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:

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.   

Dallas Didn’t Know What Hit It (Spoiler: Grandson)

📍House Of Blues Dallas — Nov. 14, 2025
Written by: Clinton Camper

I knew the night was going to be unhinged the second the AUTONOMOUS DELIVERY ROBOT intro started rumbling through House of Blues. That mechanical heartbeat hit, the lights went blood-red, and the whole room shifted forward like we collectively forgot personal space existed. Grandson walked out grinning like he already knew he was about to wreck us, and he absolutely did.

“BURY YOU” came out swinging—loud, messy, perfect—and that was the moment I realized I wasn’t going to have a voice by the end of the night. The pit opened early, and by We Did It!!! the floor was already vibrating with people slamming into each other while he tossed in that chaotic “hero with a bullet in the neck” lyric change. It felt like he was pushing every single person in the room to match his level of feral energy.

“Oh No!!!” hit and the whole barricade started swaying like it was about to give up on society. Grandson kept talking between songs too—little rants, little jokes, a quick “Dallas, you’re sick as hell!”—and it made the show feel like a rally disguised as a concert. By the time he dropped into “BELLS OF WAR” and “Stigmata,” it felt like everyone had collectively decided we were going to sweat together for the rest of the night.

One of my favorite moments came during the Darkside jam session. They stretched it out, got weird with it, and the whole room fell into this trancey, head-down groove. It was the one time we caught our breath…and then he immediately ripped it away with Overdose and 6:00.

When he introduced SELF IMMOLATION—dedicating it to targeted communities and then throwing in that sarcastic greeting to the president—the crowd screamed like we were all sharing the same migraine. You could feel everyone tighten up, not out of discomfort, but because he tapped into that exact feeling all his fans show up to unpack.

“Masters of War” hit way harder live than I expected. It felt like a sermon delivered through distortion.

The emotional gut-punch of the night was Heather. House of Blues got weirdly quiet for a venue that had just spent an hour acting like it was trying to break its own foundation. It’s rare to see a room full of sweaty, adrenaline-drunk adults stop and breathe at the same time, but he did that.

But then…chaos returned.

Drones, YOU MADE ME THIS WAY, and Blood // Water blew the roof off. During Blood // Water a dude literally crowdsurfed past me upside down. Grandson was screaming into the mic while pointing at the surf-bro like he couldn’t believe it either. It was pure, stupid, beautiful anarchy.

We barely had time to process anything before he came back out for Stick Up. It felt like he had one last punch to throw, and we all happily let it hit us in the face. The entire floor moved like a single organism—sweaty, deranged, and having the best night imaginable.

Walking out of House of Blues, my shirt was glued to my back, my ears were ringing, and I realized I hadn’t stopped moving from the moment he stepped onstage. It wasn’t just a concert—it was a full-body, full-volume, emotionally reckless release. The kind of show that reminds you exactly why you go to live music in the first place.

Grandson didn’t just perform in Dallas.
He detonated.

Giggles, Ambitious Sexting, and Candid Leo Energy

📍ACL Live — Nov. 14, 2025
Written by: Krysta Ayers

Like a women’s convention on entrepreneurship, Austin’s downtown 2nd Street was a floral-scented, lip-glossed haven for women supporting women in the arts on Friday night. With cocktails in hand and outfits curated for the female gaze, women buzzed around in excitement (some with supportive, if not apathetic boyfriends/husbands in tow) for their “friend” and comedian, Hannah Berner, for her None of my Business tour.  

If you’re unfamiliar with Berner, you’ve unfortunately avoided the Bravoverse that brought the millennial world Summer House. The comedian gained popularity via the reality show set in the Hamptons, started the Giggly Squad podcast with bestie/costar Paige Desorbo after her departure (read: firing) from the show, and is now making her mark as a stand-up comedian touring the country. Her fans are affectionately called the Gigglers, and they showed up in mass on Friday. 

Berner’s comedy sets are an extension of her podcast personality. She welcomes all laughs, can effortlessly banter (her crowd work is relaxed and playful), and doesn’t put on a different personality in an effort to reel in those outside of the Giggler universe. In many ways, the show is for the girlies who tune in weekly to the Giggly Squad podcast. There are bits of inside jokes and call-backs for the Gigglers who listen weekly, with a twist that allows Berner to speak more openly about her husband and their marriage—a conscious effort she avoids on the pod to de-center men. 

The set is funny. Berner uses her time on stage to share stories about sexting in her 20s, give dating advice that includes not dating anyone named “Alec,” and to bathe in the attention in true Leo fashion (“Ok, back to me,” she says multiple times after mentioning friends in stories). She’s in Texas for three show dates and comes fresh off an appearance on The Tonight Show, where she shared her dating advice joke in advance. 

As in music, comedy is subjective. Jokes that might work for others, might not work for you, and vice versa. But Berner’s energy and obvious fun on stage were pleasant to watch—and laughs roared throughout the entire set, which, as I’ve witnessed many times, does not always happen. It is so clear that she is in her element and is happiest making others laugh. 

Purity Ring is Back After 3-Year Hibernation

📍ACL Live — Nov. 8, 2025
Written by Krysta Ayers

It’s been three years since Purity Ring released new music or toured North America—the equivalent of 10 years in this music-hungry age (just ask any Frank Ocean fan who’s been waiting a lifetime for a new album). But on the heels of their new self-titled album, the Canadian electronic-pop duo is back and made a stop in Austin for their Place of My Own tour on Saturday.

I thought I went into the show with no previous listening history, but Spotify tells me the one song I’ve liked from Purity Ring is “fineshrine,” which was added to my “Liked Songs” playlist in May of 2017 (five years after the song was released). However, my questionably short memory allowed me an open mind to experience the artists with no expectations or favorite songs to look forward to. And, once face masks, requested by the artists, were secured, that experience started.

They opened with “part ii,” the first track off their new album. It’s a five-line intro stretched beyond its lyrics to a two-minute song for the bells and whistles (really, harmonies and piano from the MIDI controller) to set the forthcoming tone of the show. It’s heavily autotuned (not in a bad/good way), and the cool factor comes from the visuals at the front of the stage, where producer Corin Roddick seemed to create splattering wavelengths in the air that moved to the beat of the music, much like the visualizers we all used to watch when playing .mp3s on our family computer.

The large screen behind the duo, Megan James (vocals) and Roddick, is a third character on stage. It’s like a POV shot of some dark fantastical game set between fairy-populated woods and whichever planet Dune is set in, and the crowd is Player One—the soundtrack being played out in real time. It could easily become sensory overload, but Purity Ring’s meticulous control keeps everything even-tempered. James and Roddick (both wearing face masks) are mostly shrouded in shadows, lit only by the screen and the floating lights in front of them. 

“Obedear” is played with great flair, the hip-hop undertones and 808s creating a danceable, uplifting reprieve in the space. Roddick uses his MIDI controller to create all the whooshes, hi-hats, and synthesizer EDM-like sounds in real time. Aside from the entrancing visuals and the bright, playful tracks like that one, the duo mostly stays in an obscure, witchy wonderland of synth-pop melodies. The crowd swayed only slightly throughout, the occasional hand waving in the air. Are all the shows like this?

The duo’s last album, the 2022 graves, got a harsh 5.8 rating by Pitchfork—which isn’t the end-all-be-all of reviewers, but still wields a heavy influence. And while I, reviewing for ATXconcert, might not be the end-all-be-all reviewer (and hold no heavy influence), I much feel the same, about this live show. (On Monday, when I post about it online, I get multiple DMs from friends validating this sentiment.) “Fineshrine” does get played, but not until the bitter end. 

The breathy vocals and eclectic electro-pop beats might translate well over streaming platforms for Purity Ring’s monthly listeners, but the energy in the room on Saturday needed a can of Red Bull to gain its wings and become an epic live music event. And maybe that’s our fault. Artists do, after all, feed off of a crowd’s energy. 

The tour has three more stops, but maybe after fans get better acquainted with the new album, this weird post-hibernation period can end, and the following energy can match the stunning visuals produced on stage.

Leon Thomas Was Born For This

📍Emo’s — Nov. 3, 2025
Written by Perrin Boyd

I first discovered Leon through his 2024 hit “MUTT,” a smooth and catchy R&B track that had me expecting a mellow night of soulful grooves. But when I arrived at Emo’s on Monday night and saw the line wrapped around the venue, I knew I was in for something bigger. And Leon delivered. His live sound leaned heavily into soul, blues, and deep instrumental jams, while still keeping the warmth and intimacy of his recorded work. For me, it was one of those rare nights where you realize you’re watching an artist who was born to do this.

Credit: Josh Guerra

Emo’s was packed to the walls for the sold-out Leon Thomas show. From the moment the band took the stage, the crowd was locked in — phones out, ready to capture every second. They opened with a slow-building jam that swelled and swelled until Leon walked out and the room lit up.

What stood out most was just how musical he is. He moved across the stage with ease, trading spots on guitar, bass, and even drums — each switch somehow more impressive than the last. His voice carried power and warmth, but it was his range as a musician that really blew me away.

Thomas moved through his set with effortless balance, shifting between smooth, emotional slow burns and big, soulful jams. One of the standout moments for me was “Just How You Are” from his new EP — a groovy, funk-driven track that had the entire room moving. It’s the kind of song that just hits your body first: you’re tapping your feet, nodding your head, and suddenly you’re dancing without thinking about it.

He wove in fan favorites like “VIBES DON’T LIE” and “YES IT IS,” letting the energy settle and giving space for his vocal control to shine. “Treasure in the Hills” brought the room into a quiet, almost reflective stillness before he lifted the crowd right back up again. The push and pull between the slow burners and the high-energy jams kept the night breathing — never flat, always rising.

Credit: Josh Guerra

He closed the night with “MUTT,” and the entire room sang every word like it was a memory. Leon grinned, stepped back from the mic, and thanked the crowd for loving a song that, in his words, “changed my life.” It felt like the exact right way to end the show — full of joy, gratitude, and connection.

And the thing is, Leon Thomas has been building to a moment like this for years. From performing on Broadway as a kid to a Nickelodeon era that most people forget was him, to becoming a chart-topping songwriter and artist — the range has always been there. Seeing him live at Emo’s made it clear just how much that history has shaped him. He’s not just talented. He’s seasoned. He’s confident. He knows who he is onstage.

Credit: Josh Guerra

Walking out of the venue, I couldn’t stop replaying the show in my head. Emo’s always has a way of making big shows feel intimate, and Monday night was no exception. I came expecting R&B and left feeling like I’d witnessed a full-fledged soul and funk artist in his prime. Leon Thomas isn’t just talented — he’s the real deal.

Doechii Live in Irving: A Master Class From the Swamp Princess

📍The Pavillion at Toyota Music Factory — Oct. 29, 2025
Written by Clinton Camper

Credit: Elijah Smith

I grew up in Irving, so anytime a major artist plays the Pavilion at Toyota Music Factory, I feel a little extra hometown pride. Or as we like to call it — the Crooked I. On Wednesday night, Doechii brought her Live From the Swamp Tour to that stage, and for ninety minutes, the whole place felt like it was pulsing with something bigger than a concert. It was a class in performance, creativity, and pure command.

From the jump, it was clear this wasn’t just another rap show. The stage looked like a literal “School of Hip-Hop” — a massive turntable, two oversized speakers, and a gliding classroom desk that Doechii used like a prop straight out of a music-video fever dream. She came out in a blue bra, a tiny cropped white dress shirt, blue shorts to match the bra, black tights, long school-girl socks, and black performance heels — part prep-school fantasy, part powerhouse performer. She opened with “Stanka Pooh” and “Bullfrog,” instantly locking in that teacher-meets-troublemaker persona she’s built her brand around.

Credit: Elijah Smith

Her Dallas ties ran deep that night. Kal Banx, who produced parts of Alligator Bites Never Heal, opened the show with a nod to local rap legends — sliding in Big Tuck’s “Southside Da Realist” and Lil Wil’s “My Dougie.” The hometown energy was real. When Doechii shouted out the D-Town crowd later, the response could’ve rattled the light fixtures.

Musically, the show was a blur of genre-bending brilliance. “Alter Ego” turned the room into a rave. “Denial Is a River,” performed with a silent-film-style intro and full choreography, played out like a Broadway production with bass. And “Anxiety” — her viral, Gotye-sampling single — hit even harder live, reimagined as a gritty rock anthem that turned the pit into a synchronized therapy session.

Credit: Elijah Smith

What really stood out, though, was her control. Doechii’s rapping is quicksilver: laser-focused one second, playfully unhinged the next. She switched flows like characters, one minute snarling through “Catfish,” the next grinning and twerking across the desk during “Crazy.” Between songs, she showed the same humor that’s made her TikToks blow up — tossing in a hilarious “sex-ed” interlude complete with a banana prop.

But the heart of the show came when she slowed things down. Before “Death Roll,” she paused to look out at the crowd and said, “If you came here alone, we’re your community tonight.” It felt real — the kind of connection that can’t be faked. You could see people in the stands mouthing every word back at her, decked out in plaid skirts and knee-highs, fully committed to her classroom aesthetic.

Credit: Elijah Smith

Then came one of the night’s best surprises. Instead of ending with one of her own songs, Doechii closed the show with Isaiah Rashad’s 2021 single “What You Sed,” which features both her and Kal Banx. She called Banx back on stage, and together they performed it like a full-circle moment — a celebration of where they started and how far they’ve both come. It was an easy, effortless finale that felt like watching two friends revel in the win.

Critics have been calling Live From the Swamp a “master class,” a “Critic’s Pick,” and the kind of tour that “cements her as the future of hip-hop.” After seeing it in my own backyard, I get it. Doechii isn’t just teaching — she’s rewriting the syllabus.

AFI: The Architects of the Punk and Alt Eras

📍ACL Live — Oct. 29, 2025
Written by Perrin Boyd

Walking into ACL Live on Thursday night felt like stepping straight into a time machine set for the early 2000s. The crowd was a sea of black covered in fishnets, eyeliner, leather jackets, and faded AFI shirts that looked like they’d survived decades. It was a full-circle moment for fans who had grown up screaming lyrics into mirrors and scribbling band logos on notebooks. For one night, Austin felt like the beating heart of that emo rock generation again. Touring behind their twelfth studio album, Silver Bleeds the Black Sun..., AFI reminded everyone that they’re the architects of the punk and alternative eras, not just survivors.

AFI’s journey since forming in 1991 has been nothing short of fascinating. Few bands have evolved so fluidly across genres without losing their identity. What began as raw, high-velocity hardcore punk soon took on a darker edge, morphing into horror punk, post-hardcore, and eventually the moody, gothic-tinged alternative rock that defined their mainstream breakthrough. Through it all, they’ve adapted to shifting musical landscapes while keeping that signature tension between aggression and elegance. It’s what makes them so enduring, every album feels like a reinvention that still sounds unmistakably AFI.

At the center of it all is Davey Havok, a frontman who seems almost mythic at this point. His voice is one of rock’s great paradoxes: beautiful yet unsettling, soaring yet visceral. It’s the kind of voice that divides opinion: you either love it or you don’t, but there’s no denying its power or precision. Havok delivered every note with theatrical intensity, whether growling through the verses or hitting impossibly high notes that echoed through the rafters. He’s a true performer who channels decades of emotion into every lyric, moving with a conviction that makes the stage feel sacred.

The setlist was a love letter to their evolution, pulling songs from ten different albums. The crowd erupted to Girl’s Not Grey, bodies moved in unison during The Days of the Phoenix, and chills ran through the room during the wintry shimmer of Love Like Winter. Each transition showcased the band’s versatility - punk ferocity giving way to dark romanticism, gothic balladry bleeding into melodic chaos. The balance between old and new felt intentional, proving that AFI’s identity isn’t trapped in any single era.

They closed the night with Silver and Cold, a song that still carries the same ache it did two decades ago. As the final chorus rang out, the crowd’s voices merged with Havok’s, echoing through the dark like a prayer. For all their evolution, AFI’s heart still beats with the same defiant spirit; and for a night in Austin, that spirit was alive and burning.

Snow Angels in Texas Heat: Reneé Rapp Live in DFW

📍The Pavillion at Toyota Music Factory — Oct. 23, 2025
Written by Clinton Camper

If there’s one thing about Reneé Rapp fans, it’s that they’re willing to wait. The line outside The Pavilion at Toyota Music Factory was the longest I’ve stood in all year—and I went to SXSW. It snaked around the venue in the strangest layout but somehow moved with surprising efficiency. Let’s just say I closed all my Apple Watch rings before I even made it through security.

Once inside, I was immediately greeted by a merch wall of nothing but crop tops. Every single shirt. Crop tops only. And honestly? Respect. They were actually a perfect length—long enough to make me feel secure in my manly physique, short enough to fit the Rapp aesthetic.

Ravyn Lenae opened the night with her signature velvet-smooth vocals, a soulful, floaty set that eased the crowd into the evening. She sounded flawless, but the energy in the room was quietly buzzing for the main event—you could feel the collective impatience for Reneé to hit the stage.

When the lights finally dimmed, chaos erupted. Reneé strutted out wearing a drumline-style jacket and sparkly black jeweled hot pants (or maybe just extremely confident underwear), instantly commanding the room. Her mix of Broadway poise and pop-star confidence was magnetic. The “Kiss It Kiss It” kissing cam moment had the whole crowd squealing—it was playful, over the top, and completely her.

Midway through the set, things briefly shifted. A fan in the pit fainted, and Reneé immediately stopped the show to help security spot her. As they worked through the crowd, the rest of the pit started gesturing upward like they were summoning a helicopter. “What’s above y’all?” she asked, squinting into the lights. The answer: two massive industrial fans that weren’t on. When the venue finally flipped the switch later in the show, the place erupted—like the crowd had just witnessed a miracle.

Once things settled, Reneé eased into a quieter moment. Sitting (and eventually laying) across her pianist Terence’s piano during “That’s So Funny,” she shared how she started her career simply singing with a pianist—no frills, no production—just her voice. It was funny, intimate, and a reminder that beneath all the theatrics, she’s still that same artist.

And of course, the bit everyone waits for—her mock protest during “That’s Not My Fault.” Mid-song, she stopped and announced she didn’t want to perform it anymore, giving a knowing smirk that the fans loved.

She closed with “Snow Angel,” her powerhouse ballad that left the room hushed and glowing. As confetti settled and the final notes faded, it felt like the perfect ending to a night that was equal parts concert, comedy show, and cathartic release.

It’s not every day you see a pop star stop her own set, turn on the venue fans, and still have everyone wrapped around her finger—but that’s the magic of Reneé Rapp: chaotic, self-aware, and entirely in command.

Clumsy, Charming, and Kinda Genius: Sombr Takes Dallas

📍Credit Union of Texas Event Center — Oct. 17, 2025
Written by Clinton Camper

There’s something delightfully offbeat about watching Sombr in person — like stumbling into a late-night talk show hosted by a poet who overshares for fun. When the Late Nights & Young Romance Tour stopped at the Credit Union of Texas Event Center on Friday, October 17, the Dallas crowd got the full experience: charm, chaos, and just the right amount of cringe comedy.

Sombr — real name Sam Doores — has been steadily carving out his lane in the alt-pop world, blending humor, heartbreak, and confessional storytelling with the theatrical flair of someone who grew up binging Saturday Night Liveand late-night TV reruns. (Fun fact: the entire stage design on this tour — city skyline backdrop, glowing desk, faux-studio lighting — is modeled after his obsession with late-night aesthetics. He once joked in an interview that he built it so his mom would finally believe he has a “real job.”)

Dressed in all black along with his band, Sombr looked like the head writer of his own heartbreak show. Between songs, he oscillated between smooth and silly, cracking jokes with the kind of timing that felt more stand-up than singer-songwriter. “Should I take my shirt off?” he teased at one point, before adding, “Yeah right, take me to dinner first — I’m not that easy.” It’s that mix of confidence and clownery that makes him impossible not to root for.

The night’s emotional centerpiece came when he pulled an audience member onstage for what he called The Breakup Hotline. The challenge? Call an ex and explain why it didn’t work out. But this time, the participant was happily in a new relationship — with another man. Sombr didn’t miss a beat, smiling wide before saying, “That’s beautiful. Happy Pride, baby!” The crowd roared. It was the kind of spontaneous, human moment that perfectly captures why his shows feel more like shared experiences than performances.

Musically, Sombr’s setlist covered every shade of late-night emotion. “I Wish I Knew How to Quit You” opened the night like a slow confession under dim neon. “Perfume,” “Do I Ever Cross Your Mind,” and “Come Closer” pulsed with intimacy and ache, while “Dime” and “Would’ve Been You” hit that sweet spot between radio-ready and emotionally wrecked. During “Undressed,” a girl behind me scream-sang every lyric with her entire soul — glass-shattering and pure — the kind of dedication that would make even Sombr laugh mid-line.

One of the night’s most cinematic moments came with “Canal Street,” a deep cut inspired by his time in New York — a nod to his early days busking and producing music in cramped apartments before finding viral success online. (He’s since become known for his self-produced tracks, DIY music videos, and the way he somehow makes heartbreak sound like a party you’d still RSVP to.)

By the time he closed with “12 to 12,” the crowd wasn’t ready to let go. The lights dimmed, and the New York skyline behind him flickered like a TV about to cut to static. Sombr waved, grinned, and gave one last late-night-host sign-off: “You’ve been a beautiful audience, Dallas. Get home safe, call your ex — or don’t.”

It was the perfect ending to a show that felt part therapy session, part rom-com, and part chaotic talk show. Sombr doesn’t just perform songs — he hosts your heartbreak, makes you laugh about it, and then turns it into a memory you’ll want to replay.

Dallas Fell Hard for The Band Camino

📍South Side Ballroom — Oct. 19, 2025
Written by Clinton Camper

Is it ever not packed at South Side Ballroom? I walked in right as Almost Monday hit their first note, and the place was already buzzing. Drinks in hand, crowd pressed to the barricade, that Dallas energy dialed all the way up before the headliner even touched the stage.

If you’ve never seen Almost Monday live, imagine the physical embodiment of “California cool” — if the sun had a band, it’d be them. The San Diego trio looked like they’d just hopped out of the ocean and wandered into the spotlight. Their frontman was pure charisma: spinning, kicking, doing weirdly graceful yoga-meets-karate moves, all while somehow keeping his sunglasses glued to his face the entire set. Between songs, he slipped into cartoon voices and cracked jokes, but the performance itself was sharp, catchy, rhythmic indie-pop that had the crowd bouncing the entire time. They were clearly having fun, and so was everyone watching.

Then came The Band Camino, and Dallas lost its mind. The lights dimmed, “Has Just Begun” played over the speakers, and the roar that greeted them could’ve registered on a seismograph.

They opened with “Daphne Blue”, the sleek, guitar-driven anthem that’s basically become their calling card. It’s the kind of song that defines a band’s live presence: confident, polished, built for rooms exactly like this. From there, they launched into “Infinity” and “Hush Hush”, and it was clear they weren’t easing in. Every lyric echoed back at them from the crowd, hundreds of voices perfectly in sync.

Both Spencer Stewart and Jeffery Jordan were switching between guitars and piano like it was second nature. Their chemistry onstage is one of those things that feels effortless, but you know it’s built on years of grinding it out together. There’s no big light show, no pyrotechnics, just clean musicianship and a connection that hits right in the chest.

When “I Think I Like You” started, the volume of the crowd doubled. Spencer, the brown-haired heartthrob of the group, grinned into the lights as the floor collectively lost its composure. The girls in the crowd swooned — no other word for it — and he knew exactly how to play into it without overdoing it.

At one point, Jeffery pointed out how special Dallas has been for them, reminiscing about their first show here back in 2017, a tiny gig at Prophet Bar. He laughed talking about the first van they ever bought, a white 10-passenger Ford they immediately drove to Texas. Dallas, he said, has always been good to them, and from the sound of the screaming, the feeling’s mutual.

The middle of the set brought a change of pace with a stripped-down acoustic section; four stools, soft lighting, and a quiet that felt almost reverent. “Damage” and “Hates Me Yet (222)” hit like emotional uppercuts, and then they surprised the crowd with a cover of Justin Bieber’s “Daisies.” Before starting, Jeffery teased, “We do this one because Spencer’s voice just sounds too damn good on it,” and he wasn’t wrong. The crowd swayed and sang along softly. It felt like a living room performance tucked inside a massive venue.

As the band picked things back up, they tore through “Karaoke”, “What Am I Missing?”, and “Heaven,” before diving into their collab “Never A Good Time” with NOTD. It was one of the most purely fun moments of the night. Spencer and Jeffery grinned through the whole song, clearly feeding off the audience.

Later came “Told You So”, “Haunted,” and “1 Last Cigarette”, each one hitting with that signature Band Camino blend of glossy pop hooks and emotional weight. You could tell how tight the band has become, the rhythm section was locked in, the harmonies crisp, the transitions smooth.

When the final notes of “See Through” hit, the crowd was still shouting lyrics like they were trying to keep the night from ending. But of course, they weren’t done yet. For the encore, they returned for “12:34” before closing the night with “What I Want.”

There’s something so grounded about The Band Camino’s rise. They’ve gone from Memphis college shows to selling out 4,000-cap rooms, but they haven’t lost the emotional core that made people care in the first place. They don’t need pyro or elaborate visuals, just songs that make people feel something.

And in Dallas, that’s exactly what they did. The crowd didn’t just sing along; they believed every word.

This Is Austin at Its Loudest: ACL 2025 Weekend Two Recap

📍ACL Festival — October 10-12, 2025
Written by Clinton Camper | Photos by Joshua Guerra

After years of covering ACL, you learn how to pace yourself, or at least you tell yourself that as you sprint between the AMEX and T-Mobile stages, iced Tito’s in hand. Weekend Two of Austin City Limits 2025 was a reminder of why this festival still sits at the heart of live music culture: unexpected discoveries, massive singalongs, and little moments that make all the chaos worth it. Between sets, I found refuge in two of the best spots on the grounds, that Tito’s Lounge and the BeatBox Lounge, each offering its own take on how to do ACL the right way.

THAT Tito’s Lounge

There’s something inherently Austin about Tito’s having its own oasis in Zilker. It’s the kind of place where you run into the same people every year (friends, photographers, PR folks) all trading stories over Tito’s cocktails and misting fans. The lounge had a shaded patio with plenty of seating, signature drinks that hit perfectly in the afternoon heat, and best of all, side-stage access that made certain moments unforgettable. Watching Farmer’s Wife, a local standout, from the side stage felt like witnessing the start of something special, a homegrown band finding their rhythm on one of ACL’s most iconic sponsor stages.

But the real story was the drinks. My personal favorite was the Cherry Limeade — Tito’s, limeade, and dark cherry — simple, cold, and exactly what you want at 2 p.m. in the Texas sun. Other fan favorites included the Zilker Garden, a crisp mix of Tito’s, cucumber, mint, lime, and soda, and the Secret ‘Spresso, made with Tito’s, coffee liqueur and salted vanilla. They also teamed up with CTRUS, who were serving freshly smashed lemonades and these were easily the best drinks in the lounge. They came in three flavors: lemon-strawberry, lemon-lime, and lime-orange — all delicious on their own, but even better with a Tito’s topper.

The lounge went all out with six interactive activations, each designed to keep festival-goers cool, creative, or just a little more Tito’s-branded. The Tito’s Concierge offered up festival necessities — fans, chapstick, sunscreen, mints, and koozies — everything you never knew you needed until you did. Tito’s Paint featured a massive wall mural that guests could color in together, turning it into a living piece of festival art. The Tito’s Craft Station was all about nostalgia, with beads, string, and endless supplies to make friendship bracelets to your heart’s content.

Over at Tito’s Glam, the crew from Paige & Co Salon were braiding hair, adding glitter, and generally keeping everyone photo-ready for the weekend. The Tito’s Sign Station was covered in blank vinyl records that people could write on — everything from love notes to band shoutouts to random confessions. But the most coveted experience was hands down the Tito’s Hat Station. It was appointment-only, and time slots went fast. Festival-goers were fitted for custom cowboy hats from FM Western Store and Topped Hats, then got to brand them with their initials or symbols of choice — and yes, you got to keep the hat for free. It became the unofficial badge of ACL 2025: sunburn, wristbands, and a Tito’s hat.

The BeatBox Lounge

If Tito’s was the calm oasis, the BeatBox Lounge was a full-on day party. It was colorful, loud, and impossible to ignore. There was a constant pulse of music and energy tucked just off the main field. Between sets, the space turned into its own mini-festival, complete with DJs spinning during almost every break and free swag flying faster than the drinks could be poured.

And speaking of drinks, they didn’t hold back. Their Cherry Limeade cocktail (spiked with vodka) was sweet and crisp, the perfect grab-and-go cooler between stages. The frozen Orange Blast drink with a Tajín and chamoy rim stole the show though, it was tangy, spicy, and refreshing all at once. They also served a Blueberry Lemonade cocktail mixed with tequila that was dangerously smooth. For anyone who loves a snack with their drink, the Tajín candy bar was heaven; a full spread of gummies and candies dusted in chili powder, ready to pile onto your cup however you pleased.

They didn’t stop there. A snack station offered sour gummies and cookies — I didn’t catch either brand, but the gummies alone made the stop worthwhile. There was also a thoughtful refresh-and-reset area stocked with festival lifesavers like sunscreen, deodorant, mints, toothpicks, and hand sanitizer — an absolute win after hours under the Austin sun.

Of course, BeatBox knows how to brand a good time. They handed out free swag, including custom clips shaped like tiny BeatBox cartons with sprouts growing from the top (the kind you see clipped onto hats and bags at raves and festivals). It was clever, cute, and totally in the spirit of the brand. Between the music, the drinks, and the crowd energy, the BeatBox Lounge was one of the most electric corners of ACL. It was the perfect mix of chaos and comfort; a place to cool off, turn up, and make a few new festival friends before diving back into the music.

Friday (Oct 10th)

Farmer’s Wife opened the weekend at the Tito’s stage, setting the tone with an easygoing blend of folk charm and lyrical bite. Their harmonies cut clean through the mid-day haze, and the small crowd that gathered felt like they’d stumbled onto a secret. Watching from the Tito’s side stage, it was clear they were winning over every passerby, the perfect Austin kickoff.

Spill Tab followed at Miller Lite with pure kinetic energy. She sprinted across the stage, weaving French and English lyrics into sharp alt-pop hooks that had the front row dancing under full sun. “Sunburn” and “Cotton Candy” landed especially well, both playful and punchy, and you could tell she’s built for even bigger stages.

Good Neighbors brought the sunshine to T-Mobile. “Home” and “Daisies” had a breezy warmth that matched the afternoon perfectly, with the kind of melodies that feel both nostalgic and brand new. Their chemistry was easy; just three friends making music that makes you feel like everything’s okay for a minute.

King Princess delivered a performance that was equal parts cathartic and confident. Dressed in leather and attitude, she leaned into crowd favorites like “1950” and “Cheap Queen,” balancing rock swagger with raw honesty. The highlight came when she paused mid-set to shout out queer fans in the crowd; a small moment that rippled with big energy.

Dylan Gossett was one of Friday’s most anticipated sets, pulling a massive crowd to the AMEX stage. His rise from local songwriter to festival mainstay has been fast but well-deserved. When he launched into “Coal,” the audience took over every lyric, and “Beneath Oak Trees” landed like a prayer for anyone who’s ever missed home. You could feel Austin pride pulsing through that crowd for a local success story done right.

The Favors hit the Miller Lite stage with indie grit and heart-on-sleeve anthems. “Start Again” had the crowd swaying while “Caught Up” gave the band a chance to stretch out and let their guitars talk. They might’ve been one of the weekend’s sleeper standouts, they were confident, polished, and still distinctly Austin.

Sam Barber brought a rootsy, rugged sincerity to the Lady Bird stage. His raspy voice carried through songs like “Straight and Narrow” and “S.O.B.” with a kind of quiet force that’s hard to fake. It was Americana without the clichés — heartfelt, sturdy, and timeless.

Role Model pulled one of the biggest mid-day crowds at T-Mobile. He owned the stage with that effortless mix of self-deprecating humor and Gen Z pop-star cool. “For the People in the Back” and “blind” hit hard, and there was a genuine sweetness when he thanked the crowd for caring, a rare kind of vulnerability for an artist on that trajectory.

Cage the Elephant turned the AMEX stage into pure chaos (in the best way). Matt Shultz was energetic, barefoot, and unstoppable — jumping, kicking, and screaming every word like his life depended on it. “Ain’t No Rest for the Wicked” and “Trouble” both had the kind of explosive catharsis that defines ACL moments.

Empire of the Sun followed with a complete 180 in tone; surreal, cinematic, and visually stunning. Dancers in metallic costumes, flashing neon visuals, and Luke Steele’s ethereal vocals on “Walking on a Dream” made it one of the most mesmerizing sets of the day. By the time “Alive” hit, the entire crowd was locked into the spectacle.

Hozier closed Friday night with transcendence. As dusk settled, “Take Me to Church” rolled across the park like a hymn, but it was “Eat Your Young” and “Francesca” that left the biggest impression — soulful, political, and deeply human. You could feel the reverence ripple through the crowd.

Saturday (Oct 11th)

Yoke Lore kicked off Saturday with his signature blend of banjo, beats, and emotional storytelling. “Beige” drew one of the loudest early singalongs, and Adrian Galvin’s warmth made the massive Miller Lite stage feel intimate. It was exactly the kind of set that resets your energy for the weekend.

Leisure kept things smooth and soulful at T-Mobile, gliding through their groove-heavy catalog with effortless polish. “Feeling Free” felt tailor-made for an ACL afternoon — funky, free-spirited, and impossible not to move to.

Olivia Dean was a total standout at AMEX. Her live vocals were flawless, her band tight, and her personality shined through every second. “Nice to Each Other” and “Dive” both glimmered, but “Man I Need” was the emotional gut punch that had the crowd silent until the final note.

Dizzy Fae brought full performance art energy to the BMI stage. They blurred the line between concert and theater — body paint, choreography, and experimental beats all wrapped into one of the most captivating small-stage sets of the weekend.

Spacey Jane gave the Lady Bird crowd a sun-soaked set of pure indie bliss. “Lots of Nothing” hit like a serotonin rush, and “Booster Seat” felt tailor-made for festival singalongs. Their chemistry was magnetic, the kind of band you can’t help but root for.

Marina at AMEX was pure pop grandeur. She leaned into her eras, blending “Primadonna,” “How to Be a Heartbreaker,” and “Cuntisimo” with theatrical flair. It was glittery and defiant — a masterclass in how to own a festival crowd.

Latin Mafia packed the Miller Lite stage tighter than I’ve ever seen it. The trio’s swagger and bilingual flow had everyone bouncing, especially when “Julieta” dropped. Their live band added texture and edge, a perfect example of how Latin music continues to redefine festival main stages.

Magdalena Bay turned Lady Bird into a kaleidoscopic dream. Mica Tenenbaum’s neon visuals and robotic choreography during “Chaeri” and “You Lose!” made the set feel like stepping into a digital fantasy. Their ability to make something so weird feel so emotional is unmatched.

Doechii came out swinging at AMEX — fierce, funny, and completely in control. “What It Is (Block Boy)” and “Crazy” hit with full force, backed by some of the weekend’s best choreography. It was a performance that felt like a victory lap for an artist stepping into superstardom.

Djo at sunset was cinematic perfection. Joe Keery commanded the Lady Bird stage with psychedelic visuals and fuzzy riffs that pulled you into his world. “End of Beginning” had everyone screaming every word — a true ACL moment.

Sabrina Carpenter closed out Saturday in full pop-star form. She’s mastered the art of camp and charisma, flipping between heartfelt (“because i liked a boy”) and hilarious (“Feather,” “Espresso”) without missing a beat. Her closing monologue about being “chronically hot and emotionally unavailable” was peak Sabrina — self-aware, sparkly, and unforgettable.

Sunday (Oct 12th)

The Dare turned the Miller Lite stage into a dance party before most people had their first beer. “Girls” and “Good Time” were chaotic in the best way, and the crowd fed right into his manic energy. It was sweaty, loud, and exactly what Sunday needed.

Royal & The Serpent brought the fire to Lady Bird, thrashing through “Overwhelmed” and “One Nation Under Dog” with pure emotional release. Her stage presence was magnetic, half rock star, half confessional.

Wet Leg made their weekend two ACL debut feel like a victory lap. “Chaise Longue” and “Wet Dream” both had the crowd screaming, and their dry British banter kept everyone laughing between songs. They make irony sound joyful, and that’s a rare skill.

CA7RIEL & Paco Amoroso tore down the BeatBox stage in one of the wildest sets of the weekend. Their mix of reggaeton, trap, and electronic chaos had the whole lounge crowd moving. When they dropped “Tetas,” it turned into a full-on dance riot, pure joy and adrenaline.

Feid was the green king of ACL Sunday. Dressed in grey tank top and backwards green hat, he delivered hit after hit (“Luna,” “Normal,” “Ferxxo 30”, each one met with massive crowd chants. It felt like a headliner moment for an artist whose star just keeps climbing.

T-Pain brought nostalgia and party energy in equal measure. “Buy U a Drank” had every millennial screaming, and his live vocals on “Bartender” reminded everyone that the man can really sing. He mixed in newer material with his classics and had the crowd two-stepping, laughing, and yelling every hook back at him. It was feel-good, full-circle, and a perfect lead-in to the weekend’s finale.

The Killers closed out Weekend Two with a flawless run of anthems. From the opening notes of “Somebody Told Me” to the final confetti burst of “Mr. Brightside,” it was a communal experience — tens of thousands singing in unison under the Austin skyline. It’s impossible to beat that feeling.

Final Thoughts

ACL 2025 Weekend Two was everything Austin does best — discovery, community, and a whole lot of sweat. Between the Tito’s and BeatBox lounges, the sunsets, and the artists who turned crowds into choirs, it was another year that reminded me why I keep coming back. You can’t fake this kind of magic, you just show up, sunscreened and sleep-deprived, and let it find you.

Heartbreak Never Looked This Sharp: Givēon in Dallas

📍The Pavillion at the Toyota Music Factory — Oct. 14, 2025
Written by Clinton Camper / Photos by Madison Raney

There are moments in live music when the aesthetic becomes the performance — and on this warm Texas night, GIVĒON walked out wrapped in it. A floor-length fur coat brushing the stage lights, the faint breeze catching the edges as he stepped into focus. Outside. In Texas. Every collective exhale from the crowd said the same thing: this man is not built for comfort — he’s built for drama.

When the coat came off, a full black suit was revealed beneath, the kind of tailored precision that could make heartbreak look refined. His band mirrored him in matching suits, standing in front of a simple but elegant set — three layers of curtains, one stacked over the next, glowing under amber light. It felt like being invited into the living room of someone who’s too composed to ever raise their voice, but too wounded not to.

He opened with “MUD” and “Rather Be,” his baritone cutting clean through the open air. The bass rolled across the lawn seats while people swayed, half-singing, half-sighing. When he hit “The Beach,” the crowd softened — you could hear people quietly mouthing along, like they were trying not to ruin the moment.

At one point, he asked everyone to hold silence for D’Angelo. The air shifted. It wasn’t performative — it was heavy, real. You could see him fighting through emotion before easing into “Still Your Best,” a performance that felt less like a song and more like a confession whispered through a mic.

He’s wearing black leather gloves the entire time — and somehow, it makes sense. Every gesture is slow, deliberate, romantic in that old-soul kind of way. The crowd matched his energy too: men in suits, girls in vests and ties, dress pants, slick hair — like everyone collectively decided heartbreak was a formal affair.

Then came his offhand confession: “If you’ve been wondering where I’ve been for the last three years — I’ve been in a relationship. I’m single now.” The scream that followed could’ve powered the city grid.

When “Garden Kisses” started, he decided to pick a fan from the crowd to serenade. The chaos that erupted was unreal — girls waving, jumping, pleading, and me, trying to pretend I wasn’t dying of secondhand embarrassment. He finally chose one, and when she got on stage, the crowd lost it. He sang to her like she was the only person in the world, and she absolutely lived for it.

From there, he floated through “Favorite Mistake,” “Numb,” and “Diamonds for Your Pain,” his voice growing smoother, more controlled, each note landing like it had been rehearsed a thousand times. “Chicago Freestyle” was a standout — when he hit the line “2:30 baby, won’t you meet me by The Bean”, the whole front row screamed it back at him.

He closed the main set with “For Tonight,” which felt like a slow exhale, and then returned for the one everyone waited for — “Heartbreak Anniversary.” That song live hits different. It’s almost too personal to sing with thousands of people, but everyone did anyway. Under the pavilion lights, couples hugged tighter, singles looked away, and for a few minutes, every person there felt like they’d just been broken up with by GIVĒON himself.

When the lights dimmed and the crowd lingered, it was clear — this wasn’t just a concert. It was a heartbreak seminar in silk and sound.

Dale: The Night CA7RIEL & Paco Amoroso Took Over ACL Live

📍ACL Live Moody Theater — Oct. 13, 2025
Written by Clinton Camper / Photos by Luis Lozano

By the time CA7RIEL & Paco Amoroso hit the stage at ACL Live on Monday night, the crowd already felt like it had been teleported straight to Buenos Aires. The duo—arguably the most chaotic export from Argentina’s alt scene—turned the ACL Fest Nights show into a full-blown sensory overload: sweat, lights, bass, and an unrelenting sense of “what did I just witness?”

They opened with “Dumbai,” and the place erupted. It wasn’t just a concert; it felt like a warehouse rave disguised as a rock show. The floor literally shook, and I caught one guy near me yelling every word while clutching his phone like it was sacred scripture. CA7RIEL, with his guitar slung low and a smirk that screamed trouble, shredded through riffs between bursts of Auto-Tuned chaos, while Paco prowled the stage like a menace in motion.

What’s wild is that these two used to play in a jazz-funk band together before diving headfirst into trap, reggaetón, and hyperpop. You can still hear that musicality peeking through the madness—CA7RIEL will rip a solo worthy of a prog-rock record, then immediately drop into a beat that feels engineered to melt faces.

By “A mí no” and “Mi deseo / Bad Bitch,” the room had fully surrendered. The lighting flipped between deep red and electric blue, strobing with every beat, while a handful of fans waved Argentine flags from the balcony. Someone behind me tried (and failed) to start a mosh pit during “Sheesh.” It didn’t quite catch on, but the energy didn’t dip for a second.

The most unhinged moment came during the “McFly / Todo el día / Ola mina XD” run, when CA7RIEL dropped to the floor mid-song, pretending to short-circuit while Paco kept the crowd chanting “¡dale!” until the beat snapped back in. I swear, half the room lost their voices right there.

The chemistry between them is unreal—they’re childhood friends from Buenos Aires who split off into solo careers before reuniting for this tour. That history shows: they play off each other like a two-man circus act, one pushing the energy higher just to see how far the other will go.

They closed with “El único,” and for a few minutes afterward, no one moved. Just stunned faces and laughter, like we all knew we’d witnessed something special—something loud, sweaty, and perfectly unhinged.

If ACL Fest Nights is about giving festival acts space to stretch out and get weird, CA7RIEL & Paco Amoroso turned that space into their personal playground. It wasn’t just a show—it was a bilingual adrenaline rush that left Austin buzzing long after the lights went up.

Pure Chaos, Pure Love, Pure Turnstile

📍Moody Amphitheater — Oct. 14, 2025

Written by Perrin Boyd / Photos by Erick Hernandez

Turnstile’s NEVER ENOUGH Tour rolled through Moody Amphitheater on Tuesday night and caused a full-scale eruption. Austin showed up in force - packed shoulder to shoulder with fans who’ve turned their love for this band into something close to religion. It wasn’t just a sold-out crowd but an entire movement. From the second the lights dropped, it was total chaos - bodies colliding, voices screaming, and a shared sense that we were there for some fun. It was the show. Easily one of the best rock performances I’ve witnessed in years, maybe ever.

Before the mayhem truly hit, Australia’s Amyl & The Sniffers lit the fuse. Their set was a gritty, high-voltage warm-up, led by Amy Taylor’s wild charisma and punk snarl. When they tore into “U Should Not Be Doing That,” the crowd screamed, jumped, and they fed off the high energy that set the tone for everything Turnstile would later detonate.

By the time Turnstile took the stage, the crowd was already a storm. The Baltimore-born, Grammy-nominated band who first clawed their way up through the city’s hardcore scene has come a long way from sweaty basement gigs. Since the release of their 2021 breakthrough GLOW ON, Turnstile have redefined what modern rock and hardcore can sound like, blending aggression with euphoria. Now, with their latest record NEVER ENOUGH exploding in both critical acclaim and commercial success, their sound and influence have only grown more undeniable and loved.

They opened the night with the title track “NEVER ENOUGH,” and chaos immediately took hold. Within seconds, there were mosh pits in every direction, stage dives from every corner, and a flurry of flying bodies that didn’t stop until the final note. The transition into “T.L.C. (TURNSTILE LOVE CONNECTION)” only intensified things. Every lyric screamed with passion, every beat pushing the crowd further into a collective frenzy of chaos.

Frontman Brendan Yates has a supernatural ability to control a crowd - not with words, but with pure energy. Every jump, every kick, every scream radiates through the audience like a live current. He unleashes a spark that could set a whole room on fire. And the band around him operate like a perfectly chaotic machine, balancing melody and aggression in a way few modern bands can.

Turnstile’s sound remains a marvel in itself. Yates’ vocals are equal parts urgency and uplift, threading emotional honesty through distortion and reverb. Ebert’s guitar work slices through the air while Fang’s drumming is relentless, pounding out rhythms that make the ground shake. Their music lives somewhere between hardcore punk and pure transcendence, all groove and grit.

The setlist was a thrilling mix of eras including old favorites, deep cuts, and new anthems that already feel like classics. “Real Thing” and “Pushing Me Away” hit like punches to the chest, while “SEEIN’ STARS” and “HOLIDAY” shimmered with that signature Turnstile optimism that turns chaos into something communal. Every track felt like an invitation to lose control.

And the fans did exactly that. Drinks flew through the air, shoes disappeared into the crowd, and shirts were sacrificed to the madness. Everyone was drenched, smiling, and completely lost in the music. There was this feeling that nothing else mattered; we were all part of something bigger, feeding off the same energy the band was giving back tenfold.

When they closed with “BLACKOUT” and “BIRDS,” it was like the entire place caught fire. Those songs hit harder than anything I’ve ever seen live. The crowd yelling every word, bodies crashing together, lights blinding, drums shaking the ground.

As Turnstile left the stage, you could feel the aftershock. Most pits turned into hugs and handshakes, grinning through sweat, shouting lyrics into the night. It was the kind of show that reminds you why live music matters: loud, messy, human, and absolutely unforgettable. A once-in-a-lifetime performance. Pure chaos, pure love, and pure Turnstile.

Djo Brought the Second Wind I Didn’t Know I Needed

📍ACL Live Moody Theater — Oct. 10, 2025
Written by Clinton Camper

By the time I made it to ACL Live on Friday night, I was running purely on festival fumes and caffeine. ACL Fest had already taken most of my energy, but Djo — a.k.a. Joe Keery — made sure the tank wasn’t empty for long.

Before his headlining set even started, he literally couldn’t stay offstage. During Post Animal’s opening set, the Stranger Things star-turned-musician surprised the crowd, hopping up to play with his old bandmates. (He co-wrote tracks on their latest album Iron, in case you missed that lore.) It was one of those “wait, is that really him?” moments that instantly sent the room buzzing.

When Post Animal wrapped, their frontman slyly pointed out that one of their members would soon return, this time as part of Djo’s touring band. A smooth handoff and a total full-circle moment for Keery’s Chicago roots.

And then it was Djo time.
The lights dropped, the crowd screamed, and suddenly it was like the Stranger Things mall episode if it had a synth-pop soundtrack and better outfits. Girls (gender neutral) were losing it, yelling “STEEVE HARRINGTON!!!” between songs — and honestly, fair.

Djo’s set was tight, immersive, and surprisingly emotional. His signature blend of warped vocals, kaleidoscopic lights, and groovy basslines hit like a late-night dream sequence. Songs like End of Beginning and Half Life turned ACL Live into a neon sea of motion and nostalgia. And when he debuted Love Can’t Break the Spell live for the first time, you could feel the collective gasp ripple through the crowd.

Somewhere during the set, a ripple of whispers spread — because yep, Sabrina Carpenter was in the building. Spotted watching from the mezzanine, looking every bit the supportive mystery muse. She and Djo have been fueling the internet’s favorite new rumor mill lately, especially after he popped out during her ACL Weekend One set (right after her viral “you’re too hot, you’re under arrest” bit). They were reportedly seen having dinner at a “small Austin restaurant,” which, if true, is my favorite kind of soft-launch.

Celebrity sightings aside, Djo’s show was more than worth the aching feet and dust hangover. He’s got serious frontman energy — confident, unpredictable, and just weird enough to make every second interesting. The encore with Post Animal sealed it perfectly, a loud and joyful exclamation mark on a night that could’ve easily been an afterthought but ended up feeling like a main event.

So yeah, I was tired. But Djo made sure I didn’t crash — he rewired me.

Three Decades Later, Garbage Is Still Glorious

📍ACL Live Moody Theater — Oct. 8, 2025
Written by Perrin Boyd

Thirty years into their career, Garbage remains a force of nature. Wednesday night at ACL Live, the veteran alt-rock band proved that their grungy, glittery, and deliciously defiant sound hasn’t lost an ounce of edge. For a group that defined the darker, more experimental side of ’90s pop rock, this show felt as a reminder of their influence, and a rare glimpse into the cost of keeping that influence alive.

From the moment the lights dropped and Shirley Manson strode onto the stage, the energy shifted. Dressed in her signature mix of punk and elegance, she carried herself like a high priestess of rebellion. Opening with songs like “I Think I’m Paranoid,” the room immediately ignited, voices rising in unison as that distorted guitar riff ripped through the venue. It was the kind of song that could’ve easily felt trapped in the ’90s, but instead it pulsed with modern urgency, proof of Garbage’s knack for timelessness.

That’s the paradox of Garbage: their music belongs to another era yet somehow refuses to age. Tracks like “When I Grow Up” and “Chinese Fire Horse” shimmered with nostalgic synths and gritty beats, echoing back to a time when alternative radio ruled the airwaves. Yet the themes of identity, obsession, rebellion were squarely in the present. Garbage helped shape a generation of global pop music that wasn’t afraid to be messy, self-aware, and confrontational, and their influence can still be heard in today’s biggest acts, from Billie Eilish to Halsey.

Between songs, Manson got real with the crowd. At one point, she paused to reflect on the band’s longevity and the uncertain future of touring. “It’s gotten really hard,” she admitted. “The costs, the logistics… this might be the last time we get to do this in the States.” The crowd fell into a heavy silence before erupting into applause - an outpouring of gratitude for a band that’s given so much of themselves for three decades. She quickly followed up with a smile, adding, “But we’re still here because we love it. Not for the money. Just for the music.”

Garbage’s authenticity has always been their armor, and seeing Manson embody that rawness onstage was a masterclass in presence. She remains one of the most influential frontwomen in rock - a trailblazer who made vulnerability look powerful and rage sound beautiful.

The night closed with a one-two punch of anthems: “Stupid Girl” and “Only Happy When It Rains.” The crowd shouted every lyric, arms raised, bathed in a wash of neon light and nostalgia. As the final notes faded, Manson bowed deeply, visibly emotional and grateful.

Thirty years later, Garbage still sounds vital - maybe even more so. They’ve weathered changing trends and shifting tides, and through it all, their message remains clear: art made from honesty never expires.