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

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

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

THAT Tito’s Lounge

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

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

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

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

The BeatBox Lounge

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

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

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

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

Friday (Oct 10th)

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

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

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

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

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

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

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

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

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

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

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

Saturday (Oct 11th)

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

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

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

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

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

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

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

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

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

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

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

Sunday (Oct 12th)

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

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

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

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

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

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

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

Final Thoughts

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

Heartbreak Never Looked This Sharp: Givēon in Dallas

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pure Chaos, Pure Love, Pure Turnstile

📍Moody Amphitheater — Oct. 14, 2025

Written by Perrin Boyd / Photos by Erick Hernandez

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Three Decades Later, Garbage Is Still Glorious

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

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

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

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

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

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

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

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

ACL Festival (Weekend One): Full Access, Full Heart, Full Belly

📍ACL Festival — October 3-5, 2025
Written by Clinton Camper

We made it through ACL Weekend One — three days of music, madness, and more wristbands than I knew what to do with. I was lucky enough to be approved to cover the festival by the amazing press and media team at C3 Presents, and let me tell you, they take care of their people.

The Press Lounge became my home base — Wi-Fi, shaded seating, AC bathrooms (a true luxury), snacks, and daily happy hours with catered food and drinks. I stopped in Friday and Happy Chicks chicken fingers were being served, and again Sunday for mini Philly cheesesteaks that were worth every step through the dust. It’s also where outlets like the Statesman, Chronicle, and 101X (plus many more) host interviews — and the best place to sneak away mid-fest to post stories, cool down, and recharge before the next set.

My media pass also got me into the BMI Lounge, complete with side-stage access, cold drinks, and umbrellas for shade — SPOILER ALERT: I caught Nicky You’re from there on Friday.

Outside of media perks, I was invited to That Tito’s Lounge, and it was a dream: five different cocktails (including an espresso martini topped with a wafer cookie), free swag, cowboy hat customizations, hair braiding, and blessedly cold AC bathrooms.

The BeatBox Beverages Lounge, a newcomer this year, also reached out ahead of the fest and absolutely delivered. It was bright, loud, and full of life, with DJ sets, colorful cocktails, and the most addictive frozen mango drink with a tajín rim and tajín gummy bears.

And just when I thought I couldn’t possibly have more access, a buddy from Miller Lite handed me lounge entry there too: more snacks, shade, AC, and an open bar stocked with Miller products and frozen Simply Spiked cocktails.

To say I was strapped with access is an understatement, but even with all the lounges and perks, I stayed focused on what I came for: the music.

The Music

Friday kicked off hot — literally and figuratively. The kind of heat that hits you before you’ve even scanned your wristband. I started my day at the BMI stage catching Nicky You’re, who radiates pure sunshine pop energy. “Sunroof” still goes crazy live, and the crowd was fully locked in from the jump. It was the perfect way to ease into the weekend — no chaos yet, just blue skies, bouncy pop hooks, and everyone grinning ear to ear.

From there, King Princess reminded everyone why she’s a festival favorite — swagger, wit, and that perfect mix of rockstar confidence and unbothered charm. She strutted across the stage in total command, cracking jokes between songs and tossing off one-liners like she was holding court. There’s a kind of electricity to her presence — messy, magnetic, and completely self-assured. At one point, she locked eyes with the crowd mid-song, grinning like she knew exactly what she was doing — daring us not to fall in love with her. Spoiler: we all did.

I swung by the Miller Lite stage for The Favors, the new project from Ashe and Finneas, and you could feel the buzz before they even walked out. This was their Austin debut, and the crowd knew it — people were pressed up to the barricade, singing along from the first note, phones in the air, completely dialed in. Their chemistry was effortless, the kind of connection that doesn’t need words. The music had this polished melancholy both artists are known for — lush, cinematic, and a little heartbreaking in the best way. It felt like one of those “I was there when it started” moments, and judging by the roar of the crowd, everyone else felt it too.

Then I made my way to the Lady Bird stage for Briscoe, one of Austin’s own. There’s something extra special about watching a local band command a festival crowd in their home city — the pride is palpable. Their set struck that perfect balance of warmth and nostalgia, the kind of folk-rock storytelling that just feels like Texas. The harmonies were golden, the trumpet solos soared, and the crowd swayed under the sun, completely locked in. It was one of those moments that made Zilker feel small — like the whole park was sharing the same heartbeat.

Role Model took the T-Mobile stage next, and his mix of sincerity and humor had everyone locked in. He’s got that everyman charm — like the guy who’d compliment your outfit in line for iced coffee, then write a breakup song about you. I made the call to dip out a few minutes early to make my next set — which turned out to be a huge mistake because he brought out Hilary Duff during “Sally When the Wine Runs Out.” Truly heartbreaking. But I was on a mission to see one of my favorite bands of all time for the 20th time, so I can’t even be mad about it.

That band, of course, was Cage the Elephant, and they reminded everyone why they’re one of the best live rock acts on the planet. The second the lights hit, the entire field shifted — that kind of shared jolt where you know you’re about to witness something wild. Matt Shultz was pure chaos in motion, darting across the stage, climbing anything in sight, and throwing his body into every lyric like the music was pulling him forward. It wasn’t just a performance — it was an exorcism wrapped in glitter and feedback. The band sounded razor-sharp, every guitar riff cutting clean through the night air. Watching them felt like being plugged straight into an electric current; every song hit like an adrenaline rush you didn’t want to end.

Then came Empire of the Sun, who turned the stage into something out of a dream — or maybe a feverish sci-fi hallucination. Their set design looked like a buried statue coming to life, with a massive sculpted head and an outstretched arm rising from the ground, as if the stage itself was waking up. The dancers shimmered in metallic costumes, moving in hypnotic unison while strobes pulsed through clouds of haze. Luke Steele strutted across the stage like a space-age prophet — part rock god, part alien royalty — his guitar glinting under the lights. It was theatrical, bizarre, and completely mesmerizing, the kind of performance that makes you stop trying to understand it and just give in to the spectacle. It was a reminder that weird is beautiful, and ACL is better for it.

And finally, Hozier. The air cooled, the sky went deep blue, and the crowd seemed to collectively exhale as he stepped onstage. His voice carried across Zilker like it was built for that moment — smooth, rich, and magnetic. When he launched into “Take Me to Church,” everyone sang along like it was gospel. The lights glowed, couples swayed, strangers hugged. It felt like the perfect ending to a perfect first day — the calm before the chaos of Saturday and Sunday.

Saturday was wall-to-wall goodness. Spacey Jane got the day started with jangly guitars and breezy melodies that just feel like an Austin afternoon. Olivia Dean’s voice was smooth as honey — charming, soulful, and impossible not to sway to. Modest Mouse gave us the perfect dose of nostalgia, while MARINA delivered a set that was pure theater — costume changes, crowd singalongs, and total pop star energy. RIIZE, one of the festival’s most hyped newcomers, drew a massive crowd at the BeatBox stage — they’re polished, fun, and already have that next-big-thing shine.

Then came Doechii, and she was an absolute force. She ripped her jeans pretty early into her set and immediately joked with the crowd, asking us not to look at her ass — then proceeded to twerk like she owned the place. The crowd lost it. She’s a true wordsmith and a performer with magnetic energy; I guarantee she’ll be headlining festivals next year.

After Doechii’s set ended, I stayed put at the Amex stage — determined to get as close as possible for the night’s headliner (and, in my opinion, the headliner of the entire weekend): Sabrina Carpenter. I was in it for the long haul.

Sabrina is like a real-life Polly Pocket come to life (shoutout to Chanda for that perfect comparison if she’s reading this) — all charm, class, and pure pop perfection. She commands the stage with effortless confidence that feels both playful and razor-sharp. Every hair flip, every wink, every cheeky grin was perfectly timed. The crowd was completely wrapped around her finger, belting every lyric back to her like gospel. “Espresso” live was a full-on scream-along moment — the kind that makes your voice crack and you don’t even care. Sabrina isn’t just having a pop-star moment — she is the moment.

By Sunday, the heat, the dust, and the sleep deprivation all set in — but so did the magic. The morning walk through Zilker had that mix of exhaustion and adrenaline that only ACL veterans understand. My shoes were still crusted in dust from Saturday, my phone was hanging by a thread, and my body was running purely on caffeine and excitement.

It was so hot and felt way too early for Flowerovlove’s set, but I made my way pretty close to the barricade so I could catch some shade cast by the stage — a tiny pocket of survival I was determined to claim. Her set felt like floating — dreamy, gentle, and full of warmth despite the rising heat. She’s young, charming, and already commands the stage with this easy, natural confidence. At the end, she tossed posters into the crowd, and I somehow caught one — a rare festival victory moment — only to accidentally set it down somewhere later and never see it again. RIP to that poster, wherever it lives now.

I caught Haute & Freddy next at the Amex stage, and their chemistry on stage was contagious — smooth grooves, easy banter, and that kind of effortless charm that makes you want to be friends with them. I sat in the grass for part of their set with a frozen drink in hand, talking to a couple next to me who were there just to “vibe and survive” (accurate summary of day three energy).

Then came The Dare, who completely flipped the mood. His set was chaos in the best possible way — sweaty, unfiltered, and full of that downtown-after-midnight energy. People were dancing like no one was watching, and honestly, by that point in the weekend, no one cared if anyone was.

Wet Leg followed and might’ve had the funniest banter of the weekend. They’re cheeky and cool without trying — “Chaise Longue” hit like a shot of pure serotonin. During their set, I ran into someone I hadn’t seen since college who screamed “YOU’RE STILL DOING ATXCONCERT?!” mid-chorus, which honestly felt very on-brand for an Austin festival moment.

Disco Lines came next at the Miller Lite stage and turned the field into a massive outdoor rave. It was impossible not to move — the bass was thumping, people were spinning their BeatBox cups in the air, and someone behind me yelled “THIS IS MY CHURCH!” during a drop. Can’t argue with that.

Then, T-Pain. The man is a national treasure. He came out swinging with “Booty Wurk,” had the entire park screaming along to “Buy U a Drank,” and still somehow topped it with a surprise acoustic moment that turned into a crowd singalong. There was this woman near me holding a giant cutout of his face, and when he spotted it, he just laughed and said, “That’s old me, I like your dedication.” He’s funny, humble, and one of the most purely entertaining performers I’ve ever seen — a total pro.

By the time Polo & Pan hit the stage, the sun had already dipped behind the skyline and the air had finally cooled off a bit. The lights came alive, the crowd loosened up, and everything felt a little dreamlike. Their set was hypnotic, groovy, and cinematic — the perfect soundtrack to a Sunday night in Zilker.

Then came Phantogram, closing out my weekend on the BeatBox stage. Their set was moody, bold, and beautifully loud — the lights cut through the smoke, the bass rattled through the ground, and Sarah Barthel’s voice sounded like pure electricity. I caught part of their set side-stage thanks to my BeatBox access, sipping the last of that frozen mango drink I’d been obsessed with all weekend, and it felt like the perfect full-circle moment. The music, the lights, the drink, the exhaustion — everything synced up perfectly for one last surge of ACL magic.

I decided to skip John Summit and The Killers, not out of shade, but because I wanted to end my ACL weekend on that Phantogram high — and I had to race off to catch MARINA’s late-night show at ACL Live. Still, I couldn’t help but feel a pang of sadness knowing Doja Cat, my top must-see, had canceled her slot.

The Food

Credit: Roger Ho

I take my ACL Eats almost as seriously as the lineup.

Friday started strong with a grilled cheese from Burro — simple, crispy perfection — followed by a scoop of Amy’s “Congress Parade” ice cream, a mix of sweet cream, pink cake batter, rainbow sprinkles, and frosted animal crackers. Pure serotonin in a cup.

Saturday was all about tradition: a chicken cone from Mighty Cone and nachos from El Patio, two festival staples I’ve been grabbing almost every year since I started coming to ACL.

By Sunday, the food gods decided to bless me. I stopped by Southside Flying Pizza, where the guy behind the counter made a wild “trash can shot” bet with his empty water bottle. I told him I believed in him — and when he sank it from twenty feet away, he grinned, handed me a slice of pepperoni on the house, and said, “Thanks for believing in me.” Between the free pizza, the sunset, and the beers still lingering in my system, it felt like ACL itself was rewarding my optimism.

Three days, four lounges, twenty-three artists, countless drinks and snacks, and more unforgettable moments than I can count. I left Zilker dusty, happy, and already counting down the days until next year — or, if you’re crazy like I am, next weekend.

Main Character Energy: MARINA at Moody Theater

📍ACL Live Moody Theater — Oct. 5, 2025
Written by Clinton Camper

Walking into ACL Live on Sunday night felt like stepping into another realm — not just a concert, but a coronation. MARINA’s Princess of Power Tour turned the Moody Theater into a glittering dreamscape, a full-on narrative that played out in “levels,” each one more cinematic than the last.

When the lights dimmed and the first chords of “Princess of Power” echoed through the room, the crowd erupted like it was the start of a video game quest we’d all been waiting to join. MARINA appeared in a sculptural pastel bodysuit that shimmered under the stage lights — equal parts goddess and glitchcore heroine. It was camp, it was commanding, and it was everything.

The set unfolded in chapters, each with its own aesthetic — “Familiar Hells” pulsed in neon pink and blue, a sugar rush of heartbreak and rebellion. She danced like she was both the main character and the final boss, punctuating verses with winks and power poses that made the audience scream. When she launched into “How to Be a Heartbreaker,” it felt like time travel — the entire venue shouting every lyric like we were back in 2012 with our eyeliner smudged and feelings too big for the room.

The emotional centerpiece came midway through with “I Am Not a Robot,” where MARINA stood almost completely still under a single spotlight. It was one of those moments where you could feel the collective heartbeat in the room — her voice crystalline, her expression soft but resolute. She’s always been an artist who knows how to turn vulnerability into armor, and that moment proved it.

By the time she reached the final stretch — the high-energy chaos of “Bubblegum Bitch” bleeding into the glittery defiance of “Primadonna” — the theater had fully transformed into a technicolor kingdom. Confetti rained down like stardust, and the LED screens behind her pulsed in sync with every beat.

She ended the night with “I <3 You,” her voice glowing through the haze as fans waved their phones like fireflies. It felt tender and human — the kind of closing moment that reminds you why you fell for her in the first place. MARINA didn’t just perform; she reconnected. Every lyric, every look, every wink carried the weight of someone who’s been through it and came out radiant. Austin got the full transformation arc — and we left a little more powerful, too.

Aminé's 'Tour de Dance' is a Portal to Collective Euphoria

📍ACL Live Moody Theater — Sept. 30, 2025
Written by Krysta Ayers

Photo: Hunter Levy

I had been trying to see Aminé for years. The Portland-native has been to Austin before, playing Emo’s in 2018 and Stubb’s in 2022, but the stars never aligned for me to attend a show until Tuesday night. 

Aminé’s an artist who is in a lane of his own, and his Tour de Dance performance was a spectacular display of his talent, creativity, and eruption of any imaginary boundaries in the hip-hop genre. While hip-hop and rap are still working out the kinks (barely) of their historically misogynistic bars and too-cool-to-care attitude—after a shift from the more educational, let’s-get-real rhymes of KRS-One and Public Enemy—Aminé is on stage as a student of previous MCs, adding a signature touch of his own braggadocious, “weird” Portland style. This creative space he’s entered has been paved by the likes of Andre 3000 and, more recently, Tyler, the Creator, but Aminé is doing things on his terms.

Photo: Hunter Levy

The show opened up with Aminé’s frequent producer and collaborator, Lido (“13MOS,” “Charmander”), and ACL Live was suddenly a club. Lido played only the feet-moving, head-bopping R&B and hip-hop tracks that provided a mellifluous segue into Aminé’s set. The energy was at its boiling point; we were ready for our main act. 

Aminé came out swinging with the bass-heavy track, “Arc de Triomph,” off his sixth studio album, 13 Months of Sunshine. (I’m including his Kaytraminé project in that count.) In the song, he tells us he’s an “MC first, and Portland native,” and it won’t be the first time he reminds us of where he comes from; his ancestry, and his ability to honor it, is an important theme in the new album. And when we get to the chorus, we all join to shout: “Question! The fuck you be on?” 

Photo: Hunter Levy

He gives us teasers with his setlist, playing the abridged version of every track so that he can fit 31 songs during his set. He danced around stage with boundless energy, kicking his feet behind him and running from edge to edge. He also had two calls and responses that he and his DJ, MadisonLST, used throughout the night to keep us engaged and interactive. When they say, “You’re beautiful,” we respond with, “I know.” And when they say, “Thirteen months of,” we say, “sunshine.” 

Aminé performs his pick of songs from his already expansive catalog, giving us “sossaup” and “4EVA” from his album with Kaytranada—with sexy, house percussion and hi hats that demand hips be in motion—as well as “WHY,” “Vacay” and “Riri.” He plays “Yellow” and reminds us that he’s “humble when I’m blunt / but I gotta go hard,” which is a dichotomy he’s been straddling his entire career: staying a humble Oregonian, “no matter what happens / stay grounded on both feet” (“Be Easier on Yourself”) and leaning into the braggadocious nature of hip-hop with lines like, “too rich for the chit chat” (“Mad Funny Freestyle”). 

Photo: Hunter Levy

The setlist also includes “Compensating” and “Woodlawn” from his Limbo album, which elicits more energy from the crowd as we rap along with him. We get “REDMERCEDES” and “Shimmy” and then a rare moment of Aminé sitting on a barstool to rap “DR.WHOEVER”—which, thankfully, kept the Ricky Thompson voice-intro saying, “Sad on your motherfuckin’ B-day?!” 

He continues to keep things positive on stage. His smile is big as he takes a beat to look at the crowd and take everything in, taking the mike to say, “You’re beautiful,” and waiting for us to respond, “I know.” He takes a GoPro for certain songs and produces a live-stream of himself rapping with the crowd behind him, on the large three-screen box set up on stage. 

Photo: Hunter Levy

The show is bookmarked with another go at “Arc de Triomphe,” so we can all shout “The fuck you be on” before we call it a night. And the last call and response of the night? A shout of “Free Palestine” that he signals to do again, louder. 

There’s a palpable hesitation to leave the venue—we were loose and dancing, ready to continue the club vibes and spend the rest of his discography with him, no matter the appetizer-length of each track we were given. Aminé came ready to have fun with us, share his musical journey, and burst the bubble of hip-hop the best way he knows how: with color, boldness, and a swelling of danceable beats.

Headlights Shine Bright: Alex G’s Sold-Out Night at Stubb’s

📍Stubbs Waller Creek Amphitheater — Sept. 30, 2025
Written by Perrin Boyd

On the final night of September, Stubb’s Waller Creek Amphitheater in Austin was filled wall to wall for a sold-out show from indie rock favorite Alex G. Touring in support of his new album Headlights, released in July, the performance marked a special moment for fans who have followed his evolution from bedroom-recorded experiments to fully realized live productions. The crowd showed that devotion with early arrivals crammed into the outdoor space, humming with anticipation for the artist whose music often feels like it was built in solitude, yet resonates with a collective intimacy.

Credit: Erick Hernandez

Alex G, whose reputation is rooted in his DIY ethos, has always embodied the lo-fi aesthetic. Recording most of his catalog by himself at home, he manages to capture a rawness and imperfection that feels personal and unfiltered. That approach has made him a cult figure within the indie rock world. Yet on stage, those solitary creations bloom into something larger. Backed by a full band, his songs gained new weight and texture, proving that even in collaboration, Alex G maintains complete creative control. His fingerprints are everywhere - from the way the arrangements unfold to the pacing of the set itself.

Credit: Erick Hernandez

The night leaned heavily on Headlights, and fans seemed eager to hear how these newly released tracks would sound under the Austin lights.Songs like “Afterlife” carried a ghostly pull, with guitar lines that rippled out into the night. “June Guitar” offered a more meditative moment, its repetition and softness giving the audience room to sink in. “Oranges” stood out as well, striking a balance between the experimental edges of his recording style and the collective joy of the crowd singing along. Each of these new songs showcased not only the depth of Headlights but also Alex G’s ability to reinterpret them in a live setting without losing their homespun origins.

Longtime fans weren’t forgotten in the glow of new material. Between the fresh tracks from Headlights, Alex G reached back into his catalog, weaving in songs that have become touchstones for those who’ve followed him since his early Bandcamp days.

Credit: Erick Hernandez

Each older selection carried the weight of memory, and when paired with the new. The transitions never felt forced; instead, they served as a reminder that Alex G is a curator of his own world as much as he is a songwriter. He’s not interested in pandering or leaning on nostalgia, but he knows exactly when to let the past flicker back into the spotlight. With the band behind him, those tracks stretched and shifted, sometimes erupting into walls of distortion, other times collapsing into fragile silence.

Credit: Erick Hernandez

As the night came to a close, Alex left fans with something special. He chose to end with “Sarah” and “Mary,” two songs that hold a cherished place in his discography. The quiet intimacy of those closing songs contrasted beautifully with the bigger moments of the set, sending everyone off with a lingering sense of connection.

The show at Stubb’s showed that Alex G can take the lo-fi world he creates in solitude and turn it into something expansive and alive. His music, once made alone at home, had grown into something powerful enough to unite a sold-out crowd under the Austin night sky.

Confetti Everywhere: Dua Lipa Rules Dallas

📍American Airlines Center (Dallas)
Written by Clinton Camper

Dua Lipa turned American Airlines Center into a glitter bomb last night. From the third row it felt like I was practically in the pit without having to fight through the crush of bodies, the best kind of sweet spot. Looking up at the very top of the arena, you could see every seat filled and fans smashed together—it was wall-to-wall Dua, and the energy never dipped.

Credit: Madison Phipps

Credit: Madison Phipps

She came out swinging with “Training Season” and “End of an Era,” instantly reminding everyone why she’s built for stages this big. What stood out most was how she balanced the spectacle with real musicianship: a full live band, a violinist tucked into the mix, and her voice cutting clean over the roar of the crowd. Not every pop star in 2025 takes that risk, and it paid off.

The show was heavy on choreography, a full team of dancers moving with her almost the entire night, yet she never seemed out of breath—just effortless. Sequined outfits glittered under the lights, confetti cannons went off more times than I could count, and the whole place felt wrapped in sparkle. By the time she hit “Levitating” and “Break My Heart,” the floor was one giant dance party.

Credit: Madison Phipps

She also made space for surprises. Her take on Kelly Clarkson’s “Since U Been Gone” was a full-blown arena scream-along—Dallas ate it up. Later, “Electricity” and “Physical” reminded you that her catalog is already stacked with festival-sized anthems, while newer cuts like “Illusion” and “Falling Forever” kept the night from feeling like a greatest-hits set.

Credit: Madison Phipps

At one point, Dua literally stopped the show for twenty minutes to sign autographs for fans pressed against the barricade. That’s the kind of move you rarely see at this level—sweet, unhurried, and totally genuine. She looked stunning, sounded even better, and somehow managed to make a sold-out arena feel personal.

Credit: Madison Raney/American Airlines Center

The encore was pure dopamine: “New Rules” crashing straight into “Don’t Start Now,” a quick burst of “Dance the Night,” and finally closing with “Houdini.” By then, the arena was drowned in confetti again, and no one was ready to leave.

Credit: Madison Raney/American Airlines Center

And here’s how I knew it was a special night: I wore overalls to the show. After Dua wrapped up, I hit the restroom before trekking back to Irving. I let the flap down at the urinal and suddenly became the evening’s grand finale—confetti poured out in a big way, like I was a surprise party trick for the guys in the bathroom. No joke. Dua’s show followed me all the way home.

Recap: Levitation 2025

📍Palmer Events Center / Red River District

Written by Krysta Ayers / Photos by Drew Doggett

Levitation promo

Austin gets a multi-day festival as often as new high-rises appear on Rainey Street…all the fucking time. Trying to figure out where to host a festival that involves an extensive roster of artists can be tricky when you can’t shut down Zilker Park every other weekend, but Levitation, now in its 15th year, took a different approach this year. 

The Black Angels

With two stages, one indoor and one outdoor, the festival was held at the Palmer Events Center, and it was perfectly structured so that no bands overlapped (*prayer hands*). Though the space was relatively small, it still held plenty of space for sitting around and enjoying food trucks; lounging in some artsy, crescent-moon-type, glow-in-the-dark chairs; visiting an aisle of local vendors; checking out merch; and getting some drinks. 

Blonde Redhead

From September 25–28, festival goers could see Mastodon, La Femme, Unknown Mortal Orchestra, TV on the Radio, Pavement, Built to Spill, The Black Angels, and more. It also stretched into pre-festival days with shows around Red River District to kick things off. At Palmer, the energy was high, if not a little exhausting: the performance times meant the crowds were ping-ponging back and forth between the stages like a herd of cows. 

Rickshaw Billies Burger Patrol

TV on the Radio’s performance was electrifying. The Brooklyn-based band played through their hits (like “Wolf Like Me”) and, before finishing their set, used their stage to tell the crowd that love songs are anti-genocide songs and unapologetically shout for a free Palestine. From the crowd, a Palestinian flag waved above our heads. 

Being Dead

Another great thing about the festival, similar to the format of ACL, is that there were after shows, or late-night shows, at various venues along Red River District, and since the festival ended at 10:30 each night, people could make the short trek to catch some of the bands again. 

Mastodon

For me, the stand out was The Dandy Warhols. They played an after-show at Mohawk, which is a great venue if you get there early enough or if you happen to be over 5’9 (I am not), and delivered a nostalgic set tinged with distorted guitars and the indie-sleaze vibe of the early aughts. They played “Bohemian Like You” and “We Used to Be Friends,” songs I never thought I’d hear live, and it was hard for the crowd to stay still. And with hardly any phones in the air to record the set, we might have been transported to 2003, after all. 

Pavement

As the city officials, or powers that be, welcome more tech-bro money with their stale high-rises and lack of culture, the ways in which this once-weird city operates its live-music scene will change. But, as those of us who attend the weekend festivals or local small-venue shows can tell you, the music is here to stay…it’ll just be staged in innovative ways. 

TV on the Radio

Levitation seems ready to keep the music lovers satiated.  

Alabama Shakes—Back Like They Never Left

📍Moody Center — Sept. 25, 2025
Written by Krysta Ayers / Photos by Erick Hernandez 

I first saw Alabama Shakes, from far away, during ACL in 2015. They were performing on the Honda Stage, tiny figures punching out nostalgia-filled rock ‘n’ roll melodies with Brittany Howard’s voice bellowing over the sea of people. They played an “early” (read: not main headliner, the sun was still out) show that year, performing their newly released Sound and Color album. 

A decade later, I watched on Saturday as the Athens, Alabama-based band performed in a setting specifically designed for them, on a stage that mimicked a private garden at Hampton Court, as part of their reunion tour across North America. 

There is no hiding that Alabama Shakes are from the South. Band name aside, the twangy accent is as solid as a bar of gold in Howard’s mouth and is the foundation for her vocal range, whether going into a falsetto or digging deep into her belly for a baritone key. She tells us, early into the set, that the band plays “this kind of music” because it’s what they could all agree on—it hinges on the Southern, Black influence of rhythm and blues and rock ‘n’ roll, and it’s the perfect mechanism to drive home the all-too-real lyrics penned by the band. 

The set opens up with a twangy guitar riff as they jump into “Hang Loose” off their 2012 album, Boys and Girls. Howard, keeping the tracklist see-sawing from that album to 2015’s Sound and Color, then dedicates “I Found You” to “anyone who had to wait a long time to find someone to love them.” The peach-colored lights beamed across the stage with the illusion that the band, specifically Howard, were the only ones in the room. I could have lived in that moment forever. 

Howard later tells us that she used to be a “mail lady” before success came to the band and gave her job a “three-hour notice” once she got the call that changed her life monumentally. And so in a hotel room, with a guitar in hand, she wrote “This Feeling.” She plays it on stage with low-key drums, a steady bass (played by Zac Cockrell), and her familiar guitar plucking, her backup singers providing subtle soulful harmonies. She takes a bow when she finishes, and then raises her hands over her head in victory—gratitude and triumph wrapped into each other. 

They play “Joe,” then this year’s single, “Another Life,” which is a soulful blues track featuring a classic R&B drum beat, wailing guitars that accompany the verses, and pleading lyrics asking a lover for a chance to try again. 

The back half of the main show (that is to say, before the encore) was just as epic and groovy as the first. I wondered how time, a social construct as it were, could have passed so quickly—it seemed that as soon as it started, it was already coming to a crashing, robust end. With songs like “Rise to the Sun,” “Someday,” “Hold On,” “Sound and Color,” and “Don’t Wanna Fight,” it was jam-packed with finger-snapping bangers that kept us on our feet the whole time. The latter, “Don’t Wanna Fight,” was so powerful; the shrill scream at the beginning of the song immediately placed goosebumps on my arms. 

With a grandiose finish, they played “Gimme All Your Love,” and Howard’s vocals battled it out with the rhythm guitar to see which could be more forceful. When the band stepped off stage, the crowd proceeded with the longest, loudest encore cheer I’ve ever had the pleasure of hearing. (My brother, the next day, still claimed to have sore arms from all the clapping.) 

The three-song encore ended with “Always Alright” and an unwavering conviction that Alabama Shakes doesn’t have to prove anything—they exist, they are thunderously fucking good, they are Southern rock, and they are always going to be alright. 

Hickeys, Cars, and 'Murder on the Dance Floor' with Royel Otis

📍 Stubb’s Amphitheater — Sept. 20, 2025
Written by Krysta Ayers

Photo by Josh Guerra

On any given Saturday night, Austin’s Red River district is swollen with live music at teeming venues, but that was especially so last Saturday for Royel Otis. For night one in Austin of Royel Otis’s Meet me in the Car tour (to play their new album, hickey), Stubb’s seemed to have successfully bat-signaled every fan in the area; it was a sold-out show.

The line wrapped around the venue even after the doors had opened an hour prior, and the supporting band, an excellent London-based indie rock band called bby, were a good deal into their set before the rest of the fans were inside. 

Photo by Josh Guerra

Based in Sydney, Australia, Royel Otis is a duo of Otis Pavlovic and Royel Maddell, touring with Tim Ayre on keyboards and Tim Commandeur on drums. The large screen behind them was their sole stage decor, and it displayed various statements and demands: “(this is a song about being homesick),” “MOODY,” “(dance with the person standing next to you).” They hardly needed to tell the crowd anything since they responded of their own volition with scream-singing, dancing, and cheers. 

Photo by Drew Doggett

The band played “Headed for the Door,” from their 2024 album, PRATTS & PAIN, and the catchy tune “Kool Aid” from 2023’s Sofa Kings album. For a relatively “new” band (they started in 2019), they are tight with their live playing; they have carved out a cool synth-pop-indie rock sound that would be appreciated by anyone who loves Phoenix, The Drums, or The Beaches. 

Off their new album, they played tracks like “who’s your boyfriend,” “car,” “moody,” and “come on home”—a forlorn tune asking a lover to not let it be over, they’ll be waiting. Pavlovic’s voice is almost whisper sweet, like he’s beckoning the crowd to get closer for a better listen. Maddell hides behind his long blonde hair, apparently a signature move for the man of mystery. He lets his guitar skills be the star.

Photo by Drew Doggett

Airing out their woes about love in these new (and old) songs, the duo also included the covers that launched them onto our radars: “Linger” from The Cranberries, that they slowed down and made more melancholic stripped down to Maddell’s guitar and Pavlovic’s breathy vocals, and “Murder on the Dance Floor,” by Sophie Ellis-Bexter that keeps the dance-centric vibe of the original with more kick drum and snazzy guitar for effect. 

Photo by Josh Guerra

My (humble) belief is that if a band can sound just as good as their recorded album, they’ve got talent deserving of a multi-city tour. And if they sound even better when they’re live, then you need to drop everything to experience the magic first-hand, because that band was made for a live show; in their most raw form, they are at their best.

That’s the case for Royel Otis. They’ve brought their personal brand of indie-rock to the States, and the world, and everyone should see them live.

Photo by Drew Doggett

Austin Screams Along With Y’all Out Boy

📍3TEN at ACL Live — Sept. 19
Written by Clinton Camper

Friday night at 3TEN ACL Live felt like stepping back into the mid-2000s—except with better beer options and a slightly older crowd who somehow still remembered every lyric. Austin’s own Y’all Out Boy had the room packed and sweaty, running through Fall Out Boy’s From Under the Cork Tree in full, front to back. It didn’t feel like watching a cover band; it felt like being part of a room full of people who never let go of their emo phase—and never wanted to.

The moment the guitars hit on “Our Lawyer Made Us Change the Name of This Song…,” the floor shook. Standing near the middle, all I could hear were hundreds of voices drowning out the band. A guy next to me tried filming the first three songs before finally giving up, shoving his phone into his pocket, and screaming until his face turned red. That’s when you know it’s a good night.

When “Sugar, We’re Goin Down” landed, the energy spiked even harder. A group of friends a few rows in front of me linked arms and shouted every word like it was 2005 again. One drink went flying into the air, and while I couldn’t see their faces clearly through the crowd, I imagine the eyeliner was smudged and the smiles were wide—pure joy in getting to scream those songs together again. During “Sophomore Slump or Comeback of the Year,” someone sang with eyes closed, head tilted back, like they were right back in their bedroom with posters on the wall and headphones blasting too loud.

“Dance, Dance” was chaos in the best way. People bounced off each other, the entire back half of the floor moved like one big wave, and a guy in a Taking Back Sunday shirt tried climbing on his friend’s shoulders before nearly crashing—saved at the last second by two strangers who caught him. Messy, communal, and exactly how these songs are supposed to be experienced.

What made it all work was how loose and playful the band kept it. They weren’t pretending to be Fall Out Boy; they cracked jokes, leaned into the absurdity, and played it straight when it mattered, giving the crowd permission to scream until their voices gave out. Between songs, they grinned at the mayhem, almost daring everyone to get louder.

By the time they closed with “XO,” people were drenched in sweat, hugging friends they’d lost in the crowd, and smiling like they’d just been dropped back into their teens. Walking out into the humid Austin night, I heard someone say, “That felt like high school, but better.” And they were right. Y’all Out Boy didn’t cover From Under the Cork Tree—they made it feel alive again, in a room full of people who never stopped loving it.

Caroline Kingsbury & MARIS: Queer Tag-Team Performance Blasts Us into Space

📍3Ten at ACL Live — Sept. 17, 2025
Written by Krysta Ayers

Give Me a Tour opens up with a Star Wars-like voiceover that introduces a “lesbian alien” and “bisexual astronaut” who are in a galaxy far, far away. Caroline Kingsbury and MARIS are sharing the stage and tour as headliners—the first time for both of them—and the format is refreshing and vibrant and cohesive: both have similar sounds to make the back-and-forths like a seesaw, instead of like oil and water trying to share a bottle. 

The motif: space. The unifying power: queerness. (But also: vulnerable lyrics, unapologetic movement, and the vocal power of your fave pop princesses.)   

When Kingsbury started off her portion of the show, I wrote “Chappell Roan” in my notes app. Her voice, her style, and her sense of self seemed modeled and expanded on from Chappell’s influence. She is also as colorful (hair, clothes) and demanding on stage as Chappell. Later, when Kingsbury and MARIS did a quick Q&A during a break, we learn that Chappell is one of Kingsbury’s queer icons. Fitting.  

When MARIS comes on and belts out her notes, I open my notes app to write “voice like Paramore,” in reference to Hayley Williams. She may be short, but the vocals pack a punch, especially when she hits high notes at the end of her tracks. Tonally, MARIS sounds very similar to Williams. When she answered the queer icon question later in the show, she said Freddie Mercury and David Bowie. 

Kingsbury and MARIS take turns with the stage for the most part, coming together in the middle to play an epic acoustic cover of “Pink Pony Club” and at the end to play their joint track, “Give Me a Sign” (which they used to open the show as well). And because they’re sharing the stage, they also share a guitarist (Andrew) and drummer (Tiger), the only other people on stage with them. 

Kingsbury played new tracks “Shock Treatment,” “Chocolate,” and “Pain and Pleasure.” She intros one song by saying, “This song is for my ex and it’s called, ‘I Really Don’t Care,’ but I really do care!” It’s an ‘80s-esque synth and drums combo that could easily be confused for a Robyn song. Her voice is earthy, weighty, and loud—it’s powerful even over drum fills and guitar rhythms.  

Both artists excel at using their emotions to connect authentically with their fans. In fact, someone in the crowd does cry during MARIS’s “Chameleon,” about trying to be the perfect version, a fake mold, of whatever the other person wants. She (a Virgo) and Kingsbury (a Leo), are the perfect “space cadet” weirdos to grace the stage and sing about womanhood, queerness, and finding love. Songs like Kingsbury’s, “Kissing Someone Else,” and MARIS’s “It’s Hard (to be a man)” are anthems for the spectrum of feelings and levels of confidence we can feel at any moment. Their music is made for the late-night, close-friends-only karaoke sessions or drives.  

The individual artists were dynamic separately, and a force together. The vocal chops from each were impressive, especially when extending equal energy into dancing and marching across the stage.  It was a sapphic tour of immense fun, genuine love, and acceptance—and, as is the case with many shows that come through first in a small venue, they will soon return to a bigger one, which will sell out immediately, and everyone will rue the day they didn’t see them intimately at 3Ten. 

Catch the Vibes, Feel the Noise: Our Levitation 2025 Preview

Written by Clinton Camper

LEVITATION is just around the corner and we can’t wait to check out its new home at the Palmer Events Center. This year’s move brings more room to stretch out, 360° visuals, two main stages with no competing set times, a vendor village, immersive art, and more from September 26–28.

The lineup is loaded, but these are the sets we’re making sure not to miss. Here’s when and where you can catch them.

Friday, September 26

Rickshaw Billie’s Burger Patrol
📍 Outdoor Stage – 4:40 to 5:20 PM
Austin’s own fuzz-fueled trio bring the riffs with equal parts power and humor, a hometown favorite that sets the weekend off right.

The Armed
📍 Outdoor Stage – 8:20 to 9:20 PM
Detroit’s genre-bending hardcore collective are pure chaos onstage. Expect an unrelenting, high-energy set to cap Friday night.

Saturday, September 27

Model/Actriz
📍 Outdoor Stage – 3:20 to 4:00 PM
Confrontational, raw, and magnetic, Model/Actriz deliver art-punk intensity that’s bound to stand out in the daylight hours.

Blonde Redhead
📍 Indoor Stage – 4:00 to 5:00 PM
Dreamy indie legends weaving nostalgia and elegance, their hypnotic sound is made for Levitation’s immersive production.

The Raveonettes
📍 Outdoor Stage – 6:40 to 7:30 PM
The Danish duo’s fuzz-drenched noir pop makes its long-awaited Austin return. Their comeback is one of Saturday’s most anticipated moments.

La Femme
📍 Outdoor Stage – 8:20 to 9:20 PM
French psych-pop that’s colorful, stylish, and unpredictable. Their set is sure to feel like a technicolor dance party.

TV on the Radio
📍 Indoor Stage – 9:10 to 10:30 PM
Back at last, TVOTR close out Saturday night with their mix of soul, art-rock, and indie anthems. A headliner you’ll want to stay planted for.

Sunday, September 28

Daiistar
📍 Indoor Stage – 1:30 to 2:10 PM
Austin’s own neo-psych risers open Sunday with fuzzed-out hooks that carry the city’s psych torch into the future.

Frankie & The Witch Fingers
📍 Indoor Stage – 4:10 to 5:00 PM
Relentless garage-psych energy and a wild stage presence. This is one of those “don’t blink” sets.

Upchuck
📍 Outdoor Stage – 5:00 to 5:40 PM
Atlanta punks bringing fire and fury. Their raw, pit-starting energy will be unmatched.

Being Dead
📍 Outdoor Stage – 6:30 to 7:20 PM
Playful, strange, and totally Austin. Being Dead’s quirky garage-psych will be the perfect offbeat highlight of Sunday evening.

Beyond the Music: Vendor Village

Levitation isn’t just about what’s happening onstage, the Vendor Village is a festival within the festival. This year’s curated lineup of local and touring creators brings together vinyl, vintage, art, and more:

  • Feels So Good – records, merch, and Austin culture staples

  • Death By Audio – legendary gear and effects from NYC

  • Room Service Vintage + Passport Vintage – curated threads with character

  • Birds Barbershop – festival-ready cuts and fresh looks

  • Driptone Records – vinyl crate-digging paradise

  • SeanPanik – unique prints and artistic flair

  • Howdy Ceramics – handmade, Austin-crafted pieces

  • Elianna’s Art + Chelsea Screename – original art and design

  • Dawn + Dusk Jewelry + Ax+Apple – jewelry to elevate your festival fits

  • Jello Mom – vintage finds and colorful statement pieces

The Vendor Village is the perfect spot to recharge between sets, pick up a one-of-a-kind piece, or just soak in the creative energy that makes Levitation more than just a music festival.

After Dark: Levitation Night Shows

When the Palmer Events Center winds down, the party spills into downtown and beyond with Levitation’s legendary night shows. These late-night sets are where you’ll catch artists in more intimate club settings, stretching out and trying new things. Here are the ones we’ve circled:

  • Beach Fossils – Wednesday 9/24 @ Mohawk
    Dreamy, jangly indie rock in one of Austin’s most iconic open-air clubs. Expect sing-alongs and good vibes under the night sky.

  • Boy Harsher – Thursday 9/25 @ Stubb’s
    Darkwave intensity in one of Austin’s best amphitheaters. Expect pulsing beats and haunting visuals.

  • The Dandy Warhols – Friday 9/26 @ Mohawk
    Psychedelic rock veterans bringing decades of cult classics. A perfect way to stretch Levitation into the late night.

  • PUP + Jeff Rosenstock – Saturday 9/27 @ Radio East
    A punk double-header of cathartic chaos. PUP’s big chants and rowdy energy meet Jeff Rosenstock’s DIY anthems for one of the most unmissable night shows of the festival.

Final Thoughts

Levitation’s move to the Palmer Events Center unlocks a whole new experience structured to catch every band during the three-day fest. No compromises, just music, community, and discovery.

👉 Stay plugged in: follow ATXconcert, the official Levitation, and the Levitation Spotify playlist so you don’t miss a beat.

So, Austin — who’s at the top of your list this year?

Aloe Up Close: Soulful Storytelling at 3TEN

📍3TEN at ACL Live — Sept. 12 
Written by Perrin Boyd

Aloe Blacc kicked off his 2025 tour on Friday night at 3Ten Austin City Limits, setting the tone for the road ahead with a show in one of Austin’s most intimate venues. Known for his soulful voice and uplifting lyrics, Blacc gave the small crowd a performance that felt personal, direct, and engaging. Every seat in the house felt as though you could talk to him and engage with him personally.

The Grammy-nominated singer wasted little time delivering the hits that made him a household name. Songs like “I Need a Dollar,” “The Man,” and the Avicii collaboration “Wake Me Up” drew loud singalongs from the audience, with many fans joining in word for word. The close setting of 3Ten amplified the energy, turning the show into more of a shared celebration than a standard tour opener.

Blacc also took time to spotlight the artists who influenced him. He paid tribute to Bill Withers with a heartfelt version of “Lean on Me,” which stood out as one of the night’s most memorable moments. He later covered Marvin Gaye’s “What’s Going On,” giving the classic a respectful yet flawless delivery, and surprised the crowd with his own soulful take on The Mamas & the Papas’ “California Dreamin’.”

Throughout the night, Blacc made the audience feel less like spectators and more like collaborators. He encouraged clapping, singing, and even call-and-response moments that turned the room into a choir. Between songs, he spoke with warmth and humor, sharing stories about his journey, his influences, and the power of music to bring people together. In a venue as intimate as 3Ten, those conversations felt personal, as though he were speaking directly to each person in the crowd.

As the night went on, the show highlighted both his versatility and his consistency. Whether delivering his own chart-topping hits or interpreting classics, Blacc’s vocals remained smooth and flawless.

For fans, this was a rare opportunity to see an international artist in a small venue where every detail was up close. If the Austin performance is any indication, Blacc’s 2025 tour will be defined by connection, authenticity, and a reminder of why his music continues to resonate with audiences around the world.

Twin Voices, One Heartbeat: Amistat at 3TEN

📍3TEN at ACL Live — Sept. 11
Written by Clinton Camper

Walking into 3TEN on Thursday night, it felt less like a concert and more like stumbling into someone’s living room — if that living room was packed with fans hanging onto every word. Amistat, the German-born, Melbourne-bred twin brothers Josef and Jan Prasil, didn’t just perform; they invited us into their world.

From the moment they stepped on stage, the room shifted. Their voices locked together in those uncanny sibling harmonies — the kind that make you forget where one ends and the other begins. You could feel the crowd’s attention snap tight during the opening notes of “Love and Light” — whispers and shuffling died out instantly, replaced by wide eyes and quiet awe. One woman in the front row mouthed every single word, and the rest of us weren’t far behind.

The night was a blend of heartache and hope, anchored by songs like “Parley” and “The Wheel”, where the lyrics seemed to hit a collective nerve. During “Shape of Everything”, I noticed a couple in the corner with their heads pressed together, swaying as if the song belonged only to them. And when they performed “Love and Light”, the entire room sang back the chorus so loudly that the twins had to step away from the mic, letting us carry it. It felt like a shared secret between strangers.

What made the show remarkable wasn’t just the music — it was the way Amistat used silence and softness as weapons. Between songs, they joked with each other in the easy, shorthand way only twins can, drawing laughter from the audience. But when the guitars and piano swelled again, the room snapped right back into stillness. At one point, you could’ve heard a pin drop — until the last chord rang out and the place erupted in cheers.

By the end of the night, it was clear we hadn’t just witnessed a gig. We’d been let in on something rare: two brothers turning their personal bond into sound, and in doing so, giving everyone in the room a piece of it.

Night Cap: One More Epic Night at Stubb's

📍Stubb’s Amphitheater — Sept. 12 
Written by Krysta Ayers / Photos by Drew Doggett

With a name synonymous with the age-old ritual to end a night with one more drink, Night Cap, the local alt-rock band headlining Stubb’s on Friday night, fits the description perfectly: one more song, one more album, one more…is exactly the desire they provoke with their combination of honest lyrics, fun music videos, and catchy tunes. 

When Night Cap first played Stubb’s in 2018, it was a sold-out show played indoors on a stage tucked underneath the stairs of the famous BBQ joint. They followed that performance up last year, after the release of their first album (a self-titled project), which they played on the outdoor amphitheater stage—also a sold-out show. 

Their sophomore album, It’s Happening, will be released on Sept. 26, but until then, the band has been riding a wave of momentum and tours, teasing the new songs while the release date looms ahead. (They did a spring tour named after the album name in April, then toured through Dallas, Houston, and San Antonio in June.) Friday’s show was like the pre-game for their upcoming fall tour, which will kick off in November. 

“We recorded the album right before we went on that [spring] tour,” Alex Alfonso, Night Cap’s bassist, told me as we sat at a picnic table backstage at Stubb’s. Roughly an hour before they were meant to start their show, Alex led me backstage to join Ryan King (vocals/guitar), who had just finished his vocal warm-up, Adrian Ayala (keys), and Jake Bomgaars (vocals/guitar). 

“Tonight will be the first time playing eight of the 11 songs that are on the album,” said Ryan. “We want to play all of the new stuff for the town that we live in and it’s kind of reflective of how we started this band and came up with this city, and have spent so many nights playing shows…It’s cool to showcase this brand new music to our closest friends, and family, and fans,” he adds. 

The energy backstage belied a seriousness that was as earnest as their lyrics, and it is clear that they intend to make bigger moves (they tell me they’re interested in Tiny Desk, Triple J, and anything involving Cheryl Waters). 

It seems to be the trajectory they’re on.

With minutes to spare before they head on stage, Ryan says of the setlist, “I think a lot of [the new songs] are immediately easy to resonate with for a lot of people.” 

And the crowd responded with great support. The band played “Say Your Name,” an unreleased track that was pulsating and powerful, and the crowd danced along easily. The bandmates were chameleons, able to blend genres and embody the music wholly, a hard thing to look away from. 

The equivalent of a warm hug under that starlit sky were Jake’s and Ryan’s harmonies on songs like “Honey.” And Jake’s guitar solo was performed with pedantic control of each string; it sounded even better than the studio recording. 

They played “Doctor Love” and “Like That,” singles from the new album that are available to stream already. The latter, an indie-dance anthem that we all need. They also brought out friends on stage—Slenderbodies, one of the opening bands (whom Ryan said the album would have been impossible without), as well as Ross Brown on violin, and Justin and Will on brass, from Big Wy’s Brass Band.

The setlist was performed with a pragmatism seemingly in direct contrast to their right-brain sensibilities and lyrics. They play with the maturity and precision gained over years touring. They paused in between songs only to thank the crowd and rally them to shout a “Happy Birthday” to Jake. In a relatively short career, they’ve amassed a robust number of songs, and they seemed to include enough of their old favorites while still playing a majority of their new tracks.

The band played “Glimpse” and then ended their encore with “Lady of the Moon,” a beautiful song that showcased their ability to genre-switch into something reminiscent of a cool night listening to Durand Jones and the Indications—or at least a tune that could have been used for the Grease soundtrack—and “Eileen,” an upbeat track with hard-hitting drums and an energetic melody. The energy was incredible ‘til the very end.

Pre-show, the band spoke of their fulsome appreciation for bands like Kings of Leon and Coldplay, and their inspiration was apparent in the band’s stage presence, concise control of their pen, and their ability to evoke strong emotional reactions to their songs.

The show was the perfect culmination of years of hard work in the studio, collaborating, and getting into the rhythm of each other. Family and close friends who have seen the evolution of Night Cap up close can best understand Adrian telling me backstage, “It’s cool to see [these songs] go from a friend’s backyard to a headlining show.” Shifting from the intimate to the broader world stage is something that Night Cap is just getting started on—and with their keen sense of who they are and desire to “chase the truth” in their music, they will undoubtedly have the world saying: one more.