RÜFÜS DU SOL: From Innerbloom to Exhale

Written and reviewed by Tabitha Strawn

RÜFÜS DU SOL turned Q2 Stadium into a cathedral of catharsis Saturday night — not just a concert, but a full-body, open-sky exhale. With the Inhale / Exhale tour in full swing, the Aussie trio delivered a set built for transcendence, soaking the Austin air in lush synths, pulsing bass, and aching euphoria. This wasn’t a typical stadium show. It was spiritual. Sweaty. Euphoric. Like stepping into a shared dream with 20,000 strangers who knew exactly when to let go.

From the first breath of Inhale / Brighter, the energy was magnetic — a slow rise that cracked wide open with You Were Right, which felt like a collective release for the crowd. On My Knees hit like a storm, shaking the stadium with its dark, primal edge, while Innerbloom closed the main set like a prayer in neon: soaring, still, intimate even in a sea of thousands. Every drop was met with roars, every build felt like a wave, and when the beat broke — people levitated.

The production was as intentional as the music. Layers of strobes, lasers, and cinematic visuals played off the night sky, bouncing light across the faces of dancers draped in mesh, sequins, and sweat. This wasn’t just a crowd — it was a movement. Phones were out, sure, but hearts were way more in it.

And then came Exhale, with drummer James Hunt stepping into the spotlight to explain that the track was born in Austin. Suddenly, the already-electric moment became personal. Local. A love letter to the city that helped shape their sound. The emotional weight of that moment lingered long after the final beat.

Encore tracks Break My Love and No Place brought it all home — pulsing proof that RÜFÜS knows how to leave you on a high without ever crashing the mood. By the time Music is Better / Be With You rang out, the night had tipped into something close to mythic. You didn’t leave talking about your favorite song — you left talking about how it felt.

RÜFÜS DU SOL didn’t just play Austin. They baptized it in sound.

From Zero to Legendary: Linkin Park Reignites Austin

Written and reviewed by Clinton Camper

April 26, 2025 — Moody Center, Austin, TX

On Saturday night, the Moody Center wasn’t just a concert venue—it was a time machine, a therapy session, and a rock revival all rolled into one. Linkin Park stormed into Austin on their From Zero World Tour, and it was everything fans hoped for—and more.

Hunter Levy

The night kicked off with a blistering set from grandson, who wasted no time igniting the crowd with politically charged bangers and genre-defying energy. His gritty vocals and industrial hip-hop-rock fusion perfectly primed the audience, foreshadowing the chaos to come.

And then came the main act—Linkin Park turned the Moody Center into a roaring cathedral of memory, transformation, and rock fury. Their From Zero World Tour isn’t just a return—it’s a rebirth. From the moment the stage flickered to life with the ominous intro of Fugazi’s “Waiting Room”, accompanied by a ticking countdown, the atmosphere was electric. This wasn’t just another arena show—it was a cinematic, multi-act experience that felt meticulously crafted yet wildly alive.

Hunter Levy

Act I erupted with “Somewhere I Belong” and “Crawling”, slamming the crowd with early-2000s emotion. But it was “New Divide”—preceded by a haunting Moscow intro—that cracked open the room. The sound, the lights, the synchronized roar of thousands—it hit like a supernova.

Hunter Levy

The surprises kept coming. “Up From the Bottom” made its live debut with Emily joining on guitar, instantly winning over the crowd. The band then stunned longtime fans with a rare, partial performance of “Where’d You Go”, a Fort Minor classic that added a deeply personal moment to the night. Mike Shinoda’s voice—raw and steady—cut through the air like a confession.

Hunter Levy

By the time “One Step Closer” lit up the arena, we were deep into a journey—one that balanced hard nostalgia with brand-new energy. Act III brought a goosebump-inducing hybrid of “Lost”, beginning with a delicate piano intro before exploding into full-band fury. And then came the knockout combo: “What I’ve Done”, “Numb” with its Encore callback, and “In the End”—a trio that hit like a thunderstorm of memory and meaning.

But the encore was the final exclamation mark. “Papercut” and “A Place for My Head” turned the venue into a maelstrom of fists and lyrics, before closing with a mammoth “Bleed It Out”, extended and injected with a Fort Minor verse that sent the crowd into a frenzy.

Hunter Levy

Linkin Park isn’t just revisiting their past—they’re reconstructing it, threading in new collaborators, new material, and a stage production that feels more like theater than concert. The result? A night that was intense, emotional, and completely unforgettable.

Hunter Levy

Final Take: A powerful resurrection and evolution rolled into one. Linkin Park delivered a show that was both a tribute and a forward march—proving they’re still one of the most essential rock acts on the planet.

The 'homesick' Tour with Anees

Written and Reviewed by Krysta Ayers

APRIL 25, Austin, Texas—Anees is on the Homesick 2025 tour for his album under the same name. Austin is his third stop and we are an early, and excited bunch as we watch from the standing room at Emo’s. With 1.9 million monthly Spotify listeners, and a recent collaboration with Macklemore, Anees is quickly rising in popularity. 

Dressed in overalls, a t-shirt, and neon construction vest, Anees was pulling off his own (vocal) work on stage. His banter was perfectly executed; he threw out rubber ducks; danced, jumped and ran up and down the stage; and dug deep into his diaphragm to hit each note all night long. He was the embodiment of the energetic, soulful music blasting through the speakers. The setlist was a love letter to his work, a heartfelt nod to the hard work he’s put in since 2020, when he started releasing music. 

He sang “My Girl” (his song, not a cover of The Temptations’) and coaxed the crowd to wave their hands side to side during 2023’s “sunny day.” He had a full band backing him, all of whom added a robust sound to each song, each hi-hat or bass chord punctuating the songs with more grit and edginess than the bouncy recorded versions you can stream. 

The crowd sang along to “Free Me” and “Love is Crazy.” The aforementioned collab with Macklemore? A song called “HIND’S HALL 2” with MC Abdul and Amer Zhar also featuring on the track. And when that played, the room breathed a new life. Everyone joined in to shout the lyrics, “In our lifetime we will be free / and they can bury us / but they will find out we are seeds.” 

It was an emotional show, and for the majority of it, I watched through tear-clouded eyes. He stood on stage at one point to take it all in and say, “I do not take this shit for granted…I just want to say I love you forever.”  

Nearing the end, Anees brought out Indian rapper Ahbi the Nomad who played his song “Sex and Drugs” to an excited and welcoming room of listeners. Anees’ newly released song, “alone” was also on the set list—received well within a crowd who was obviously on top of his discography, no single going under the radar. 

All too soon it was over. He played “goodbye,” giving us simple choreography as he sang, “Fuck off, get lost, goodbye.” We were a choir adding off-key (but well-intentioned) harmonies as Anees bounced around, good energy never depleting, and bid us farewell. If you’re the type that loves when sad or powerful lyrics are masked by upbeat tempos and catchy melodies, I can’t think of a better addition to your playlists than Anees. And if you’re able to catch him live, he’s worth every penny…and as a bonus, you’ll feel your soul cleansed in the special way that only music can accomplish.

From Texas with Love: Jack Ingram & Friends Shine for a Cause

Austin knows how to throw a party, but when Jack Ingram calls in a few “friends” — and by friends, we mean Miranda Lambert and Ryan Bingham — you show up, boots on and ready for a good time. The 13th annual Jack & Friends concert, part of the star-studded Mack, Jack & McConaughey weekend, turned ACL Live into a Texas-sized jam session with purpose.

Hosted by the ever-cool Jack Ingram, the night felt like a living room session with some of the best songwriters in the game — if your living room had Grammy winners, chart-toppers, and Matthew McConaughey floating around somewhere backstage whispering “alright, alright, alright.”

Miranda Lambert brought that signature mix of sass and soul, delivering a set that reminded everyone why she’s country royalty. Ryan Bingham followed up with his gritty, gravel-road vocals, pulling the crowd into that bluesy, dusty Americana world he owns so well. The lineup was packed with talent: Kaitlin Butts, Natalie Hemby, Calder Allen, Bobby Pinson, Aaron Raitiere, and Butch Walker each brought something unique — whether it was heartbreak, humor, or full-blown honky tonk heat.

But beyond the killer music, the heart of the night was the cause. MJ&M isn’t just a good time — it’s a good time doing good. Funds raised support organizations like CureDuchenne, Dell Children’s, HeartGift, and more — proof that a powerful melody can also be a force for change.

One part concert, one part family reunion, and one part philanthropic powerhouse, Jack Ingram & Friends was a night of high notes in every sense.

Exploring a (Past) Life of Sinning with Red Leather

Written and Reviewed by Krysta Ayers

APRIL 24, Austin, Texas—Hailing from Reno, Nevada, Red Leather has lived in proximity to so-called sinning and debauchery for the majority of his life. It’s a theme that extends to his art, with a tour befittingly called Put it All on Red. He’s stopped in Austin for a Thursday night show at 3Ten, a smaller venue that abuts the ACL Live Theater on Willie Nelson Blvd. While he might remain anonymous through a fringed red Stetson, face covering, and red leather uniform, his lyrics are painfully vulnerable and an introduction to the man behind the hat all on their own. 

Red Leather is unapologetic on stage. He switches from holding a mic, getting the crowd to clap along, and strumming his guitar. He tells us at one point about his years of sobriety and another anniversary coming up. He tells us he’s thankful to be on stage and touring the nation—and we’re happy to have him. Red Leather has spent a long time busking in the streets, so this stage…is a well-deserved upgrade.

Through songs like, “Down Bad” and “Sins,” Red Leather uses his raspy voice to sing about his old drug use, the feeling of being high, and in the case of the latter, forgiveness. The genres he’s working with are many: As he moves around the stage for “Burn in Hell” there’s a rock element that heightens the drama, in “Pusherman” that rock blends with pop country, and then there’s “Watching My Daddy Die”—unmistakably dripped in country influence (...is that a fiddle I hear?). Scattered throughout the setlist there are other moments of genius genre-blending, which the crowd takes in stride, ready for wherever Red Leather decides to take them. 

For an intimate venue (the capacity is 350, compared to neighboring ACL Live’s 2,750), we got an intimate performance. Red Leather takes us through his 2023 album, Reno, and singles from 2024. He cuts through lyrics like, “But the devil that I know / Is better than the devil that I don’t…I’m almost dead from your poison,” seemingly autobiographical and possibly about his past drug abuse, in his song “Poison.” He plays up the guitar solo in the song and jams with his touring band on stage with abandon and it feels like he’s leaving everything out in the open—everything except his identity. 

To round out his set, he plays his viral hit, “The Only Time it Rains in Hollywood.” It’s a song many other outlets and writers have called a “redemption” song. He plays it like it’s an old friend. He then asks if he can play new songs, with hopes that they will go viral too. “BONNIE AND CLYDE,” and “CAN’T GET HIGH” are energetic, fun, and dynamic. Most of the crowd knows all the lyrics already.

It’s been a pleasure to watch the artist perform—red fringe and all—and share his story. He was an interesting mix of Orville Peck, Mac Miller, and Post Malone—and if you go and listen to Red Leather, or you’re lucky enough to catch him before his ticket prices become abhorrent, you’ll hear exactly what I mean. 

Calling all Melancholy Brunettes in Austin

Written and Reviewed by Krysta Ayers

APRIL 23, Austin, Texas—True to Japanese Breakfast form, the stage at ACL Live was decorated for the tour theme of For Melancholy Brunettes (and sad women)—large sets of waves flanked each side, with a large, opened oyster shell in the middle. The band came onstage clad in Victorian-era looking garb, looking like the prince and his crew in The Little Mermaid being jubilant on deck while Ariel watched in wonderment from her hidden spot in the ocean. 

The first three songs of the set mirrored the tracklist of the band’s newest album, which the tour took its name from. “Here is Someone” was a sonically sweet precursor to “Orlando in Love,” and the crowd’s energy crescendoed as Michelle Zuaner, the band’s vocalist, guitarist, and main songwriter, sang the titular lyrics at the beginning of the song—the “melancholy” absent in the audience’s claps and general shouts of approval.  

The band then hit rewind to play “Road Head,” “Boyish,” and “The Body is a Blade” off their 2017 album, Soft Sounds from Another Planet. Zauner’s ability to make her own discography feel fresh and amplified on stage did not go unnoticed; The live versions punctuated the longing, the insecurities, and the nonlinear, messy journey of grief the Zauner has composed. The band was in sync for all of it, allowing more space for guitar solos and playfulness on stage.

Zauner sat inside the oyster shell, strapped with her acoustic guitar to play “Leda,”—fittingly dressed in white (and sitting within the oceanic display) to play up the Greek mythology in the song. It was “the calm” before the climax of the show. 

The back half of the set list was a healthy back and forth of Jubilee and For Melancholy Brunettes. Zauner took turns happily walking the length of the stage to sing with the crowd, and playing the guitar as if it were an extension of herself—emoting through every chord and taking up space rightfully hers, with the same command as her male counterparts  And as with any crowd after the invention of the smartphone, phones were poised up ready to record the action, your fellow concert goer’s view be damned. Everyone was eager to hold onto the night. To take their memories out of the venue, and hopefully, relive them again and again (instead of leaving them forgotten in the abyss of one’s camera roll).  

Japanese Breakfast ended their set with “Posing in Bondage,” before coming out for an encore. The crowd generously gave their claps. The encore consisted of “Paprika,” “Be Sweet,” and “Diving Woman”—saving the fan favorites for last. As someone who did not get to see the band while they toured for Jubilee, hearing “Paprika” and “Be Sweet” live (and played in the order of the album) for the first time was, without trying to sound too corny, felt like being “at the center of magic…Oh, it’s a rush.” It was nothing short of amazing to stand with a group of strangers (and my brother) to see Michelle Zauner fronting Japanese Breakfast and absolutely crush it. 

Brat: and it's the Same but it's a Different Summer

Written & Reviewed by Krysta Ayers

APRIL 22, Austin, Texas—You wouldn’t know that it was a school night by looking at the crowd of neon green-wearing fans at Moody Center on Tuesday. The sold-out venue was filled with a frenzied, youthful, energetic crowd—which was to be expected for Charli xcx, the recent Grammy-award winner who so generously gave us “brat summer” last year. She was kicking off her Brat 2025 tour with us—and boy, were we ready. 

With a swift dimming of the lights and a simple neon-green backdrop with the lowercase “brat” written (and scratched out) in the center, Charli xcx made her punchy (literally, fists in the air) entrance onto the stage and immediately roused us with “365.” It was a loud rallying cry for the Angels (what Charli’s fanbase is called).

Photo: Henry Radcliffe

In just a bra, sunglasses and high-waisted joggers, Charli pumped up her fists, gyrated, and sang straight into the camera that followed her around the stage. It was like we were witnesses to the making of her music video. She embodied the club scene of the 2010s. And as she moved through her set, playing “Von Dutch,” “Club Classics,” and “Apple,” you couldn’t convince us that we hadn’t been transported to a sleazy New York club, circa 2012. She walked beneath her catwalk, the camera following closely and jerking into new angles. She was projected onto two large screens flanking the stage.    

Photo: Henry Radcliffe

Once we finished the choreography for “Apple,” Charli moved onto songs like “Spring Breakers” (with flashing lights and high energy), and “Girl, So Confusing,” the crowd shouting back the lyrics to Lorde’s verse. And while there weren't any surprise guests to sing their parts in their collaborated songs, we did get three more outfit changes—none of them disappointing. Changing from hot pink underwear to a polka-dot mini (very mini) skirt and then a matching set of white underwear and corset-like top. The latter she wore towards the end, during a dramatic scene of dancing under the stage-produced rain that poured down at the end of the catwalk like a scene from Step Up. 

Photo: Henry Radcliffe

It’s a testament to Charli’s raw energy on stage that she could so easily carry an entire show by herself. With merely a perfectly executed light design and one-man film crew, Charli was able to perform with the charisma and vivacity of a full band. It was incredible to witness. 

She closed out the show with a rerun of “365’ then quickly came back for her encore, still wet from her time under the rain. She played her 2017 track, “Track 10,” “Vroom Vroom,” and ended with her 2013 hit with Icona Pop, the ultry-catchy, ultra-dancy, “I Love It.” We gave the song our all as we raised our hands in the air, and feet off the ground—like club rats not wanting to acknowledge that it was time to go home. 

Photo: Henry Radcliffe

Though Charli xcx proclaimed “brat summer” ended last year, she is far from using any punctuation that marks finality. As she demonstrated so cathartically onstage: she’s a club brat and she’s here to party. 

So buckle up.

Live at Echo Lounge: Isabel LaRosa

I slipped into the warm glow of the Echo Lounge just as Isabel LaRosa took the stage, opening with “muse.” The band’s soft, shimmering intro felt like a gentle invitation—perfect for settling into the plush booths and fairy-lit rafters. I caught Isabel’s eye as she sang, her smile lighting up the room like a secret shared between friends.

A few songs in, she slowed things down with “More Than Friends.” The lights softened to a rosy hue, and you could hear a pin drop—everyone was leaning in, swaying together to that tender chorus. Couples held hands, besties hugged, and even the bartender was tapping along behind the counter. It was one of those magic moments where the crowd felt stitched into a single cozy quilt.

Just before “Burning,” Isabel paused and grinned big. “Tonight’s extra special,” she said, “because it’s my brother Thomas’s birthday!” The stagehands rolled out a small cake, candles lit, and the entire room burst into a heartfelt “Happy Birthday.” You could feel Isabel’s love for her brother in every note afterward; the crowd was totally obsessed, cheering “We love you, Thomas!” louder than any chorus.

Then she turned up the heat with “Burning,” trading her guitar for a mic stand as haze and colored lights swirled. The driving beat pulsed through the floorboards, and I swear you could feel every heartbeat in that packed room. Phones shot up to capture the moment, but most of us were too busy living it.

She closed the main set with “favorite,” pouring every ounce of emotion into the lyrics under soft pink spotlights. It felt like she was singing directly to each of us, sharing a sweet secret we’d carry home.

For the encore, Isabel returned with “i’m yours,” and the place absolutely erupted—hands shot skyward, and the whole crowd sang back every word. When the final note faded, I strolled back into the cool Dallas night with my ears still ringing and my heart full—grateful for a night of music, birthday love, and unforgettable moments.

Irresistible Bliss with Soul Coughing at ACL Live

I slipped into my spot just as the house lights faded and Soul Coughing kicked off with “I Miss the Girl.” A single emerald beam caught Mark de Gli Antoni’s flickering keyboard loops, and Sebastian Steinberg’s bass throbbed like a heartbeat under Mike Doughty’s cool, conversational croon. Right away, the crowd leaned in—arms folded, heads bobbing—caught between gleeful anticipation and pure sonic immersion.

By the time they dropped into “White Girl,” the stage was bathed in molten gold and violet strobes. Doughty prowled the front edge, mic stand in hand, as shards of distorted guitar and punchy brass samples collided behind him. Someone next to me raised a beer high, and for a moment our collective grin said it all: this was why we’d sold out ACL Live months ago.

Mid-set, “Misinformed” hit like a playful glitch. The slanted guitar riffs skidded across the stage like tumbleweeds, while de Gli Antoni’s off-kilter synth accents teased you right before the drop. I swear I caught a couple of people trading stunned high-fives during that warped breakdown—there’s nothing like hearing that song in a live room to remind you how thrilling a little musical chaos can feel.

Later, just as the smoke machines filled the stage with pearly haze, they launched into “Collapse.” Its slow-burning intro stretched time—each cymbal wash and plucked bass note hung in the air like a question—before the band dove into the epic outro. The audience erupted in a single wave of applause when the final chords dissolved, as if we’d all taken a collective, satisfied breath.

Of course, no Soul Coughing night would be complete without a killer encore, and “Super Bon Bon” was the perfect exclamation point. The opening drums landed like a call to arms, and soon the entire room was chanting along to “the mind is a terrible thing to taste.” When the last echo faded and the neon lights slowly bloomed back on, I stumbled out into the cool April air with my ears ringing and a huge grin—already plotting how to do it all over again next time.

The Immutable Truth: Meshuggah Still Rules Metal

Written and reviewed by Clinton Camper

April 15, 2025 – Austin, TX – ACL Live at The Moody Theater

On a warm Tuesday night in Austin, the legendary ACL Live was swallowed whole by a black hole of sound. Meshuggah didn’t just play a show—they engineered a ritual of rhythm, distortion, and decimation. The Swedish pioneers of djent brought their warped time signatures and gut-punch grooves to a packed house, and for nearly 90 minutes, there was no escape—only surrender.

They opened with “Broken Cog,” a sinister, creeping descent into madness. It’s not a bombastic intro—it’s a psychological one. Like a beast slowly waking up, the track slithered through the speakers, blanketing the crowd in tension before snapping jaws shut with its crushing weight. The lighting—pure dystopia in motion—flashed in cold whites and infernal reds, syncing perfectly with every jarring downbeat. It wasn’t just music. It was war choreography.

A few tracks in, “Rational Gaze” landed like a hammer to the chest. The crowd surged, bodies convulsing to the labyrinthine rhythms that only Meshuggah can execute with such deadly control. This song is math-metal scripture—every hit, every pause, every note—calculated to disorient and dominate. It’s not just heavy. It’s alien. And in that moment, under that blinding, chaotic light, we weren’t in Texas anymore—we were on Meshuggah’s planet.

Tomas Haake’s drumming was nothing short of interdimensional sorcery. His ability to maintain impossible polyrhythms while the rest of the band syncs into an entirely different groove is a feat that defies physics. And then there's Fredrik Thordendal and Mårten Hagström, whose guitars didn’t chug—they detonated. Monolithic riffs dropped like granite slabs, while Jens Kidman—part conductor, part berserker—stalked the stage with mechanical precision and primal intensity.

The main set closed with “Future Breed Machine,” and if ACL Live had rafters, they would've come down. That track remains the gospel of Meshuggah’s ethos: surgically tight, violently unrelenting, and somehow still groovy enough to make 2,000 metalheads bang their heads in oddly satisfying syncopation.

But it wasn’t over. The encore summoned the last reserves of energy from a crowd that had already been left breathless.

First came “Bleed.” The song that launched a thousand failed drum covers on YouTube. The kick pattern alone is enough to make seasoned musicians cry, but hearing it live is a whole different beast. It’s punishing. It’s hypnotic. It’s pure Meshuggah—a perfect blend of technical insanity and brute force. The floor practically rippled as the audience convulsed to its relentless rhythm.

And then, the final nail: “Demiurge.” Slower. Meaner. Heavier. The opening riff felt like tectonic plates shifting beneath the venue. Heads banged slower now—not from fatigue, but reverence. It was the sound of a god descending, dragging chains. An end that didn’t just close the night—it crushed it.

Meshuggah doesn’t do “concerts.” They deliver transmissions from another plane—coded in odd time signatures, wrapped in sonic warfare, and delivered with terrifying exactness. On this night, in this room, there was no doubt: the masters of mechanical mayhem are still evolving, still innovating, and still capable of bending time, space, and spine.

We didn’t leave that show the same. Meshuggah doesn’t let you.

An Intimate Night with Amos Lee

Written & reviewed by Clinton Camper

April 13, 2025 – Austin, TX – ACL Live

If there’s one thing I’ve learned from years of seeing shows, it’s that there’s nothing quite like the feeling of being in the same room as an artist whose voice feels like it’s been carved from pure emotion. That was the magic of Amos Lee on Sunday night at ACL Live.

Right from the moment he stepped on stage, it was clear: this wasn’t just another show. Lee’s voice, rich and soulful, filled the venue like it was made to echo through those walls. The crowd? They were in it, hanging on every note, with every song feeling like an intimate conversation. The setlist was a perfect blend of his classics and newer material, and the audience couldn’t have been more receptive.

Lee kicked things off with “Windows Are Rolled Down”, and the mellow, groovy rhythm had the whole place swaying in unison. From there, he dove into “Sweet Pea”, and let me tell you, that track always has a way of making you feel like you’re floating in time, as if the world’s troubles just fade away for a moment.

But the real magic came during “Shout Out Loud”. That song has an energy that you almost have to feel to believe. The whole venue lit up with a collective energy that proved Lee knows how to balance the slow, aching ballads with a little soul-fire when the moment calls for it. It was a perfect mix of joy, nostalgia, and pure groove.

The night was also filled with heartfelt moments as Lee took a step back, chatting with the crowd between songs. He shared his appreciation for Austin's unique energy and even joked about how playing at ACL Live felt a little like a homecoming. And when he moved into “Colors”, the intimate atmosphere in the room became almost palpable. His voice soared effortlessly through the lyrics, and you could hear a pin drop in that space—a testament to his ability to captivate an entire audience with nothing but his raw talent.

The show wrapped up with “Vaporize”—an emotional closer that left the crowd breathless and in awe of the night they just experienced. It's safe to say that Amos Lee delivered not just a concert, but a soulful journey that felt like it lasted just long enough to leave you wanting more, yet long enough to leave a lasting imprint on your heart.

Take Action X SXSW 2025

Artists for Action and the Sandy Hook Promise Foundation came together at SXSW to present two powerful nights of music and advocacy, blending live performances with a mission to raise awareness about gun violence, uplift youth voices, and promote safer schools and communities.

The first night took over Mohawk, headlined by alt-rock legends Everclear, who delivered a high-energy set packed with hits like “Father of Mine” and “Santa Monica.” It was a much-needed dose of classic rock in a festival that’s leaned increasingly indie in recent years. Everclear wasn’t just the right sonic choice—they were the right spiritual choice, too, standing firmly behind the cause and using their platform to amplify its message.

Night two at Empire Control Room & Garage brought an eclectic and powerhouse lineup, featuring Ginuwine, Aly & AJ (who stepped in last minute after Passion Pit’s drop-out), and Mark Barden & Friends. The evening took on a deeply emotional tone with Mark Barden, co-founder of Sandy Hook Promise and father of Daniel Barden, one of the victims of the Sandy Hook shooting. His presence was a poignant reminder of the cause driving this event—gun violence prevention—and he infused the night with personal gravity.

Both Ginuwine and Aly & AJ brought their A-game, tearing the house down with sets that drew in a diverse crowd. While some fans were disappointed that Aly & AJ skipped their iconic hit “Potential Breakup Song,” the duo used their platform to offer much more than music. Between songs, they paused to talk about the importance of gun violence awareness, sharing heartfelt messages of hope and activism in dedication to the victims. It was a night that blended celebration with a sobering reminder of the work ahead—a true testament to music’s power to unite and inspire change.

The atmosphere shifted when Ginuwine took the stage, as the crowd became noticeably more energetic and lively. At 54 years old, Ginuwine proved he still has the chops to deliver a high-energy performance that kept the audience hooked. While the night was filled with great music and chart-topping hits, it transcended entertainment. The event was also a powerful platform for raising awareness about gun violence in America, highlighting the urgent steps needed to address the issue and ensure the safety of our children when they go to school.

Festival Review: SXSW 2025

The annual South by Southwest Festival returned to Austin with another vibrant year of music, film, tech, and brand activations. This year, electric vehicle company Rivian took center stage as a major sponsor, making a strong impression with one of the festival’s most talked-about experiences—a dirt mountain test ride where guests got to hop into one of their electric vehicles for an off-road thrill ride.

Rivian also powered the Radio Day Stage, featuring an impressive lineup that included Mobley, Alesia Lani, Freak Slug, Carpetman, and many more rising artists. To top it all off, they hosted a special music event at the Rivian Road House, just off the Congress Avenue Bridge, where St. Vincent delivered a powerhouse performance that shook the space and reminded everyone why she remains one of the most magnetic performers around.

One of our favorite showcases this year was the JBL Sound Bodega, which took over 3TEN at ACL Live for three packed days of music, energy, and immersive brand experiences. The highlight? A surprise performance by none other than Grammy Award–winning artist DJ Pee .Wee (Anderson .Paak), who lit up the room with a genre-blending, high-energy set.

Beyond the music, JBL kept things fun and interactive with a slew of giveaways—from keychains and sunglasses to portable fans and even their signature speakers. Fans had the chance to score prizes through a nostalgic claw machine or by testing their luck with scratch-off tickets, adding a playful edge to an already electric experience.

This year’s Hook ‘Em House took over Antone’s once again, delivering a two-day SXSW kickoff event packed with energy and local pride. The showcase featured standout performances from Austin’s own Mobley and Shakey Graves, drawing crowds in for a taste of homegrown talent. As always, Hook ‘Em House was a fan favorite during the festival’s opening weekend—thanks in part to its stash of free Longhorn swag, including shirts, pins, buttons, pencils, and a wide variety of Texas-style hats.

SXSW 2025 is already shaping up to look a little different—and yes, you could say this year was a movie. But next year, big changes are coming that will definitely impact how we experience the festival. Most notably, SXSW will be shortened from nine days to seven, with music now running across all seven days—an exciting shift that extends the music programming by two days.

Another major shake-up: The Austin Convention Center will be unavailable starting next year due to a multi-year redevelopment and expansion project, forcing many programming elements to relocate or be reimagined.

Finally, SXSW is changing how badge access works. Starting in 2025, each badge will only grant access to its specific category—music, film, or interactive—with no more secondary access to events outside your badge type. So, for example, music badge holders won’t be able to attend film screenings, and vice versa—unless, of course, you have a Platinum badge, which still gets you into everything.

Festival Review: Sips and Sounds 2025

Sips and Sounds took over Auditorium Shores during the first weekend of SXSW, bringing a star-studded lineup to the heart of Austin. The stacked roster included Khalid, Halsey, AJR, Suki Waterhouse, and Benson Boone, among others—drawing big crowds and even bigger energy.

This one-of-a-kind festival celebrated both music and flavor, with a strong emphasis on Coca-Cola’s latest offerings and the local food scene. Free samples of Coca-Cola’s new Orange Cream Soda were a refreshing highlight—sweet, smooth, creamy, and exactly what the warm spring day called for. Coke created a pop-up market structure that doubled as a drink stand and viewing platform. The second level provided one of the best vantage points of the Coca-Cola Studio Stage, complete with panoramic skyline views.

Cinemark, another major festival partner, brought along a mini movie theater that turned out to be a surprise favorite. Fans cooled off in the cozy, air-conditioned space while snacking on free popcorn and watching a short film—a perfect escape from the midday heat and crowds.

One of the standout performances of the festival was, without a doubt, Khalid. It’s been a while since he’s taken the stage with the same frequency as he once did, so seeing him live again—especially as he ran through hits from his American Teen era—was a wave of pure nostalgia. The crowd sang every word, and for a moment, it felt like we’d time-traveled back to the soundtrack of our late 2010s.

The same could be said for Halsey, who delivered a powerful set after a stretch away from the stage. Her last Austin appearance was back in October, so getting to see her return with that signature intensity felt like a gift—equal parts emotional and electric.

Benson Boone has taken the industry by storm with his breakout hit “Beautiful Things,” and his live performance proves he’s not just a one-hit wonder. His stage presence is electric—impossible to ignore and even harder to forget. We had a good idea of what to expect after seeing him at ACL, and once again, he delivered. His now-signature backflips had the crowd losing it, turning his set into a full-blown spectacle.

Sips and Sounds is a welcome addition to Austin’s ever-growing festival scene—short, sweet, and perfectly timed during one of the best seasons in the city. It fills a unique space in the lineup, offering just the right mix of music, food, and experience. We’re already looking forward to seeing how they top it next year.

Nowhere to Be with West 22nd

Written & Reviewed by Krysta Ayers

APRIL 11, Austin, Texas—Watching a rock show at the Scoot Inn is like watching from your semi-rich friend’s backyard. It’s intimate, and familiar, and just big enough for a group of friends to hang out. This couldn’t be truer than when watching West 22nd play the first show of their tour for their newly released album, Nowhere to Be. The local band (formed at UT and named after the street in West Campus) have roped in a loyal following around the city, so it really does feel like your friend’s backyard—like parents will come out any minute and tell you to keep it down. 

West 22nd sounds exactly like the band you fall in love with when you’re in college. They have catchy bass riffs, upbeat drum patterns that are more Vampire Weekend and less AC/DC, indie-rock melodies, plus clear-cut vocals singing lyrics about love and loss. And really, at any point in your life, but especially in college, what more could you ask for if not pining lyrics for a lover? If you’re a fan of The Arcs, Hippo Campus, Arcy Drive, or Cage the Elephant…these are your guys. Their sound is also slightly reminiscent of the early 2010s—which seems almost natural against the backdrop of early-aughts fashion circling back into the mainstream (and seen in the crowd). 

When I first saw West 22nd play a block party show in a parking lot for the apparel company, Howler Bros, I knew I would need to see them again. It was high-energy and fun (and also around the time of their first ACL performance). So, a second experience at Scoot Inn was welcomed (and an upgrade). The crowd was made up of what mostly seemed like their peers—other university-aged fans—and possibly some family members. And from the get-go, there was a palpable energy in the air; like we all decided this was our favorite band and we couldn’t wait for them to start.

They wasted no time once they were on stage. There was also no big ego on stage—they seemed serious about performing well and setting the tone for what the next chapter (tour) was going to bed. But they were also having fun. They spread out across the stage, communicating with each other with subtle nods or eye contact in ways only close friends and bandmates can do. During their set, they played some 2023 songs from their All the Way Home EP, like, “Sunburns,” and “Road Trip,” and “Sunny Jones”—a fan favorite—all the while dancing and engaging with the crowd, sometimes nodding to a familiar face in the crowd. 

They also played new songs from the Nowhere to Be album, the project the band released on April 4, just a week before their show. And when they played “I Wonder Why,” Logan Madsen (vocals, guitar) used a guitar break to tell the crowd, “ You guys learn the lyrics quickly! The album’s been out a week!” To which, the crowd responded in cheers. The rest of the band, Gabe Acevedo (rhythm guitar and vocal backup); Jet Beck (bass); Jeremy Ancheta (lead guitar), grew visibly more confident in their playing, letting the claps and “woos” boost their energy like a coin with speed in Mario Kart. And when the show came to a close, after the encore song rang out its last note, the crowd stayed a while, piling out of the venue slowly, like no one wanted the songs to end. 

As they continue with their 21-show tour, I have a feeling that it won’t be so easy to see the band play an Austin show in the future. As it is, the Scoot Inn show was sold out. They’re time of being nicknamed “the UT band” (I’m not on campus, I don’t know if people actually call them that) are over. They will likely charm the crowds that see them across the country, undoubtedly gaining more loyal fans ready to scream-sing their lyrics back to them. “You’ve got a lot of nerve to leave / I find it harder to believe / there’s somewhere else you need to be.” I can already see it posted on the bottom of an Instagram photo.

Highs, Lows, and Harmonicas: A Friday Night with Stephen Day

Written and reviewed by Clinton Camper

APRIL 11, Austin, TX—Stephen Day exploded onto 3TEN’s stage with the same raw energy and unmistakable swagger you'd expect from a musical outlaw. There’s a reason the city buzzed all week with anticipation—Stephen doesn’t just play his songs, he inhabits them. Under the intimate glow of the venue’s lights, he effortlessly commandeered the room, serving a cocktail of punk energy and soulful musings that left us both high on life and introspection.

The night kicked off with “Kinda Cowgirl,” a rousing opener that instantly elevated the crowd's collective heartbeat. Stephen’s voice—unpolished yet magnetic—cracked open layers of youthful defiance, enticing us to relinquish our inhibitions as we swayed in unison. When he segued intothe next song, there was a palpable shift in atmosphere; it was as if he’d poured out a memory of lost loves and hopeful tomorrows, all wrapped in a harmonica of tenderness and bittersweet resolve.

And then came “On Top of the World,” with Stephen flashing a rakish grin as if to say, “Welcome to my world, where every chord is a confession and every lyric a dare.” His delivery was playful yet piercing, threading the line between casual banter and poetic revolution. With “If You Were the Rain,” the stage morphed into a gritty cinematic scene. The raw, staccato strum of his guitar evoked the soul of every dive bar in all its gritty charm—a nod to nights that are equal parts misadventure and heartfelt camaraderie.

But it wasn’t all frenetic pace; “All This Space” offered a fleeting moment of atmospheric calm, a musical interlude that let us breathe in the cosmic vastness of his lyrical universe. Stephen’s knack for switching gears was on full display during “For Life (Take You Out, Treat You Right),” where every reverberating note told a story of loyalty, rebellion, and a promise to keep the spirit of rock ‘n’ roll alive. And just when we thought we had him pegged, he wrangled the crowd into a spontaneous explosion of movement with “Dancing in the Street.” With that final number, there was no doubt—Stephen Day had masterfully blurred the lines between a meticulously crafted setlist and an impromptu, riotous celebration.

Throughout the night, his stage presence remained impeccably magnetic. Every riff, every husky whisper between the anthems, came loaded with an authenticity that can only be described as electrifying. With a blend of witty banter, charismatic swagger, and enough raw musical grit to light up downtown Austin, Stephen Day proved that sometimes the most compelling art comes from the heart of a rebel refusing to play by the rules.

In short, the evening was a bittersweet cocktail of highs and reflective lows—a sonic journey that left us breathless and yearning for more. If rock ‘n’ roll has a spirit animal, it’s undoubtedly Stephen Day, the sonic trickster who owns every moment of his stage.

Bible Study on a Thursday Night

Written & Reviewed by Krysta Ayers

APRIL 10, Austin, Texas—In life, one has to embrace a “live and learn” type of approach if they’re going to accept their mistakes and avoid repeating them. Standing inside the mostly empty, 350-people room of downtown’s 3Ten, I thought that statement rang true for both gio and I. So unprepared yet up-for-anything was I to see a show at this venue, that I skipped the part where I listen to the artist before I commit myself. Like, actually listen. Because (as I lived and learned for this show) listening absentmindedly did me no favors. 

In the background, gio (stylized in all lowercase and punctuated with a period, which would be too confusing to include here) has an upbeat, very rhythmically pleasant mix of pop and hip-hop sound. The melodies are smooth and easy, transitioning into new songs like a never ending lullaby. It sounds, and not in a negative way, like a lot of the “New Music” songs that Apple Music compiles into a playlist for me. His voice and tone are also pleasant—soft and even, and still youthful. There is no rasp, or tinge of a mature voice. On Spotify, he has just over 740K monthly listeners, and his most-played song, “mess it up,” has over 19 million plays. But pre-show, I had no idea what he was singing about, just that everything sounded…nice. Like I could sway a little when I watched live. 

It wasn’t until gio came out on stage to open his set alongside his collaborator and tour opener, Dell Mac, that I realized the error I had made. The song was riddled with religious innuendos—not to mention, Dell Mac was wearing a shirt that literally read “Jesus”—that I had not caught before. I wasn’t hopeful that this was the only song, or that the rest of the set would be more inconspicuous. But as they worked up the crowd of maybe 40 people, gio and Dell Mac jumping across stage until the end of the song, gio lost grip of his mic, dropping it and causing it to no longer emit sound. We watched as he tried to remain calm and wait for the sound mixers at the venue to remedy the problem.

When a solution was not quick to come, gio reached into his diaphragm to call out to the crowd, getting each side to out-yell each other for a few turns before finally yelling, “We’re just going to share a mic, I think that’s the way to do this, you guys ok with that?” And so the set continued, with Dell Mac and gio sharing a mic, trading off for their verses and chorus. Without wasting too much time, or causing a big hiccup, they picked up right where they left off.

Gio, a young artist from Boston, has played a few shows before hitting Austin. Last year, he played a hometown show, toured the West Coast, then played shows in Germany and Ireland. Handling an accidental mic drop (god, was that you?) that would hinder the sound, was hopefully not something he had to experience during past shows, but if there was ever a time to exercise some problem-solving skills, tour seems like the best option.

And so, with a mic back in his hand, gio began a banter that consisted of quoting a bible verse followed by a call-and-response with a hymn (because all subtlety was gone!). The crowd, seemingly equal to gio’s age, with some young kids accompanied by parents, clapped and chanted along. They knew what they were getting into. They were excited to be there; they knew the lyrics to both the hymns and gio’s music. They should have called the tour Bible Study. 

While I’ve been known to attend a Relient K concert, or sing along to Creed in a bar, Christian music, let alone a Christian show, is not exactly what I seek out. However, the lack of personal interest doesn’t take away from his valiant effort and dedication to his craft. He had control of his voice even as he jumped around and sang, and engaged with the crowd between every song. Plus, we both learned something! I learned to research (more thoroughly) an artist before my Type B personality spontaneously agrees, and he learned that he can handle a crowd should something go wrong. 

Dressed in sunglasses and an oversized hoodie similar to the secular hip-hop artists that he is not, gio’s patience and ability to think quickly on his feet was commendable, and overall, it seemed like the crowd was having a great time. And really, isn’t that what any artist would call a success? 

All Born Screaming: A Night With St. Vincent

Written & Reviewed by Krysta Ayers

APRIL 7, Austin, TX—St. Vincent, the woman known affectionately for her poignant bodies of work and semi-serious, high-art allure, has been touring since 2006. Rolling Stone has named her the 26th greatest guitarist of all time. She is the true “mother” millennials need (and dare I say, deserve). With this all in mind, she has nothing to prove to us—a small group of approximately 5,000 gathered on a cool spring night at the Moody Amphitheater. But she’s here touring her eighth studio album, All Born Screaming, and dammit if she’s not going to show the crowd every ounce of her talent. 

I don’t think there’s a better word to succinctly describe St. Vincent other than “cool.” As soon as she steps on stage, Anne Clark (her government name) becomes a snake’s discarded skin, emerging as St. Vincent. She’s in all black, wearing ripped tights under tailored shorts with a phallic belt hanging in front (anyone else think that?), and a bra under an oversized blazer (fucking casually cool). Her dancing includes delicate gesticulations, like butterfly hands that evoke Napoleon Dynamite’s talent show performance—and even this she makes look fucking cool. 

All that to say: Thank the music gods that St. Vincent has created her spot in the limelight after touring with Sufjan Stevens all those years ago. And while we don’t need to hash out the lore of St. Vincent, we do need to hash out how incredible this show was.

St. Vincent and her band enter stage right and dive into “Reckless.” It’s a slow song, with a gut-punch of a line like, “And I've been mourning you since the day I met you,” as the bridge. There are no trippy graphics playing behind her or grandiose set designs taking up precious space on stage. And as we get to the trancey end, her band builds up the song with a wink of drama to take us into “Fear the Future,” immediately providing a sampling of her 20+ year discography. She is weird, rousing, and she wields her guitar like the seasoned pro that she is. And as she’s backlit with red stage lights, I can feel us in the crowd hold our breath less we muffle the sound of her voice in any way. We are completely entranced. 

Her mezzo-soprano vocals bend and fold into buttery layers as she uses her voice like an instrument—she harmonizes, screams, and enunciates every word into the mic in intervals, switching keys with baffling ease. In between chorus and verse, she jerks erratically across the stage, almost like she’s tripping, imitating your drunk uncle leaving the house, or slightly exaggerating Elaine Benes’ dance moves. Everything she does is completely uninhibited—second nature to her. She runs from left to right, playing guitar head-to-head with her bassist and guitarist; launches into some banter and tells us, “I’m from Dallas. I know that’s not a cool thing to say,” which we’re inclined to agree with (and which contradicts the fulsome review I’m already writing in my head as I watch from my seat); and gets lipstick smeared around her mouth (which, of course, she makes look cool). I’ve never seen St. Vincent live before, so her complete abandon on stage and her rock-star coolness is new to me; I am expecting nothing and here she is, delivering everything. 

Near the end of the show, she joins the crowd for “New York,” (from her album Masseducation) casually standing on those in the pit and collecting her balance by white-knuckling the hands of those within reach. Hello, she’s “cool” personified. Then, she crowd surfs back to stage like “the only motherfucker in the city who…” could. 

She closes out with “All Born Screaming,” singing alone on stage before doing the obligatory two-minute wait before coming back for her encore. And this she sings in a stance I can only describe as a lazy-warrior-II-yoga pose, which I guess is only fitting (sans the lazy part) for someone who has been armored and ready to “destroy” the stage with a guitar-focused performance to remind people that she’s just a talented weirdo with a sharp pen who belongs on stage.

AWOLNATION Shreds Dallas: A Night of Pure Rock Energy

AWOLNATION at House of Blues Dallas was nothing short of explosive. From the moment they kicked off with Jump Sit Stand March, it was clear this show was going to be a high-octane, genre-bending ride that would leave you buzzing long after the final note. Lead vocalist Aaron Bruno and his bandmates took the stage with a raw energy that never let up, blending electronic rock with alternative grit in a way that only they can.

The crowd was immediately hooked with Soul Wars, a track that had everyone singing along and jumping to the heavy beat. As the night unfolded, the hits just kept coming. Kill Your Heroes lit up the room, with Bruno’s signature vocal style soaring through the air, while Run and The Best fueled the energy even higher. There’s something about AWOLNATION’s anthemic sound that feels impossible to resist—every song feels like a battle cry for freedom, a call to lose yourself in the music.

But it wasn’t just the big tracks that made the night unforgettable. When Barbarian hit, the crowd was ready to unleash their inner wildness, and AWOLNATION gave them every reason to. The surprise moment of the night came when Zach Irons took over on vocals for Passion, delivering a raw, gritty outro that felt like the perfect throwback to the band's roots. Everyone was on their feet.

Holy Roller sent a shockwave through the venue, and then came Hollow Moon (Bad Wolf)—arguably one of the most intense moments of the night, where the entire room seemed to breathe as one. AWOLNATION took us on a sonic journey, hitting us with Like People, Like Plastic and Not Your Fault, each song adding more layers to their already rich sound.

The night was far from over. When they hit Knights of Shame, there was no rap—just raw energy and pure rock intensity. By the time the encore came around, AWOLNATION had the crowd completely in their grasp. A stunning guitar solo followed by Panoramic View made it clear: AWOLNATION knows how to bring a show to a head-banging, crowd-surfing, fire-breathing finish. But then they left us with Sail, their iconic anthem, and the crowd was absolutely electric.

AWOLNATION at House of Blues was a masterclass in live performance. It wasn’t just a concert; it was a full-on experience that had the crowd hooked from the first beat. If you missed it, you missed one hell of a ride.

Saint Motel Turns Stubb’s into a Dance Party

Saint Motel at Stubb’s on March 8? Pure magic. This band knows how to turn a night into an unforgettable celebration, blending indie pop with cinematic energy and enough swagger to make every single song feel like a movie scene. From the first note of Puzzle Pieces, it was clear this wouldn’t be your average show — it was an experience.

The night started with an infectious energy, and tracks like For Elise and Get It at Home had the crowd grooving, jumping, and completely locked into the vibe. Saint Motel has this uncanny ability to make you feel like every song is both personal and universal — they deliver the kind of feel-good anthems that make you forget everything and just be in the moment.

Life’s a Gas had the crowd singing along, and when they dropped A Good Song Never Dies, it felt like the band was truly speaking directly to everyone there — a reminder that their music has legs. Whether you were bouncing to the rhythm of Move or swaying with the smooth vibes of It’s All Happening, Saint Motel proved they’re masters at keeping the room in sync with their every note.

The crowd roared as Fine Wine played, the upbeat anthem swirling through the venue like a burst of joy, while Steady Hand took things down a notch, giving us a bit of reflective calm before the next explosion of energy. And then, Cold Cold Man happened — and you could feel the room shiver with the sheer power of it. That song alone could power a city block.

But the magic didn’t stop there. For the encore, A Bluer Blue had a surprise in store, as frontman A.J. stepped away from the stage and into the crowd, delivering the song in a more intimate setting. That kind of connection with the audience is what makes Saint Motel’s live shows stand out — it’s not just about the performance, but about sharing that moment with everyone in the room. From there, they launched into Sweet Talk and Van Horn, both tracks that kept the energy at a fever pitch before wrapping up with My Type. By then, every single person in that venue was completely hooked — and it was obvious why.

Saint Motel doesn’t just put on a concert — they throw a party where the music is the life of the party. It’s not just the songs; it’s the way they make you feel alive, connected, and completely immersed in the moment. If you were there, you know exactly what I’m talking about. If you weren’t, don’t sleep on them next time. Trust me.