Dopamine Drop: Franc Moody Launches SXSW

📍 Radio/East — March 12, 2026
Written by Perrin Boyd

Franc Moody kicked off SXSW 2026 with an electrifying performance at Radio/East in Austin this past Thursday, pulsating the dance floor carnival right from the start. This show has set my standards at an impossibly high bar for the week ahead. The London-based duo, Ned Franc and Jon Moody, along with their heavy sounding band, delivered a high-energy set that felt like the perfect antidote to any pre-festival jitters. From the moment they hit the stage, the venue was alive with movement and unbridled joy.

Hailing from London, England, Franc Moody formed in 2016 and have been experimenting with music for years - channeling their shared love for funk, soul, disco, and electronic production into something fresh and dancefloor-ready. Influenced by classic acts like Daft Punk's polished grooves and the retro soul vibes of earlier eras, they've built a sound that's both nostalgic and forward-thinking. Their live lineup expands the core duo into a tight, dynamic group, complete with powerhouse bass, guitar, and keys that bring their studio magic to life on stage. If you're a fan of Jungle's slick, soulful grooves or Jamiroquai's funky, acid-jazz-infused energy, Franc Moody is tailor-made for you.

The show was a relentless, joyful dance party that blurred the lines between a warehouse rave and a polished funk concert. The bass was the undeniable driving force throughout the night: deep, throbbing, and impeccably locked in. Providing the foundation for every track and ensuring no one stayed still for long. It rumbled throughout Radio/East, anchoring the rhythms while the rest of the band layered on shimmering synths, punchy drums, and clean vocals. The energy never dipped; instead, it built in waves, turning the venue into a sea of swaying bodies and raised hands.

Many songs stretched into extended jams, showcasing the band's improvisational flair and showmanship. Keytars made appearances during these sections, adding flashy, retro-futuristic flair as the musicians traded solos and built infectious, funk-filled grooves that had the crowd cheering. Tracks like "Skin on Skin" and "Night Flight" particularly shone in these moments, evolving from tight verses into euphoric, sweat-drenched explorations that felt spontaneous yet perfectly executed. The blend of live instrumentation with electronic precision created a sound that was both organic and razor-sharp, keeping the momentum surging without ever feeling chaotic.

The setlist was a well-curated journey through their catalog, hitting fan favorites and high-energy bangers. They opened strong with "Waiting For The Punchline," setting the tone with its punchy funk, before diving into "Sharks In The Water" and the dreamy "Dream in Colour." Mid-set highlights included the groovy "Terra Firma," the sultry "Skin on Skin," and the atmospheric "Night Flight." "Losing Touch" and "Space Between Us" kept the dancefloor locked in, while "She's Too Good for Me" and "Yuri" brought moments of pure uplift. The encore closer, "Dopamine," sent everyone into a final groove.

In the end, Franc Moody's Radio/East set was the ideal way to launch SXSW: unpretentious, infectious, and relentlessly fun. It reminded everyone why live music matters—especially in a city like Austin during this season. If this was just the opening act of the week, the rest of SXSW is going to be unforgettable. Word to the wise: catch them if you can and your dancing shoes (and your dopamine levels) will thank you later.

3(Ten) Cheers for 10 Years of 'Psychic Reader'

📍3Ten, February 28, 2026

Written by Krysta Ayers

Bad Bad Hats have a song from 2015 called “Midway” that was an instant replay for me with its shimmery, playful beat and yearning lyrics sung by Kerry Alexander: “But god I could have kissed you / Midway between the end and the start / I cried like a baby and I tore you apart.” Before listening to more or digging into the band deeper, that song is the sole reason I knew I had to see the Minnesota-based trio live. 

The band is celebrating and touring their first project, Psychic Reader, released in 2015. Aside from this milestone tour, the 10-year anniversary has also produced a version of the album (Psychic Readings) that features various indie bands and artists covering each song with their own flair (Hippo Campus gives an enigmatic, early aughts go at “Midway” for the opener). 

On Saturday, the trio brought back that catalog of songs to rehash them with new perspective at 3Ten, one of my favorite indoor venues in downtown Austin. 

The stage setup was void of background screens and unpredictable light shows—in front of black curtains, Kerry Alexander stood with Chris Hoge on guitar, Nate LeBrun on drums, and Colby Hansen on bass. Alexander bantered with the crowd, mentioning things like when she wrote “Things We Never Say,” she was studying abroad in Paris (it’s a rule that when you do a study abroad, you have to mention it), eating sandwiches, and thinking of love songs.

“Joseph,” “Spin,” and “Psychic Reader” were also played, Alexander’s saccharine vocals, now 10 years older and wiser, complementing each track with renewed appreciation and foresight. She recalls a quieter, more introspective (music- and personality-wise) Amelia Meath, of Sylvan Esso. Having started the band with Chris Hoge in college, the duo, along with their touring band, are living up to a potential many must have witnessed at college shows and early, skeptical venues.

Tight with their instruments and basking in a self-assuredness that lacks any ego, the band is one to see. They bring a straight-forward, love-of-the-craft, good-ear talent to the stage that is reminiscent of early-aughts bands that used to get airtime on teen dramas from the CW (looking at you, the Walkman and Rachel Yamagata). 

In so many words, they might not have been the lively, upbeat pop star dominating TikTok, but they were (and are) undoubtedly the talented band you hope to run into on a Saturday night for future bragging rights amongst your friend group.

The Historic Scoot Inn Turns on the Lights

📍Scoot Inn, February 27, 2026
Written by Krysta Ayers

Catching an artist you just discovered, or one that you already really love, at Scoot Inn, is one of the optimal places to see them perform in the city. It’s quintessentially Austin without being sullied by new high-rises: the historic venue has an outdoor stage with a large enough patio to host a sizable crowd, plus an outdoor bar. And this is where Lights stopped on Friday to promote her new album, A6.

Lights is like if Ellie Goulding were more alternative or if the music of Avicii, Melanie Martinez, and Avril Lavigne were blended together. Based on her Apple Music catalog, she’s been releasing music since 2009 (!) and definitely looked like she could have been at Warped Tour on the back of Avril Lavigne’s fame. 

Her set opened with “COME GET YOUR GIRL,” a dancey little bop with 80s-esque synths, found on the extended version of A6. She bops around on stage with short, bleach-dyed hair, a rhythm guitarist and drummer beside her, and it’s the perfect track to warm up the crowd. 

She immediately dived deep into her discography, playing “River” from her 2009 album, The Listening, with many loyal fans singing along to the pop-rock, emo-adjacent tune. 

Lights, strapped with a guitar, also played 2014’s “Running with the Boys,” livened things up with “Prodigal Daughter,” a dance tune recalled her collabs with deadmau5 and Seven Lions, and brought it back to the present with “SURFACE TENSION,” a track that begs for strobe lights, shades in the dark, and a leather jacket. (It sounds cool.)

Throughout the show it was evident this was not her first time on stage—but that time once existed: ATX Concert saw her years prior at Mohawk, commanding a crowd of maybe 20 people the best that she could—her voice demanded to be heard, and the stage presence held potential. Now, Lights jumps around stage, belting out her decades worth of songs with confidence and contagious joy. She banters graciously with the crowd and leads them in sing-alongs. Her growth as an artist and songwriter is hitting a crescendo, and we’ll continue to listen to the buildup. 

Nostalgia Overload: Los Lonely Boys Came Back to Rock

📍Antone’s — Feb. 20, 2026
Written by Krysta Ayers

Just like the plaid skirts and bandanas from my millennial youth, Los Lonely Boys are back in action—and based on the sold-out show on Friday, they are keeping their multi-generational fans satiated. 

The trio of boys men took the stage clad in their version of rockero aesthetic (black attire, long hair, bandanas, and Henry Garza in a black cowboy hat) to perform the Texican rock n’ roll they spent decades making their own. Though their newest album is nearly two years old (and the album before that was released 10 years prior), the Austin crowd was ready to welcome the fellow Texans back on stage, the crowd stretching to the very back, taking every square inch of the venue. 

A blend of blues, rock, and bilingual soul, Los Lonely Boys become an instrument-slinging jam band when they play live. They stretch the time between verse and chorus with long, guitar-heavy solos, and an invisible shield surrounds them, seemingly placing them back in the comfort of their practice space, where they could interact and play with each other unapologetically. 

Opening with 2003’s “Señorita,” the band set the high energy and overall tone for the night. The multiple guitar solos that exist in the recording were dramatized for us live, and the see-sawing between Spanish and English was a declaration of their San Angelo, Texas roots—a great segue into “Cottonfields and Crossroad” where they leaned into the blues and cried, “Now baby, I’m from Texas…you wake up early in the morning / you can hear that rooster crow.” 

They kept our attention and kept our limbs swaying into tracks like “So Sensual” and “Oye Mamacita” and a quick scan of the crowd confirmed that from Gen Z to the Boomer, everyone was enjoying the colorful sounds of the decades-old hits from the band of brothers. 

In a sweet, keep-it-in-the-family moment, Jojo Garza (bass, vocals) brought out his daughter to sing, and guitarist and vocalist Henry Garza brought out his son to play guitar for “Velvet Sky.” And, yes, those nepo babies (said lovingly) had the talent to be up there. 

Yapping from stage was minimal, but they took the time between songs to say, “Our message through music is love.”

The show closed out with the song you think of first when you hear the name Los Lonely Boys: “Heaven.” And I’ll leave any corny clichés out of the copy, but it was a loud and joyful, life-affirming moment as a Latina from El Paso mixed into the crowd. 

An Irish Pub on Steroids: Dropkick Murphys Storm ACL Live

📍 ACL Live — Feb. 19, 2026
Written by Perrin Boyd
Photos by Ralph Arvesen

ACL Live at Moody Theater was revamped into a boisterous Irish pub on steroids during the Dropkick Murphys' sold-out show on Thursday. Every seat from the floor to the rafters was claimed, with fans packing the venue wall to wall in a sea of green shamrocks, Boston Bruins jerseys, and Celtic knots. The crowd ready to drink, dance, and mosh the night away. Celebrating over 30 years since forming in Quincy, Massachusetts, in 1996, the pioneers of the Celtic punk genre delivered a masterclass in blending high-energy punk rock with traditional Irish instrumentation, creating working-class anthems that resonate with themes of solidarity, struggle, and unbreakable spirit.

The Dropkick Murphys' sound is unmistakable aggressive punk riffs fused with bagpipes, accordions, banjos, and mandolins, all underpinned by raw, shouted vocals that demand participation from those present. Hailing from the working neighborhoods around Boston, they've spent three decades honing a style that's equal parts streetwise rebellion and heartfelt Irish folk tradition. Their music doesn't just play, it rallies, turning the show into a celebration of the underdog. This Austin performance captured that essence perfectly, with the venue transforming into a rowdy yet welcoming space where strangers became comrades in the pit. Non-stop dancing erupted across the floor, crowd-surfing bodies sailed overhead like human waves, and a massive mosh pit churned relentlessly, yet the energy never felt hostile. Everyone was in it together, united by the music's infectious spirit.

The band's instrumental prowess was on full display throughout the night. Every guitar riff cut sharp and true, the bass thumped with authority, and the drums drove the momentum like a heartbeat on overdrive. But it was the traditional elements.. bagpipes wailing, accordions pumping and banjos picking that gave the sound its authenticity. Nothing felt gimmicky or fake, every note rang real and powerful. At the center of it all was Ken Casey, whose fierce energy turned the stage into an extension of the crowd. With his gravelly shouts and relentless crowd engagement, Casey riled up the audience like few frontmen can: pointing to every corner, yelling to the mosh, and leading chants that echoed through the theater. His ability to command the room was magnetic, making even the back rows feel part of the front-line frenzy.

The setlist was a mix of old favorites, newer tracks, and a few choice covers, clocking in at a solid hour and a half of heavy hitters. It kicked off with the anthemic Deeds Not Words, setting an immediate tone of defiance. The place absolutely erupted on the second song, The State of Massachusetts, with big mosh pits going at it and voices uniting in the chorus.

Classics like The Boys Are Back, Johnny, I Hardly Knew Ya, and Rose Tattoo had the crowd in a frenzy, while The Green Fields of France (the Eric Bogle cover) provided one of those intimate acoustic moments that showcased the band's softer, reflective side.

Tracks such as Who'll Stand With Us?, Citizen I.C.E. showcased their stance on political injustices and all wrongdoing currently going on in the world. What sets Dropkick Murphys apart isn't just their music; it's their unapologetic stance against injustice. For years, they've used their platform to combat cruel politics, championing workers' rights, immigrants, and the underdog.

The pinnacle came with "I'm Shipping Up to Boston," - it stands as one of the greatest hype-up songs of all time, and witnessing it live was pure pandemonium. It's the kind of track that possesses the moment, turning any room into an extension of a raucous Boston bar fight crossed with a revolutionary rally. In Austin, far from the band's home turf, the energy felt close to it. Texans embracing the Boston bravado like long-lost kin, beers raised high as everyone shipped up together.

The night came to a rowdy end with The Big Man as the closer, unleashing one of the most entertaining and ferocious mosh pits I've seen. Bodies flying, masses running in circles, shoes being lost. Amidst the mayhem, a quick trip to the bar revealed the true scale of the revelry: I’d overheard the bartender telling a fan they'd run out of a particular Irish whiskey, and I'd wager the beer and whiskey tally that night is up there for venue records. In a city known for its live music scene, Dropkick Murphys turned the Moody Theater into a temporary Boston-Irish stronghold, proving once again why they've endured for 30 years. It was a communal uprising of working-class pride, delivered with precision, passion, and pints aplenty.

Headbangs, Hooks, and Heart: Maggie Lindemann Live

📍 ACL Live — Feb. 20, 2026
Written by Clinton Camper
Shots by Drew Doggett

Some shows don’t need a lot of talking. Maggie Lindemann understood the assignment.

From the moment she stepped onstage at Scoot Inn, the energy was locked in. No over-explaining, no long monologues between songs. She let the music do exactly what it needed to do — hit hard, sound perfect, and keep the crowd fully engaged from start to finish.

Her voice was crystal clear all night. Powerful without being forced, emotional without losing control. Live, the comparison clicks immediately: early Paramore energy, especially in the way she balances vulnerability with edge. The vocals were tight, the delivery confident, and nothing felt overworked.

The crowd matched her intensity. Heads were bobbing nonstop, and when the heavier moments hit, the room shifted into full head-bang mode. People knew the words. Like really knew the words. There were screams between songs, hands in the air, and that constant hum of anticipation where the audience is begging for whatever comes next.

What stood out most was how intentional the restraint felt. Maggie didn’t fill the space with chatter. She stayed focused, letting each song roll straight into the next, building momentum instead of breaking it. It made the set feel immersive — almost cinematic — like we were meant to stay inside the world she was creating rather than step outside of it.

The setlist itself was stacked and relentless, moving smoothly between dark pop, alt-rock punch, and emotional release:

Setlist highlights:

• fang

• spine

• joyride

• fate

• i don’t belong here

• self sabotage

• Crash and Burn

• girl next door

• evil

• heart drop

• Scissorhands

• Knife Under My Pillow

• let me burn

• i feel everything

She closed with an encore of “taking over me,” which felt less like a finale and more like a victory lap — the crowd fully spent but still wanting more.

Maggie Lindemann didn’t need to say much. The songs were tight, the vocals were flawless, and the room was completely hers. A confident, no-frills performance that proved sometimes the loudest statement is just showing up and delivering.

A First Headlining Moment: Ella Red at 3TEN

📍 3TEN — Feb. 18, 2026
Written by Clinton Camper

There’s something special about watching an artist step into their first-ever headlining tour, and Ella Red made it clear from the moment she hit the stage at 3TEN that this era means everything to her.

The night opened with Peggy, who immediately felt like a character pulled from a storybook. Dressed in a white Renaissance-style gown, with pixie-red hair, wide expressive eyes, and undeniable theater-kid energy, she gave fairy-core meets drama-club-in-the-best-way. Very Tinker Bell-coded. Very earnest. A charming way to set the tone.

Then the room went dark.

The intro was all drums, lights, and tension — heavy, dramatic, and ominous — before Ella emerged looking like a pink ballerina dropped into a gothic dream sequence. Soft visuals, sharp contrast, instant attention. It worked.

Ella spent much of the set nervously chatting with the crowd, and it was genuinely endearing. Not awkward — just honest. You could feel how big this moment was for her. She casually mentioned that she made all the dresses for the tour herself, which somehow made the whole night feel even more personal, like we were being invited into her creative world instead of just watching from afar.

One of the most affecting moments of the night came during “Cupid.” Before playing, Ella shared that she originally thought she was writing the song about herself, only to realize it was actually about her younger sister, who was going through what felt like the biggest heartbreak of her life at the time. While telling the story, Ella started crying — and when she began to sing, she was visibly choked up, emotional, and vulnerable throughout the entire performance. It was raw, tender, and completely disarming.

Family energy filled the room. Ella pointed out several relatives in the crowd, including her nana, who was seeing her perform live for the very first time. Moments like that gave the night a warmth that balanced out the darker themes threaded through the set.

Musically, the show moved confidently between eerie, confrontational tracks like “Predator,” “He Asked For It,” and “Funeral,” and more intimate, reflective moments during the acoustic performances of “Cupid” and “Always the Artist.”The setlist felt intentional and theatrical, with a clear emotional arc rather than just a run of songs.

Setlist highlights included:

• Parasite

• Ball and Chain

• We’re All Gonna Die

• Funeral

• Predator

• Party Animal

• Aphrodite

• Cupid (Acoustic)

• Religion

• Alice

• Spider String

The encore brought it home with “It’s Not Real” and “I Like You Best,” leaving the crowd buzzing but grounded — the kind of ending that feels gentle without being forgettable.

Ella Red’s first headlining tour stop in Austin felt intimate, emotional, and carefully crafted. She’s clearly still stepping into the spotlight, but that vulnerability is part of what makes her compelling. At 3TEN, she didn’t just perform — she let us in.

The Answer Is Always Austin: Peter McPoland at Scoot Inn

📍 ACL Live — Feb. 17, 2026

Written by Clinton Camper

There’s something deeply comforting about a 7:00pm start time on a school night, and Peter McPoland respected that sacred contract. He hit the Scoot Inn stage right on time, no dramatics, no filler, just a prompt king ready to emotionally ruin everyone before bedtime.

The crowd locked in early. By the second song, “I Need You,” the audience was already fully activated, singing along like this was a hometown show — which, as it turns out, it kind of was.

McPoland took a moment to explain his lore: grew up in Texas, moved to NYC at 18 to find himself, then LA for the same reason, and eventually felt the pull back to Austin. “The answer is always Austin,” he said, casually dropping that he just moved here and is now declaring this his hometown show. His landlord Russ was apparently in the crowd. Shout out Russ.

In true Austin fashion, Kirby Lane entered the narrative. Peter claimed he went for the limited-edition lemon poppyseed pancake, then immediately admitted that might have been a lie. Honestly, very on brand. Austin loves a half-truth with good vibes.

Musically, seeing him live unlocked something I hadn’t fully clocked before. There’s a strong early Cage the Elephantenergy happening — gritty but melodic, loose but intentional — the kind of sound that feels better the louder it gets. Songs like “Shit Show,” “Mold,” and “Romeo & Juliet” hit with real momentum, while tracks like “Blue” and “Eloise”gave the set emotional breathing room without killing the pace.

The setlist was stacked and moved fast. A handful of songs (“I Love the Animals,” “Digital Silence,” “Last Looks,” and “Good Day”) were cut due to curfew, but honestly, the night still felt full. He closed strong with “Lady Bird” and “Swing Low,” sending the crowd home satisfied and emotionally buzzed.

Seeing Peter McPoland live made everything click. Confident without being cocky, casual without being careless, and clearly finding his footing in Austin. If this really is his hometown era, it’s off to a very good start.

Unfiltered, Unhinged, Unstoppable: Becky Robinson in Austin

📍 ACL Live — Feb. 15, 2026

Written by Clinton Camper

Seeing Becky Robinson live feels less like attending a comedy show and more like being dropped into the group chat of the most unhinged woman you know — in the best way possible.

The crowd alone was a character. Loud, committed, and dressed like they were late to a golf match but early for chaos. The energy was immediate, enthusiastic, and extremely white, which somehow made everything that followed hit even harder.

Opening the night was Nicky Paris, who came out swinging. Sharp, filthy, and proudly gay, his set was wall-to-wall sex jokes, dark turns, and perfectly timed self-destruction. Highlights included casually mentioning people thinking he had died and his theory that men are essentially dogs with credit scores. As a Staten Island native, he reminded us there are few places scarier, and he wears that badge with pride.

Then Becky hit the stage and never let off the gas.

Her persona lands somewhere between “entitled housewife,” “Pilates queen,” and “woman who learned too much about herself during the pandemic.” She leans fully into the crass, talking freely and gleefully about bodies, desire, medication, and identity. Her jokes are bold, relentless, and deeply physical. Watching her is as much about how she moves as what she says — her expressions, posture, and timing are doing serious work.

She riffs on everything from mental health (“Wellbutrin and Prozac is a suburban speedball”) to sexuality, to the strange intimacy of talking about your dad’s diabetes on stage. One moment you’re laughing at a joke about sourdough starters, the next she’s recounting a real-life medical emergency during a fishing trip in Alaska, delivered with a level of honesty that somehow still lands funny.

Mid-set, she disappears and comes back in full golf attire, because of course she does. By this point, the room was fully hers. No apologies, no softening the edges, no concern for decorum. Becky Robinson will say absolutely anything, and that’s the magic of it.

I walked in mostly blind and walked out fully sold. Wild, crass, fearless, and completely in control — Becky Robinson is the kind of comic who doesn’t ask if you’re comfortable. She just dares you to keep up.

Atmosphere Throws a Nostalgia Reunion in Austin

📍 ACL Live — Feb. 6, 2026

Written by Clinton Camper

Friday night at ACL Live felt less like a concert and more like a reunion for a very specific generation of rap fans, the ones who discovered Atmosphere in bedrooms lit by laptop glow, burned CDs, and late night AIM away messages. By the time the house lights dimmed, the room was packed shoulder to shoulder with a crowd that looked exactly how you would expect: 35 to 45 years old, comfortable sneakers, a few gray hairs, and an encyclopedic memory of every Slug lyric ever written.

Sage Francis opened the night with a set that leaned perfectly into the tour’s winter aesthetic. The snowmen that appeared on the stage, the same ones featured in the tour artwork, suddenly made sense, turning the backdrop into a playful extension of the Atmosphere universe. Francis spent half the show rapping from a chair, guiding the crowd through hand signals and call and response moments that felt part performance art, part underground rap ritual. It was loose, funny, and endearingly strange in a way only longtime Rhymesayers family can pull off.

Then Atmosphere took over, and the time machine officially flipped to peak era.

From the opening notes of “Locusts,” it was clear Slug and Ant were not interested in chasing anything new. This was a greatest hits sermon, delivered to people who have been waiting years to scream these words back at full volume. “GodLovesUgly,” “Sunshine,” “The Best Day,” “Yesterday,” the kind of setlist that reads like a tracklist from your emotional development.

And the crowd? They knew every single word. Not just the hooks, the breath control, the ad libs, the awkward pauses. This was not casual fandom; this was muscle memory. A niche crowd, yes, but one operating at full participation.

Slug looked fantastic, by the way, genuinely 20 years younger than the last time I saw him a decade ago. Whatever Minnesota fountain of youth he has found, bottle it.

What made the night special was not just the classics, but how intentionally Atmosphere leaned into them. Slug knows exactly who shows up to these shows now. He is not pretending to be 25. He is not forcing new material into the mix to prove he is current. Instead, he gave the people what raised them: “Puppets,” “Don’t Ever Fucking Question That,” “Guns and Cigarettes,” “Between the Lines.”

Then came my personal moment.

I have loved “The Woman With the Tattooed Hands” for years, a centerpiece from the Lucy Ford EP and one of those songs that feels stitched into a specific chapter of my life. I had hoped to hear it, but never assumed it was guaranteed. When those opening lines arrived, the room shifted. Slug stretched the delivery, letting the crowd carry whole sections, and for a few minutes it felt less like a performance and more like a collective memory being passed around.

The back half of the set was a masterclass in emotional whiplash: the gratitude of “Grateful,” the gut punch of “Yesterday,” sliding straight into the rawness of “God’s Bathroom Floor” and “Scapegoat.” Atmosphere has always lived in that space between confession and confrontation, and seeing it performed for people who have grown alongside the songs hit differently.

The encore, “Okay,” a loose freestyle, and “Trying to Find a Balance,” sent everyone back into the Austin night sweaty, hoarse, and suspiciously sentimental.

Atmosphere did not reinvent anything at ACL Live. They did not need to. This was a show for the ones who have been here, the fans who learned how to process breakups, bad decisions, and getting older with Slug narrating in their headphones.

For two hours, ACL Live was not just a venue. It was a memory vault with a beat.

And we all still had the password.

Lady Wray Makes Antone’s Feel Like Home

📍 Antones — Feb. 5, 2026

Written by Perrin Boyd

The world famous Antone's Nightclub in Austin welcomed an enthusiastic but intimate crowd for Lady Wray's stop on her "Cover Girl" tour. Antone's keeps things real: small, real, and full of heart, more like a family living room where the greats have gathered rather than a fancy concert spot. Lady Wray, with her deep, soul-stirring voice and genuine storytelling, was the ideal artist to grace that stage. Her music carries the same honesty and timeless feel that Antone's has always celebrated, making the night's modest attendance feel like a private gathering for true fans.

Lady Wray has been captivating audiences since she was a teenager. She burst onto the scene in 1998 with "Make It Hot," a massive hit produced by Timbaland and featuring Missy Elliott that topped the R&B charts and went platinum. At just 19, she became known for her smooth, powerful vocals and collaborations with hip-hop heavyweights. Over the years, she's evolved through ups and downs: working with Missy on classics like "All N My Grill," signing with Roc-A-Fella, teaming up with the Black Keys on BlakRoc, and even shelving projects before finding her true voice again. In 2016, she reemerged as Lady Wray with the acclaimed Queen Alone on Big Crown Records, embracing classic soul and gospel roots. Albums like Piece of Me (2022) followed, written during her pregnancy and motherhood journey. Now 46, her 2025 album Cover Girl (released September 26 via Big Crown) is her most confident yet - blending '60s/'70s soul, disco vibes, '90s R&B, and personal themes of self-love, empowerment, and joy. Drawing from her Pentecostal church upbringing, the record feels celebratory and free, with tracks like "You're Gonna Win" radiating optimism and resilience.

When Lady Wray stepped out in her sparkling dress and flashy hair, the energy shifted instantly to something warm and welcoming. With her tight band behind her—keys, bass, drums, and guitar—she opened strong with songs such as “Do It Again” and "Piece of Me," delivering every note with maturity and emotion. Her voice has only gotten richer, carrying the weight of experience while staying full of life. She spoke openly about her daughter a few times, sharing how motherhood has shaped her music and kept her grounded. The show had a real family vibe: Lady Wray like a nurturing mom, guiding and uplifting her "kids" in the audience, even with space to breathe in the room.

The setlist mixed her full career beautifully, from early gems to fresh cuts from Cover Girl. She brought high energy to a revved-up version of Missy Elliott's "All N My Grill," lifted spirits with the motivational "You're Gonna Win," and delivered the smooth groove of "Come On In." The band locked in tight grooves that honored Antone's blues heritage while adding funk and hip-hop flair.

She saved "Guilty", the heartfelt 2016 track dedicated to her incarcerated brother, for the finale. This is the Lady Wray I’ve listened to since 2016 so it was an honor to witness it live. Stretching the chorus with crowd sing-alongs, she tied it to her life lessons: how love and even guilt help us grow stronger. The room erupted in cheers as the last notes rang out, and she bowed deeply, clearly touched. Lady Wray connected an Antone’s that night, making everyone feel part of her story. With Cover Girl shining as her latest triumph, she's proving she's one of soul's most authentic and enduring voices: strong, tender, and full of heart.

Cold Weather, Hot Blood: shame Ignites Austin

📍 Mohawk — Jan. 31, 2026

Written by Perrin Boyd / Photos by Drew Doggett

South London post-punk outfit shame brought their Cutthroat 2026 US Tour to Mohawk in Austin and if you're looking for proof that live music can still feel dangerous and vital, this was it. The British five-piece known for their raw, confrontational sound since bursting onto the scene a decade ago delivered one of the most high-energy, chaotic, and authentic shows I've been to. It was one of the coldest nights in Austin this winter, with temperatures dipping into the 30s, yet the outdoor stage at Mohawk felt like a pressure cooker. The crowd was packed tight, ready to explode, and when things unfolded bodies were flying: crowd surfing, mosh pits forming instantly, chaos taking over.

At the center of it all was lead singer Charlie Steen, a force of nature I'd run through a brick wall for without hesitation. His energy is aggressive yet infectious, a blend of theatrical antics and pure command that pulls everyone into his orbit. Within the first two songs, he was shirtless in the freezing cold and he'd already blown the roof off the place. Steen's stage presence is electrifying: he prowls, he screams, he commands. At one point, he climbed to the balcony for a daring stage dive, launching himself into the sea of hands below, then crowd-surfed back to the stage like it was nothing. His delivery isn't just vocal - it's physical, visceral, turning every lyric into a shared confrontation.

The band's performance was controlled chaos at its finest. Guitarists Eddie Green and Sean Coyle-Smith traded razor-sharp riffs, bassist Josh Finerty locked in the low-end groove, and drummer Charlie Forbes played with a cigarette dangling from his mouth the whole set, unflinching. The bassist even hit a backflip mid-song, adding to the circus-like frenzy without missing a beat. This tour supports their newly released 2025 album Cutthroat (out on Dead Oceans, produced by Grammy-winner John Congleton), which marks a bold return to their aggressive roots while expanding to a sharper, more precise sound, yet still dripping with grit. It's a supercharged evolution from their earlier work, blending post-punk fury with broader influences, and live, it translates into pure adrenaline.

The setlist hit like a series of knockout punches right from the opener, "Axis of Evil," which set the tone with its dark, brooding intensity. They followed with "Concrete," an early classic that blew the top off immediately— from that moment, I knew this was going to be a damn good show. Highlights kept coming: the ferocious "Six Pack," the brooding "Quiet Life" from the new album (a rare moment of introspection amid the storm), and the infectious "Spartak," which had the crowd chanting along to its alt-country-tinged hooks. Every track built on the last, delivering one punch after another, old favorites colliding seamlessly with fresh cuts from Cutthroat.

They closed the night with two absolute favorites: "One Rizla," a fan staple that had the room singing every word, and the title track "Cutthroat." The latter, the first single from the new album, is a biting, character-driven takedown of materialism, selfishness, and the political elite, delivered with Steen's intense, snarling vocals. There's something undeniably catchy about those opening lines: "Big, beautiful, naked women fall out the sky / Motherfucker, I was born to die." A perfect encapsulation of the band's paradoxical mix of nihilism and hooks. As the final notes rang out, the crowd was spent, exhilarated, and united in the aftermath of the mayhem.

shame is a must-see for anyone craving modern punk that feels alive and dangerous. If you're a fan of IDLES or Fontaines D.C., these are absolutely your people - raw, unapologetic, and committed to pushing boundaries without losing the edge. On this freezing Austin night, they reminded everyone why live music still matters: it's not just entertainment; it's catharsis. Catch them if they come near you - you won't regret it.

A One-Woman Orchestra Ignites Radio/East

📍 Radio/East — Jan. 26, 2026

Written by Perrin Boyd / Photos by Drew Doggett

Walking into Radio/East for the first time felt like stepping into one of Austin’s best-kept secrets. Tucked away and unassuming, the venue immediately surprised me with how pristine the sound was and how much space the venue had - clear, warm, and perfectly balanced in a way that made every detail feel intentional. I’ve listened to a couple Sudan Archives songs throughout the years and I’ve always admired her talent but I did not expect what was to come. It turned out to be the ideal setting for an artist whose music lives in the details and bounce. From the first note, it was obvious this was a carefully constructed sonic experience that demanded attention and a little bit of fun.

Sudan Archives took the stage solo, a one-woman orchestra commanding everything from violin to keyboards and loops. Her avant-garde style weaves hypnotic string loops with West African influences, left-field R&B, hip-hop grooves, and experimental electronics into something utterly unique. She draws from every corner of music history, yet it feels fresh and fiercely personal. The messages behind her uplifting and powerful tracks demand self-belief and confidence.

The set opened gracefully and warmed the crowd up with ‘DEAD’, its club-ready thump instantly locking the room in. She played plenty of tracks from her newly released 2025 ablum ‘The BPM.’ Songs such as ‘YEA YEA YEA’ and ‘COME AND FIND YOU’ ramped up the momentum, her sultry, commanding vocals cutting through layered strings and beats. The crowd responded viscerally: more dancing, more nodding, that collective head-bob turning into full-body movement. Her music is empowering at its core, making you feel seen and unstoppable.

New tracks landed like revelations. ‘MY TYPE’ and ‘A BUG'S LIFE’ brought their signature experimental bite with a new club sound, but ‘Come Meh Way’, a song I’ve had on my playlists since 2017, felt spiritual live. Hearing those familiar violin runs soar over the live drums and her seamless layering was electric. The groove was undeniable; the whole venue moved together, feet tapping, shoulders rolling, pure connection.

She closed strong with ‘Selfish Soul’ and ‘Confession’s’, raw emotion wrapped in tight rhythms that left everyone breathless and wanting more. The encore delivered the knockout: ‘THE NATURE OF POWER’ roared with defiant fire, then ‘THE BPM’, the title track from her brilliant new club-forward album, sent us out on a high-octane wave. Those Detroit-inspired kicks paired with her soaring strings had the crowd losing it one last time.

This night was a reminder of why live music hits different. Sudan Archives is a multi-instrumental wizard who makes complexity feel effortless and inviting: empowering, danceable, deeply felt. The upbeat, dancing crowd at Radio/East amplified everything, turning a great show into something unforgettable. First time here, first time seeing her live, and I’m already counting down to the next one.

The 4411 has Full Circle Moment at a Sold-Out 3TEN Homecoming

📍 3TEN at ACL Live — Jan. 17, 2026

Written by Clinton Camper

There’s something special about watching a hometown scene show up for its own. Last Saturday night at ACL Live’s 3TEN was a sold-out celebration of Austin talent, stacked from top to bottom, with Barb, Vision Arcade, and headliners The 4411 delivering a night that felt both intimate and electric.

Credit: Gaby Deimeke

Barb kicked things off, and if there was any question whether the crowd would arrive early for the opener, it was answered immediately. The room was already packed, buzzing, and fully tuned in. Barb wasted no time leaning into the moment, even dropping a crowd-pleasing cover of “I Was Made For Loving You” by KISS that had smiles spreading across the floor.

The energy in the room said everything. I chatted with a couple in front of me who had driven in from Beaumont just to see Barb (and not for the first time). That kind of devotion is always a good sign. Austin noticed too. People were locked in, swaying, singing, and giving Barb the kind of reception that turns opening sets into arrival statements.

Credit: Madison Grey

Then came Vision Arcade, stepping out in matching black jumpsuits and instantly shifting the room’s pulse. From the first notes, heads were bobbing in unison. Their set felt tight, confident, and forward-moving, the kind of performance where you get the sense you’re catching a band on the verge of something bigger.

They slipped in a new unreleased track that already felt like a future fan favorite, alongside standouts like “Crazed,” “Lay Alone,” “Hey Honey,” and “Youthful Heart.” Every song landed. Vision Arcade doesn’t just play well, they connect. If there’s a band from this lineup destined to blow past the Austin circuit into much larger rooms, my money’s on them.

Credit: Parker Pokluda

By the time The 4411 hit the stage, the crowd was primed. And the band leaned right into it. Their headlining set opened with momentum and never let up. A cover of “August” by flipturn turned the room into a scream-singing choir. “Sushi on the Beach” had bodies bouncing from front to back.

But the night’s most meaningful moment came with a bit of perspective: The 4411 hadn’t headlined in Austin since January 2025, and that show was also at 3TEN. Back then, they sold about half as many tickets as they did for this sold-out return. One year later, same room, entirely different scale. A true full-circle homecoming.

The band also treated fans to new material. During one unreleased song, the crowd erupted when the bassist pulled out a harmonica, adding a surprise texture that sent cheers through the room. Another new track, “Sweet July,” arrived tender and heartfelt, and with its official release date set for January 21, it already feels destined to become a staple in their catalog.

Credit: Parker Pokluda

They even tossed in a cover of “Come Together” (with a Pink Floyd-esque twist in tone and atmosphere), giving the set a classic-meets-modern flourish.

By the end of the night, it wasn’t just a concert, it was a snapshot of a city’s music ecosystem thriving in real time. Three Austin bands, three distinct sounds, one sold-out room, and a reminder that the local scene here isn’t just alive, it’s evolving and thriving.

And if this show was any indication, we’ll be seeing all three of these names in much bigger lights very soon.

Colter Wall Proves Storytelling Still Rules Country Music

📍 ACL Live — Jan. 17, 2026

Written by Perrin Boyd

My first concert of 2026 kicked off with another sold-out crowd at ACL Live, where the air felt thick with anticipation for an enigma who rides the line between myth and man. Colter Wall stepped onto the stage like a cattle rancher who'd just come in from the prairies, tall hat shadowing his face, guitar slung low. No grand entrance, no pyrotechnics - just a quiet giant ready to spin yarns that echo the ghosts of Cash, Nelson, and Jennings. Seeing Wall live felt like capturing a piece of history unfolding in real time, a rare glimpse of authentic western soul in an era chasing flash.

Wall's presence and deep tone commands without demanding. He barely spoke between songs, letting the music do the talking, much like the outlaw legends he channels. His baritone rumbled deep and gravelly, carrying the weight of dusty trails and hard-earned wisdom. You could close your eyes and swear Johnny Cash had returned to tell one more tale of sin and redemption, or Willie had wandered in from Austin's back porches with a lonesome lament. Waylon's outlaw spirit hovered too, in the unapologetic grit of every note. Yet Wall remains humble, shunning the spotlight that fame could bring - he's no seeker of celebrity, just a man who corrals stories like stray cattle.

The set opened strong with "1800 Miles," painting vast distances and weary travelers, then rolled into "Motorcycle," where the rhythm evoked open highways and restless cowboys chasing horizons. "Rocky Mountain Rangers" followed, conjuring images of mounted lawmen riding through snow-dusted peaks, Wall's voice steady as a branding iron. He honored the old guard with covers: Hoyt Axton's "Evangelina," a haunting ode to lost love, and Ian Tyson's "The Coyote & The Cowboy," a nod to the rugged ranch life that defines him.

Midway, "Corralling the Blues" and "Good Time Charlie's Got the Blues" captured the ache of hard-living drifters, while "Caroline" and "Cypress Hills and the Big Country" transported us to Saskatchewan's wide-open spaces. Wall's originals feel timeless, like campfire tales passed down through generations of cattlemen. "The Devil Wears a Suit and Tie" drew roars - its sly warning about smooth-talking snakes in fine clothes hit harder live, every syllable dripping with Cash-like menace.

The nods to tradition continued with one my favorite classic country songs: Billy Joe Shaver's "I Been to Georgia on a Fast Train," delivered with outlaw swagger, and the classic "Cowpoke," where Wall embodied the solitary rider under endless stars. He closed with "Sleeping on the Blacktop," and this moment shot me right back to the first time I heard Colter Wall. My brother and I were driving across the country somewhere through Montana or Wyoming in 2020 and he had on his outlaw country playlist with all the greats. Full circle moment getting the rare opportunity to see that artist now.

In a world of spectacle, Colter Wall's show at ACL Live was a reminder that true country endures through storytelling, not showmanship. The sold-out house hung on his every line, honored to witness this kept-to-himself artist who prefers the ranch to the red carpet. As the final notes faded, it felt less like a concert and more like sitting around a fire with a modern-day troubadour, hearing echoes of Cash, Willie, and Waylon in a voice that's wholly his own. A hell of a way to start the year.

SXSW 2026 Announces First 100 Showcasing Artists + 50 Showcase Presenters

South by Southwest announced the first 100 Showcasing Artists and 50 Showcase Presenters for the SXSW 2026 Music Festival & Conference, marking the start of a massive lead-up to the festival’s historic 40th year. SXSW returns to Austin March 12–18, 2026, and this first wave already signals a lineup built on discovery, range, and global reach.

Kicking things off in a big way, The All-American Rejects will headline the SXSW Music Opening Party presented by Rivian, setting the tone with a rare high-profile moment at a festival traditionally known for breaking new artists just as much as celebrating legacy acts.

Beyond the opening party, this initial announcement dives deep into indie rock, R&B, electronic, alt-pop, hip-hop, and experimental sounds—exactly the kind of genre-blurring mix SXSW does best.

🎯 ATXconcert Picks: Artists We’re Watching Closely

From the first 100 announced, these are the artists officially landing on ATXconcert’s SXSW 2026 radar—based on originality, live-show energy, and that unmistakable SXSW spark:

The All American Rejects

Kaash Paige

T-Low

BrunOG

Jana Diab

Bayonne

People R Ugly

Arroba Nat

Milo Korbenski

runo plum

Hudson Freeman

Fine

Cardinal Bloom

buffalo_farm

IYLA

DJ_Dave

Grrrl Gang

Pretty Jane

Aaron Page

Showcase Presenters: The Rooms That Shape SXSW

SXSW also announced 50 Showcase Presenters, including returning staples like Billboard (already announced), Rolling Stone, BBC Introducing, British Music Embassy, NPR Music Stations, and The Line of Best Fit, alongside first-time presenters such as Willie Nelson’s Luck Reunion and Dream Con. These presenters will curate some of the most important rooms and moments of the week.

SXSW 2026 Is Officially Underway

This first artist wave makes one thing clear: SXSW 2026 is leaning into discovery, experimentation, and global voices early. With hundreds more artists still to come, this is just the foundation—and we’ll be tracking every update.

Stay Locked In With ATXconcert 🎶

SXSW season is just getting started, and we’ll be covering every major announcement, showcase drop, and must-see artist leading up to March. To keep up in real time, make sure you’re following ATXconcert on Instagram, Twitter/X, and TikTok, where we share daily concert updates, artist discoveries, and a lot of concert and SXSW ticket giveaways throughout the year.

If you’re trying to keep tabs on everything happening in Austin—and across the entire state of Texas—our full-time concert calendar at atxconcert.com is the place to be. We’re updating it constantly with newly announced shows, festivals, and special events so you never miss what’s coming through town.

We’ve also curated an ATXconcert Spotify playlist highlighting all SXSW 2026 artists, perfect for discovering new music before you see it live.

And if you missed it, be sure to check out our first SXSW 2025 blog post, where we break down how SXSW looks a little different this year and highlight the key changes, shifts, and things you’ll want to know before planning your week. It’s essential reading as the festival continues to evolve.

More artists, more showcases, and more SXSW chaos coming soon. We’ll see you out there.

Portugal. The Man Turns ACL Live into a Psychedelic Rock Haven

📍 ACL Live — Dec. 12, 2025

Written by Perrin Boyd

Portugal. The Man has long been one of those bands that transcends the casual listen, evolving from indie rock darlings to a force that commands stages with effortless charisma and energy. This past Friday night at the historic ACL Live in Austin, Texas, they brought their DENALI Tour to town, fresh off the release of their latest album, SHISH. It marked my fifth time catching them live, and if there's one thing I've learned, it's that Portugal. The Man is an absolute must-see act. Sure, the masses might flock to them thanks to that infectious 2017 hit "Feel It Still," which catapulted them into mainstream stardom, but I've always been drawn to their deeper cuts. The ones that showcase their ability to rock hard and hypnotize a crowd. Tracks like "Atomic Man" have been staples in my playlist for years, though I was a bit bummed they skipped it this time around. Still, from the moment the lights dimmed, the band seized control of the venue, turning the intimate yet grand ACL Live into a pulsating rock haven. Their knack for taking over a show, no matter the size of the stage, never fails to fascinate me, and they did exactly that, leaving the building shaking with their signature blend of psychedelia and punch.

As the grungy guitar riff of the intro to "Denali" sliced through the air, I felt that familiar rush and instantly knew this was going to be a night to remember. The crowd, a mix of longtime fans and newcomers lured by the buzz around SHISH, erupted in cheers as frontman John Gourley and the band dove headfirst into the new material. The first half of the setlist was dedicated entirely to tracks from the album. SHISH represents a fresh evolution in their sound, blending gritty rock foundations with soaring, catchy harmonies that stick in your head. Songs like "Angoon," "Knik," and “Tyonek” echoed the Alaskan wilderness themes woven throughout the album.

Central to Portugal. The Man's magic is frontman John Gourley, whose creative genius seems limitless, paired with the band's unwavering commitment to authenticity. Gourley draws from his Alaskan upbringing to craft lyrics that are both personal and universal: stories of survival, community, and nature. What I've always admired most is how they've evolved across albums without ever selling out. They're outspoken on social issues, from indigenous rights and environmental protection to global conflicts and the ethical dangers of emerging technologies like AI run amok. In an ever-changing world full of noise, they stand firm on their values, using their platform to advocate for justice and the greater good without coming across as lecturing. It's rare to find a band that blends artistic innovation with genuine activism so seamlessly, and Gourley's heartfelt delivery makes it all resonate even more profoundly.

Transitioning smoothly from the new stuff, the setlist opened up to a well-curated mix of tracks spanning their discography, proving why Portugal. The Man remains so versatile. They pulled from fan favorites like "Purple Yellow Red and Blue" off Evil Friends, its funky grooves getting everyone dancing, and "Modern Jesus," a satirical jab at consumerism that still hits hard live. The crowd went wild for "Dummy" from their 2023 release, its electronic rock filling the room with vibrant energy. "Tidal Wave" brought a wave of nostalgia, its anthemic build-up creating a communal sing-along moment. But the highlight for me was when they played "Glide," one of my favorites from their 2025 output.

Visually, the band was just as compelling as they were sonically. The screens pulsed with a wild mix of imagery—everything from futuristic AI visuals to unexpected nods like Michael Jordan—creating a surreal backdrop that mirrored the band’s genre-blurring sound. It was weird, thought-provoking, and perfectly on-brand. Nothing felt random; it all contributed to the immersive experience they’ve mastered over the years.

As the final notes of the “Father Gun” faded and the crowd roared for more, I left ACL Live with that unbeatable post-show happiness. Countless times seeing Portugal. The Man, and each one has topped the last. I could honestly see them 100 more times, and I'm convinced it would only get better, more innovative, more soul-stirring. If the DENALI Tour is hitting your city, don't sleep on it. In a landscape of fleeting trends, Portugal. The Man remains a powerhouse of authentic, exhilarating rock.

SXSW 2026 Is Rewriting the Playbook, Here’s What You Need to Know

SXSW 2026 is shaping up to be one of the most significant shifts in the festival’s history and honestly, it feels like a return to what made SXSW special in the first place.

With the Austin Convention Center officially out of the picture, SXSW is transforming downtown Austin into a fully walkable SXSW Village, built around three main Clubhouses: Music, Film & TV, and Innovation. For seven straight days, the festival will live across some of Austin’s most iconic venues, hotels, and theaters, putting discovery, accessibility, and Austin itself back at the center.

A Downtown SXSW Village

Instead of one centralized hub, SXSW 2026 will spread across downtown, anchored by three main clubhouses:

• Music Clubhouse: Downright

• Film & TV Clubhouse: 800 Congress

• Innovation Clubhouse: Brazos Hall

Surrounding these hubs are key venues including the Paramount Theatre, Fairmont, JW Marriott, Omni, Thompson, Marriott Downtown, Hilton Austin, The LINE, and more — all connected through a simplified, walkable footprint.

The idea is simple: less bouncing around blindly, more intentional movement through programming that actually connects.

Everything, All at Once

For the first time ever, Music, Film & TV, and Innovation will all take place during the same 7-day window, running March 12–18, 2026.

That means:

• Music showcases every night across legendary Austin venues

• Film & TV premieres and screenings throughout the week

• Innovation sessions covering AI, culture, startups, creator economy, climate, marketing, and more

SXSW is calling this year’s theme “All Together Now” and it shows in how the schedule is structured.

Badge & Access Changes (Big Ones)

SXSW is also simplifying how badges work in 2026:

• All badges now include advance reservations

• Reservations open up to three weeks before SXSW

• Platinum badges get 3 reservations per day

• Music, Film & TV, and Innovation badges get 2 reservations per day

• Reservations are released in timed windows (not all at once)

• Walk-up lines still exist for most events

One major change: secondary badge access is gone. Instead, attendees can:

• Add a Music Wristband to Innovation or Film & TV badges

• Purchase limited General Admission film tickets closer to the festival

It’s a big shift but one designed to reduce chaos, improve line flow, and make access clearer across the board.

What This Means for SXSW (and Austin)

SXSW 2026 feels intentionally smaller in footprint, but bigger in impact.

More showcases.
More premieres.
More chances to discover something new.

By leaning into Austin’s venues, streets, and neighborhoods, instead of one massive convention space, SXSW is putting the focus back where it belongs: artists, filmmakers, creators, and the city that made the festival what it is.

STAY LOCKED IN WITH ATXCONCERT

SXSW season is just getting started, and we’ll be covering every major announcement, showcase drop, and must-see artist leading up to March. To keep up in real time, make sure you’re following ATXconcert on Instagram, Twitter/X, and TikTok, where we share daily concert updates, artist discoveries, and a lot of concert and SXSW ticket giveaways throughout the year.

If you’re trying to keep tabs on everything happening in Austin—and across the entire state of Texas—our full-time concert calendar at atxconcert.com is the place to be. We’re updating it constantly with newly announced shows, festivals, and special events so you never miss what’s coming through town.

We’ve also curated an ATXconcert Spotify playlist highlighting all SXSW 2026 artists, perfect for discovering new music before you see it live.

And if you missed it, be sure to check out our other blog post where we break down the first 100 SXSW artists that have been announced and who we are excited to see.

More artists, more showcases, and more SXSW chaos coming soon. We’ll see you out there.

Inside the Chaos of Playboi Carti’s Antagonist 2.0 Tour

📍 Moody Center — Nov. 23, 2025

Written by Perrin Boyd

Playboi Carti’s Antagonist 2.0 Tour stopped at the Moody Center Sunday night and I witnessed easily one of the wildest, most chaotic shows this year. The place was sold out, packed to the rafters, I was shocked by the sea of bodies on the floor already swirling into mosh pits before anyone had even touched the stage. The energy was unreal. Fans were dressed in torn black denim, spiked accessories, puffer jackets despite the heat, face paint, ski masks, and enough chrome hearts to blind someone under the strobes. Opium culture is definitely alive and thriving. Their passion, their fashion, this shared sense of stylish abandon: it all fused into something that felt surreal to be apart of for a night. I didn’t just watch this show but I got consumed by it.

Before Carti even appeared, Destroy Lonely and Ken Carson kicked things off as the openers and almost instantly turned the building into a circus. Both of them command a cult-like following. I’m talking fans who know every lyric, every ad-lib, every micro-inflection. Destroy Lonely brought this ghostly, floating energy that made the crowd sway and surge like a tide, while Ken Carson cracked the room open with pure adrenaline. Their presence felt like a warning shot: if you weren’t ready for chaos, it was already too late. They primed the venue into a frenzy and proved why the Opium camp has a grip on a generation.

When Carti finally emerged, it felt less like an entrance and more like the start of a riot. The lighting was dystopian and harsh: red floods, white strobes blasting in rapid bursts, fog swallowing the stage until figures looked like silhouettes out of some apocalyptic opera. Two massive semi trucks stood side by side in the front and headlights beaming into the crowd while his crew ran around the elevated stage acting unhinged. It created a visual atmosphere that was equal parts theatrical, chaotic, and downright lawless. The sound also felt louder than any show I had been to at Moody Center.

Carti performed with the kind of eccentricity that has made him one of the most influential figures in modern hip-hop and a pioneer of the rage microgenre. He yelled, he screeched, he growled, he barked. All while draped in avant-garde, gender-bending fashion that made him look like a rockstar from another planet. He’s not a traditional rapper onstage; he’s more like a modern-day punk icon disguised as a rap anomaly, and the fans hung onto every sound that came out of his mouth.

His setlist was stacked and relentless, ripping through tracks like “ROCKSTAR MADE,” “R.I.P.,” “Timeless,” “FE!N,” “CARNIVAL,” “Stop Breathing,” and more. The crowd detonated for “Stop Breathing,” and “FE!N” nearly blew the roof off. “Timeless” had the entire floor vibrating, and “CARNIVAL” pushed the energy to an explosive peak. A special moment for me was hearing “Shoota” live, one of my all-time favorites with Lil Uzi. And fans were pleasantly surprised by the live debut of “SOUTH ATLANTA BABY”.

By the time he ended with “Made It This Far” (still unreleased), I was genuinely exhausted by the amount of chaos I just partook in and I fully understood exactly why his fanbase treats him like a prophet. I’ve been a fan of some of Carti’s tracks, but now I truly get the craze.

JID Makes the Austin Crowd Surf

📍 Stubb’s — Nov. 24, 2025

Written by Krysta Ayers / Photos by Levi Thompson

It’s been three years since JID brought a band with him to appear on NPR’s Tiny Desk and stunned a new internet audience into fandom. Even then, stepping out of the cold (yet supportive) shadow of the Dreamville umbrella and J. Cole’s wings, his talent, technicality, and versatility couldn’t be questioned. And on Monday, the Atlanta rapper brought a sharper tongue and a catalog of hype beats to Austin for his God Does Like World Tours.

The rapper, who celebrated his 35th birthday on Halloween, dished out so much of his work for this setlist—including tracks from past projects like 2022’s The Forever Story, 2018’s DiCaprio 2, and 2017’s The Never Story. His newest album, God Does Like Ugly, was the anvil and centerpiece for the show, the project being promoted on the tour, and his performance of this work only added to the now-indisputable fact that JID is a force in the MC circle. 

From the opening “YouUgly,” JID is proclaiming his well-deserved spot as a rapper to know. He spits, “It’s been a long time coming, I swear / but let’s be clear / [homies] know I been killin’ this shit for years,” and the audience responds with loud cheers, claps, and energy. He goes into “Bodies,” a song he collaborated on with Offset, which elicits the first moment of crowd surfing for the fans near the stage. 

Not unlike a JID album, his live performance encapsulates a personal story contextualized by being a Black man in America from the South. Images of Martin Luther King Jr., Black students outside schools (presumably images from the Brown v Board of Education era, which he’s rapped about), and segregation during Jim Crow were splattered on the giant screen behind him as he rapped tracks like “VCRs” and “Community.” On the latter he raps, “My ghetto is not your culture / [homies] really die here / So hard to say goodbye / It’s the only lullaby here,” to home in on the harsh realities of growing up in Atlanta and the ways that non-Black people play into this rap “culture” as if it was a game, like playing house. 

It should be noted that even though it was a Monday, Stubb’s was packed, and groups were crowded to the very back, holding onto merch, and sipping expensive 24-ounce cans of beer. It should also be noted that JID rapped every single word, with impeccable breath work, with no backing track to do all the work. Through “151 Rum,” the bass-heavy, 80s-esque “Sk8,” and the popular hit “Never,” JID was there for every bar—Kendrick-levels of technical work and craft. He played “Wholeheartedly” off the new album as well, a song that sounds like it could belong to Frank Ocean, showing off his ability to dive into R&B and be versatile in his field. 

Shockingly, there was no encore. But JID gave the crowd everything, with no time to spare to make an encore possible. (The venue’s weekday curfew is 10:30pm.) He thanked the crowd profusely throughout his set, bookending each song with a “give it up for yourselves” quip. He was energetic, thankful, humble, and striking. By next year, Stubb’s stage will be too small for him, and y’all will be kicking yourselves for not being at this show.