The Hives Forever, Forever the Hives 

📍Stubb’s Waller Creek Amphitheater — September 8
Written by Krysta Ayers / Photos by Drew Doggett

When Chad Michael Murray asked Lindsay Lohan, “You like The Hives?” in 2003’s Freaky Friday, I was a middle schooler who was instantly validated: Oh, I do have “good” music taste. Fast forward 22 years, and The Hives have kicked off their first show of the North American leg of their The Hives Forever Forever the The Hives tour, right here in Austin.   

Clad in matching black suits with white trimming and scarves in lieu of ties, the five-member band was the epitome of showmanship on stage—decorated with oversized balls (contain your laughter) that bore their name. With humor, and with the energy they must have kept on reserve since first forming in ‘93, The Hives gave Austin everything in an epic performance. 

“The Hives play fast,” lead singer Pelle Almqvist said, “and if you come to a one-and-a-half-hour show, it’s actually 7 hours.” The band did indeed play quickly—but not rushed—through their never-ending discography of songs: in just over three decades, they have released seven studio albums plus one live album (Live at Third Man Records). And they are back as if they never left.

Pelle told the crowd, before launching into “Walk Idiot Walk,” that the song was played live for the first time at Stubb’s in 2004. A full-circle moment. It’s punchy and loud and quintessential to the sound the Swedish band has mastered; garage rock that is noisily unapologetic in both lyrics and rhythm. 

The band members’ alter egos were on full display. Vigilate Carlstroem, on rhythm guitar, and Chris Dangerous, on drums, matched the bouncy, sweaty energy of Howlin’ Pelle at every beat. Pelle told the crowd he loves being a Hives fan and that he’s counted “2.5 million” of us in the audience, the beginning of the hyperbolic language he would sprinkle throughout the show.

They played “Rigor Mortis Radio,” “Main Offender,” and “Bogus Operandi,” and zippered the familiar tunes between new songs from the tour’s eponymous album (released Aug. 29 of this year): “Enough is Enough,” “Born a Rebel,” and “O.C.D.O.D.” The latter is a peak mosh pit tune that no one took advantage of. 

The band slowed things down for a dramatic instrumental intermission of sorts. “As a Hives fan, I live for these moments: feeling anticipation for no reason,” Pelle quipped. In the background, Chris Dangerous kick-drummed a steady beat, and we waited for a crescendo or a segue into a song we could sing along to. 

It came in the form of “Hate to Say I Told You So.” Nicholaus Arson, lead guitarist, played with rabid finesse, and bassist The Johan and Only was punchy and dynamic in his delivery for the backbone of the song. 

“Countdown to Shutdown” provoked the kind of frenetic buzz best likened to underground clubs with sticky floors and laconic bartenders.

The audience, presumably fans since at least the early aughts (as far as I could reasonably deduce with my own eyes), danced for as long as their knees would allow, clapped along, and parted like the Red Sea when Pelle jumped down to join the crowd. 

The three-song encore ended with a victorious, arm-pumping goodbye. The band played “The Hives Forever Forever The Hives,” and invoked a call and response with the crowd like a last conversation.  

The only upset was that the Monday “school night” meant the neighborhood noise ordinance was an absolute buzzkill to the rock party that could have gone on all night. 

BABYMONSTER’s K-Pop Sparkle Hits Fort Worth

📍 Dickie Arena — September 7, 2025
Written by: Clinton Camper

Image Credit: YG Entertainment

Sunday night at Dickies Arena was pure K-pop sparkle. BABYMONSTER may be the “babies” of YG Entertainment, but the energy they brought to their first world tour was already superstar level.

They rose dramatically from the stage in shimmering white-and-gold outfits, silhouettes glowing before they launched into “Sheesh” and “Batter Up.” Introductions felt like meeting new friends for the first time — except thousands of MONSTIEZ were screaming at the top of their lungs.

The moment “Click Clack” hit, the catwalk became a runway, the crowd jumping and waving those devil-horn red light sticks like possessed little lanterns. Fans were decked out in glowing horns and monster hats, locked into every beat like they were in a trance.

Image Credit: YG Entertainment

A clever intermission showed trainee-era clips (hello, Last Evaluation nostalgia) before the girls flipped into solo covers that proved just how individually stacked this lineup is:

  • Rora melted us with “Somebody You Loved.”

  • Pharita’s “What Other People Say” was ethereal.

  • Asa absolutely devoured “Godzilla.”

  • Ruka stomped through “GWOLA,” then teamed with Asa on the fire rap “Woke Up in Tokyo.”

  • Chiquita poured heartbreak into “Traitor.”

  • And Ahyeon? Straight goosebumps with “Dangerously.”

Image Credit: YG Entertainment

During “Dream,” thousands of red monster sticks swayed in perfect unison — a soft, glowing ocean moment that gave chills. Another outfit change later, the girls re-emerged in baby-pink, sparkly coquette looks for “Billionaire,” bows and ruffles sparkling under the lights.

The stage setup was simple (a big screen, a rising platform), but the visuals — clouds, sparkles, attitude — kept the focus fully on the girls. The loudest screams? Definitely for Pharita, the blonde bias magnet of the night.

And then the roof just about flew off when BABYMONSTER covered their big sisters BLACKPINK’s “Kill This Love” and “As If It’s Your Last.” Chaos. Ferality. Light sticks swinging, voices cracking, pure catharsis. By the time “Forever” rolled around, the whole arena felt like it might lift off. But that wasn’t the end. The girls slowed it down with “Love In My Heart,” slipped off stage, and left us screaming ourselves hoarse in the dark.

Image Credit: YG Entertainment

Of course, BABYMONSTER weren’t done yet. They stormed back for a glowing encore, running it back with “Sheesh” and “Batter Up,” adding the playful swagger of “Drip,” the cathartic bounce of “Forever,” and finally closing the night with the sweet, collective sing-along of “Stuck in the Middle.”

They may be new, but they’re already dangerous. The oldest member, Ruka, is only 23, and you can feel that the whole crew is still growing right alongside their fans. In one pre-recorded video, they giggled about wanting to check out museums, motor sports, the Stockyards, and of course dig into some Texas BBQ while in town — a sweet reminder that behind the sequins and spotlights, they’re still just girls exploring the world together.

That mix of larger-than-life spectacle and down-to-earth charm is exactly what made BABYMONSTER’s Texas debut so special. It wasn’t just a concert — it was a baptism into the next wave of K-pop: dramatic, emotional, and utterly euphoric.

Image Credit: YG Entertainment

NBA YoungBoy Shakes the Moody Center to Its Core

📍 Moody Center — September 5, 2025
Written by: Perrin Boyd

Friday night at the Moody Center in Austin was absolutely insane. NBA YoungBoy turned the whole place into pure chaos - in the best way possible. The arena was completely sold out, every seat filled, and even before he came on stage the atmosphere was electric and unlike anything I’ve seen. People were screaming, chanting his name, phones in the air, waiting for that first beat to drop with the whole arena lit up from flashes. And when it finally did, it felt like the kind of performance people will look back on as a marker of just how massive NBA YoungBoy is. For me personally, it’s up there in the rankings for concert of the year, and honestly, I’ve never seen anything like it.

YoungBoy is from Baton Rouge, Louisiana, and his story has always made his music hit different. Rising from a difficult upbringing, he turned his pain and experiences into verses that resonate with millions. He’s been through so much, and you can feel that raw honesty in every song. Culturally, YoungBoy is in a league of his own right now. He’s one of the most streamed artists in the world, often dominating charts with little mainstream promotion. His newest album, MASA, represents another milestone further proving he’s not going anywhere soon.

Let me tell you about this setlist—over 40 songs. Yes, 40-plus. I don’t know how he did it, but he barely stopped to breathe. The crowd went crazy for everything: “Kacey Talk,” “Right Foot Creep,” “Nevada,” “Games of War.” When “Outside Today” and “I Came Thru” dropped, the whole arena felt like it was shaking. What blew me away most was how everyone knew every word. Thousands of people rapped along in perfect sync - it gave me the chills.

The production of the show matched the intensity of the music. Lights, smoke effects, dancers and bass made every track feel larger than life, but the real spectacle was YoungBoy himself. His presence on stage felt life changing to the fans. Everyone in the arena was captivated and yelling their favorite parts to every single song. The Moody Center is huge and Youngboy made the building feel larger than life. I can’t emphasize how unbelievable the crowd was throughout the whole show - truly a once in a lifetime experience.

The night also reminded me just how much of a cultural impact YoungBoy has right now. His fanbase is on another level. People don’t just listen to his music - they live it. His songs are about real pain, survival, and pushing through, and you could feel how much that mattered to everyone in the room. His influence isn’t just about streams or numbers - it’s about how deeply he connects to a whole generation.

Walking out after the show, I was still buzzing. It honestly felt historic, like I’d just witnessed something that’s going to stick with me forever. I’ve been to plenty of shows this year, but nothing compares to what went down at the Moody Center on Friday. It was a reminder that YoungBoy isn’t just making music - he’s shaping culture, influencing lives, and leaving a mark that’s impossible to ignore.

SG Lewis Blends Heart and House in Austin

📍 ACL Live — September 5, 2025
Written by: Clinton Camper

SG Lewis has long been one of electronic music’s most versatile forces — a producer, songwriter, DJ, and multi-instrumentalist who’s as comfortable behind the decks as he is fronting a live band. On Friday night at ACL Live, he showed Austin just how far his artistry has stretched. His latest album, Anemoia, is a shimmering blend of disco, house, and soul, and hearing it come alive onstage was proof that these tracks were built for moments like this.

From the opening notes of “Back of My Mind,” the room was moving as one. The band gave Lewis’ sound a full-bodied edge — live drums driving the rhythm, bass adding warmth, synths shimmering under his vocals. Early favorites like “Costa” and “Aura” set the tone, a reminder of how naturally he merges lush grooves with dancefloor energy.

As the set unfolded, the connection between artist and audience only deepened. Lewis has an ease about him on stage, often smiling or leaning into the crowd as if he was just as grateful to be there as the fans who packed the Moody Theater. He let the music breathe, building long, hypnotic stretches that felt more like an experience than a performance. When “Memory” swelled, voices echoed back at him in unison, filling the hall with a chorus that seemed to blur the line between stage and audience.

The new Anemoia songs landed with impact. “Something About Your Love” was pure euphoria, its disco pulse turning the theater into a late-night club, while “Fever Dreamer” felt like a communal release — the kind of track where you look around and see every stranger next to you caught in the same wave. The production shimmered, but the live instrumentation gave it grit and weight, proving that Lewis’ music doesn’t just work in headphones or clubs — it thrives in big rooms with bodies in motion.

He didn’t shy away from older fan favorites either, sprinkling them throughout the set to keep longtime listeners locked in. Tracks like “Chemicals” hit with the same rush they always have, reminding everyone just how many corners of the electronic world Lewis has explored over the years. Each song bled seamlessly into the next, the transitions carrying a DJ’s precision but always keeping the warmth of a band playing live.

By the encore, Lewis had the crowd locked in. “Baby Blue” slowed things down into a dreamy haze before “Lifetime” closed the night with soaring catharsis, sending everyone back onto Willie Nelson Blvd still humming the chorus. People lingered outside, reluctant to let go of the energy that had just filled the theater, a sure sign that they’d witnessed something special.

What makes SG Lewis stand out is the balance he strikes — his roots in club culture are obvious, but his live shows prove he’s building something bigger. It’s music for dancing, yes, but also for feeling. On September 5 in Austin, he reminded us why electronic music on a stage, with a band, and with a crowd this locked in, can feel absolutely electric.

Anarchy in Austin: Yungblud’s Riotous ACL Live Takeover

📍 ACL Live — August 30, 2025
Written by: Perrin Boyd

On a restless Labor Day weekend night in Austin, the walls of ACL Live shook under the sheer force of Yungblud, the unapologetic rockstar from the UK whose rise has been nothing short of meteoric. More than a concert, his performance felt like an assembly of outsiders reclaiming joy on their own terms. The venue was packed to capacity, shoulder to shoulder with fans who came not just to hear music, but to live inside the chaos, catharsis, and electricity that only Yungblud can create.

From the moment he jumped onto the stage, every ounce of his body seemed charged with kinetic energy. He kicked things off with “Hello Heaven, Hello,” an opener that instantly set the tone for the night. The track’s explosive power hit like a jolt of adrenaline, and the crowd erupted, screaming back every lyric as if the song had been written for them. He tore through fan favorites like “Fleabag” and “Lowlife”, each track punctuated with his signature mix of punk ferocity and pop wonder. With the sold out crowd matching every ounce of his energy, fists raised, and voices straining to keep pace.

Yungblud thrives on connection, and it was clear he wasn’t interested in simply being watched; he demanded participation and energy.

Midway through the set, the energy shifted into something more intimate and reverent. Yungblud paused to honor one of his idols, the late Ozzy Osbourne, whose passing had left a void across generations of rock fans. With the house lights dimmed to a soft glow, he spoke about Ozzy’s influence - not just as a musician, but as a cultural force who gave power to the misfits and the misunderstood. It was clear the tribute came from the heart, and the silence in the room carried as much weight as the sound.

Then came the moment that has since made him viral: Yungblud’s raw and vulnerable cover of Black Sabbath’s “Changes.” Stripped down and aching with sincerity, his voice cracked in all the right places, reminding the crowd that behind the glitter and riotous energy is an artist unafraid of showing raw emotion. Fans swayed together, some visibly moved to tears, as the performance blurred the lines between tribute and personal confession. In that moment, it was all about honoring Ozzy - recognizing how music binds generations and becomes lifelines.

But Yungblud is not one to linger in the shadows for long. Almost immediately, he jolted the room back into overdrive, hurtling through old and new favorites with the same reckless abandon that has become his trademark. And when it came time to close, he chose a statement piece: “Zombies” from his newly released album Idols. The song’s biting lyrics and explosive delivery brought the night to a climax that felt both urgent and celebratory, a powerful reminder of Yungblud’s evolving artistry and his ability to channel raw chaos into something unifying.

By the time the lights came up, ACL Live was buzzing with the unmistakable afterglow of something special. Fans spilled out into the Austin night buzzing with adrenaline, having witnessed a performance that honored legends, celebrated the misfits, and cemented Yungblud as a true rockstar of his generation. The Labor Day weekend had given the city a night to remember - a night where music, passion, and rebellion collided in perfect, unforgettable harmony.

Ethel Cain Turns Moody Amphitheater Into a Southern Gothic Communion

📍Moody Amphitheater — August 26, 2025
Written by Perrin Boyd

On a late-summer night in Austin, the Moody Amphitheater became the perfect backdrop for Ethel Cain’s The Willoughby Tucker Forever tour. The open-air venue, framed by the city skyline, carried an almost cinematic quality that matched Cain’s Southern Gothic storytelling. Cain has steadily built a reputation as one of indie music’s most distinctive voices. Her breakthrough album, Preacher’s Daughter, established her as a storyteller blending indie themes with sweeping, cinematic sound. Cain continued to expand that vision with the release of her latest album this month, Willoughby Tucker, I’ll Always Love You - mixing old sounds with newer songs that hint at what’s next.

Cain’s voice was the anchor of the night. It could be soft and fragile one moment, then strong and commanding the next. Songs from Preacher’s Daughter carried their familiar ache, with the audience singing along to every line. The sound was vast without being overwhelming. Guitars and synths blurred together, drums rolled like distant thunder, and her voice floated above it all. The open design of Moody Amphitheater let the music breathe, stretching out into the warm night air.

The visuals stayed simple but striking. Cain stood mostly in shadows, bathed in deep reds, blues, and whites. With little more than shifting light and her own presence, she filled the stage with an atmosphere that felt both haunting and comforting. The night sky overhead added to the experience. The performance felt suspended outside of time, as if Austin itself had slowed down to listen.

As the night drew to a close, Cain saved her most anthemic moment for last. American Teenager rang out across the amphitheater, pulling every voice in the crowd into one final, cathartic sing-along. The song’s bright energy contrasted with the darker moods before it, leaving the night on a soaring, communal note.

Cain played songs from her new album with intensity and emotion. Nettles built slowly, drawing the crowd into its haunting atmosphere. Fuck Me Eyes felt raw and personal, with the audience moving along to its confessional energy. She finished this part of the set with Waco, Texas, a dramatic song full of vivid storytelling and dark, emotional depth.

What made the evening unforgettable wasn’t just Cain’s catalog, but the way she carried it. A queer artist who often folds her Southern religious upbringing into her work, she transforms personal history into something shared. At Moody Amphitheater, she made thousands of strangers feel like confidants.



Phone-Free and Awe-Struck for 'Abi & Alan'

📍Moody Theater @ ACL Live — August 24, 2025
Written by Krysta Ayers

On Sunday, the heavens parted at night for a sold-out theater where lucky ticket holders were taken to church with Erykah Badu and The Alchemist. It was the final show of their Abi & Alan Luv is… tour, which gave audiences the full experience of their upcoming album in full before its release on August 29. 

As part of the exclusive, first-listen experience, phones were locked away in crossbody Yondr pouches. We were to be present and attentive and unable to leak any part of the show, no matter how much of a brag it would be to post about being in the same room as Erykah Badu, the Queen of Neo Soul. 

And after witnessing Erykah Badu wax poetic with a live band (The Cannabinoids) and producer The Alchemist, and the lights gradually came back on, my brother, my plus one for the show, leaned over in awe and said what I was thinking: “What are you going to write?” 

How does one capture the holy experience and magical collaboration of the pair? Those were Grammy award-winning producers and artists on stage that we all had the pleasure of watching.  

The stage, with expert delivery, was set to replicate a living-room-turned-studio type of situation. Rugs were laid out, as well as a vinyl shelf with lava lamps and trinkets. It gave the allure of intimacy, as if the thousands of us in attendance were casually invited to this studio session or house party with a live band. Or like we were voyeurs, getting a peek into how these songs were made through their studio windows. 

All the musicians wore black on stage, sitting or standing behind their instruments, which included keyboards, drums, laptops, and drum machines. A tall screen in the middle of the stage, which separated Badu and the Alchemist as if they were in their own rooms, flashed with the track titles of the songs being sung. 

Their single off the anticipated album, “Next to You,” was played—and sounded notches more intense, groovy, and hype than it sounds on Apple Music. For one, both of them left their “rooms” to pace and energize the crowd from center stage. So apparent was their joy of doing this collab; how insanely happy they were to play this work of art for the tenth and final time before the album release. 


Other tracks included “Apostle,” “Echos,” “Valentine,” and “Black Box,” a song emblematic of the woes and nuances of living in our phones. A catchy song titled “Witch Doctor” (or maybe it was “Witch Craft”? I can’t confirm, since the album track list isn’t public) called to attention the trouble with being brainwashed by the media, a talking point relevant in any decade. At one point, we were coming together to sing affirmations with a song called “I Know that Man.” We were healed at the Church of Badu. 

The show was a music lover’s dream. And thank goodness there weren’t phones to obstruct views or distract us from the intimate show in front of us. Badu’s voice is as powerful as ever, and The Alchemist’s erudite construction of beats complemented the soul singer like a lighter to a joint. 


The album will be out this Friday, August 29. Badu will start another tour, the Mama’s Gun Tour, in October, making a final stop in Dallas on December 10.

Rock is Alive and Well with Vision Arcade

📍 3Ten @ ACL Live — August 23, 2025
Written by: Krysta Ayers 

I recently saw a meme that read something like, Men should put down the podcast mics and start forming bands again—and I’m here to report that the bands are being formed again. How lucky are we? 

One such band is Austin-based Vision Arcade, which played a show on Saturday and shared the bill with fellow local bands, Rococo Disco and Flight by Nothing. In a great aural production, we were reminded why attending the local shows is always a good decision.

With a start, Vision Arcade declared the return of rock ‘n’ roll like we were in an early-aughts teen drama with a surprise musical guest (The O.C.’s Bait Shop had The Walkman, One Tree Hill’s TRIC Nightclub had Fall Out Boy…). And with their own twist on the genre, the four-member band—Max Robison (guitar), Rory Kendall (vocals + guitar), Connor Torres (drums), Evan Brock (bass)—is amplifying everything that is right with the rock genre at this moment.

Playing the show to launch their very first vinyl release (a compilation of their best singles), Vision Arcade had a setlist that spanned their career, highlighted the best of their talents, and gave me frisson (a beautiful phenomenon where your body physically reacts to music to give you chills/goosebumps). 

In a musical haze, I witnessed as the band played “Spaceman,” “Youthful Heart,” and “Crazed.” Their sound hinted at The Black Keys, Cage the Elephant, with a little bit of the upbeat and infectious melodies of The Vaccines.

When the band played “Lay Alone” from their 2024 EP Crazed, Rory’s voice moved down an octave for a sultry delivery of the question, “Why don’t you come grab me? / Afraid you’ll stab me?” Connor added punchy drum fills. Evan, on stage in sunglasses, kept the groove cool, and Max’s and Rory’s guitars played high-energy, funky hooks. With “I’m Gone,” Rory plucked his guitar with Willie Nelson’s brand of twang and sang about driving out of Austin. It was a slow shift in pace that head-bopped with every dramatic thump of the beating kick drum. And while these tracks might not be mentioned in the correct order (my phone notes are only semi-decipherable), each track solidified the band as a group to watch out for. 

The eponymous “Crazed” gave Max space to play along his guitar neck, and the wails behind the chorus gave us a sweet introduction to the power and control he displayed for the rest of the show. What a delight to see this live, as well as 2023’s “Hey Honey,” (an immediate favorite), which provided a guitar solo from Max that hyped up the crowd. The way each member played off of each other for that song, while Rory, with keen vocal control, pleaded for his Manic Pixie Dream Girl to love him and “come break my heart,” was impeccable. 

Whether it was Evan’s bass controlling new sections or keeping time of the song with a steady groove, or Max and Connor using their instruments to give the songs their dynamic characteristics, or Rory wielding his vocal range…they made space for rock ‘n’ roll to breathe and be fun again.

I’m so glad the guys are forming bands again.  

Go listen to Vision Arcade.

Long Live Regina Spektor

📍Moody Theater—Aug. 5, 2025
Written by Krysta Ayers

Photo by Shervin Lainez

Under a lukewarm spotlight, Regina Spektor sits behind her piano, her back toward half the crowd, wearing a long white dress which accentuates her ethereal presence, and plays her Midsummer Daydream tour. The crowd is thick with millennial fans who have kept Spektor’s music alive with nostalgic Spotify playlists and burned CDs that were made with the help of Limewire. She taps gingerly at her instrument, and instantly the crowd is swept into the dreamy state of Vans sneakers, painted-on jeans, and layered polos. 

Some of Regina Spektor’s songs are older than UT’s sophomores. I say this to remind myself, and maybe others, that 1) this is a seasoned pro we’re talking about; she has an extensive catalog as an incomparable songwriter and 2) 2009 was not, as a matter of fact, just five years ago. But that’s the year we’re immediately taken back to when Spektor opens up with “Folding Chair” off her 2009 album, Far. Without a supporting band, the song is stripped from the album version’s production, but it does not lack in punch. 

As a one-woman show, Regina Spektor makes any instrument not in her hand superfluous to the songs she recorded for studio albums. 

Spektor also reminds us that her songs are irreverent, sweet, clever, and as imaginative as ever. Her unseriousness is also intact—bolted and silly-stringed inside a piñata. She sings “Reading Time with Pickle” with earnestness, with quick piano notes that dance in the air and vocals that are sharp and clear, and full of inflections. 

The inflections hold us captive. She sings “Better,” and we try to sing along, shyly, because we’re unable to keep up. The same thing happens when “Aprés Moi,” “Us,” and “Fidelity” are played. 

Something magical happens when Spektor plays the piano, keys, and guitar. She is ubiquitous with her talent, and we were (literally) seated in awe as witnesses. She grabs her guitar to strum out the rhythmic notes of “That Time” off her 2006 album, Begin to Hope, and I wish the crowd joined in as she said her boxes of tangerines were “cheap and juicy!” but alas. Instead, we all bob our heads, grinning like millennial teenagers, and tap our feet along to the infectious music. 

And just like that, the show was over. Spektor did a quick, one-song encore with “Samson” and the crowd roared and clapped politely before filing out to end their Tuesday night. And though she didn’t play “Consequence of Sounds,” she played a fantastic list of her epic songs to satisfy any millennial heart or introduce herself to new listeners. 

Two Decades On, The Fray Still Hits Hard

📍 ACL Live — July 26, 2025
Written by: Perrin Boyd

Downtown Austin was humming on Saturday night as The Fray brought their How to Save a Life: The 20th Anniversary Tour to ACL Live. Stepping onstage to a sold-out crowd, the Denver band immediately set the tone for a night that felt less like a victory lap and more like a genuine reunion between old friends. With Joe King now taking over lead vocals, there’s a new spark running through the band — one that still honors the heart and soul that’s kept fans close for nearly twenty years.

From the first notes, it was clear The Fray hadn’t strayed far from their roots. The piano-led arrangements, the steady pulse of the rhythm section, and those soaring, heart-tugging melodies were all there. The setlist balanced the big moments with the deep cuts — staples like “How to Save a Life” and “Over My Head (Cable Car)” sat alongside fan favorites such as “Little House” and “Vienna.” Even newer tracks like “Hurricane” and “Love Don’t Die” slid in seamlessly, proof the band is still adding chapters to its story.

The emotional peaks came in waves. “Look After You” and “Never Say Never” wrapped the room in a collective hush before giving way to swells of applause. When “How to Save a Life” arrived, the band barely needed to sing — King often stepped away from the mic entirely, letting the crowd’s voices fill the room. It wasn’t just nostalgia; it was a shared moment, like the song belonged to everyone there. Midway through, they slipped in a surprise — a cover of The Cranberries’ “Dreams” — and the crowd lit up, singing along to every word.

What stood out most wasn’t just how tight they sounded, but how unforced it all felt. There were smiles between bandmates, small glances of acknowledgment, and moments where the music seemed to take even them by surprise. The songs carried the same intimacy they’ve always had — the kind you can hear alone on headphones, but that somehow expands and deepens when shared with thousands of others.

Two decades on, The Fray still know how to make a room feel something. Saturday night wasn’t just a trip through the past; it was a reminder that their music still has a pulse — steady, strong, and very much alive in Austin.

Waltz, Cry, Repeat: A Night with Esha Tewari

📍 3TEN at ACL Live — July 17, 2025
Written by: Clinton Camper

Esha Tewari’s set at 3TEN on Thursday, July 17 felt like stepping into a perfectly lit coming-of-age film, except the heartbreak was real and we were all in it together. Esha walked out casually, picked up her guitar like it was no big deal, and dove straight into “things i want.” She didn’t have to say much. The crowd was already fully locked in from the first chord.

Her presence is quiet, but commanding. She doesn’t oversell anything; she just sings exactly what she means. “dead horse” and “million times” hit early, and you could see people visibly exhale as if they’d been holding something in all week. Esha makes space for that. She moves through songs like they’re muscle memory, not in a robotic way, but in a way that makes you feel like she lives in every line.

The energy shifted during “waltz” when she asked the crowd to literally form a circle and dance with each other. It was such a simple gesture but it cracked something open—people held hands, laughed nervously, and swayed together like it was their high school formal all over again. That moment lingered, and you could feel it carry into “empty pages” and “bad decision!,” both of which felt sharper and more lived-in than their recorded versions.

By the time she got to “train song,” people were openly crying. And not just quietly—we’re talking full-on tears, mascara be damned. She let the silence hold for a beat after the last note, and it was heavy in the best way. Then she flipped it with “summer in december,” a song that feels like a soft shoulder after a breakdown. Every track had its own weight, its own mood. You could tell she curated the set intentionally, like a conversation that knew where it was going.

Her cover of “Fade Into You” was gorgeous and haunting, but it didn’t feel like a cover. It felt like it belonged to her, like she found her way into it and pulled the whole room with her. Then she played an unreleased track—maybe called “kissing strangers,” based on the lyrics—and it already felt familiar. Like something we’d all be looping the moment it drops.

She wrapped the night with “I Can” and of course, “beautiful boy.” That closer? It’s church. The whole room screamed those lyrics like a breakup exorcism, and Esha didn’t have to ask—we gave her everything. She stood still, let the crowd carry the weight, and looked honestly kind of emotional about it.

No fancy stage effects. No drama. Just a girl with a guitar, a sold-out room, and the kind of quiet command that doesn’t demand attention—it earns it.

We were lucky to be there. And if you were, you know exactly what I mean.

Late Night Drive Home Logs On at Antone’s

📍 Antones — July 16, 2025
Written by: Clinton Camper

On a Wednesday (July 16th) night, Antone’s wasn’t just a blues club—it was the internet come to life, pixelated edges and all, courtesy of Texas’ own late night drive home. The four-piece walked out one by one, frontman Andre Portillo kicking things off with as i watch my life online while a glowing window and doorway flickered behind them, mirroring their debut album cover. It felt intentional, like they were inviting us into their version of the feed—only louder, sweatier, and way more human.

Portillo’s in-between banter was charmingly awkward, the kind of self-awareness that makes you root for him harder. “I love you, I love me too, I love you, Austin,” he grinned, before diving headfirst into terabyte. His vocals had extra grit live, compressed just enough to cut through the swirl of guitars from touring axeman Tofe and the ever-dynamic Juan “Ockz” Vargas, who pushed and pulled each song like he was having a conversation with himself.

The crowd was locked in from the jump, swaying through she came for a sweet time, bouncing to Awkward Conversations, and erupting when the opening notes of Stress Relief hit. Phones shot up, voices doubled the chorus, and for a moment the room felt like one big, collective post—likes in real time. Freddy Baca’s basslines never sat still, sneaking in hooks you could hum all the way home, while Brian Dolan kept the whole thing stitched together with tight, expressive drumming.

Even the more introspective moments—like modern entertainment with its jittery tension or the haunting brevity of 1985—landed with weight in the cramped, red-lit room. By the end, when the last notes faded and the crowd spilled into the humid Austin night, it was clear: late night drive home aren’t just documenting our overstimulated, hyperconnected era. They’re making it sound like something worth logging on for.

A Night with The Psychedelic Furs at ACL Live

📍 ACL Live — July 15, 2025
Written by: Clinton Camper

On July 15, ACL Live at The Moody Theater became a sanctuary for longtime fans and new converts alike as The Psychedelic Furs delivered a career-spanning set that proved their music is as vital in 2025 as it was in the early ’80s.

Richard Butler walked on stage dressed like a man who knows exactly how to own it — black leather pants, a black cheetah-print suit jacket with the collar popped, and a red button-up that caught the light every time he moved. His sharp style was matched by his signature theatrical flair: stretching his arms like a conductor, pacing the edges of the stage, and leaning into the crowd with a knowing grin. From the first notes of President Gas, his raspy, magnetic voice cut through the room with the same intensity that made these songs timeless.

The band wasted no time moving between eras, pairing newer tracks like Wrong Train and The Boy That Invented Rock & Roll with beloved staples like Heaven and The Ghost in You. The crowd — a mix of fans who’ve been with them since the early days and younger faces seeing them for the first time — swayed, sang, and recorded memories on glowing phone screens.

Love My Way hit mid-set and earned one of the loudest cheers of the night, its shimmering marimba-like keys from Amanda Kramer instantly transporting the room. Tim Butler’s basslines remained the steady heartbeat of the performance, anchoring tracks like Mr. Jones and Run and Run with pulsing drive. Deep cuts such as My Time, Until She Comes, and So Run Down were a gift to the diehards, while Pretty in Pink and Heartbreak Beat ignited full-room singalongs that felt like communal celebrations.

The momentum carried right into the final stretch with Forever Now before the band returned for a single encore: India. The hypnotic closer unfolded like a slow-building wave, its mantra-like repetition lulling the crowd into a dreamlike state until the final chord rang out.

Nearly 45 years after their debut, The Psychedelic Furs remain masters of atmosphere and connection. In Austin, they didn’t just revisit their past — they made it feel thrillingly alive in the present.

He Sang, We Swooned: Keshi in Dallas

📍 House of Blues Dallas — July 27, 2025
Written by: Clinton Camper

It’s hard to overstate the magnetism of keshi — but the crowd at The Bomb Factory Tuesday night did a great job trying. From the moment he stepped on stage, draped in a black fishnet top with more holes than fabric, wide-leg jeans chained up like a final boss, and tattoos crawling down both arms, the room erupted. All the girlies (and plenty of boys) were absolutely feral for their soft-spoken, genre-bending king.

Backed by a full band perched dramatically above him — drums, keys, guitar, bass — keshi owned the lower ground with quiet command. He asked if we could top Houston. Challenge accepted.

The crowd was a beautiful mix of diehards, many of them Asian-American, screaming every lyric back to him like gospel. “Dallas fucks,” he laughed mid-set, and based on the decibel levels, he wasn't lying.

It was hit after hit after hit. Limbo sent the room into a frenzy, Forever pulled heartstrings with that signature quiver in his voice, and Understand had couples slow dancing in the back like it was prom night for the heartbreak kids. He told us Drunk was written about throwing up on a walk from 6th Street to West Campus in Austin — and somehow, that made us love it more.

Even when the room got sweaty, a guy with a personal fan fanning the crowd like a local hero kept the moment light. The production? Trippy and glitchy visuals mixed with live feeds of the stage, like watching a Tumblr mood board come to life in 4K.

One of the night’s most memorable moments came when a fan passed up a rice hat. He wore it briefly — crowd goes wild — then said it didn’t match the fit but he was keeping it anyway. Born and raised in Houston, keshi honors his Vietnamese heritage in subtle but meaningful ways. There’s a quiet pride in everything he does, even when he’s joking about his “soft spot for the couples” while breaking every single heart in the room.

By the time he played Just to Die, it felt like therapy. “If you’re going through it, I hope this song is medicine,” he told us. We believed him.

He closed with Euphoria, the crowd fully transformed into his backup choir. Then he disappeared. The crowd screamed. He came back. One final track — ID. The kind of ending that leaves you vibrating in your chest and thinking, this man is going to be a megastar.

Spoiler alert: he already is.

Mereba Made Magic at 3TEN at ACL Live

📍 3TEN at ACL Live (Austin) — July 14, 2025
Written by: Clinton Camper

On a warm Monday night in downtown Austin, the 3TEN ACL Live stage became a portal—one that gently pulled the crowd into Mereba’s world of introspection, soul, and sound. Touring in support of her sophomore album The Breeze Grew a Fire, Mereba delivered a performance that felt more like an intimate gathering than a traditional concert.

Opening with “White Doves,” “Ever Needed,” and “Rider,” she set the tone with effortless grace. Dressed in flowy earth tones, acoustic guitar in hand, Mereba moved with a calm power—her voice gliding over dreamy production and stripped-down arrangements. By the time she hit the simmering chorus of “Counterfeit,” the crowd had already surrendered to the spell.

Mereba is a master of mood and meaning. Her live set blurred genre lines, folding folk, hip-hop, soul, and spoken word into something distinctly her own. Every song carried intention, and every moment between songs added to the story. She shared reflections about new motherhood before easing into “Starlight (My Baby),” a song she wrote for her son, introducing it with a softness that left the room holding its breath. The emotional weight in her delivery was matched by the quiet awe of the audience.

There were playful moments, too. At one point, she paused to laugh with someone in the crowd, showing the same wit and warmth that colors her lyrics. “Planet U” and “Ghost Ride” brought a different kind of energy—groovy, glitchy, and quietly defiant. Her band, a tight-knit trio of keys, drums, and bass, elevated every transition, creating a sonic current that felt alive and ever-shifting.

Highlights included “Phone Me,” which landed like a late-night voicemail you didn’t know you needed, and “Heart of a Child,” which paired deep vulnerability with featherlight instrumentation. The show’s pacing was deliberate but never slow; even its silences felt full.

After closing with “Sandstorm,” Mereba stepped offstage, leaving the crowd cheering for more. The room erupted when she returned for an encore, blending “Bet” with a delicate cover of Sam Cooke’s “You Send Me,” before finishing the night with “Black Truck.” That final track—a fan favorite from The Jungle Is the Only Way Out—hit with familiar comfort and quiet triumph.

Mereba’s Austin performance wasn’t about spectacle. It was about connection, craft, and clarity. In a city known for live music, she stood out not by being loud, but by being intentional. From start to finish, the night felt like a conversation—one we were lucky to be part of.

Architects Hit Dallas at Full Force

📍 House of Blues Dallas — July 27, 2025
Written by: Clinton Camper

It was so hot inside House of Blues Dallas on Sunday night, July 27, that the air felt like it had its own mosh pit. But that didn’t stop U.K. metalcore giants Architects from delivering a set that scorched even harder than the Texas temps.

Frontman Sam Carter stormed the stage in a Members Only-style black shiny jacket and cowboy hat—a bold look that was short-lived. A few songs in, the jacket was off, the sweat was flowing, and the chaos was just getting started. The cowboy hat stuck around a little longer, a perfect nod to the band’s lone star setting, but it was clear from the jump: this wasn’t going to be a fashion show. This was war.

The crowd? Unhinged in the best way. From the first breakdown to the last scream, they were all in—scream-singing every word, throwing fists in the air, and jumping like their lives depended on it. There wasn’t a still body in the room. Every person in that pit knew the lyrics, knew the cues, and knew exactly when to lose their minds. The floor bounced with the collective weight of hundreds of boots and Vans hitting the ground in sync.

And yes, the mosh pit was mandatory—Sam made sure of it, calling for it over and over like a man possessed. At one point, it felt like the entire floor cracked open into a vortex of limbs and rage. The energy in the room was magnetic—borderline spiritual in a very loud, very sweaty, very metal way.

Speaking of possessed, Carter’s vocal range was on another planet. One minute he’s tearing through glass-shattering highs, the next he’s growling from the pit of hell. It’s a sonic rollercoaster that somehow never derails. His voice sliced through the wall of distortion like a blade, landing every line with precision, pain, and purpose.

Also: shoutout to the absolute units of men crowd-surfing their way across the venue. Watching giant dudes get passed overhead like beach balls at a festival was both impressive and mildly terrifying. If you were standing anywhere near the front, you weren’t just watching a concert—you were participating in a full-body strength challenge.

Architects didn’t just play a set—they commanded the room. Every breakdown hit like a freight train. Every build-up felt like a riot about to erupt. Their setlist moved seamlessly between punishing heaviness and melodic moments of release, proving why they’re still one of the most vital forces in modern metalcore.

If you came looking for a night of polite head-nods and casual rock, you came to the wrong show. Architects in Dallas was a full-body, full-volume, sweat-soaked experience. And the heat? Just part of the ambiance.

No Filter, No Shame: Jessie Reyez Live in Dallas

📍 South Side Ballroom — July 21, 2025
Written by: Clinton Camper

There’s something electric about a Monday night when Jessie Reyez is in the building—specifically South Side Ballroom in Dallas, where the air smelled like weed, the crowd screamed like they were auditioning for The Voice, and Jessie delivered a performance that felt more like church for the heartbroken than a pop show.

Dressed in a cute two-piece denim combo, Jessie hit the stage with nothing but joy, humility, and that signature chaotic angel energy. “I’m so happy to be in Dallas,” she beamed—and it showed. Her stage setup was minimal: guitar, bass, keys, drums, and a massive screen flashing between moody clouds and buzzing cityscapes. But the vibe? Anything but minimal.

She danced with her papi during “NO ONE’S IN THE ROOM,” brought out 4 cloned versions of herself on screen for “PALO SANTO,” and somewhere in between, threw in a Drake “Nokia” remix that transitioned into “PSILOCYBIN & DAISIES” as she popped up on a second stage level like a boss, daisies blooming behind her. The girl’s got more stamina than the Energizer Bunny and moves like Beyoncé on a blunt.

And the crowd? Fully unhinged—in the best way. We weren't just singing—we were scream-singing every word, convinced we were background vocalists. Jessie’s 3 rules for the night?

  1. No shame zone—introverts and extroverts, be yourself.

  2. Leave sounding like an 80-year-old smoker.

  3. Leave feeling better than you came.

Mission. Accomplished.

During “IMPORTED,” someone launched a bra onstage and Jessie casually hung it from her mic stand like a trophy. She took time to shout out fans, sign a book, acknowledge a “CHOKE ME” sign (???), wish a happy birthday, and get real about the state of the world—reminding us she’s both Canadian and Latina, and proud of it.

But the peak? A raw, stripped-back “FIGURES” with just her and a guitar. Before diving in, she made us scream “F*CK MY EX” at the top of our lungs over and over—because, therapy.

It’s rare to see an artist so vulnerable, so wild, and so real all at once. Jessie Reyez isn’t trying to impress anyone—she’s just here to feel everything, and bring us along for the ride. And judging by the sweaty, smiling, emotionally wrecked crowd pouring out of South Side Ballroom, we were more than down for it.

10/10 would scream-sing again.