📍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.