Austin, You’re Booked

Written by Clinton Camper | Thursday, May 15, 2025

This week’s batch of show announcements proves one thing: Austin’s live calendar never sleeps. Whether you're chasing mosh pits, moody synths, late-night DJ sets, or a night of laughs, there’s something freshly added to the docket—and some heavy hitters have officially joined the schedule.

First up, Kali Uchis is bringing her Sincerely tour to the Moody Center on August 31, riding high on the momentum of her critically acclaimed fifth studio album. It’s a massive pop/R&B moment that’s sure to sell fast. Just a few months later, Billy Strings returns for a two-night run—first at Moody Center on December 13, then a special intimate night at ACL Live on December 14. Whether you’ve seen him shred or not, this is peak-level bluegrass and jam band magic.

Latin pop fans should mark December 6 on their calendar: chart-topping duo Jesse & Joy will hit Emo’s, bringing a catalog full of romantic anthems and crossover hits. Over at Stubb’s, French disco-pop icons L’Impératrice are making their Austin return on October 26, with a show that promises groove-heavy euphoria under the stars.

Legacy acts are showing up strong too—Lionel Richie is booked for the Paramount Theatre on October 1, reminding us that timeless hits (and all-night long dance parties) never go out of style. And if comedy is more your speed, George Lopez is back in town for a show at ACL Live on July 18.

This week also brought surprises from the world of hip-hop, experimental soul, and alternative cool. NxWorries—the duo of Anderson .Paak and Knxwledge—land at Stubb’s on October 8, while Killer Mike will bring MICHAEL to life at Radio/East on September 12 in what’s guaranteed to be an electrifying, intimate set. On the rap front, NBA YoungBoy is making a big return with a headlining night at Moody Center on September 5—one of the most high-profile hip-hop bookings this fall.

Indie darling Neil Francis dropped a new Mohawk date for September 25, and Kyle Mooney—yes, that Kyle Mooney—is heading to Mohawk too, bringing his absurdist brilliance to the stage on August 1. Meanwhile, cult favorite Alex G will be playing Stubb’s on September 30, marking a rare Austin stop for one of indie’s most enigmatic singer-songwriters. And don't forget Hot Summer Nights: the beloved Red River mini-fest returns July 24–26 with a mix of locals, legends, and everything in between.

That’s just the beginning. Norteño superstars Intocable are bringing their massive catalog to the H-E-B Center on November 14, and rising Texas favorite Waylon Wyatt headlines Antone’s six days later. Over at ACL Live, rock powerhouse Nothing More announced a big play for January 24—expect a theatrical, high-octane show full of riffs and screams. Meanwhile, Matroda is locked in for an August 30 date at Concourse Project, bringing his punchy house beats and underground energy to one of the city’s best-sounding rooms.

Indie-electro cult favorites Anamanaguchi land at Emo’s on September 19, and German producer Christian Löffler brings his lush, moody electronica to Parish on July 17. Other just-announced highlights include Beach Fossils at Mohawk, soulful multi-instrumentalist Dargz at Antone’s, introspective rapper Phora at Empire, shimmering synth-rock trio Nation of Language, folk-pop darlings Oliver Hazard, post-punk mystics French Police, and retro-futurist producer The Polish Ambassador—all now officially on the calendar.

Even with our weekly “Just Announced” carousel on Instagram, we can’t fit every show in a square post. That’s why this feature is here—to keep you looped in on the full picture.

For ticket links, presale info, and a closer look at everything coming up, keep it locked to atxconcert.com—we’ll keep the calendar full, your group chats buzzing, and your playlists fresh.

See below for the full list of new announcements listed by date.

• June 13 – Ella Red at Mohawk
• July 17 – Christian Löffler at Parish
• July 18 – George Lopez at ACL Live
• July 20 – 408 at 3Ten
• July 24–26 – Hot Summer Nights
• July 31 – Phora at Empire
• August 1 – Kyle Mooney at Mohawk
• August 30 – Matroda at Concourse Project
• August 31 – Kali Uchis at Moody Center
• September 2 – Motherfolk at 29th Street Ballroom
• September 4 – Yuno at Mohawk
• September 5 – NBA YoungBoy at Moody Center
• September 6 – Mal Blum at Mohawk
• September 12 – Killer Mike at Radio/East
• September 13 – McElroy Family – The Adventure Zone at Paramount Theatre
• September 14 – McElroy Family – My Brother, My Brother & Me at Paramount Theatre
• September 19 – Anamanaguchi at Emo’s
• September 24 – Beach Fossils at Mohawk
• September 25 – Neil Francis at Mohawk
• September 27 – The Polish Ambassador at Empire
• September 30 – Alex G at Stubbs
• October 1 – Lionel Richie at Paramount Theatre
• October 8 – NxWorries at Stubbs
• October 13 – Nourished by Time at 3Ten
• October 16 – Iliza Shlesinger at Bass Concert Hall
• October 21 – Nation of Language at Mohawk
• October 24 – Oliver Hazard at Parish
• October 24 – Allan Rayman at Empire
• October 24 – Arlie & The Orb at Empire
• October 26 – L’Impératrice at Stubb’s
• October 28 – French Police at Hotel Vegas
• November 11 – Straight No Chaser at ACL Live
• November 14 – Intocable at H-E-B Center
• November 19 – Dargz at Antone’s
• November 20 – Waylon Wyatt at Antone’s
• December 6 – Keller Williams at Antone’s
• December 6 – Jesse & Joy at Emo’s
• December 13 – Billy Strings at Moody Center
• December 14 – Billy Strings at ACL Live
• January 24 – Nothing More at ACL Live

In the Deep Blue with Chloe Moriondo

Written and reviewed by Krysta Ayers

MAY 12, ANTONE’S—Before Chloe Moriondo steps on stage, a video plays that takes everyone in attendance on an aquatic ride; “Keep your hands inside the ride for your safety.” The 23-year-old singer/songwriter is on tour to promote her fourth album, oyster. And for her part, she emerges from the cave backstage with “wet,” slicked-back hair and pink, mermaid-esque makeup (bright, shimmery, dramatic) to sing her siren song. Though given the album title, she’s more likely the pearl.

One thing is certain. The girl can sing. On stage with her bassist and drummer, she jumped and strutted the length of the stage while tackling key changes, low and high notes with an agile and powerful voice. Moriondo played “abyss” with her falsetto “ohs” and energized the crowd with what I can only in hindsight describe as a youthful, uncomplicated (naive, in a positive way) energy. She played “Silly Girl” for the day-one fans, “shoreline,” “catch,” and “Celebrity” from her 2022 album, SUCKERPUNCH. 

The music of Chloe Moriondo is ubiquitous. With 2022’s “DRESS UP” she takes on a punk/hip-hop approach, talk-singing lyrics as a backtrack fills in the drum kit-produced claps and ominous-sounding keys. Her new album oyster offers something different. Something softer. When she sang “use,” for instance, she dropped the bravado and gave in to the emotions to sing, “I use and let use / Just like you.” It places her in a pop-rock area, while others off the album dreamily wander into bedroom-pop/shoegaze territory—I’m thinking Paramore with a mix of Evanescence, mxmtoon, with some dance/house influence sprinkled in, you know, to livin’ up the themes of growing pains. 

There are songs that Moriondo plays bass or guitar for to showcase her multi-instrument talent (as she should). She is young, so slight unease while playing whichever instruments I chalk up to excitement and nerves. The crowd, after all, was giving back so much energy and knew all the words. She thanked the crowd multiple times for the energy given.

She didn’t play her cover of “Dreams,” but she generously sang the crowd her enchanting version of Mitski’s “Liquid Smooth,” her voice in a lower register which lended itself to the drama of the lyrics. 

Moriondo, in the intimate setting of Antone’s, had a great show if I’m to judge from the crowd’s reaction. In front of people mostly in her age group, she was giggly, bouncy, and spirited. She was also vulnerable, and obviously talented. And as she continues on her tour, she will undoubtedly attract much more fanfare, like a traveling pearl on display. 

Alton Brown Live: Last Bite – A Deliciously Nerdy Farewell

Written by Clinton Camper | May 11, 2025

On Sunday, May 11, 2025, Alton Brown brought his farewell tour, Alton Brown Live: Last Bite, to ACL Live at The Moody Theater in Austin. The evening was a captivating blend of culinary science, comedy, and musical entertainment, offering fans a memorable send-off from the beloved food personality.

A Culinary Variety Show Like No Other

Brown's performance was a testament to his unique ability to educate and entertain simultaneously. He delved into his decades-long career in food media, sharing personal anecdotes and presenting some of his favorite "culinary mega-hacks." One particularly engaging story recounted his first cooking disaster—a failed meal that ignited his passion for understanding the science behind cooking.

True to form, Brown didn't just talk about cooking—he explained it, with hilarious and oddly philosophical tangents about things like heat conductivity. In a classic Alton twist, he argued that bad heat conductors are actually ideal to cook on. Why? Because they cook slowly and evenly—turning a simple lesson into a mind-bending moment of kitchen wisdom.

Musical Interludes and Audience Engagement

Adding to the evening's charm were Brown's humorous food-themed songs, which he performed with gusto, showcasing his musical talents and adding a delightful twist to the culinary proceedings. Audience participation was a highlight, with Brown inviting attendees on stage for interactive segments, including a hot dog-making contest that had the whole theater cracking up.

A Fitting Farewell

Last Bite served as a heartfelt farewell to fans, encapsulating the essence of what has made Alton Brown a standout figure in culinary entertainment. The show's blend of education, humor, and innovation left attendees both satisfied and nostalgic, marking the end of an era in food media.

For those who have followed Brown's career, this final tour was a must-see event, celebrating the legacy of a man who transformed the way we think about cooking and food science.

Queue It Up Vol. 003 – ACL Fest Edition

Queue It Up is our ongoing series where we spotlight the artists living rent-free in our heads. For Vol. 003, we’re digging into our early ACL obsessions—the ones whose sets you’ll want to circle, highlight, and plan your day around.

The ACL Fest 2025 lineup has officially landed, and while the headliners are grabbing all the headlines, we’re here to shine a light on the names buried just a little further down the poster—the artists you’ll want to catch before everyone else is crowding their stage next year.

And the best part? Every artist in this edition is playing both weekends.

We’ve also updated our Spotify playlist with tracks from every artist in this edition—perfect for a deep dive or just setting the mood.

This isn’t just about hype. It’s about discovery. These are the acts blending genres, bending expectations, and breaking through in all the right ways. Maybe you’ve heard a track or two. Maybe this is your first introduction. Either way, we’re betting these artists will end up on your playlist and in your festival recap post.

Gigi Perez channels vulnerability into grungy alt-rock that feels both intimate and defiant. With a background in classical violin and a love for emotional storytelling, their music pairs raw vocals with heavy, atmospheric instrumentals. Songs like “Sometimes (Backwood)” blend softness and grit in a way that lingers long after the last note.

Chezile creates dreamy, lo-fi indie pop with an undercurrent of soul and heartbreak. His tracks feel like late-night confessions layered over hazy beats, making each one feel personal and immersive. “Beanie” and “Still In Love” showcase his knack for blending nostalgia with emotional honesty.

A master of reinvention, Marina has carved her own lane with theatrical pop that mixes introspection, social commentary, and anthemic hooks. Her latest project, Princess of Power, leans into feminine strength, self-awareness, and bold sonic textures that remind listeners why she’s remained a force in alt-pop for over a decade. Expect a dynamic ACL set full of fan favorites, fearless energy, and a touch of glitter-coated rebellion.

Sydney Rose brings a soft-spoken sincerity to her indie pop, crafting songs that feel like pages ripped from a journal. Her delicate vocals and stripped-down production highlight themes of love, change, and quiet heartbreak. It’s the kind of music that sneaks up on you and stays with you long after.

Role Model writes heartbreak anthems that feel deeply personal yet universally relatable. His mellow production and vulnerable lyrics make every track feel like a conversation with a close friend. Tracks like “blind” and “if jesus saves, she’s my type” strike the perfect balance between sadness and sweetness.

Latin Mafia blends smooth production, hypnotic melodies, and a cool mix of Latin rhythms and indie pop. Their tracks are effortlessly stylish, with emotionally rich lyrics and infectious grooves. Songs like “Julieta” prove they’re just as focused on storytelling as they are on sound design.

Good Neighbours are crafting the kind of cinematic indie pop that sounds ready-made for festival moments. With lush production and heartfelt lyrics, their breakout track “Home” builds from quiet intimacy to euphoric release. Expect a set filled with warmth, emotional highs, and plenty of sing-along moments.

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Whether you're planning your schedule or just looking to fall in love with something new, let this be your cheat sheet.

Listen, repeat, and stay tuned for ACL Edition Part 2—coming soon.

This or That: ACL Edition

The Ultimate Weekend Dilemma Decoder by ATXconcert

ACL Fest is back and so are the tough choices. With over 100 artists, 7 stages, and a parade of iconic moments waiting to happen, there’s one thing you can absolutely count on: you’re going to have to make some brutal calls.

Welcome to “This or That: ACL Edition”—your unofficial guide to the most stressful (and exciting) scheduling conflicts of the fest. These aren’t official set times—but they’re damn close. We crunched the data, read the patterns, and summoned our inner festival psychic to give you a realistic preview of who might be going head-to-head.

So when we say “7pm,” think: sometime in that general time block. ACL never starts anything on the hour, and we love them for that chaos.

Let’s get into it.

Friday – October 3 & 10

8pm – Luke Combs vs Hozier
Beer-soaked country anthem or poetic forest wizard? Either way, you’re howling by the end of this one.

7pm – Empire of the Sun vs Cage the Elephant
Do you want glam, feathers, and LED drama—or pure rock ‘n’ roll carnage with someone probably climbing the scaffolding?

6pm – (Weekend 1) Maren Morris vs Role Model
Big stage country-pop versus indies sad boy in a checkered cardigan. Aesthetics clash. Hearts may too.

6pm – (Weekend 2) Rilo Kiley vs Role Model
It’s giving indie sleaze flashbacks. Jenny Lewis steps up to the plate and throws down.

6pm – Dr Dog vs King Princess
Philly psych-pop vets take on Brooklyn’s queer cool icon. You win either way—unless you’re trying to be two places at once.

Saturday – October 4 & 11

8pm – The Strokes vs Sabrina Carpenter
Garage rock royalty meets the reigning queen of Y2K pop. This is not a drill.

7pm – Djo vs Doechii
Steve Harrington in his synth-rock era or the most unpredictable rising star in hip-hop? This clash might divide the friend group.

6pm – (Weekend 1) The Backseat Lovers vs Sammy Virji
Sunset indie singalongs or a UK garage rave in the grass? Depends on the shoes you wore.

6pm – (Weekend 2) Zeds Dead vs Pierce the Veil
Two totally different kinds of moshing. Either way, you’re leaving sweaty and slightly emotional.

5pm – (Weekend 1) Modest Mouse vs Japanese Breakfast
The definition of a painful overlap. Float on or drift away in dreamy bliss?

5pm – (Weekend 2) Car Seat Headrest vs Japanese Breakfast
Alt-rock brain vs indie-pop heart. We won’t tell you which one we will pick—but we will cry.

Sunday – October 5 & 12

8pm – Doja Cat vs John Summit
You’re either dressed for the main stage or losing it in a Day-Glo sea of body glitter. Two very different religions. Similar time slot.

7pm – T-Pain vs Feid
Auto-tune royalty versus reggaeton’s rising superstar. Expect sweat, sunglasses, and more than one crowd singalong.

6pm – Polo & Pan vs Mk.gee
Parisian disco funk or experimental alt-soul wizardry? No wrong answer, but only one will transport you.

6pm – Wet Leg vs Rainbow Kitten Surprise
Deadpan charm vs Southern-tinged existential groove. The hipster’s Sophie’s Choice.

6pm – Disco Lines vs Gigi Perez
Dance tent energy or soft punk storytelling? This one’s about who you want to cry with—or dance through it.

ACL is a maze of magic, dust, and hard decisions. But that’s half the fun. Whether you’re sprinting across the park, catching half-sets, or just following your gut, “This or That” is here to help you plan (and panic) accordingly.

We’ll be updating you with more artist highlights, secret set tips, and survival hacks. Until then: hydrate, prep your fits, and start mentally justifying whatever choice you make.

El 'Sonido Cósmico' de los Hermanos Gutiérrez (A cosmic trip of great importance)

Written and reviewed by Krysta Ayers

MAY 10, Austin, Texas—The ACL Live was packed on Friday night. The Hermanos Gutiérrez sat on stage, backlit by a halo of sunset-invoking colors, and soothed the crowd with their melodic guitars, lap steel, and latin-influenced percussion. The Sonido Cósmico tour was underway and the brothers were primed to take the crowd on a sonic journey. 

Photo: Hunter Levy Photography

As the strumming began, the entire theater was silenced into awe by the duo’s fingerpicking and transportative songs. Every cough was stifled, any foot tap was unheard, and any “woot” or loud cheer was held until the song’s end. Estevan Gutiérrez, guitar still in his lap, between songs said, “You’ve been so respectful about listening to us,” and thanked the crowd for taking in each song and giving the brothers the space and time to do what they love. 

Estevan Gutiérrez / Photo: Hunter Levy Photography

If you weren’t already aware, Hermanos Gutiérrez are an instrumental guitar duo made up of Estevan and Alejandro Gutiérrez. They play Latin- and Western-infused music that heavily comprises the sounds of their travels and transports listeners to tranquil and far-out landscapes. Influenced by spaghetti Westerns and the classical, vibrant sounds of cumbia and salsa—and that is exactly what is so brilliantly played for their set.

Alejandro Gutiérrez / Photo: Hunter Levy Photography

“We’re here to tell stories with our music. Aquí va,” Estevan interluded before the brothers sonically painted a scene with “Cumbia Lunar.” They played “Thunderbird,” “Tres Hermanos,” and the titular, “Sonido Cósmico.” They took the crowd to Peru and then the sandy desert with its cotton-candy skies, creating the songs on the spot with the loop pedals. 

Though the theater was packed, it held moments of intimacy, like when the crowd was rewarded with two songs the duo admitted that they don’t play live often: a deep-cut from 2017’s 8 Años, “El Mar,” and a cumbia version of “Cerca De Ti.” The two songs were played with a full band on stage, the latter becoming upbeat and danceful from a seated position—and which should immediately be recorded in this style for streaming.  

Photo: Hunter Levy Photography

What was so great about this show was that it felt like the two erudite musicians were in their recording studio laying out the tracks live with their loop pedals. They were in tune with each other and so practiced that each song was brought to life as if it always existed at the tips of their fingers. Each instrument introduced new tones, layers, and feelings. A heartbeat sounded in the taps of the bongos and a sweep of psychedelic melodies interlooped with nostalgic notes to tug at the crowd’s emotions. If you listened to André 3000’s instrumental flute album, New Blue Sun, think of an Hermanos Gutiérrez show as the long-established prelude. 

Photo: Hunter Levy Photography

While the brothers claimed that the journey in each song was to some new, idyllic destination comprising Latin American countries and the cosmos, I think the road most traveled that Friday night, in the chair-lined theater filled with an expectant and gratuitous crowd, was a journey of emotions as we all processed the tender sounds of classical Latin guitar plucking, the pull of the lap steel singing against Alejandro’s fingers, and the way in which the crowd seemed to breathe more freely, completely hypnotized by the lush sounds blaring from the speakers. 

They got a standing ovation.

This Week in ATX (May 12-18)

Austin isn’t letting up—and neither should you. This week’s concert calendar is stacked with legends, genre-benders, and future obsessions. Whether you’re chasing nostalgic synths, gritty punk, or sweaty dancefloor chaos, there’s a show (or five) with your name on it.

Monday, May 12

Toro Y Moi & Panda Bear at Stubb’s
A pairing so smooth it could cure your Sunday scaries. Expect psychedelic visuals, warped beats, and a crowd swaying in slow motion.

Chloe Moriondo at Antone’s
Sad girl pop with teeth. Chloe brings heart, humor, and hooks—don’t sleep on her rise.

Tuesday, May 13

Florist at Antone’s
Delicate, poetic, and quietly powerful. Florist’s music is a gentle ache in sound form—perfect for a tender Tuesday reset.

Wednesday, May 14

Empire of the Sun at Moody Amphitheater
Theatrical. Transcendent. Synth-pop you can see from space. Come for the hits, stay for the headpieces.

Matisyahu at Stubb’s
He’s still blending reggae, rap, and spirituality like no one else. A mellow, magnetic midweek option.

Thursday, May 15

Wild Nothing at Radio/East
Your indie dreamscape awaits. Perfect for a twilight swoon.

Electric Six at Antone’s
High-voltage absurdity. Think dance-punk chaos and maybe a song about fire in the disco.

Buckethead at Emo’s
A mysterious guitar god in a KFC bucket. You’ll leave confused, amazed, and a little changed.

Friday, May 16

Lupita D’Alessio at Moody Center
A stadium-worthy star who commands the stage with power, polish, and Latin pop excellence.

Soulja Boy at Empire
Tell ‘em. Whether you’re here for the memes or the moves, it’s guaranteed fun.

Maribou State at Emo’s
Layered, electronic bliss. Think late-night vibes with a pulse.

Mike at Stubb’s
New York introspection meets chopped soul samples. One for the heads.

Wild Party at 3Ten
Appropriately named—expect jangly guitars and a good time.

Saturday, May 17

Glowdeo at Far Out Lounge
Boots, beats, and disco western energy. This one’s gonna be loud and glittery.

The Damned at Radio/East
Punk royalty. Pure adrenaline, pure attitude.

Ivan Cornejo at Moody Center
Sad sierreño for the heartbroken and the healed. Bring tissues (and a date).

Bad Nerves at Mohawk
Fast, furious UK punk. No frills, all thrill.

I Hate Models at Concourse Project
Industrial techno to summon your inner demon on the dancefloor.

Sunday, May 18

SIMS Foundation 30th Anniversary Show at Empire
An all-star local lineup celebrating three decades of mental health support for Austin musicians. Come for the cause, stay for the music.

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Need help picking your poison? We’ve got you. Check our Instagram for giveaways, recs, and artist matchups.

See you out there, Austin.

Still Not Unusual: Tom Jones Charms Austin

Written by Clinton Camper

May 7, 2025 — ACL Live at The Moody Theater

There are few artists who can fill a room with just their voice. Even fewer who can command that room at 84 years old—and still have underwear thrown at their feet. But that’s exactly what happened when Tom Jones rolled through Austin on his Defy Explanation tour.

From the moment he walked out—slightly slowed but still sharp-eyed—there was no doubt who owned the night. He opened with “I’m Growing Old,” a move so self-aware and sly it drew both laughter and awe. And when he followed it up with “Tower of Song,” it felt like a wink to the universe: yes, he’s older, but the golden voice? Still untouchable.

Jones’ setlist was a masterclass in storytelling—leaning heavily into covers, but each one handpicked like chapters in a memoir. Dylan, Cohen, Cat Stevens, Michel Legrand—he didn’t just sing them, he inhabited them. When he growled through “You Can Leave Your Hat On” (complete with a cheeky lighting cue), the crowd howled. When he whispered through “I Won’t Crumble with You If You Fall,” you could feel the silence settle like reverence.

Still, it was the hits that sent the room into orbit. “It’s Not Unusual” landed with a purr and a grin, “Delilah” bathed the venue in crimson light and accordion flair, and “Kiss” by Prince made fans lose what little composure they had left—several pairs of red panties made their annual pilgrimage to the stage.

Even without his once-iconic hip thrusts (two hip replacements later, he mostly saves the movement for his band), Jones remains electrifying. It’s all in the delivery. His tone, his phrasing, the way he knows exactly when to hold a note or drop the volume to a hush—it’s the work of someone who knows their power and doesn’t have to prove it.

He closed the night with “Strange Things Happening Every Day,” and somehow, it felt like the perfect benediction—equal parts bluesy, hopeful, and defiant. He didn’t need to pad the set with extra encores. He’d already given the crowd everything: nostalgia, drama, voice, humor, and yes, sex appeal.

Eighty-four, huh? Could’ve fooled us.

From Doja Cat to Dr. Dog: ACL 2025 Has Entered the Chat

Written by Clinton Camper

Every October, Zilker Park becomes the heartbeat of Austin—and this year, that pulse is thunderous.

ACL Festival 2025 just unveiled a lineup that reads like a fever dream: Sabrina Carpenter, Doja Cat, The Strokes, Hozier, Luke Combs, John Summit, and Doe-freakin-chii. That’s just the top line. Dig deeper and you’ll find a beautifully chaotic blend of legacy acts, internet-born stars, and genre-defying newcomers.

We’re talking everything from the long-awaited return of Rilo Kiley to indie heartbreakers like Rainbow Kitten Surprise and Greg Isakov. From the maximalist pop of MK.gee to the genre-crushing swagger of Pierce the Veil. And yes, somehow both T-Pain and Panda Bear are playing, and we wouldn’t have it any other way.

ACL has always been a mirror to music’s ever-shifting landscape—and this year, that reflection feels sharper than ever. You’ve got Gen Z icons standing shoulder to shoulder with blog-era legends. Dance floors curated for golden hour transitions. Mosh pits. Glow sticks. Maybe even a few tears. The festival isn’t just catering to one type of fan anymore—it’s feeding the whole ecosystem.

Here’s how the weekends break down:

Playing Both Weekends:

These are your anchors—the artists you can count on no matter which weekend you’re attending. Headliners like Sabrina Carpenter, Hozier, Doja Cat, The Strokes, and Luke Combs lead the charge. But the list runs deep: Doechii, Cage the Elephant, T-Pain, Empire of the Sun, and Djo all bring serious heat—alongside a stacked undercard featuring Role Model, King Princess, Panda Bear, Wet Leg, Japanese Breakfast, and Magdalena Bay.

Weekend One Only (Oct 3–5):

Catching Weekend One? You’re getting the only sets from Modest Mouse, Maren Morris, Sammy Virji, The Backseat Lovers, Riize, and Phantogram. Plus exclusive appearances by Willow Avalon, Briscoe, Wild Rivers, and Celeste.

Weekend Two Only (Oct 10–12):

Weekend Two gets some gems of its own—Pierce the Veil, Zeds Dead, Car Seat Headrest, and Sam Barber only show up here. You’ll also catch exclusive sets from Gregory Allen Isakov, Fujii Kaze, Bilmuri, Ca7riel & Paco Amoroso, and the legendary Rilo Kiley reunion.

So what’s next? The schedule drops. The conflicts begin. We complain. We cope. We carve out our perfect weekend knowing full well it’ll all change the moment we set foot on the grass.

But that’s the magic of it. The unpredictability. The discovery. The volume.

See below for the full artist breakdown by weekend and start planning your schedule now!

Both Weekends:

• Sabrina Carpenter

• Hozier

• Doja Cat

• Luke Combs

• The Strokes

• John Summit

• Doechii

• Feid

• Cage The Elephant

• T-Pain

• Empire of the Sun

• Djo

• Mk.gee

• Polo & Pan

• Role Model

• Rainbow Kitten Surprise

• Wet Leg

• Dr Dog

• King Princess

• Japanese Breakfast

• Magdalena Bay

• Olivia Dean

• MARINA

• Dylan Gossett

• Gigi Perez

• MJ Lenderman

• The Favors

• Latin Mafia

• Disco Lines

• Passion Pit

• The Dare

• Ocean Alley

• Joey Valence & Brae

• LP Giobbi

• Confidence Man

• Panda Bear

• Anderson East

• Spacey Jane

• Tanner Usrey

• Good Neighbours

• Yoke Lore

• La Lom

• Lucius

• Royal and the Serpent

• Jensen Mcrae

• Spill Tab

• Flowerovlove

• Vincent Lima

• Amble

• Alemeda

• Don West

• Midnight Generation

• Chezile

• Sydney Rose

Weekend One Only

• Maren Morris

• Sammy Virji

• Modest Mouse

• The Backseat Lovers

• Riize

• Phantogram

• Willow Avalon

• Briscoe

• Wild Rivers

• Celeste

• Honestav

• Haute & Freddy

• Orions Belte

• The Heavy Heavy

• Bebe Stockwell

• Hotline TNT

• Next Of Kin

• Lamont Landers

• Tiera Kennedy

• Asleep At The Wheel

• Inoha

• Clover County

• Nicky Youre

• Moody Joody

• Linka Moja

• SL Houser

• Goldford

• Chuwi

• Zinadelphia

• Tyler Ballgame

• Lvvrs

• The Animeros

• Geto Gala

• Gizmo Varillas

• Aaron Page

• Disciples of Christ

Weekend Two Only

• Pierce the Veil

• Rilo Kiley

• Zeds Dead

• Car Seat Headrest

• Sam Barber

• Gregory Allen Isakov

• Fujii Kaze

• Bilmuri

• Ca7riel & Paco Amoroso

• Leisure

• TOPS

• Hans Williams

• Crowe Boys

• Julie

• Odeal

• Hey, Nothing

• Aidan Bissett

• Johnny Stimson

• Fancy Hagood

• The Bends

• Teen Jesus & The Jean Teasers

• Skrilla

• Eric Slick

• Southhall

• The Point.

• Maggie Antone

• South Arcade

• Girl Tones

• Ally Salort

• Dizzy Fae

• Farmer's Wife

• Alex Amen

• Shallowater

• Ted Hammig & The Campaign

• Huston-Tillotson University Jazz Collective

Going Slow on 'The Achilles Tour'

Written and reviewed by Krysta Ayers

APRIL 29, 3Ten—It’s a Tuesday when Kevin Atwater plays to an admiring crowd in Austin’s 3Ten venue. Seriously, it’s an admiring crowd—fans have made him pink, bedazzled cowboy hats, or have brought things for him to sign. And, even though it’s a Tuesday, people have come to hear his songs. Unfortunately, the garage doors at the end of the venue are open to the streets of downtown Austin, and Kevin is soon in competition with the sounds of passersby, Bachelorette parties, and sirens. 

Kevin Atwater’s music can be (simply) defined as sad-boy music. He is the younger, gayer, and male version of Lana Del Ray. His lyrics were not designed to be remixed for a club edit; they are serious and auto-biographical. And despite the serious subjects of his songs, he was committed to being humorous on stage. “Timon and Pumbaa, you can’t tell me they’re not gay dads,” he said between songs, standing sandwiched between his bass player and other guitarist. At another point, he shouts out the UT gays and asks the crowd if we’ve ever heard of Grindr. 

His charisma is amplified by his talent and his good-natured ease on stage. When he launches into a new song, it’s only after he’s given us some background, or some inkling of his past. Before playing “Jailer” he says it’s a song about why he’ll never hook up in a car again and get caught by cops. Before “Call of Duty” he shares a personal story about gun violence, and the young crowd falls into a hush, presumably understanding the feeling all too well. 

The singer/songwriter sings softly into the mic against the backdrop of melodic, lullaby strings. His voice executes the low registers and builds for the high notes—it’s emotive but soft, and the crowd leaned in to catch every word (and maybe because the siren’s outside were becoming more persistent). 

“Achilles,” the titular song off their debut album, marks the end of the official set—a song that  plays up the higher register in Atwater’s voice beautifully. We get his 2022 single, “Star Tripping,” for his encore. Sonically, it’s the most upbeat song of the set. In contrast with the lyrics, it works to make the crowd move and sway and nod their heads. And though it’s a love song with no happy ending, it has been established as a fan-favorite and the right song to leave the crowd with. 

The New York-based band is touring their debut album, Achilles, and based on the crowd reactions, they will need to schedule another round soon. The tour will hit NYC on May 6 before its final show in Boston, Mas. on March 8. And if you’ve got airline miles you’re willing to spend, it wouldn’t be a bad idea to go catch a Kevin Atwater show. 

Jack White's 'No Name' Tour Means Business

Written by Krysta Ayers

MAY 4, Austin, Texas—Jack White is no stranger to Austin. In fact, he was just here in November 2024 for the first leg of the No Name World Tour—which he decided to play at smaller venues (he played to a sold-out Mohawk and Continental Club). On this second leg, the choice of venues seems to be getting bigger. For his nearly two-hour show for night one in Austin, he played ACL Live at the Moody Center (a dramatic departure since the last time I saw him at the Moody Center in 2022) to a completely enraptured crowd. 

Photo: David James Swanson

To watch a Jack White set—especially one outside of an arena and in a more intimate setting—is like watching the Snyder cut of a superhero film. It is all frills. It’s glorious, and each time he stretched a song to its 10-minute capacity, he directed it into a new one, seamlessly. The first hour of the set passed in this way (it goes by so fast, too!). Opening with “Old Scratch Blues,” the blues-punk head-banger, he went swiftly into “That’s How I’m Feeling,” “Dead Leaves and the Dirty Ground,” (The White Stripes’ songs creeping in early), and “Me and the Devil Blues,” a Robert Johnson cover that the band turned on its head with amplified guitar whines and thundering drums. It’s a song choice and reimagining that serves as a reminder that Jack White is not only a musical genius, but a student and fan first. 

All that we could do as a crowd was watch in awe—quickly resetting with each new song and remembering to clap, nod our heads, and sing back the lyrics. Clad in his usual all-black uniform of jeans, tee, and leather jacket, he hopped around stage plucking each note with ferocious dedication and our jaws were slack and eyes glazed over in wonder. Can you blame us? This is the man who gave us “Lazaretto,” “Steady As She Goes,” and “Don’t Hurt Yourself,” which he co-wrote with Beyoncé for her album Lemonade. The musical chameleon is also to thank for every dude with a guitar playing “Seven Nation Army” at every party ever since 2003. 

Photo: David James Swanson

There was no time for banter. Besides his solo stuff, the Detroit-born musician is, or has been, part of six other bands, so there was a lot of material to get through. The Nashville-friendly “Hotel Yerba” played twangier and faster live. “Broken Boy Soldier” was heavier, and played with longer guitar breaks. Jack White’s voice was perfect pitch throughout, and at some points, seemed to draw on Janis Joplin’s famous wail, honing in on that bluesy, raspy voice, and hitting the high notes. Each song is played like a jam-sesh with friends in a garage; he let the notes breathe, or strangled chords against the fret, and let songs take on new tempos. 

His encore was a brilliant eight-song composition, which is the longest encore I’ve ever witnessed and I’m so grateful. He played “Freedom at 21,” “Fell in Love with a Girl,” and, of course, ended with “Seven Nation Army,” the crowd joining in a chorus of “ahs.”

He took a bow with his bandmates and thanked us for spending our hard-earned money to see him. And then, the blue stage lights and spotlight gave way to unforgiving bright house lights and the band exited stage right.  

Photo: David James Swanson

Now, while a live version of this album and tour does exist…sadly, my friends, it’s only five tracks long. If you recall, I said the show was nearly two hours long, so a lot is missing. The Jack White cut is what we really need. Back-to-back blues-punk rock that we can melt into in perpetuity.

Three Cheers for Twenty Years with Mayday Parade

Written & Reviewed by Clinton Camper

MAY 3, Austin, TX — On a Saturday night at ACL Live, Mayday Parade gave Austin a lesson in romanticism, heartbreak, and scream-along catharsis—aka, the full emo experience. Touring in celebration of their 20-year legacy (Three Cheers for Twenty Years), the Tallahassee-born band showed up ready to honor every album, every era, and every fan who’s ever scribbled their lyrics on a Converse toe cap.

They kicked off the night with “Sweet,” before launching into a whirlwind, career-spanning setlist that included deep cuts from Tales Told By Dead Friends, Anywhere but Here, Black Lines, Sunnyland, and beyond. The crowd—spanning Warped Tour veterans to younger fans who found “Jamie All Over” on TikTok—was locked in from the first downstroke.

There were surprises, too: Like Roses’ Amy Schmalkuche joined for a fiery “More Like a Crash,” and Nathan Hardy of Microwave jumped in on “Who’s Laughing Now.” But the biggest nostalgia gut-punch came during the encore, when original vocalist Jason Lancaster returned for a heart-shattering “One Man Drinking Games” and “Jamie All Over.” You could feel the collective emotional damage in the room—and we mean that in the best way.

The transitions between songs were tight, the visuals slick but not distracting, and the energy? Relentless. "Miserable at Best" turned the Moody Theater into a city-wide group therapy session, while “Ghosts” and “Oh Well, Oh Well” reminded everyone why Mayday Parade never fell off—they just kept evolving with their fans.

If emo never dies, Mayday Parade is the reason why. Two decades in and they’re still writing, screaming, and singing with the kind of sincerity that never gets old—even when the rest of us do.

God’s Child, Devil’s Timilng: A Night with Willow Pill

Written & Reviewed by Clinton Camper

MAY 4, Dallas, TX — If you’ve ever wondered what it would look like if a queer Evangelical fever dream broke into a drag show, hijacked the AV club, and confessed its sins in full beat, God’s Child is your answer. Willow Pill—yes, the RuPaul’s Drag Race Season 14 winner and chaos muppet extraordinaire—brought her brilliant, blasphemous one-queen show to the House of Blues, and to say it was unforgettable would be like saying Jesus just had a few fans.

From the moment she floated onstage like a half-baked Sunday school lesson and croaked out a purposefully terrible rendition of a church hymn,” Willow made it clear we were not at your average drag brunch. God’s Child is performance art dipped in glitter and guilt, a full-body exorcism of childhood trauma, chronic illness, religious confusion, and poppers-fueled hallucinations. And yet—somehow—hilarious.

The show moves like a sermon on shrooms. One minute she’s confessing her dreams of being a Christian puppet (yes, really), the next she’s slow-dancing with a video projection of Satan, then jumping into a musical number about meeting the Devil during anesthesia. All while flawlessly queering up the sacred and profane with the kind of timing most stand-up comics would kill for.

But beneath the absurdity, Willow’s storytelling hits hard. She shares stories about growing up with a kidney transplant, the weight of being chronically ill, and the weird intimacy of medical trauma—without ever asking for pity. Instead, she offers catharsis through chaos. It’s drag as ritual, grief as punchline, and camp as communion.

The visuals? Peak early-2000s Christian school projector-core—grainy, janky, and completely genius. She edits the videos herself, weaving lo-fi absurdity into high-concept confessionals. You can tell this is someone who’s been sitting on these stories for years, waiting for the right moment (and the right wig) to release them into the world.

By the time she closed the show with a hymn to herself, the crowd was in full spiritual rapture—cheering, laughing, crying, and maybe wondering if they, too, should call their childhood youth pastor and tell them to lighten up.

Willow Pill doesn’t just put on a drag show. She makes art out of the stuff most people are scared to say out loud. And on this Sunday night, in a room packed with queer joy, church was absolutely in session.

Nuna Business: Audrey Spits Fire in Dallas

May 2, 2025

Written & Reviewed by Clinton Camper

DALLAS, TX—If you’ve ever wondered what Gen Z swagger sounds like filtered through razor-sharp lyricism, a dark sense of humor, and a closet full of Balenciaga, look no further than Audrey Nuna. The Korean-American rapper-singer hybrid has been quietly sharpening her blade for a few years now, and on Friday night in the Cambridge Room at House of Blues, she came out swinging.

The room was small, hot, and absolutely ready—packed shoulder to shoulder with fans who knew every word to her deep cuts and TikTok hits alike. Audrey walked out with the unbothered energy of someone who already knows she’s the coolest person in the room. There was no overproduction, no grand stage setup—just her, a mic, a DJ, and that sly smirk like she’s always two steps ahead.

Opening with “Locket,” she lured us in slow, before letting loose with “Comic Sans” and “Baby OG,” throwing lyrical punches that landed with satisfying thuds. Her live vocals slid between rapping and singing like it was nothing—effortless but precise, aloof but electric. One moment she was tossing out absurd bars with a wink, the next she was peeling back her guard with “damn Right.”

But maybe the most powerful thing was her command of silence. She let beats breathe. She paused to lock eyes with the front row. She didn’t need to scream to own the moment—and that’s a rare kind of power.

Nuna’s performance had the poise of someone playing a room ten times the size but the intimacy of a secret. It was part fashion editorial, part basement party. A masterclass in controlled chaos.

To call her genre-defying feels lazy—Audrey Nuna is creating a sound and persona entirely her own. On Friday night in Dallas, it wasn’t just a concert—it was a soft flex. And if she’s still flying under the radar, it won’t be for long.

Who else is giving cyberpunk popstar meets diss-track savant energy right now? Exactly.

Artemas Charms Dallas

Stepping into the House of Blues Dallas on Tuesday, April 29, I knew it was going to be one for the books. The moment I pushed through those massive wooden doors—decked out in folk‑art murals and flickering chandeliers—you could instantly tell the night was charged. Low‑lit lanterns cast shadows across the rough‑hewn beams overhead, and the scent of tequila and bad decisions wafted through the air, setting the perfect stage for what was about to go down.

Julia Wolf hit the stage just after 8 PM, wrapped in a leather vest. Her set was this intoxicating blend of smoky blues and alt‑pop swagger—think Billie Holiday meets St. Vincent. She paced the stage like she owned every inch of it, channeling raw emotion into into each note. By the third song, the front row was hanging on her every whisper, chanting back the lyrics like they’d known them forever.

When Artemas finally strode out, the room erupted. He launched into the first track—a synth‑heavy banger that had the entire floor shaking—backed by a tight‑as-hell four‑piece band.

He kicked things off with “i always kinda knew you’d be the death of me,” and you could practically feel the wood floors flex under the collective stomp of the crowd. Later, he dialed down the tempo for “just want u to feel something ,” letting those bittersweet lyrics wash over the room before diving right back into the next high-voltage drop. For the closing moment, “i like the way you kiss me” floated through the speakers like liquid starlight—a perfect, almost surreal exhale after the full-throttle rush.

This wasn’t your average Tuesday crowd. Everywhere you looked, there were thrift‑store vintage tees paired with fresh kicks. The floor was a sea of synchronized head bops, while across the room, couples swayed close under the balcony rails. Everyone was in on the secret: you don’t need Friday or Saturday to have the night of your life.

By the time the final chords faded and Artemas waved goodbye, the energy was still crackling through the room—people clapped for an second encore that never came, reluctant to let the magic slip away. Walking back out onto Ross Avenue, ears still ringing, I realized this was exactly why I live for Dallas show nights: when indie‑spirit, unexpected collaborations, and a packed house collide, you get moments that stick with you long after last call.

If you weren’t there, clear your calendar for the next one—because this was proof that midweek can be the new weekend, as long as you know where (and who) to catch.

Country Royalty: Trisha Yearwood stuns at ACL Live

Written by Krysta Ayers

APRIL 30, Austin, Texas—On a Wednesday night a cowboy boot-wearing, sundress-donning, pick-up driving (the odds are high) crowd of fans entered the ACL Live Theater to watch Trisha Yearwood. Her seminal work in country music should forfeit the need for an introduction, but if you’re unaware (or Gen Z, with parents that don’t listen to country), Yearwood’s career has spanned decades, starting in 1991 with a self-titled debut album. 

Now, after roughly five years since her last tour, she’s stepping back onto the stage to reclaim her spot as one of country’s greats—and her tour kicked off in Austin. 

A lot of artists start their tour in Austin, but rarely do we get to witness the kinks, the authentic banter between bandmates and touring artists, or the real-time adjustments needed for wardrobe. Especially for such a seasoned artist like Yearwood. But it is so fun because, you can tell, Trisha Yearwood has seen it all on tour. This is cake. She rolls with the punches, makes jokes, and talks to the crowd as if we were her long-lost friends. 

She starts her set with “Bringing the Angels” off her upcoming album, The Mirror, and then she immediately starts the banter. She’s quick and funny, her entire set weaving from standup comedy to live country in a matter of seconds. One of her backup singers is Karyn Rochelle, a singer-songwriter who co-wrote “Georgia Rain,” which they sing together on stage. The stage design is focused on many color-changing balls that are toggled up and down from the ceiling in different designs. When they turn blue, she looks up and says, “I’ve got 75 balls…It’s unfortunate they’re all blue.” They continue to change shades as she launches into the rest of her set which includes, “XXX’s and OOO’s,” “Walkaway Joe,” and “Perfect Love.”

Trisha’s voice is as powerful as ever. She plays the hits, and the twangy pop-country melodies put the crowd in a cloud of nostalgia. Her first album came out only two years before Shania Twain would put out her debut, so we’re talking top country hits when the genre was at its peak (in my humble opinion). She talks about her husband, who is also country royalty: Garth Brooks. She says, “His bank account is bigger than mine but I do have my own bank account,” before launching into her new song “Little Lady,” which calls out society for how it reacts to women getting married. 

The crowd is responsive to everything. A lot of those seated in metal fold-out chairs on the main floor keep giving standing ovations after every song. And any time she plays one of her upbeat classics, no one claps on beat, but at least everyone sings along to all the words. 

The US Tour of Fontaines D.C.

Written by Krysta Ayers

APRIL 26, Austin, Texas—There was a lot going on in Austin on this particular Saturday. Linkin Park was playing down the road, in the opposite direction The Austin Blues Festival was kicking off its first night, Rufus Du Sol was set up on a stage further away, and deeper into downtown comedian Felipe Esparza was collecting laughs. And even with all that, Stubb’s was packed. The shoulder-to-shoulder standing room for the amphitheater went straight to the back, crowds of fans standing farther than the merch table. 

The Ireland-based band was incredibly high-energy; lead singer Grian Chattan eventually took his shirt off, which, for the late evening heat of Texas, made sense solely on a practical level. There was no way to know that other events were happening in the city. As far as this venue was concerned, this was the only show that mattered. 

Photo: Kylie Bly-Garcia

With a sonic punch, the band started things off with an extended version of “Romance,” the titular song from their newest album, then went straight into “Jackie Down the Line” from their 2022 album, Skinty Fia. They played “Death Kink” and “A Hero’s Death,” and “It’s Amazing to be Young.” The crowd reacted in…various ways. For such a big show, one would assume the energy from the crowd would be consistently enthusiastic and outwardly (and loudly) supportive of every strum, key, or syllable pronounced. That was hardly the case, but perhaps that’s a story for another time. Thankfully, the fans in the front, lining the stage and up to the sound area, were hyper-reactive to all that the band was doing. 

There seems to be a very interesting sound that always distinguishes Irish and UK bands from their US counterparts. On the surface, it’s almost stubborn. Harder. Grittier; there is more being said between the guitar, drums, and bass. They beg to be paid attention to in the same way that Arctic Monkeys, The Kinks, The Pogues, and Blur did. To speculate, I think it’s the attitude they carry—like they invented sadness and leather jackets and brooding. I don’t hate it. 

Photo: Kylie Bly-Garcia

The rest of the set consists of “Boys in the Better Land,” which has a shout out to fellow Dubliner James Joyce, and “Favourite” before heading into the four-song encore. It’s at this point that the crowd seems to finally wake up from the cat nap it’s been taking. The shouts for an encore are loud and demanding before we get “In the Modern World,” Desire,” “I Love You,” and last, but certainly not least, “Starburster.” It was “momentary blissness” in the city and though, some in the crowd were lukewarm, I hope they left with a newfound love for the spunky, 80’s-leaning, post-punk band all the way from Ireland.

RÜFÜS DU SOL: From Innerbloom to Exhale

Written and reviewed by Tabitha Strawn

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

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

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

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

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

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

From Zero to Legendary: Linkin Park Reignites Austin

Written and reviewed by Clinton Camper

April 26, 2025 — Moody Center, Austin, TX

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

Hunter Levy

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

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

Hunter Levy

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

Hunter Levy

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

Hunter Levy

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

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

Hunter Levy

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

Hunter Levy

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

The 'homesick' Tour with Anees

Written and Reviewed by Krysta Ayers

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

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

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

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

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

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

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