Nikki Glaser: Alive, Unwell, and Absolutely Unmissable

Written by Clinton Camper

📍ACL Live, June 22—There are two kinds of people in the world: those who’ve been roasted by Nikki Glaser, and those who just haven’t gotten close enough. On Sunday night at ACL Live, Austin got the full Glaser experience—unfiltered, unrelenting, and uproariously funny. And yes, it was completely packed. Every. Single. Seat.

The night opened with a male comic who was very funny… allegedly. Unfortunately, due to ACL Live’s no-phone policy—and the Bandera shots (iykyk) we had before arriving—his name and punchlines were swallowed into the abyss of good-time amnesia. No shade to him, though—he did his job, the crowd was warmed up, and then Nikki took over.

Wearing a pink-and-white jumpsuit and looking like she walked off the set of a glam-rock rom-com, Nikki stepped onstage and never looked back. There was zero crowd work. No improvisation. Just a tightly crafted, brutally honest, and deeply personal set that hit everything from sex, dating, and waxing to aging, mental health, and the endless horrors of modern romance.

The beauty of Nikki’s comedy is how she makes you laugh at the stuff you usually cry about. She’s raw without being mean, vulnerable without being self-pitying, and somehow manages to roast herself harder than any ex ever could. Her jokes land like therapy sessions hosted by your wildest friend—the one who says what everyone else is too scared to admit.

Even with no audience interaction, she had the room locked in. Not a single person was distracted. No scrolling, no side convos, just full attention—something rare these days and totally deserved.

Nikki Glaser isn’t just surviving in a male-dominated stand-up world—she’s dominating. She’s proof that comedy doesn’t have to play nice to be smart, and that pushing boundaries doesn’t mean losing your audience. If anything, it means gaining a fiercely loyal one.

She may call the tour “Alive & Unwell,” but make no mistake—Nikki’s comedy is in peak health.

Cute, Chaotic, Charismatic: A Night With BIBI

Written by Clinton Camper

No opener, no filler, no problem. The Pavilion at Toyota Music Factory belonged to BIBI on June 19—and we were all just guests in her unpredictable, poetic, unfiltered world.

From the jump, the energy was cracked. The girl in front of me was nervously shaking her leg so hard it was loudly squeaking her chair—like her whole nervous system was prepped for impact. Her friend finally had to tell her to calm down. That’s how amped the entire crowd was. And when BIBI finally walked onstage in a schoolgirl outfit, complete with blue pleated skirt and patent kitten heels, she didn’t just enter—she set the tone.

The first stretch of the show felt dreamy: just BIBI, a mic, a cityscape behind her, and later a glowing ocean sunset. She eased into songs like “Midnight Cruise” and “Hangang Gongwon” with a voice that felt smoky, jazzy, and sweet—an artist entirely at ease in her element. The crowd swayed with red heart light sticks in perfect sync, left to right.

She greeted us with: “Hello Irving, it’s my first time visiting… what’s Irving?” Same, girl. But she was warm and witty the whole night, downplaying her English, though she was eloquent and funny as hell. Between songs, she joked that she’s not in the Illuminati (but would let us know if they called), and revealed she’s “not religious because I’m stupid.” Her honesty and humor were magnetic.

When she launched into “Scott and Zelda,” she sat at a school desk, joined by five dancers and a touch of Broadway flair. One thing about me? I love choreo. And BIBI clearly loves storytelling. Even the interludes were theatrical—dark, surreal clips about identity, death, and rebirth. She introduced her alter ego, Eve, a clone birthed from emotional ruin, only to smash the fourth wall and say, “Forget about Eve, BIBI is back,” before unleashing BIBI Vengeance. It had the crowd losing their collective minds.

BIBI’s stage presence is a triple threat of cute, sexy, and unhinged—in the best way. She had us chanting “pack of cigarettes and condoms” like it was gospel. She danced around a fan named Alfredo during “Best Lover.” She performed “FedExx Girl” wearing a fan’s actual FedEx hat. She joked about her lack of a butt (“pancake!”), told us “Binu” (soap) launched her career, and reminded us that paying $60 for light sticks is wild when they’re $5 in Korea (thanks though, she appreciates it).

One of the most wholesome parts? She spent nearly 20 minutes roaming the crowd, asking people what their jobs were. She said she wanted to know us. Really know us. Then she sang “The Weekend” like it was her closing statement.

After teasing an encore, she returned with “PADO,” “Bumpa,” and “Eat My Love.” And just like that, it was over—but she left us feeling seen, loved, and a little emotionally disoriented. BIBI doesn’t just perform; she confesses, jokes, dances, and disarms. She’s a full-on experience.

And if the Illuminati does call? I hope she answers.

Peach Pit Closed the Party, But Briston Maroney Lit the Match

Written by Clinton Camper

June 17, 2025 – South Side Ballroom at Gilley’s, Dallas, TX

I got home and immediately had to write this. My ears are still ringing, and I’m still grinning—there was no way I was going to let the memories of tonight fade without getting them down.

We missed opener Bnny, but walked into a completely packed South Side Ballroom just in time for Briston Maroney to take the stage. And I mean packed. I’m 5’11 and still found myself on my tiptoes trying to catch glimpses of Briston and his band. But once they started, I didn’t want to look away.

Briston was a madman in the best way—jumping around, headbanging, shredding on his guitar like it owed him money, and relentlessly hyping the crowd. He didn’t just ask us to get loud—he demanded more, and we gave it. At one point he had us flapping our arms like birds. At another, he used a cymbal to play a triangle. Is he a rockstar or a stand-up comic? Somehow both.

The energy was nonstop. The 60-minute set flew by. I went in personally more excited for Briston Maroney than Peach Pit and left even more obsessed. I was so impressed, I bought a $45 shirt on the spot—and I’m broke. No regrets.

Song highlights included:

• Paradise

• Small Talk

• Body

• Better Than You

• Caroline

• Under My Skin

• June

• Freakin’ Out on the Interstate

It even felt like the crowd was just as locked in for Briston as the headliner—and honestly, I get it. He’s talented, hilarious, and totally captivating live.

Then came Peach Pit, and they delivered a totally different flavor of fun—but just as dialed in. With 30 massive circular lights behind them, the band lined up shoulder to shoulder and let the music speak for itself.

They joked about being cyberbullied into coming to Texas, admitted the heat was killing them (Canada could never), and made it clear how much Dallas means to them. Gilley’s is the only place they’ve ever played in Dallas—opening for Two Door Cinema Club back in 2019. Back then, they only had one album and were still “workshopping Shampoo Bottles.”

The crowd sang every word to that one tonight—arms in the air, totally in sync, with frontman Neil swaying along with the sea of hands.

Alrighty Aphrodite was another peak moment. Neil flailed and convulsed like a possessed zombie while someone in the crowd yelled, “This song is a banger!” Everyone nearby nodded in full agreement.

They shredded hard to close Private Presley, left the stage, and came back out for an encore. Neil returned alone for Peach Pit, thanking the crowd for helping make his dreams come true before the full band joined in for Tommy’s Party. The perfect ending.

Song highlights:

• Magpie

• Vickie

• Give Up Baby Go

• Techno Show

• Alrighty Aphrodite

• Shampoo Bottles

• Peach Pit

• Tommy’s Party

I came in excited, left blown away, and I’m already counting down until the next time either of them pass through Texas.

Remy Bond Brings her Vintage Dreams to Dallas

Written by Clinton Camper

On Sunday night (June 15), Remy Bond turned the Cambridge Room at House of Blues Dallas into her own sparkling time machine. Greeted at the entrance by a life-size cutout of the rising star, fans packed the room ready to step into her dreamy, throwback universe—and Remy delivered.

With a Grease-inspired opening featuring two dancers twirling to “Beauty School Dropout” in full retro getup, the tone was set for an evening that blurred eras with effortless charm. When Remy appeared—hair perfectly curled, a Hawaiian flower tucked in, and a pinup-style outfit to match—the crowd erupted. If she looked picture perfect, she sounded even better.

Having also caught her Austin stop, it was clear the Dallas crowd showed up strong for the 19-year-old. From the front row to the back, the room buzzed with love for the breakout star as she performed all nine of her released songs, along with a handful of unreleased gems.

Choreographed numbers with her dancers added extra flair, but it was the unexpected moments that stole the show—like when Remy climbed into a life-sized wine glass to deliver a hauntingly beautiful rendition of “Atlantic City.” It was surreal, theatrical, and classic Remy: playful, cinematic, and impossible to ignore.

With a style that nods to vintage Americana but still feels fresh and current, Remy Bond isn’t just an artist to watch—she’s one to follow closely. Last night, Dallas didn’t just meet a star in the making. It danced, sang, and sparkled right alongside her.

Kevin James Brings Self-Roast Comedy to ACL Live

Written by Clinton Camper

Kevin James brought the laughs—and the sweat—to ACL Live on Saturday night for the Austin stop of his Owls Don’t Walk tour, a title that remains unexplained but somehow makes perfect sense by the end of the night. In a packed house, James delivered a no-frills 75-minute set that was classic Kevin: animated, physical, and relentlessly self-deprecating.

From the moment he stepped on stage, James leaned hard into the theme of self-roasting, turning his weight into the night’s running gag with sharp timing and surprising vulnerability. A recurring bit involved the “voice in his head” reassuring him that he’s in perfect health—only for James to quickly admit that the voice is entirely fictional and exists solely to justify his continued eating habits. The same imaginary voice later insisted he could eat anything he wanted, no consequences. The audience howled every time it returned, getting more absurd and delusional with each appearance.

One of the night’s standout stories centered around a parent-teacher conference, where James—at the urging of his wife—tried to “dress nice” and squeezed into an old suit that he absolutely could not fit into. At the school, he found himself in a tiny plastic chair meant for toddlers, stiff-arming the table like a T-Rex, too afraid to bend because his suit was one breath away from a fashion emergency. His physical reenactment of trying to sit while preserving the last thread of dignity (and actual thread) was one of the biggest laugh moments of the night.

James didn’t reinvent the comedy wheel, but he didn’t need to. His style is familiar in the best way: exaggerated expressions, full-body storytelling, and jokes that pull from everyday absurdity. There were no set changes, just a guy owning the stage with pure comedic instinct.

If you came expecting new characters or topical hot takes, this wasn’t the night for you. But if you wanted to see Kevin James make fun of himself for 75 minutes straight—and somehow make that feel both fresh and personal—he absolutely delivered. Austin showed up ready to laugh, and James made sure they didn’t leave disappointed… just maybe wondering what the hell “Owls Don’t Walk” means.

Spellbound: Banks Live in Austin

Written by Clinton Camper

Banks brought all the drama and none of the fluff to ACL Live on Friday night. The stage was dark, the bass hit hard, and from the moment she opened with “Guillotine,” the crowd knew they were in for something intense.

Her set blended old favorites with newer tracks like “Love Is Unkind” and “Delulu,” and it all hit just right. Banks’ voice cut through the fog—sometimes soft and haunting, other times big enough to shake the walls. “Gemini Feed” and “Fuck With Myself” still go off live, but songs like “Contaminated” and “Drowning” brought the room to a quieter, more emotional place.

There wasn’t a lot of banter—just bold visuals, razor-sharp movements, and a carefully built atmosphere. She kept things moving with “Meddle In The Mold,” “Move,” and “Direction,” giving the show some grit and swagger. Even slower moments like “Someone New” and “Stay” didn’t drag—they gave the night a little breathing room.

By the time she launched into “Waiting Game” and “Beggin for Thread,” everyone was locked in. People were yelling lyrics, swaying with their eyes closed, just fully in it.

Banks turned pain into power, and the crowd felt every pulse of it.

Pierce the Veil Break Sound Barriers in Austin

Written by Krysta Ayers

📍Moody Center, June 11—Post-hardcore, screamo pop-punk is not dead. It indeed was not a phase, mom! Pierce the Veil, with opener Sleeping with Sirens, broke sound barriers on Wednesday in front of the most enthusiastic crowd if ever seen at the venue (outside of Kendrick Lamar and Harry Styles). It was a sold out show.

Photo by Drew Doggett

The band covered their entire career with the I Can’t Hear You World Tour setlist and the energy from the crowd was palpable. From 2007’s A Flair for the Dramatic to 2023’s The Jaws of Life, the band’s five studio albums, which have been anthropic to the genre of post-hardcore punk, united the venue into a scream-singing, head-banging assemblage. 

Before the band stepped foot on stage the tone was set by both Sleeping with Sirens—who played an animated set to one of the biggest crowds for an opener—and “El Rey,” the song made popular by Mexican artist Vincente Fernandez, playing through the speakers in between bands. 

Photo by Drew Doggett

They kicked things off with “Death of an Executioner,” an apt follow-up to the off-stage “El Rey” and (though the setlist was probably solidified months in advance) maybe a subtle commentary in the wake of the protests happening in LA. The San Diego-based band then went into “Bulls in the Bronx” from their 2012 album, Collide with the Sky, and see-sawed between that album and Jaws of Life for a few tracks, which worked the crowd into a nostalgic frenzy. Hands were in the air moving from front to back, eyes were locked on the stage, and voices were at full volume to sing along or wail with enthusiasm. 

Photo by Drew Doggett

A snippet of “Where is My Mind?” from the Pixies led into “Floral and Fading” with Vic Fuentes’ voice coming out crisp and powerful.

Photo by Erick Hernandez

An acoustic rendition of “Today I Saw the Whole World” from their 2016 album, Misadventures, saw the band gathered tightly on stage—the slowed-downed melody washed over the crowd like an old familiar blanket. The rest of the show consisted of other favorites like, “Wonderless,” “Hell Above,” and “Caraphernelia.” Loniel Robinson (drums) and Jamie Preciado (bass) kept impeccable time, the soul of each track, as Tony Perry (lead guitar) threaded emo-heavy, alternative chords with effortless savvy.  Each chord, wail, and kick drum pounded into our bodies for a holistic experience. And…my favorite indicator of a great time: no phones in sight for the majority of the show. 

Photo by Erick Hernandez

The crowd played into the frenzy happening on stage like a supporting character in an action movie. They knew exactly how to play their part just as much as the band members they came to see. It cannot be stressed enough how high-spirited, rousing, and overall fun the relationship between artists and crowd was. 

Bookending the show, “Amor Prohibido” by Tejano artist Selena played through the speakers as the band took their final bows, threw guitar picks and drumsticks into the crowd, and bid us goodnight. They had played “Disasterlogy,” “Hold On Till May,” and “King for the Day” for their encore, bringing out Kellin Quinn from Sleeping with Sirens to close out with the latter and now it was time for the crowd to go home. The ringing in our ears was an extra souvenir as we filed out of the venue and spit out into the streets from where we came. Every bit of it was savored. 

Photo by Erick Hernandez

You can catch Pierce the Veil in Austin again later this year when they bring their raucous progressive sounds to Austin City Limits in October. You truly don’t want to miss it.

James Arthur Turns Monday into Magic at ACL Live

Written by Perrin Boyd

James Arthur brought a wave of emotion to Austin, Texas on Monday night, transforming ACL Live into a cathedral of passion – showing that raw honesty and soaring vocals can create a truly unforgettable experience. With the release of his latest album Pisces still fresh in the minds of fans, the performance displayed an artist stepping into a new era while staying deeply connected to the songs and emotions that built his name. Arthur, coming from Middlesbrough, UK, connected with fans, turning the Moody Theater into a space where heartbreak, hope, and healing echoed through every note.  

Though it was a Monday, the energy in the room was a moving experience. Infused with the spirit of Pisces, this tour revealed a deeper, more evolved version of Arthur. Tracks like “All My Love” “KARAOKE” and the aching “Water” blended seamlessly with his older catalog. The Pisces songs felt at home beside hits like “Can I Be Him” and “Rewrite the Stars,” delivering the same emotional gut-punch with a new kind of maturity. His voice soared from ranges you could only imagine but also remained the constant anchor, carrying the weight of every lyric.

Midway through the show, James took a moment to speak candidly about mental health and the messy, beautiful journey of learning to accept yourself. His words weren’t rehearsed – they felt like they belonged to the moment. That authenticity continued with “Train Wreck,” which silenced the theater in the best way – no chatter, no phones, just collective silence and connection.

But the night wasn’t all slow burns – Arthur injected swagger into the set, getting the audience moving and the venue pulsing with rhythm. He performed his infamous cover of Shontelle’s “Impossible” and another unexpected yet beautifully reimagined cover of The Fugees’ “Ready or Not.” His band and back up vocals were smooth and soulful, letting his voice remain the centerpiece while uplifting each song.

The show closed with “Say You Won’t Let Go,” a moment that felt more like a group embrace than a performance. Arms wrapped around partners and friends. Some fans cried. Most smiled. Everyone sang. James Arthur’s ACL Live show was proof that Mondays can carry magic. His voice – gritty, beautiful, and real – cut through the noise of everyday life, reminding us that pain and beauty often walk hand in hand. If you came looking for a concert, you left with something more: a reminder of how music heals.

Righteous and Still Rockin’ — The Righteous Bros take over ACL Live

Written by Clinton Camper

Saturday night at ACL Live felt like flipping through a vinyl jukebox, one iconic tune at a time. The Righteous Brothers—now led by founding member Bill Medley and powerhouse vocalist Bucky Heard—took Austin on a genre-hopping, decade-spanning journey that reminded everyone in the room why these songs still hold weight.

They kicked things off with a blistering cover of “Hold On, I’m Comin’”, immediately setting a tone of reverent, unshakable soul. From there, the setlist blended the duo’s greatest hits with tributes to musical legends—Roy Orbison, The Coasters, George Jones, Little Richard, and even Puccini made appearances, each delivered with charisma and full vocal conviction.

Bucky Heard, stepping into the late Bobby Hatfield’s shoes, earned his spotlight with a stunning rendition of “Crying” and a jaw-dropping take on “Nessun Dorma” that had the crowd erupting in disbelief. His range and control weren’t just impressive—they were theatrical, commanding, and perfectly matched to the emotional weight of the evening.

Bill Medley, now 83, remains a captivating presence. His voice, still rich and resonant, carried “Unchained Melody” with the kind of gravitas that can only come from decades of lived experience. And when it came time for “(I’ve Had) The Time of My Life,” he brought out his daughter, McKenna Medley, for a duet that was both charming and heartfelt—bridging generations while keeping the moment personal.

Highlights included:

• A soulful mash-up of “Bridge Over Troubled Water” and “Lean On Me”

• A surprise snippet of “California Dreamin’”

• The signature show closer: “You’ve Lost That Lovin’ Feelin’” — still spine-tingling after all these years

Despite the setlist being filled with covers and tributes, the night never felt like a nostalgia act. Instead, it was a celebration—of soul music, vocal endurance, and the legacy that Medley and his late partner helped create. And with Bucky by his side, that legacy feels not only intact, but reenergized.

If Saturday night proved anything, it’s that some voices—and some feelings—never fade.

Reminiscing with The Black Keys

Written by Krysta Ayers / Photos by Erick Hernandez

📍Moody Amphitheater — June 7, 2025

As the intro to The Black Keys’ song, “The Breaks,” goes, “Gee, this is the most wonderful thing I ever heard in all my life”—and that’s how hearing the band play to a full amphitheater sounded. The duo comprising Patrick Carney and Dan Auerbach stopped for their No Rain, No Flowers tour and blessed us with a trail mix setlist of their discography to a loud crowd representing every era of The Black Keys. 

With a punch to the ears, the Ohio natives revived long-time favorites like, “Gold on the Ceiling,” “Your Touch,” “Next Girl,” and “Howlin’ For You.” Not exactly in that order. But Auerbach’s voice was crystalline and sharp through the speakers. Every word sang with a genuine comfort, familiarity, and gusto. Carney’s drums, as always, were the heartbeat of every song. The bass and kick drum played up the emotions and energy of each track—and prompted each foot tap and head nod. 

True to the style of seasoned professionals in the rock genre (as I’ve witnessed several times already this year), they played straight through their massive catalog of songs in favor of performing an extra song or two rather than banter or fiddle around for any amount of time between songs. Or that’s what I would like to think the banter gets nixed for at these shows. Either way, the experience of watching these musicians as they do their “job” of performing hit singles and B-side favorites, hits you like a cymbal in the head, reverberating sweet sweet rock n’ roll.

The back half of the setlist included the newest release from the band’s upcoming album of the same name, “No Rain, No Flowers,” which is set to release on August 8. It is more “mature” than the older material, with music that sounds less bravado and more serious. More classic rock than cool, blues-inspired grooves. They play it up louder than the studio recording, maybe in an attempt to match the energy of the show thus far, but as with many crowds hearing a newer release (or their least-favorite) song, they deflated until the next record, “Heavy Soul,” started playing. 

For the rest of the show, the sound was gratifyingly raucous—the quintessential vibe for an outdoor concert from one of this generation’s most recognizable and undoubtedly talented bands. 

Fired up to ask for an encore, the amphitheater became a chorus of cheers. Slowly, with the ease and unhurried pace of a pro, the band came back on to send us off with “Little Black Submarines,” and “Lonely Boy”—again, a perfect choice for the energy at the end of the night. Anyone with assigned seats was standing, and all the lawn ticket holders jumped up as well. We were all (excited, happy!) lonely boys with a love that was keeping us waiting…to sing along, to clap, to rejoice in a favorite band as a community—and to get the fuck out because rock n’ roll does have an end time in the city.

Sweat, Glitter, and Guitars with Beach Bunny

Written by Perrin Boyd

Shots by Erick Hernandez

It was one of those classic Austin nights—90 degrees after sunset, thick with humidity, and no breeze in sight. But that didn’t stop a sold-out crowd from packing into Emo’s for Beach Bunny’s latest stop on their Emotional Gymnastics tour. If anything, the heat added to the wild, sweaty energy that amplified through the venue from the very first note of their cover of Blondie’s “Heart of Glass.” The crowd screamed with the kind of anticipation only a band like Beach Bunny can evoke—a blend of nostalgic ache and Gen Z defiance. Glitter eyeshadow, Doc Martens, and an ocean of pastel hair filled the venue, as fans came not just to listen, but to let go and feel seen.

The Chicago-based indie rock band echoed dynamic sounds of the ’90s, with fuzzed-out guitar and crashing drums paired perfectly with their pop melodies. Lili Trifilio, the dazzling frontwoman, had fans opening up the crowd like the Red Sea, anxiously waiting to scream along to the next song. Unfazed by the heat, Lili delivered raw and honest vocals that cut through the warm haze like cool air.

The whole band was locked in and louder than ever. Jon Alvarado’s drumming was relentless, cutting through the heat with precision and power. Matt Henkels on guitar added an edge to even the most melodic tracks, while Anthony Vaccaro’s bass lines gave the songs their heartbeat—steady and strong.

The setlist featured plenty from their newest album, Emotional Gymnastics, which blends their classic pop-punk edge with more polished, mature songwriting. Songs like “Vertigo” and “Clueless” got huge reactions, with fans shouting every word. “Cloud 9” and “Painkiller” anchored the setlist—one kicking things off like a spark, the other leaving us fulfilled. And, as expected, the crowd came alive for their beloved “Prom Queen,” a song that has clearly become an anthem for a generation trying to make sense of growing up.

In a city known for its live music and summer heat, Beach Bunny managed to rise above both. At Emo’s, they proved they’re not just a band with feelings—they’re a force. Between the heat, the heart, and the volume, it was a night no one in the room will forget soon. Honest, fun, and full of heart, Beach Bunny reminded Austin why feelings and guitars are a perfect match.

The Art of Feeling, Live: Natalia Lafourcade in Austin

Written by Clinton Camper

On Thursday night, ACL Live became a sanctuary of soul, memory, and magic as Natalia Lafourcade took the stage for an unforgettable performance. Touring behind her deeply personal album Cancionera, the Mexican songstress wove a lush, emotional tapestry that moved between the intimate and the anthemic with poetic ease.

Opening with the delicate “Apertura Cancionera” and title track “Cancionera,” Lafourcade set a tone of reverence—not just for the music, but for the cultural and spiritual roots that shape it. Backed by a full ensemble that felt more like an orchestra than a band, she led the audience through a carefully curated setlist that honored love, pain, joy, and heritage.

Standout moments included the heartbreakingly tender “Lo Que Construimos,” the soaring “Hasta la Raíz,” and a jubilant medley of “Mi tierra veracruzana / La Bamba” that had the crowd swaying with hands over hearts. “Nunca es suficiente” and “Tú sí sabes quererme” brought the house into collective catharsis, while her cover of Juan Gabriel’s “Ya no vivo por vivir” served as a goosebump-inducing tribute.

Visually, the stage was bathed in warm florals and soft lighting, echoing the organic beauty of the music. Every note felt intentional, every lyric carried weight. Natalia didn’t just perform—she communed, offering songs as seeds, and the crowd bloomed right alongside her.

After 24 songs and a room full of hearts cracked open, it was clear: Natalia Lafourcade is not just one of Latin America’s greatest musical voices—she’s a living, breathing archive of its soul.

From Enola to Electricity: A Night With OMD

Words by Clinton Camper

Time travel isn’t real, but don’t tell OMD that.

On Tuesday night at ACL Live, Orchestral Manoeuvres in the Dark turned the Moody Theater into a synth-powered time machine, gliding through decades of electronic pop with the precision of pioneers who never lost the spark. From the first pulsing notes of “Anthropocene,” it was clear: OMD didn’t come to coast—they came to electrify.

Andy McCluskey, at 65, moves with the energy of someone half his age, strutting, spinning, and belting like it’s still 1983. Paul Humphreys, ever the cool counterpart, anchored the night with smooth vocals and synth wizardry. Together, their chemistry remains magnetic.

The set was a masterclass in synthpop history. Fan favorites like “Tesla Girls,” “Souvenir,” and “(Forever) Live and Die” brought the nostalgia, while deeper cuts like “Veruschka” and “Kleptocracy” kept longtime fans on their toes. And yes, when “If You Leave” hit, the entire room collectively time-warped to a John Hughes dream sequence.

But the real emotional peak? That one-two punch of “Joan of Arc” into “Maid of Orleans,” complete with cathedral synths and marching snares—pure drama, pure OMD.

By the time “Enola Gay” closed the main set and the encore kicked off with “Look at You Now,” the crowd was fully locked in. And when they ended with their debut single “Electricity,” it wasn’t just a song—it was a mission statement. After all these years, OMD still runs on high voltage.

No notes, just Perfume Genius

Written by Perrin Boyd

Perfume Genius lit up Emo’s on Monday (June 2) night with a performance that was nothing short of a transcendental journey — a delicate yet powerful experience that merged vulnerability with unyielding strength. From the moment Mike Hadreas took the stage, it was clear this wasn’t just a show — it was an intimate, heartfelt sharing of his soul through music and movement.

Photo by Erick Hernandez

The vibe in Emo’s was cozy but electric, with soft, colorful lights wrapping the stage and the crowd buzzing in every way. Mike’s voice floated between delicate and forceful, pulling us through songs that felt like deep confessions and bursts of pure joy. Every part of the show revealed the layers of pain, hope, and resilience embedded in his lyrics.

The setlist included “Slip Away,” which ignited a collective rush of joy and emotional release. “Queen” delivered fierce, unapologetic grace, sending ripples of empowerment through the room. The live mix was spot on — a dreamy blend of synths, piano, and subtle electronics that enriched the performance without overshadowing the raw emotion in Mike’s voice.

Photo by Drew Doggett

What stood out most was the undeniable connection between performer and audience. Mike’s candid storytelling, paired with his seductive chair routine, invited listeners fully into his world — one where identity, love, and healing took center stage. One moment felt like reading a page from his personal diary; the next, you were front row at a burlesque dreamscape. His vulnerability was magnetic, drawing everyone closer, as if we were all part of a single, fragile heartbeat.

Photo by Drew Doggett

The show closed in near-sacred stillness with a cover of Mazzy Star’s “Fade Into You.” Mike’s voice lingered in the air — soft, haunting, and tender — a final reminder of the beauty in stillness, love, and letting go.

Photo by Erick Hernandez

Perfume Genius at Emo’s wasn’t just a concert; it was an emotional odyssey — a blend of ache and ecstasy that left Austin quietly transformed.

Photo by Erick Hernandez

Photo by Drew Doggett

A Show for Hootin’ and Hollerin’

Written by Krysta Ayers

MAY 31, Moody Theater—When there’s not live music to attend, you can always count on this city to book hilarious comedy acts. And let’s face it, there’s always live music, so trading in a night of [insert your favorite genre here] to gamble on a night of comedy (it could be cringe, or it could be great!) might not always sweeten the pot—or whatever gambler’s say. 

For night two of The Save Me Tour with Taylor Tomlinson, we hit the jackpot. With multiple specials streaming on Netflix, the woman has a strong presence in comedy. A seasoned comedian with a quick-witted brain, there’s no subject left untouched that Tomlinson can’t write a joke about. She talks mental health, relationships, navigating womanhood (a doozy), and the lighting in the theater when she goes off-script. 

Though I can’t give you a list of the “hits” as if this were some music setlist we could all sing along to, know that her comedy was 10 times better than the bros’ slumming it at a certain local venue headed by a well-known un-funny guy. Tomlinson had a lot to say, and her pen was poised and ready to tickle us into loud guffaws and intermediate snorts. 

While a date hasn’t been announced for the release of this special (she’s still on tour, y’all!), we can bet that soon enough people will be laughing at the new material from the comfort of their couch. And, if you ever need a night off from amplified guitars and two-steppin’ grooves, check out the comedy (local and traveling) that Austin has cooking. You might have missed Taylor Tomlinson in perfect form, but the future of Moody Theater promises more laughs.

Julia Wolf Sells Out Antone's

Written by Krysta Ayers

MAY 30, Antone’s—Julia Wolf has been here before. On the mic, she tells the crowd that the last time she played in Austin (in the same venue), she played to only a quarter of the people in attendance. “Now this is a sold-out show!” Years of streaming biographical singles and a recent collab with MGK for a cover of Goo Goo Dolls’ “Iris” has resulted in a motley crew of fans gazing up at her with stars in their eyes. 

The Long Island native is touring to support her third album, PRESSURE, which debuted on May 23—just enough time for the crowd to learn the lyrics and sing along. While she’s simplistically labeled as a “pop” musician when you do a quick Google search, that would be a lazy description of what is going on with her sound. Listeners know that Wolf is darker than that; there is more grit and edge to her sound than a perfectly packaged, and stereotypically curated, glittery discography. 

And that is exactly what Wolf put on display during the show. 

She played a mix of new album songs and old favorites, like any good (crowd-pleasing) artist does. And whether she played “Pearl” or “Wishbone,” she was good at engaging the crowd and leaning into the rock stylings of the songs, even when her voice got shaky, and even when the music veered closer to Owl City territory. 

Wolf, while sweet and excited to play for an incredibly generous crowd, still has a long way to go. She hits the mark when tasked to write a vulnerable song, and proves to be an artist that people want to hear from (she’s got over 3 million monthly listeners on Spotify), but she’s a young artist with room to grow—and this tour might be the best place for that. As her confidence builds with sold-out venues, and her sound and voice become more uniquely and powerfully hers, she will no doubt be an artist we could soon see playing bigger venues in town, like Stubb’s or Moody Amphitheater.  

Trousdale Sang, We Felt Everything

Written by Clinton Camper

📍3TEN ACL Live – Austin, TX | 5/31/25

On Saturday night, Trousdale transformed 3TEN into a glowing vortex of harmonies, honesty, and high-key emotional exorcism. The Los Angeles trio — Quinn D’Andrea, Georgia Greene, and Lauren Jones — might sing in perfect unison, but their sound hits you in layers: tender, fierce, and unexpectedly funny.

With zero openers and a room full of loyal fans who already knew every word, they stepped into the spotlight with “Lonely Night” and never let go. It was clear from the jump: this wasn’t just a concert — this was group therapy with better lighting.

Between songs, they bantered like lifelong friends (which they are), and the crowd hung on every word like a campfire story. When they launched into “Growing Pains,” the title track from their 2025 album, it hit like a journal entry set to fireworks — vulnerable and loud in the best way.

They tossed in unexpected moments too, like an acoustic version of “Sleeping at the Wheel” that made the entire room pause — still, silent, and low-key tearing up. And just when you thought you were emotionally stable again, they hit us with “The Ick” in the encore and had the whole room laughing, healing, and pointing fingers at their exes.

The harmonies? Flawless. The crowd? Obsessed. The vibe? Somewhere between soft girl autumn and scream-in-your-car catharsis.

Trousdale isn’t just a band — they’re a feeling. And if you were at 3TEN on Saturday night, you probably still haven’t come down.

Not So Far From Home: Sarah and the Sundays Return to Austin

Written by Clinton Camper

📍Antone’s Nightclub – Austin, TX | 5/31/25

On Saturday night, Antone’s wasn’t a blues club — it was an indie rock sanctuary, and Sarah and the Sundays were the high priests of emotional chaos.

The Austin-based band returned to home turf with a sold-out show that felt part house party, part sonic therapy session. From the jump, it was clear the crowd wasn’t just there to listen — they were there to feel something.

They opened with “Casanova,” a brooding slow burn that hit like a late-night text you shouldn't send, setting the tone for a night of catharsis wrapped in catchy hooks. From there, the energy kept building — the band moved with the kind of cohesion that only comes from living in each other’s vans and rehearsal rooms.

Frontman Liam Yorgensen had the crowd locked in, teetering between detached cool and all-out confession. At one point, they debuted a brand new track, “Not So Far From Home,” and the room went dead silent — a rare and respectful kind of hush that only happens when a crowd knows they’re witnessing a moment.

“Take Your Time” hit hard, turning the venue into a singalong swarm, but it was the MGMT cover of “Kids” that caught us off guard — part homage, part indie-kid fever dream, and fully euphoric.

By the time they came back for the encore, the place was sweaty, charged, and begging for more. They closed with “Vices” — a perfect exhale to the night’s emotional inhale.

Sarah and the Sundays proved once again that they’re not just riding the indie wave — they’re helping shape it. And if Saturday night was any indication, their next era is coming in hot.

Glow Hard or Go Home: Glowdeo Invades Austin

Written by Clinton Camper

Saturday night (May 17) in Austin got a lot brighter — and twangier — thanks to Glowdeo, a full-blown country-meets-neon blowout at The Far Out Lounge. Think rhinestones, blacklight boots, and enough glowing cowboy hats to start a new constellation.

Photo Credit: Vinyl Lens

Demps opened the night and instantly set the tone with a genre-jumping, high-energy set that blended pop, country, and sheer confidence. It wasn’t just an opener — it was a warning: this night was going to slap. Her stage presence was magnetic, delivering crowd-pleasers with a wink and a fire that lit the match for the night ahead.

Photo Credit: Vinyl Lens

Next up was Brooke Eden, whose powerhouse vocals and unapologetic stage presence had the crowd screaming lyrics and living their main character moment. She owned that stage like it was her last rodeo (and it clearly wasn’t). She moved effortlessly between big belt-your-heart-out ballads and high-kick country bops, and when she dropped “Sunroof,” the entire crowd raised their drinks and sang like the floorboards might break.

Photo Credit: Vinyl Lens

Don Louis closed the night out with the swagger of someone born to headline. Mixing Texas grit with R&B smoothness, his set was electric — literally and metaphorically. You could feel the bass in your boots and the crowd energy from the bar to the parking lot. He had the crowd in the palm of his hand, flipping from slow burns to dancefloor shakers like a pro. By the time he hit his finale, the whole place was lit — and not just from the LED rope lights strung around the trees.

Photo Credit: Vinyl Lens

DJ Hexum kept the party glowing between sets, spinning country bangers and remixes that made it impossible to stand still. There were mashups, deep cuts, and just enough Shania to make everyone scream. The crowd danced like it was their birthday and their hometown bar all rolled into one.

Glowdeo wasn’t just a concert — it was a scene. A yeehaw fever dream dipped in glitter and lit by LEDs. People came dressed to be seen: fringe jackets, cowboy hats with built-in lights, heart-shaped sunglasses after dark. It was hot, sweaty, loud, and joyful — the kind of night you don’t come down from quickly.

Austin’s never been more alive. And if Glowdeo comes back next year, we’re bringing even bigger hats.

Queue It Up – Vol. 005: ACL Edition (Part 2)

Each week, Queue It Up highlights artists we’ve got on heavy rotation—and for Vol. 005, we’re doubling down on ACL. These ten artists are locked in for both weekends of Austin City Limits Festival 2025, and their latest (or greatest) tracks deserve your full attention before you’re standing under the Zilker sun.

Magdalena Bay kicks things off with “Image”—a glossy, futuristic synth-pop dream that feels like floating through neon mist. It’s weird in the best way.

Polo & Pan team up with Beth Ditto on “Petite Etoile,” a whimsical French disco groove that’s airy, elegant, and built for golden hour dancing.

King Princess links with Arcane for “Fantastic,” a moody, cinematic track with glittering production and confident, layered vocals.

Passion Pit taps Sofi Tukker for “Sleepyhead 2025,” an amped-up, reimagined version of the indie-electro classic—still euphoric, now even wilder.

Yoke Lore slows things down with “The Score,” a steady-building anthem full of earnest delivery, echoing drums, and lyrical honesty.

Spacey Jane’s “All the Noise” blends bright, jangly guitars with emotional tension—equal parts catharsis and adrenaline.

The Dare pulls no punches on “Girls,” a bratty, post-punk party track that screams late-night chaos and dancefloor sweat.

flowerovlove delivers sass and sparkle on “I’ve seen ur ex,” a dreamy indie-pop track wrapped in glittering production and tongue-in-cheek charm.

MJ Lenderman shows off his signature scruffy storytelling on “Wristwatch,” where twangy guitar riffs and offbeat lyrics land like a lo-fi hug.

Spill Tab closes us out with “Athlete,” a bilingual track that flips between delicate and glitchy, blending softness with experimental edge.

This volume is a sonic sampler of ACL’s undercard magic. From synthpop to slacker rock, femme-powered anthems to French grooves—it’s a lineup that rewards curiosity.

📲 See the full visual breakdown on our Instagram

🎧 Stream the Queue It Up playlist

You’ve got time before October—but the listening starts now. Who’s already in your queue?