Live at Echo Lounge: Isabel LaRosa

I slipped into the warm glow of the Echo Lounge just as Isabel LaRosa took the stage, opening with “muse.” The band’s soft, shimmering intro felt like a gentle invitation—perfect for settling into the plush booths and fairy-lit rafters. I caught Isabel’s eye as she sang, her smile lighting up the room like a secret shared between friends.

A few songs in, she slowed things down with “More Than Friends.” The lights softened to a rosy hue, and you could hear a pin drop—everyone was leaning in, swaying together to that tender chorus. Couples held hands, besties hugged, and even the bartender was tapping along behind the counter. It was one of those magic moments where the crowd felt stitched into a single cozy quilt.

Just before “Burning,” Isabel paused and grinned big. “Tonight’s extra special,” she said, “because it’s my brother Thomas’s birthday!” The stagehands rolled out a small cake, candles lit, and the entire room burst into a heartfelt “Happy Birthday.” You could feel Isabel’s love for her brother in every note afterward; the crowd was totally obsessed, cheering “We love you, Thomas!” louder than any chorus.

Then she turned up the heat with “Burning,” trading her guitar for a mic stand as haze and colored lights swirled. The driving beat pulsed through the floorboards, and I swear you could feel every heartbeat in that packed room. Phones shot up to capture the moment, but most of us were too busy living it.

She closed the main set with “favorite,” pouring every ounce of emotion into the lyrics under soft pink spotlights. It felt like she was singing directly to each of us, sharing a sweet secret we’d carry home.

For the encore, Isabel returned with “i’m yours,” and the place absolutely erupted—hands shot skyward, and the whole crowd sang back every word. When the final note faded, I strolled back into the cool Dallas night with my ears still ringing and my heart full—grateful for a night of music, birthday love, and unforgettable moments.

Irresistible Bliss with Soul Coughing at ACL Live

I slipped into my spot just as the house lights faded and Soul Coughing kicked off with “I Miss the Girl.” A single emerald beam caught Mark de Gli Antoni’s flickering keyboard loops, and Sebastian Steinberg’s bass throbbed like a heartbeat under Mike Doughty’s cool, conversational croon. Right away, the crowd leaned in—arms folded, heads bobbing—caught between gleeful anticipation and pure sonic immersion.

By the time they dropped into “White Girl,” the stage was bathed in molten gold and violet strobes. Doughty prowled the front edge, mic stand in hand, as shards of distorted guitar and punchy brass samples collided behind him. Someone next to me raised a beer high, and for a moment our collective grin said it all: this was why we’d sold out ACL Live months ago.

Mid-set, “Misinformed” hit like a playful glitch. The slanted guitar riffs skidded across the stage like tumbleweeds, while de Gli Antoni’s off-kilter synth accents teased you right before the drop. I swear I caught a couple of people trading stunned high-fives during that warped breakdown—there’s nothing like hearing that song in a live room to remind you how thrilling a little musical chaos can feel.

Later, just as the smoke machines filled the stage with pearly haze, they launched into “Collapse.” Its slow-burning intro stretched time—each cymbal wash and plucked bass note hung in the air like a question—before the band dove into the epic outro. The audience erupted in a single wave of applause when the final chords dissolved, as if we’d all taken a collective, satisfied breath.

Of course, no Soul Coughing night would be complete without a killer encore, and “Super Bon Bon” was the perfect exclamation point. The opening drums landed like a call to arms, and soon the entire room was chanting along to “the mind is a terrible thing to taste.” When the last echo faded and the neon lights slowly bloomed back on, I stumbled out into the cool April air with my ears ringing and a huge grin—already plotting how to do it all over again next time.

The Immutable Truth: Meshuggah Still Rules Metal

Written and reviewed by Clinton Camper

April 15, 2025 – Austin, TX – ACL Live at The Moody Theater

On a warm Tuesday night in Austin, the legendary ACL Live was swallowed whole by a black hole of sound. Meshuggah didn’t just play a show—they engineered a ritual of rhythm, distortion, and decimation. The Swedish pioneers of djent brought their warped time signatures and gut-punch grooves to a packed house, and for nearly 90 minutes, there was no escape—only surrender.

They opened with “Broken Cog,” a sinister, creeping descent into madness. It’s not a bombastic intro—it’s a psychological one. Like a beast slowly waking up, the track slithered through the speakers, blanketing the crowd in tension before snapping jaws shut with its crushing weight. The lighting—pure dystopia in motion—flashed in cold whites and infernal reds, syncing perfectly with every jarring downbeat. It wasn’t just music. It was war choreography.

A few tracks in, “Rational Gaze” landed like a hammer to the chest. The crowd surged, bodies convulsing to the labyrinthine rhythms that only Meshuggah can execute with such deadly control. This song is math-metal scripture—every hit, every pause, every note—calculated to disorient and dominate. It’s not just heavy. It’s alien. And in that moment, under that blinding, chaotic light, we weren’t in Texas anymore—we were on Meshuggah’s planet.

Tomas Haake’s drumming was nothing short of interdimensional sorcery. His ability to maintain impossible polyrhythms while the rest of the band syncs into an entirely different groove is a feat that defies physics. And then there's Fredrik Thordendal and Mårten Hagström, whose guitars didn’t chug—they detonated. Monolithic riffs dropped like granite slabs, while Jens Kidman—part conductor, part berserker—stalked the stage with mechanical precision and primal intensity.

The main set closed with “Future Breed Machine,” and if ACL Live had rafters, they would've come down. That track remains the gospel of Meshuggah’s ethos: surgically tight, violently unrelenting, and somehow still groovy enough to make 2,000 metalheads bang their heads in oddly satisfying syncopation.

But it wasn’t over. The encore summoned the last reserves of energy from a crowd that had already been left breathless.

First came “Bleed.” The song that launched a thousand failed drum covers on YouTube. The kick pattern alone is enough to make seasoned musicians cry, but hearing it live is a whole different beast. It’s punishing. It’s hypnotic. It’s pure Meshuggah—a perfect blend of technical insanity and brute force. The floor practically rippled as the audience convulsed to its relentless rhythm.

And then, the final nail: “Demiurge.” Slower. Meaner. Heavier. The opening riff felt like tectonic plates shifting beneath the venue. Heads banged slower now—not from fatigue, but reverence. It was the sound of a god descending, dragging chains. An end that didn’t just close the night—it crushed it.

Meshuggah doesn’t do “concerts.” They deliver transmissions from another plane—coded in odd time signatures, wrapped in sonic warfare, and delivered with terrifying exactness. On this night, in this room, there was no doubt: the masters of mechanical mayhem are still evolving, still innovating, and still capable of bending time, space, and spine.

We didn’t leave that show the same. Meshuggah doesn’t let you.

An Intimate Night with Amos Lee

Written & reviewed by Clinton Camper

April 13, 2025 – Austin, TX – ACL Live

If there’s one thing I’ve learned from years of seeing shows, it’s that there’s nothing quite like the feeling of being in the same room as an artist whose voice feels like it’s been carved from pure emotion. That was the magic of Amos Lee on Sunday night at ACL Live.

Right from the moment he stepped on stage, it was clear: this wasn’t just another show. Lee’s voice, rich and soulful, filled the venue like it was made to echo through those walls. The crowd? They were in it, hanging on every note, with every song feeling like an intimate conversation. The setlist was a perfect blend of his classics and newer material, and the audience couldn’t have been more receptive.

Lee kicked things off with “Windows Are Rolled Down”, and the mellow, groovy rhythm had the whole place swaying in unison. From there, he dove into “Sweet Pea”, and let me tell you, that track always has a way of making you feel like you’re floating in time, as if the world’s troubles just fade away for a moment.

But the real magic came during “Shout Out Loud”. That song has an energy that you almost have to feel to believe. The whole venue lit up with a collective energy that proved Lee knows how to balance the slow, aching ballads with a little soul-fire when the moment calls for it. It was a perfect mix of joy, nostalgia, and pure groove.

The night was also filled with heartfelt moments as Lee took a step back, chatting with the crowd between songs. He shared his appreciation for Austin's unique energy and even joked about how playing at ACL Live felt a little like a homecoming. And when he moved into “Colors”, the intimate atmosphere in the room became almost palpable. His voice soared effortlessly through the lyrics, and you could hear a pin drop in that space—a testament to his ability to captivate an entire audience with nothing but his raw talent.

The show wrapped up with “Vaporize”—an emotional closer that left the crowd breathless and in awe of the night they just experienced. It's safe to say that Amos Lee delivered not just a concert, but a soulful journey that felt like it lasted just long enough to leave you wanting more, yet long enough to leave a lasting imprint on your heart.

Take Action X SXSW 2025

Artists for Action and the Sandy Hook Promise Foundation came together at SXSW to present two powerful nights of music and advocacy, blending live performances with a mission to raise awareness about gun violence, uplift youth voices, and promote safer schools and communities.

The first night took over Mohawk, headlined by alt-rock legends Everclear, who delivered a high-energy set packed with hits like “Father of Mine” and “Santa Monica.” It was a much-needed dose of classic rock in a festival that’s leaned increasingly indie in recent years. Everclear wasn’t just the right sonic choice—they were the right spiritual choice, too, standing firmly behind the cause and using their platform to amplify its message.

Night two at Empire Control Room & Garage brought an eclectic and powerhouse lineup, featuring Ginuwine, Aly & AJ (who stepped in last minute after Passion Pit’s drop-out), and Mark Barden & Friends. The evening took on a deeply emotional tone with Mark Barden, co-founder of Sandy Hook Promise and father of Daniel Barden, one of the victims of the Sandy Hook shooting. His presence was a poignant reminder of the cause driving this event—gun violence prevention—and he infused the night with personal gravity.

Both Ginuwine and Aly & AJ brought their A-game, tearing the house down with sets that drew in a diverse crowd. While some fans were disappointed that Aly & AJ skipped their iconic hit “Potential Breakup Song,” the duo used their platform to offer much more than music. Between songs, they paused to talk about the importance of gun violence awareness, sharing heartfelt messages of hope and activism in dedication to the victims. It was a night that blended celebration with a sobering reminder of the work ahead—a true testament to music’s power to unite and inspire change.

The atmosphere shifted when Ginuwine took the stage, as the crowd became noticeably more energetic and lively. At 54 years old, Ginuwine proved he still has the chops to deliver a high-energy performance that kept the audience hooked. While the night was filled with great music and chart-topping hits, it transcended entertainment. The event was also a powerful platform for raising awareness about gun violence in America, highlighting the urgent steps needed to address the issue and ensure the safety of our children when they go to school.

Festival Review: SXSW 2025

The annual South by Southwest Festival returned to Austin with another vibrant year of music, film, tech, and brand activations. This year, electric vehicle company Rivian took center stage as a major sponsor, making a strong impression with one of the festival’s most talked-about experiences—a dirt mountain test ride where guests got to hop into one of their electric vehicles for an off-road thrill ride.

Rivian also powered the Radio Day Stage, featuring an impressive lineup that included Mobley, Alesia Lani, Freak Slug, Carpetman, and many more rising artists. To top it all off, they hosted a special music event at the Rivian Road House, just off the Congress Avenue Bridge, where St. Vincent delivered a powerhouse performance that shook the space and reminded everyone why she remains one of the most magnetic performers around.

One of our favorite showcases this year was the JBL Sound Bodega, which took over 3TEN at ACL Live for three packed days of music, energy, and immersive brand experiences. The highlight? A surprise performance by none other than Grammy Award–winning artist DJ Pee .Wee (Anderson .Paak), who lit up the room with a genre-blending, high-energy set.

Beyond the music, JBL kept things fun and interactive with a slew of giveaways—from keychains and sunglasses to portable fans and even their signature speakers. Fans had the chance to score prizes through a nostalgic claw machine or by testing their luck with scratch-off tickets, adding a playful edge to an already electric experience.

This year’s Hook ‘Em House took over Antone’s once again, delivering a two-day SXSW kickoff event packed with energy and local pride. The showcase featured standout performances from Austin’s own Mobley and Shakey Graves, drawing crowds in for a taste of homegrown talent. As always, Hook ‘Em House was a fan favorite during the festival’s opening weekend—thanks in part to its stash of free Longhorn swag, including shirts, pins, buttons, pencils, and a wide variety of Texas-style hats.

SXSW 2025 is already shaping up to look a little different—and yes, you could say this year was a movie. But next year, big changes are coming that will definitely impact how we experience the festival. Most notably, SXSW will be shortened from nine days to seven, with music now running across all seven days—an exciting shift that extends the music programming by two days.

Another major shake-up: The Austin Convention Center will be unavailable starting next year due to a multi-year redevelopment and expansion project, forcing many programming elements to relocate or be reimagined.

Finally, SXSW is changing how badge access works. Starting in 2025, each badge will only grant access to its specific category—music, film, or interactive—with no more secondary access to events outside your badge type. So, for example, music badge holders won’t be able to attend film screenings, and vice versa—unless, of course, you have a Platinum badge, which still gets you into everything.

Festival Review: Sips and Sounds 2025

Sips and Sounds took over Auditorium Shores during the first weekend of SXSW, bringing a star-studded lineup to the heart of Austin. The stacked roster included Khalid, Halsey, AJR, Suki Waterhouse, and Benson Boone, among others—drawing big crowds and even bigger energy.

This one-of-a-kind festival celebrated both music and flavor, with a strong emphasis on Coca-Cola’s latest offerings and the local food scene. Free samples of Coca-Cola’s new Orange Cream Soda were a refreshing highlight—sweet, smooth, creamy, and exactly what the warm spring day called for. Coke created a pop-up market structure that doubled as a drink stand and viewing platform. The second level provided one of the best vantage points of the Coca-Cola Studio Stage, complete with panoramic skyline views.

Cinemark, another major festival partner, brought along a mini movie theater that turned out to be a surprise favorite. Fans cooled off in the cozy, air-conditioned space while snacking on free popcorn and watching a short film—a perfect escape from the midday heat and crowds.

One of the standout performances of the festival was, without a doubt, Khalid. It’s been a while since he’s taken the stage with the same frequency as he once did, so seeing him live again—especially as he ran through hits from his American Teen era—was a wave of pure nostalgia. The crowd sang every word, and for a moment, it felt like we’d time-traveled back to the soundtrack of our late 2010s.

The same could be said for Halsey, who delivered a powerful set after a stretch away from the stage. Her last Austin appearance was back in October, so getting to see her return with that signature intensity felt like a gift—equal parts emotional and electric.

Benson Boone has taken the industry by storm with his breakout hit “Beautiful Things,” and his live performance proves he’s not just a one-hit wonder. His stage presence is electric—impossible to ignore and even harder to forget. We had a good idea of what to expect after seeing him at ACL, and once again, he delivered. His now-signature backflips had the crowd losing it, turning his set into a full-blown spectacle.

Sips and Sounds is a welcome addition to Austin’s ever-growing festival scene—short, sweet, and perfectly timed during one of the best seasons in the city. It fills a unique space in the lineup, offering just the right mix of music, food, and experience. We’re already looking forward to seeing how they top it next year.

Nowhere to Be with West 22nd

Written & Reviewed by Krysta Ayers

APRIL 11, Austin, Texas—Watching a rock show at the Scoot Inn is like watching from your semi-rich friend’s backyard. It’s intimate, and familiar, and just big enough for a group of friends to hang out. This couldn’t be truer than when watching West 22nd play the first show of their tour for their newly released album, Nowhere to Be. The local band (formed at UT and named after the street in West Campus) have roped in a loyal following around the city, so it really does feel like your friend’s backyard—like parents will come out any minute and tell you to keep it down. 

West 22nd sounds exactly like the band you fall in love with when you’re in college. They have catchy bass riffs, upbeat drum patterns that are more Vampire Weekend and less AC/DC, indie-rock melodies, plus clear-cut vocals singing lyrics about love and loss. And really, at any point in your life, but especially in college, what more could you ask for if not pining lyrics for a lover? If you’re a fan of The Arcs, Hippo Campus, Arcy Drive, or Cage the Elephant…these are your guys. Their sound is also slightly reminiscent of the early 2010s—which seems almost natural against the backdrop of early-aughts fashion circling back into the mainstream (and seen in the crowd). 

When I first saw West 22nd play a block party show in a parking lot for the apparel company, Howler Bros, I knew I would need to see them again. It was high-energy and fun (and also around the time of their first ACL performance). So, a second experience at Scoot Inn was welcomed (and an upgrade). The crowd was made up of what mostly seemed like their peers—other university-aged fans—and possibly some family members. And from the get-go, there was a palpable energy in the air; like we all decided this was our favorite band and we couldn’t wait for them to start.

They wasted no time once they were on stage. There was also no big ego on stage—they seemed serious about performing well and setting the tone for what the next chapter (tour) was going to bed. But they were also having fun. They spread out across the stage, communicating with each other with subtle nods or eye contact in ways only close friends and bandmates can do. During their set, they played some 2023 songs from their All the Way Home EP, like, “Sunburns,” and “Road Trip,” and “Sunny Jones”—a fan favorite—all the while dancing and engaging with the crowd, sometimes nodding to a familiar face in the crowd. 

They also played new songs from the Nowhere to Be album, the project the band released on April 4, just a week before their show. And when they played “I Wonder Why,” Logan Madsen (vocals, guitar) used a guitar break to tell the crowd, “ You guys learn the lyrics quickly! The album’s been out a week!” To which, the crowd responded in cheers. The rest of the band, Gabe Acevedo (rhythm guitar and vocal backup); Jet Beck (bass); Jeremy Ancheta (lead guitar), grew visibly more confident in their playing, letting the claps and “woos” boost their energy like a coin with speed in Mario Kart. And when the show came to a close, after the encore song rang out its last note, the crowd stayed a while, piling out of the venue slowly, like no one wanted the songs to end. 

As they continue with their 21-show tour, I have a feeling that it won’t be so easy to see the band play an Austin show in the future. As it is, the Scoot Inn show was sold out. They’re time of being nicknamed “the UT band” (I’m not on campus, I don’t know if people actually call them that) are over. They will likely charm the crowds that see them across the country, undoubtedly gaining more loyal fans ready to scream-sing their lyrics back to them. “You’ve got a lot of nerve to leave / I find it harder to believe / there’s somewhere else you need to be.” I can already see it posted on the bottom of an Instagram photo.

Highs, Lows, and Harmonicas: A Friday Night with Stephen Day

Written and reviewed by Clinton Camper

APRIL 11, Austin, TX—Stephen Day exploded onto 3TEN’s stage with the same raw energy and unmistakable swagger you'd expect from a musical outlaw. There’s a reason the city buzzed all week with anticipation—Stephen doesn’t just play his songs, he inhabits them. Under the intimate glow of the venue’s lights, he effortlessly commandeered the room, serving a cocktail of punk energy and soulful musings that left us both high on life and introspection.

The night kicked off with “Kinda Cowgirl,” a rousing opener that instantly elevated the crowd's collective heartbeat. Stephen’s voice—unpolished yet magnetic—cracked open layers of youthful defiance, enticing us to relinquish our inhibitions as we swayed in unison. When he segued intothe next song, there was a palpable shift in atmosphere; it was as if he’d poured out a memory of lost loves and hopeful tomorrows, all wrapped in a harmonica of tenderness and bittersweet resolve.

And then came “On Top of the World,” with Stephen flashing a rakish grin as if to say, “Welcome to my world, where every chord is a confession and every lyric a dare.” His delivery was playful yet piercing, threading the line between casual banter and poetic revolution. With “If You Were the Rain,” the stage morphed into a gritty cinematic scene. The raw, staccato strum of his guitar evoked the soul of every dive bar in all its gritty charm—a nod to nights that are equal parts misadventure and heartfelt camaraderie.

But it wasn’t all frenetic pace; “All This Space” offered a fleeting moment of atmospheric calm, a musical interlude that let us breathe in the cosmic vastness of his lyrical universe. Stephen’s knack for switching gears was on full display during “For Life (Take You Out, Treat You Right),” where every reverberating note told a story of loyalty, rebellion, and a promise to keep the spirit of rock ‘n’ roll alive. And just when we thought we had him pegged, he wrangled the crowd into a spontaneous explosion of movement with “Dancing in the Street.” With that final number, there was no doubt—Stephen Day had masterfully blurred the lines between a meticulously crafted setlist and an impromptu, riotous celebration.

Throughout the night, his stage presence remained impeccably magnetic. Every riff, every husky whisper between the anthems, came loaded with an authenticity that can only be described as electrifying. With a blend of witty banter, charismatic swagger, and enough raw musical grit to light up downtown Austin, Stephen Day proved that sometimes the most compelling art comes from the heart of a rebel refusing to play by the rules.

In short, the evening was a bittersweet cocktail of highs and reflective lows—a sonic journey that left us breathless and yearning for more. If rock ‘n’ roll has a spirit animal, it’s undoubtedly Stephen Day, the sonic trickster who owns every moment of his stage.

Bible Study on a Thursday Night

Written & Reviewed by Krysta Ayers

APRIL 10, Austin, Texas—In life, one has to embrace a “live and learn” type of approach if they’re going to accept their mistakes and avoid repeating them. Standing inside the mostly empty, 350-people room of downtown’s 3Ten, I thought that statement rang true for both gio and I. So unprepared yet up-for-anything was I to see a show at this venue, that I skipped the part where I listen to the artist before I commit myself. Like, actually listen. Because (as I lived and learned for this show) listening absentmindedly did me no favors. 

In the background, gio (stylized in all lowercase and punctuated with a period, which would be too confusing to include here) has an upbeat, very rhythmically pleasant mix of pop and hip-hop sound. The melodies are smooth and easy, transitioning into new songs like a never ending lullaby. It sounds, and not in a negative way, like a lot of the “New Music” songs that Apple Music compiles into a playlist for me. His voice and tone are also pleasant—soft and even, and still youthful. There is no rasp, or tinge of a mature voice. On Spotify, he has just over 740K monthly listeners, and his most-played song, “mess it up,” has over 19 million plays. But pre-show, I had no idea what he was singing about, just that everything sounded…nice. Like I could sway a little when I watched live. 

It wasn’t until gio came out on stage to open his set alongside his collaborator and tour opener, Dell Mac, that I realized the error I had made. The song was riddled with religious innuendos—not to mention, Dell Mac was wearing a shirt that literally read “Jesus”—that I had not caught before. I wasn’t hopeful that this was the only song, or that the rest of the set would be more inconspicuous. But as they worked up the crowd of maybe 40 people, gio and Dell Mac jumping across stage until the end of the song, gio lost grip of his mic, dropping it and causing it to no longer emit sound. We watched as he tried to remain calm and wait for the sound mixers at the venue to remedy the problem.

When a solution was not quick to come, gio reached into his diaphragm to call out to the crowd, getting each side to out-yell each other for a few turns before finally yelling, “We’re just going to share a mic, I think that’s the way to do this, you guys ok with that?” And so the set continued, with Dell Mac and gio sharing a mic, trading off for their verses and chorus. Without wasting too much time, or causing a big hiccup, they picked up right where they left off.

Gio, a young artist from Boston, has played a few shows before hitting Austin. Last year, he played a hometown show, toured the West Coast, then played shows in Germany and Ireland. Handling an accidental mic drop (god, was that you?) that would hinder the sound, was hopefully not something he had to experience during past shows, but if there was ever a time to exercise some problem-solving skills, tour seems like the best option.

And so, with a mic back in his hand, gio began a banter that consisted of quoting a bible verse followed by a call-and-response with a hymn (because all subtlety was gone!). The crowd, seemingly equal to gio’s age, with some young kids accompanied by parents, clapped and chanted along. They knew what they were getting into. They were excited to be there; they knew the lyrics to both the hymns and gio’s music. They should have called the tour Bible Study. 

While I’ve been known to attend a Relient K concert, or sing along to Creed in a bar, Christian music, let alone a Christian show, is not exactly what I seek out. However, the lack of personal interest doesn’t take away from his valiant effort and dedication to his craft. He had control of his voice even as he jumped around and sang, and engaged with the crowd between every song. Plus, we both learned something! I learned to research (more thoroughly) an artist before my Type B personality spontaneously agrees, and he learned that he can handle a crowd should something go wrong. 

Dressed in sunglasses and an oversized hoodie similar to the secular hip-hop artists that he is not, gio’s patience and ability to think quickly on his feet was commendable, and overall, it seemed like the crowd was having a great time. And really, isn’t that what any artist would call a success? 

All Born Screaming: A Night With St. Vincent

Written & Reviewed by Krysta Ayers

APRIL 7, Austin, TX—St. Vincent, the woman known affectionately for her poignant bodies of work and semi-serious, high-art allure, has been touring since 2006. Rolling Stone has named her the 26th greatest guitarist of all time. She is the true “mother” millennials need (and dare I say, deserve). With this all in mind, she has nothing to prove to us—a small group of approximately 5,000 gathered on a cool spring night at the Moody Amphitheater. But she’s here touring her eighth studio album, All Born Screaming, and dammit if she’s not going to show the crowd every ounce of her talent. 

I don’t think there’s a better word to succinctly describe St. Vincent other than “cool.” As soon as she steps on stage, Anne Clark (her government name) becomes a snake’s discarded skin, emerging as St. Vincent. She’s in all black, wearing ripped tights under tailored shorts with a phallic belt hanging in front (anyone else think that?), and a bra under an oversized blazer (fucking casually cool). Her dancing includes delicate gesticulations, like butterfly hands that evoke Napoleon Dynamite’s talent show performance—and even this she makes look fucking cool. 

All that to say: Thank the music gods that St. Vincent has created her spot in the limelight after touring with Sufjan Stevens all those years ago. And while we don’t need to hash out the lore of St. Vincent, we do need to hash out how incredible this show was.

St. Vincent and her band enter stage right and dive into “Reckless.” It’s a slow song, with a gut-punch of a line like, “And I've been mourning you since the day I met you,” as the bridge. There are no trippy graphics playing behind her or grandiose set designs taking up precious space on stage. And as we get to the trancey end, her band builds up the song with a wink of drama to take us into “Fear the Future,” immediately providing a sampling of her 20+ year discography. She is weird, rousing, and she wields her guitar like the seasoned pro that she is. And as she’s backlit with red stage lights, I can feel us in the crowd hold our breath less we muffle the sound of her voice in any way. We are completely entranced. 

Her mezzo-soprano vocals bend and fold into buttery layers as she uses her voice like an instrument—she harmonizes, screams, and enunciates every word into the mic in intervals, switching keys with baffling ease. In between chorus and verse, she jerks erratically across the stage, almost like she’s tripping, imitating your drunk uncle leaving the house, or slightly exaggerating Elaine Benes’ dance moves. Everything she does is completely uninhibited—second nature to her. She runs from left to right, playing guitar head-to-head with her bassist and guitarist; launches into some banter and tells us, “I’m from Dallas. I know that’s not a cool thing to say,” which we’re inclined to agree with (and which contradicts the fulsome review I’m already writing in my head as I watch from my seat); and gets lipstick smeared around her mouth (which, of course, she makes look cool). I’ve never seen St. Vincent live before, so her complete abandon on stage and her rock-star coolness is new to me; I am expecting nothing and here she is, delivering everything. 

Near the end of the show, she joins the crowd for “New York,” (from her album Masseducation) casually standing on those in the pit and collecting her balance by white-knuckling the hands of those within reach. Hello, she’s “cool” personified. Then, she crowd surfs back to stage like “the only motherfucker in the city who…” could. 

She closes out with “All Born Screaming,” singing alone on stage before doing the obligatory two-minute wait before coming back for her encore. And this she sings in a stance I can only describe as a lazy-warrior-II-yoga pose, which I guess is only fitting (sans the lazy part) for someone who has been armored and ready to “destroy” the stage with a guitar-focused performance to remind people that she’s just a talented weirdo with a sharp pen who belongs on stage.

AWOLNATION Shreds Dallas: A Night of Pure Rock Energy

AWOLNATION at House of Blues Dallas was nothing short of explosive. From the moment they kicked off with Jump Sit Stand March, it was clear this show was going to be a high-octane, genre-bending ride that would leave you buzzing long after the final note. Lead vocalist Aaron Bruno and his bandmates took the stage with a raw energy that never let up, blending electronic rock with alternative grit in a way that only they can.

The crowd was immediately hooked with Soul Wars, a track that had everyone singing along and jumping to the heavy beat. As the night unfolded, the hits just kept coming. Kill Your Heroes lit up the room, with Bruno’s signature vocal style soaring through the air, while Run and The Best fueled the energy even higher. There’s something about AWOLNATION’s anthemic sound that feels impossible to resist—every song feels like a battle cry for freedom, a call to lose yourself in the music.

But it wasn’t just the big tracks that made the night unforgettable. When Barbarian hit, the crowd was ready to unleash their inner wildness, and AWOLNATION gave them every reason to. The surprise moment of the night came when Zach Irons took over on vocals for Passion, delivering a raw, gritty outro that felt like the perfect throwback to the band's roots. Everyone was on their feet.

Holy Roller sent a shockwave through the venue, and then came Hollow Moon (Bad Wolf)—arguably one of the most intense moments of the night, where the entire room seemed to breathe as one. AWOLNATION took us on a sonic journey, hitting us with Like People, Like Plastic and Not Your Fault, each song adding more layers to their already rich sound.

The night was far from over. When they hit Knights of Shame, there was no rap—just raw energy and pure rock intensity. By the time the encore came around, AWOLNATION had the crowd completely in their grasp. A stunning guitar solo followed by Panoramic View made it clear: AWOLNATION knows how to bring a show to a head-banging, crowd-surfing, fire-breathing finish. But then they left us with Sail, their iconic anthem, and the crowd was absolutely electric.

AWOLNATION at House of Blues was a masterclass in live performance. It wasn’t just a concert; it was a full-on experience that had the crowd hooked from the first beat. If you missed it, you missed one hell of a ride.

Saint Motel Turns Stubb’s into a Dance Party

Saint Motel at Stubb’s on March 8? Pure magic. This band knows how to turn a night into an unforgettable celebration, blending indie pop with cinematic energy and enough swagger to make every single song feel like a movie scene. From the first note of Puzzle Pieces, it was clear this wouldn’t be your average show — it was an experience.

The night started with an infectious energy, and tracks like For Elise and Get It at Home had the crowd grooving, jumping, and completely locked into the vibe. Saint Motel has this uncanny ability to make you feel like every song is both personal and universal — they deliver the kind of feel-good anthems that make you forget everything and just be in the moment.

Life’s a Gas had the crowd singing along, and when they dropped A Good Song Never Dies, it felt like the band was truly speaking directly to everyone there — a reminder that their music has legs. Whether you were bouncing to the rhythm of Move or swaying with the smooth vibes of It’s All Happening, Saint Motel proved they’re masters at keeping the room in sync with their every note.

The crowd roared as Fine Wine played, the upbeat anthem swirling through the venue like a burst of joy, while Steady Hand took things down a notch, giving us a bit of reflective calm before the next explosion of energy. And then, Cold Cold Man happened — and you could feel the room shiver with the sheer power of it. That song alone could power a city block.

But the magic didn’t stop there. For the encore, A Bluer Blue had a surprise in store, as frontman A.J. stepped away from the stage and into the crowd, delivering the song in a more intimate setting. That kind of connection with the audience is what makes Saint Motel’s live shows stand out — it’s not just about the performance, but about sharing that moment with everyone in the room. From there, they launched into Sweet Talk and Van Horn, both tracks that kept the energy at a fever pitch before wrapping up with My Type. By then, every single person in that venue was completely hooked — and it was obvious why.

Saint Motel doesn’t just put on a concert — they throw a party where the music is the life of the party. It’s not just the songs; it’s the way they make you feel alive, connected, and completely immersed in the moment. If you were there, you know exactly what I’m talking about. If you weren’t, don’t sleep on them next time. Trust me.

A Night of Pure Energy: Justice Live at Moody Center

If you missed Justice at Moody Center on March 6, then you missed a masterclass in what it means to bring an arena to life. From the moment the intro hit, it was clear that this wasn’t just a concert—it was a full-on sonic assault, a celebration of everything that makes Justice one of the most electrifying live acts on the planet.

The night exploded with Genesis / Phantom, sending the crowd into an immediate frenzy. The French duo’s signature blend of pounding bass and cinematic synths created an atmosphere that was as intense as it was infectious. It wasn’t long before Generator / Love S.O.S. dropped, and the room was transformed into a pulsating dance floor where everyone seemed to sync with the beat.

A highlight of the night was their rendition of We Are Your Friends, a track that has become an anthem for so many. Hearing it live, with the full force of Justice’s sound, was a visceral experience. And when they followed up with One Night / All Night, the energy was absolutely electric, each drop of bass vibrating through your entire body.

But it wasn’t all about the classic anthems. The duo’s transition into Neverender / Canon was nothing short of magical, taking the crowd on a ride through their rich catalog while keeping the momentum at full tilt. Stress (WWW) / Afterimage hit like a wave, making it clear that Justice can still make your heart race just as they did in the early days of their career.

And then, just when you thought they couldn’t get any bigger, they dropped Planisphere / Phantom / Heavy Metal / Civilization, and the crowd just melted into the music. It was a celebration of everything they’ve done, a reminder of their unmatched ability to fuse electronic, rock, and a touch of chaos into something unforgettable.

The encore was a thunderous crescendo with D.A.N.C.E. (Live Version) and Safe and Sound, two tracks that felt like a collective moment of joy for everyone in the venue. As they wrapped things up with The End, the crowd was left in a haze, fully aware they’d just experienced something special.

Justice at Moody Center wasn’t just a show—it was an unforgettable journey through sound, light, and energy. If you weren’t there, you seriously missed out on witnessing one of the greatest live performances of the year.

Catch the A R I Z O N A Fever: Emo’s Show Recap

A R I Z O N A transformed a Tuesday night at Emo’s into an absolute powerhouse of energy and emotion. The indie pop trio came ready to light up the stage, kicking things off with a bang. From the moment they hit the stage, it was clear this would be a night to remember.

They wasted no time pulling the crowd in with a mix of upbeat anthems and smooth, nostalgic vibes. Tracks like What She Wants had everyone moving and singing along, while songs like I Was Wrong brought a deeper, raw emotional edge that had the audience hooked from start to finish. The band’s ability to seamlessly blend catchy hooks with meaningful lyrics is a major part of what makes them stand out live.

The surprise of the night came when they dropped an Avicii cover, Hold the Line. It was the perfect moment to raise the energy to the next level, and it had everyone buzzing with excitement.

As the show went on, A R I Z O N A kept the momentum strong, delivering crowd favorites that made the whole venue feel like one big, happy sing-along. And just when you thought they’d given everything, they closed with Oceans Away in the encore, leaving the crowd absolutely lost in the music.

A R I Z O N A at Emo’s was one for the books. The band effortlessly blends upbeat fun with emotional depth, creating an unforgettable live experience that left fans craving more. If you missed it, you’re definitely going to want to catch them next time around.

An Evening of Theatrical Brilliance: Spencer Sutherland Live at Scoot Inn

On March 2nd, 2025, Spencer Sutherland transformed Austin's Scoot Inn into a theatrical extravaganza that was nothing short of mesmerizing. From the moment he stepped onto the stage, it was evident that this wasn't going to be just another concert—it was a masterclass in purposeful drama and showmanship.​

Kicking off the evening with "Welcome to the Show!", Spencer immediately set a tone of grandeur. His deliberate movements and expressive gestures were a clear nod to classic theatrical performances, drawing the audience into his world. Tracks like "Alive" and "Everybody" followed, each delivered with an intensity that blurred the lines between concert and Broadway spectacle.​

One of the standout moments was his rendition of "Modern Heartbreak." In a move that can only be described as audaciously dramatic, Spencer perched himself on a chair fit for a king, serenading the crowd. This wasn't just a performance; it was a statement, showcasing his flair for the dramatic and his commitment to giving fans an unforgettable experience.​

Closing with "Place Like This," Spencer left the stage amidst roaring applause, solidifying his reputation as not just a singer, but a true performer who understands the art of drama. For those in attendance, it was more than a concert—it was an experience, a journey through the highs and lows of emotion, all orchestrated by a maestro who knows exactly how to deliver the drama.​

Lauren Mayberry Turns Heartbreak Into Magic at Scoot Inn

On February 26, Lauren Mayberry stepped out from behind the CHVRCHES curtain and into the Texas night, turning Scoot Inn into something that felt part indie pop show, part therapy session, part after-midnight phone call with your best friend. And it was absolutely perfect.

She opened with Crocodile Tears, and if the extended intro didn’t immediately tell you this night was going to be special, the way she delivered each lyric like a secret definitely did. The crowd stood wrapped in attention — no theatrics, no distractions, just Lauren's piercing honesty and a band that knows exactly when to dial it back and when to let it soar.

Throughout the set, songs like Change Shapes and Mantra hit with the kind of clarity that makes you re-check your own emotions. Anywhere But Dancing felt tailor-made for that moment when you’re dancing in public but dealing with private turmoil — and judging by the sea of fans swaying with closed eyes, Lauren knew exactly what she was doing.

One of the most surprising moments was her rendition of Bitter Sweet Symphony. Instead of going big and anthemic, she went small, reflective, and almost whispered it into the night air. Somehow, that made it hit even harder — a soft punch to the heart that lingered long after.

Her stage banter was equal parts charming and self-deprecating, sprinkling humor between moments of vulnerability, reminding everyone that yes, she may sing about heartbreak, but she’s got plenty of fight left in her.

She saved her emotional gut punches for the encore, closing with Oh, Mother and Sunday Best. By then, it wasn’t just a show anymore — it felt like collective catharsis. People hugged strangers. People wiped away tears they didn’t expect to cry.

Lauren Mayberry’s solo show isn’t just a side project. It’s a fully realized experience — glistening with honesty, sharp with wit, and draped in melodies that stick to you long after you’ve left the venue. If this tour is any sign of what’s coming next, she’s building something quietly monumental — and the rest of us are lucky to witness it from the ground floor.

Pogo Sticks and Punchlines: bbno$ Live in Austin

bbno$ hit the stage at Emo’s on February 25 and from the jump, it felt less like a concert and more like one giant inside joke that everyone was in on. This wasn’t a night for standing still — it was a night for pogoing (literally), crowd-wide singalongs, and ridiculous, contagious energy that only he can pull off.

He bounced through hits like edamame and mememe with the swagger of someone who knows exactly how to make fun of himself while still having the crowd eating out of his hand. i see london i see france had everyone jumping, and bag or die hit like an anthem for anyone who’s ever left the house feeling like the main character.

But the real magic? The way he peppered the night with covers and surprises: from Party in the U.S.A. to getting the crowd Rickrolled in the most hilarious way. Audience members even got their moment in the spotlight, stepping up to fill Yung Gravy’s parts on shining on my ex and Welcome to Chili’s — and absolutely crushing it.

It felt messy in the best way: part stand-up, part house party, part arena-level flex. He doesn’t take himself too seriously, and that’s exactly why the room felt like pure serotonin. bbno$ didn’t just play songs — he threw a full-blown circus. And we all wanted to run away with it.

Two Friends, One Massive Party

Two Friends took over Stubb’s on February 22, and from the first drop, they had the entire place in the palm of their hands. It wasn’t just a concert — it was a party, a summer road trip playlist come to life, blasting through confetti clouds and endless energy.

They kicked things off with their signature mashups, and it didn’t take long before “Looking At You” had the whole crowd locked in, arms up, singing like their lives depended on it. Moments later, “Life’s Too Short” hit — and if the place wasn’t already bouncing, that sealed the deal.

They kept throwing curveballs in the best way: a remix of “Mr. Brightside” that turned Stubb’s into a giant karaoke bar, “Emily” turning the night just a little sweeter, and a perfectly timed “Wish You Were Here” that had everyone swaying and shouting in unison.

Between the smoke cannons, lights dancing across the crowd, and a couple of confetti blasts that felt like pure serotonin, it was impossible not to get swept up. Two Friends know exactly how to ride the line between chaos and joy, and the entire night felt like that: one giant, sweaty, euphoric singalong where nobody cared how loud or off-key they were.

By the end, with hearts racing and voices shot, it felt like the best house party you never wanted to leave. Two Friends didn’t just play hits — they threw the kind of night that sticks with you.

Groove, Glow, Repeat: Last Dinosaurs Live

Last Dinosaurs rolled into Scoot Inn on February 22 and made the whole place feel like a neon-lit house party under the stars. From the jump, they had the crowd locked in — smooth grooves, slick guitars, and that signature indie sparkle that somehow feels laid-back and high-energy all at once.

They opened with “Keys To Your Civic,” and from there it was pure motion — everyone dancing, heads bobbing, smiles everywhere. Songs like “Sense” and “Zoom” hit that sweet spot where catchy turns into anthemic, and the entire crowd knew it. “FMU” and “Non Lo So” felt massive live, with basslines that rattled your ribs and choruses that begged to be shouted.

The band had an easy charm about them — tight on stage but never stiff, joking between songs, clearly having as much fun as the crowd. “Paranoia Paradise” and “Dominos” were pure groove-fests, and “Elton” brought that dreamy shimmer that makes their music feel like summer nights bottled up.

Scoot Inn’s outdoor setup added to the magic — the warm night air, the string lights, and that feeling of being exactly where you were supposed to be. And when they closed out the encore with “Andy,” it was one of those perfect concert moments — arms around friends, singing like you’ve known the lyrics forever.

Last Dinosaurs didn’t just play a show; they gave Austin a night that felt golden, easy, and alive — the kind of night you think about on your way home, wishing you could do it all over again.