of her hand, every lyric bouncing back at her from the crowd. By the time she closed, the audience felt less like a massive festival crowd and more like a single, synchronized chorus.
Watching her work the stage, it’s hard not to realize just how much Sabrina Carpenter has dominated the pop music landscape over the past few years. Not just through catchy lyrics, provocative humor and polished visuals, but through an honest presence that radiates confidence, wit and an undeniable “it” factor.
With the humor and theatricality that have become so integral to her musical persona, Carpenter proved she’s no longer the Disney alumna audiences first met years ago. She’s a pop star fully in command of her moment and on Saturday night, she ruled Zilker Park.
