Written by Marty Brandwein
This past weekend, it was that time of year when Zilker Park’s grass turns yellow and Austin’s air pulses with the music of Austin City Limits Music Festival. This was my third time attending and second time covering ACL, and I must say, it never disappoints. After three days of great bands, exorbitantly priced street food, and dehydration, I can’t wait to go back next year.
On Friday, I was fortunate enough to see one of the most exciting up-and-coming artists: MJ Lenderman. With a sound described as indie-rock, indie-country, and even bootgaze (a blend of shoegaze and country), Lenderman, backed by his band of guitar, bass, keys, drums, and sometimes violin, delivered consistently captivating energy. Between songs from his 2024 album Manning Fireworks, including “Joker Lips,” “Wristwatch,” and “Bark at the Moon,” and older singles like “Knockin’,” Lenderman’s signature style and voice shone through. Following the stripped-down style of lead and rhythm guitar’s harmonies and Lenderman’s simple turns of phrase, there were neither stage nor on-screen visuals. In a tight 60 minutes, with very little talking between songs, MJ Lenderman delivered an unforgettable performance and one of my favorite sets of the weekend.
Immediately after Lenderman, I walked over to the American Express stage to watch Cage the Elephant perform fan favorites including “Ain't No Rest for th
e Wicked,” “Cigarette Daydreams,” and “Come a Little Closer.” Matt Shultz bounced around the stage for the whole hour, mirroring the audience’s electric energy as Brad Shultz and Nick Bockrath played powerful acoustic and electric guitar solos. Despite the urgent and polished sound, the stage lacked any set pieces or visuals, relying on raw passion to power the set. Finally, to close out the night, Hozier sauntered out onto the T-Mobile stage with a full band and backup singers to deliver a politically charged performance. In front of psychedelic visuals projecting Lockheed Martin’s share price, the net worth of the world’s richest individuals, the number of children displaced by war, and other such metrics, Hozier took his moment on stage to make a statement. Songs like “Nobody's Soldier,” “Eat Your Young,” and “Nina Cried Power” reflected this sentiment throughout the set, with Hozier delivering a well-rehearsed speech on hate, acceptance, and the political power of music before closing the night with, as expected, a potent rendition of “Take Me to Church.” Though Hozier’s transcendental vocals and his band’s polished sound took center stage, it was clear that this performance was meant not simply as a concert, but as a message to the world.
I started Saturday with Olivia Dean on the AmEx stage. Embodying a sort of upbeat Amy Winehouse sound, Dean’s bright vocals and her band’s jazz 
influence shone throughout her set. The standout song of the set was the simple and personal “Carmen,” an ode to Dean’s grandmother of the same name, describing her journey to London and influence on her family. Over at the T-Mobile stage, Car Seat Headrest came out to a vibrant crowd. Despite singing from behind an N95 mask, Will Toledo delivered clear and energetic vocals, especially on “The Catastrophe (Good Luck With That, Man).” In only six songs, Car Seat Headrest filled the hour with sprawling riffs and cathartic melodies, especially on the crowd favorite “Drunk Drivers/Killer Whales.” Next up was one of my most anticipated bands, Magdalena Bay, and they did not disappoint. With the most theatrical set design of the weekend, Mica Tenenbaum and Matthew Lewin displayed their unique sound, playing mostly songs off their newest album, “Imaginal Disk,” sprinkling in a few favorites from “Mercurial World.” Throughout the performance, Tenenbaum pulled off multiple outfit changes to reflect the set’s mystical storyline, making for one of the most exciting and eccentric acts of the weekend.
The Strokes wrapped up Saturday’s performances, playing hit after hit, including “Bad Decisions,” “Reptilia,” “Under Cover of Darkness,” and, by popular request of the first weekend’s crowd, “Ode to the Mets.” Each of these tunes was played with the polished professionalism of a band touring for over two decades. Despite the size of the stage and the band, The Strokes kept their performance simple, clean, an
d classic, with the flashing colored lights being the only real visuals. As expected, Julian Casablancas delivered his usual style of slurred and effortless vocals, with Nick Valensi and Albert Hammond Jr. performing nearly exact replicas of the guitar solos found on the records, leading to one of the most masterful and captivating sets of the weekend.
On the final day of this year’s festival, I watched The Dare’s Harrison Smith trot around the stage, likely sweating through his full suit and tie. His was one of the most interesting sets of the weekend, performing with the same energy a member of the crowd would have, given the chance. Unfortunately, this energy, coupled with his lack of touring experience, led to many of Smith’s vocals not being picked up by the microphone. Despite this, this one-man show was highly dynamic and animated, sounding like an LCD Soundsystem song cut for radio. The last performance I was able to catch on Sunday was Wet Leg’s on the AmEx stage. Lead singer Rhian Teasdale strolled to center stage and, though standing relatively still for the majority of the set, achieved vibrant and enthralling vocals. Behind her, Hester Chambers and Ellis Durand provided seemingly effortless lead guitar and punchy basslines for the full hour. Despite the lack of conversation between the fifteen songs they played, each member of the band clearly understood the wants and needs of their bandmates, especially on the set’s standouts “CPR” and “mangetout.” It was an electric performance and a great way to end the weekend. ACL, I love you and never change.
Photos (in order) by Marty Brandwein, Ismael Quintanilla III, Roger Ho, and Dusana Risovic.