For a peaceful Sunday in Houston, Texas, I got a photo pass notification for some of the modern hip hop goats, YSL, and them. Welp, let me clarify who they are: Young Thug, Nav, Teezus, Diamond, 1300Saint. Thug, as we know, is one of the iconic artists, and now he's here showcasing his YSL crew and the GOAT NAV. And oh boy, this concert was way better than people judged it. Let me explain how this night basically got me physically hit by Teezus himself, the intense eye contact Thug was giving me.
To start, we had the openers, who were okay at first, but I totally respect the sound and what they are going for. One thing I will comment on is that the flow of who was coming was so confusing, as there were way more YSL members and the entourage up there that I was lost on where we were.Also, they were behind schedule bylike 45 minutes lol. But 1300Saint was cool, but Diamond ...
was better for sure. This new generation (hehe) is quite solid, a different sound of early Thug, but they are paving their own similar sounds to be something great that is for sure. The biggest start was for sure Teezus, and holy he is a star. He is one of the few new-age rappers who genuinely impressed me. Why? Well, man, his energy is nuts. I have never seen a live performer like him, frankly. He is new to the game, but his energy and stage prese nce do not feel like it. He is like prime UZI type of energy! His 25-minute setlist was also the best out of the openers, and he delivered in his performance, actually rapping along. Also, the fans went crazy, people in the stands love bro, and he had the same amount of pop when Thug came out. Also, while Teezus was interacting with the fans, he tried to go backstage, and lowkey smacked me lol. This lowkey upset me, but I gotta respect the energy at the end of the day lol.
Moving on, we then had the goat NAV come out, and yeah, he is quite good. Lots of people complain about him coming, since it's not YSL and his music sucks, but nah. His music is good, and he is an experienced fellow in the game. I will complain, his songs were practically all featuring someone, from Uzi to Travis, he kinda relied on their bangers to carry rather than a solo set. But even his own personal tracks likeMyself, ehh, lowkey that was it lol. Yeah, looking back, every song he played had a big modern trap feature and just Nav. He also played one of his iconic features, Beibs in the Trap, an iconic bird's song that was appreciated and loved in the H. Still, Nav knows what the people want, and he lets them bang. I respect that a lot. Not everyone in the audience was loving that, but I sure did. He did not really interact with anyone in the audience, but his constant energy and confidence made it pretty worthwhile. I mean, if you look at the track record of his set, it is insane that he can just perform these songs lol. And welp, he can support that, as can what I experienced.
Now, finally, Thug! was on the verge. So as Thug came out, everyone came out, I mean, it is called the YSL tour. The first 10 minutes of his set were him and the YSL boys playing their new stuff, which I really think is just okay. It was quite a boring 10 minutes, with many repetitive tracks and just them ad-libbing their parts, trying to get stuff lit. It really fell flat, and most people would agree. It felt more of a showcase, which I respect, just not a good one whatsoever. BUT then finally, everyone left, and it was just Young Thug. That's when he made the night special. First performance in Houston after all the Rico stuff, this was monumental for the H. He started playing his bangers, Lifestyle, Hot, Mamacita, Surf... and wow, that is what we call a TRACK RECORD. His performance was lit, he loved the fans, interacted with us, made people's days, it was awesome. He also had this confident swagger, moving around the stage, trying to get everyone involved and hyped up even more. Like he was hitting pretty much everything correctly, and the crowd was finally all in sync, all hitting that peak groove.
Rating Young Thug's show, Letterboxd style
Setlist - .75 --> Okay, he had most of the best songs in his catalog, frankly. I would get rid of the YSL songs and add more Slime Season 3. But other than that, it was solid!
Stage Presence - 1.00 --> He did everything an artist should. Talked, Checked, Confident, Awesome background and set. The background was really awesome, it was this atmospheric thing I did not expect.
Performance - .75 --> For a long setlist, he did a great job in keeping up with the tracks. No crazy flows, but he did his part, you know.
Audience .75 --> Yeah, for the most part, these were real fans. But nothing in the audience stuck out per se. Some people did pass out tho. Also, some people were more fans of Teezus rather than Thug Surprisingly.
Overall Experience / Vibe 1 --> Good times, man. I was kicked out of the pit after the first three songs, but my boy Diego, who was personally taking pics for his team, let me slide hahah. Keep that between us, but the whole show, I was vibing when I wasn't supposed to be. Also t, Teezus smacked me, Thug looked at me a good amount, and I got $15 laid out by Teezus 🙂
So, in my intense weekend, I thankfully saw what I believe one of the goats, Isaiah Rashad. The TDE Legend has been going strong for years, coming on tour for his Lil Sunny Awful Road Trip for his 4th studio album, It's Been Awful. And man, its been awfulllll, after 6 years, Rashad finally delivered on his album and came popping on tour.I was the most excited than anyone ever... as Isaisha Rashad was the second ever concert I saw in the HOB for the Cilvia Demo 10th Anniversary. Now I can finally see the goat at the vibrant Bayou Music Center perform his new album and all the hits that followed.
He came off to a dark tone covered in a bloody white fit to the new sublime.Yeah this was pretty deep, coming off strong like this he perfomed most of the song laying down in the podium homing in his feelings. This song is so special, talking about the relapses he just went through while setting the proper, much-needed tone for this new album. He then followed with M.O.M and Scared to look down, which went crazy. Isaish started standing and getting the crowd lit, and rapped practically every word. The background of the show always changed with the song, which was a nice touch, providing supplemental background and a nice vibe. He then switched his style to play some older stuff, Free Lunch and Park which all smacked and got people moshing. Wat U Sed was always a banger andDoechie part was hitting for everyone.
Every now and then, he would have a short video progressing the night, showing he takes these live shows seriously. He came off Boy In Red in such a pretty way and had us singing the SZA part just like that. He started playing West Savannah but actually siked us out with Heavenly Father. That was my only complaint lol, I hate when artist sike you out, especially with a crazy song like that, THAT I WAS DYING TO HEAR. While he played the next songs ofIts Been Awful it was such a nice vibe everywhere. Two people in the crowd started fighting but Rashad told them to hug it out lol. One of the guys did not want to do it, but eventually these two gentlemen hugged it out and kept the vibe going.
Now the biggest pop of the night was Cameras. This song had 2 big superfans come on to perform Dominic Fike's part. Sadly these fans were not doing so great... but then Dominic Fike himself came out and took over the show. OUT OF NOWHERE, he walke
d non-chanlantly and started singing his part. And yeah this was crazy!!! I was in the photo pit all show, and when he came out I had to lock in. Such a fine gentleman with an angelic voice, what an unexpected surpise frankly, but he really stole the show. I knew Fike was in town because he is opening for Tame Impala's show and his buddy Kevin abstract, but I did not expect this. Also, during this time, they were actually shooting their music video which was just posted lol! I am not in it, but my presence and aura is. Anyway, Rashad came in crazy playing GTKY, WAT's WRONG, Lay Wit Ya. Man these songs go crazy. He always brings that crazy energy, and boy he delivered
Rating this show, Letterboxd style
Setlist - 1.00 --> With the exception of not playing West Savannah, and some features, there are no complaints.I mean this is the It's Been Awful Tour so I cannot dock him down. The songs on the tour are all booming
Stage Presence - 1.00 --> He did everything an artist should. Talked, Checked, Confident, Awesome background and set.
Performance - 1.00 --> For a long setlist, he did a great job in keeping up with the tracks. Took little breaks honestly. He is on a JID level of performance.
Audience -1.00--> Yeah, for the most part, these were real fans. But nothing in the audience stuck out per se.
Overall Experience / Vibe .75 --> Good times, man, good times. It really feel full-circle for me seeing him again. From a 17 year old boy to now 20 in media. It really has beeeeen awful. And Fike coming out was a cherry on top :).
So, that boy Sosa, whom they love, finally came to H-Town from the Chi after years of being absent. On September 20th, Chief "300" Keef arrived at the awesome Bayou Music Center for a lit performance. And when I say lit, I mean it. Being a Sosa fan forever, I was quite excited and ready to pull up. With such a big discography and his songs blowing up on TikTok, Keef has a big catalog to pick and choose from. With this show, he delivered on that, picking niche deep cuts, to the famous bangers we all expected.
He came out like a boss to his track, B*tch Where, which genuinely is one of his best songs ever. This song just screams Chicago, and he came with such a powerful presence. I mean, man, the confidence in Sosa is exciting and only he could do such a thing, frankly. The first 3 songs went crazy fast, and I was booted to the crowd to sit back and enjoy one of the goats perform his bangers. The rest of the setlist really had deep cuts that rewarded us, real fans, man. I LOVE that. Additionally, he had his bangers, obviously. like Love Sosa, War, Fanero, Save Me. Those 4 songs alone have impacted so many people in the scene and gotten the crowd moving. But sheesh, man, Sosa did such a great job in everything that it is hard for me to describe what he could have done better. One complaint I do have is that he did not really talk to any of his fans at all. He was just there with the boys, having fun. I mean, he's performing quite well, not excellent, but he was still doing his thing, delivering and getting us hyped. Ending the show with Faneto was a crazy but awesome choice, as a final climax really got everyone excited and ready
for any action.
Rating this show, Letterboxd style
Setlist - 1.00 --> I mean, he literally perfected it! Deep pulls, new stuff, the banger track we all want. NO COMPLAINTS HERE. Genuinely might be the order/setlist I saw from a rapper.
Stage Presence - .75 --> I did not like how he barely talked to us. But he and his boys did a good job of getting us lit. Also, his confidence is genuinely insane. No cringe stuff, but he really does have an aura.
Performance - 1.00 --> For a long setlist, he did a great job in keeping up with the tracks. Better than I expected. Took some breaks now and then, but nothing too crazy. Did a job in passing the mic over and under to the audience 🙂
Audience -1.00--> Yeah, these were real fans. People were passing out from overexcitement, being too much into the show, and drinking too much. No offense, but having that passion and energy from fans, I love that.
Overall Experience / Vibe .75 --> Good times, man, good times, so glad I can tell my future kids I went to a Chief Keef show hehe. What a fun time, man. Feel free to have fun, rap along, andmosh when you want at the concert.
The Big Day is finally here, and no, I am not talking about Chance the Rapper's album that is better than what people say. Because on September 12th at Houston's vibrant 713 Music Hall, Chance the Rapper came for the 10th Anniversary of Coloring Book. As an addict to Acid Rap and Chance, I was so excited when I got the notification to do press for such a sick Chicago rapper and innovator. I got myself ready and entered the show with a sense of glee upon seeing the famous album cover and "3" hat.For his first song, All We Got, the intro to the album was played. This song featuring Ye and Chicago's own choir is so fire, and such a nice tone to start this show. Taking photos for Chance was so fire, as he rapped every word, interacted with the audience, and constantly kept moving.
He played most of Coloring Book in order but sprinkled some new songs here and there. I am not the biggest fan of Starline; it just does not have an entertainment or replay ability appeal. I will say, when he performs those songs, he is rapping from the soul, and the accompanying text background makes it simple and impactful. Back to the Coloring Book tracks, he plays some bangers like Angels, Mixtape, and Juke Jams, with no features. Chance is great at following along with the tracks, keeping the energy and movement flowing. He also played two of his most famous tracks, Ultralight Beam and I'm the One. Ultralight beam was quite a surprise, as it did not follow the original TLOP version. Instead, Chance put his own spin, with a more angelic choir sorta feeling. When the famous " I met Kanye West, I am never going to fail " hit, the crowd erupted, leaving a mark as the loudest the building had ever been. I'm the One was also groovy and had that silly Chance side with it.
A surprise guest came out, being Houston's very own Tisa Korean. He is the Houston Legend and performed his part of Groceries and a song off his new album, RAW. Tisa's new album, RAW, is must-see; it's an innovative, silly, but serious sound you should tune into. My favorite part of the night was obviously the 2 Acid Rap songs, Cocoa Butter Kisses and Everybody's Something. And yeah, these were the best, most emotional songs that made me fall in love with Chance's sound. As the show ended with his staple Same Drugs, a confetti cannon shot out to everyone, erupting and highlighting the audience into a state of stardom os sorts
Rating this show, Letterboxd style
Setlist - 0.75 --> Would have loved some features, and more Acid Rap rather than Starline. I know Acid Rap has been out for 10 years already, but still.
Stage Presence - .75 --> It was quite good; theonly complaint is little to no discussion with the audience
Performance - 1.00 --> For a long setlist, he did a great job in hitting, breathing, singing/rapping, which was quite impressive.
Audience -.75. --> No complaints, but nothing quite stood out.
Overall Experience / Vibe .75 --> Good old-fashioned time, nice songs, nice surprise, and great vibes from everyone at the show
Eslabon Armado’s Amor Nocturno Tour was a night built around Hispanic heartbreak, romance, and the kind of songs that an entire crowd loves to scream out and relate in memory. Before the band stepped onstage, the atmosphere felt personal, as the manager came and introduced them one by one, and thanking the fans for their overall support. Even in a large concert setting, where the 713 Music Hall was seated (very rare) the music carried the same intimate feeling that makes Eslabon Armado’s songs so relatable. Their combination of regional Mexican instrumentation, emotional lyrics, and relaxed and very stage presence created a show that felt less like a flashy production and more like a shared experience between the band and its fans.
One of the strongest parts of the concert was the real audience presence here. This is no joke, my first ever concert in Spanish and it surprised me that the fans were singing along almost constantly, especially during the more recognizable songs of his 2020 album Corta Venas. At some points, Pedro Tovar barely needed to sing because the crowd was already carrying the lyrics for him, in fact he would just pass over the mic to the audience to let them do their thing. I also quite enjoyed how many of their songs focus on relationships, heartbreak, missing someone, and memories of people who are no longer part of your life... with this packed 713 Music Hall Venue, those lyrics together made songs that might normally feel private suddenly feel communal, as everyone shared similiar trauma ?
Musically, Eslabon Armado sounded strongest when they allowed their instruments and vocals to remain at the center of the performance. The guitars gave the concert its recognizable sound, while Tovar’s vocals maintained the emotional tone of the recordings. Rather than relying heavily on choreography or complicated stage effects, the band let the songs do most of the work. The stage design was cool, with a red moon fitting his new album Nocturno and the background having videos of the band, giving a similiar Frank Ocean Video Feeling back in 2018. The bands constant playing and movement was also enjoyable, as it is nice following them along in this over 2 hour show!
The stage presence was more laid-back than what someone might expect from a pop or hip-hop concert, but that did not necessarily make the performance less entertaining in my opinion. Instead, the energy came from the crowd’s reactions/screams, the musicianship, and the anticipation surrounding each song, as their catolouge is quite expansive now. The band interacted with the audience throughout the night, even drinking with tequila with one. Still, adding a few more extended interactions or unexpected moments between songs could make future performances feel even more unique instead of simply moving from one song to another. This show suffered in fan entertainment value, and could of been better, however I will give credit in such a long show.
Overall, Eslabon Armado delivered a concert that understood exactly why people over the world connect with their music. The night was not about huge effects or an elaborate spectacle. For longtime fans, the Amor Nocturno Tour off Eslabon Armado’s greatest strength live is the same thing that has made their music successful: their ability to make heartbreak feel personal, relatable, and worth singing about... and as a fellow Mexican, I love that, and I love what they do. To go off in a quick side tangent, Eslabon Armando and Frank Ocean are the only artists that actually make me sad. There music makes me sad where sometimes I just cant, and this concert really hit home, especially right before my schooling starts. Thank you guys for making me feel this way even though its sad, please if you are reading this go check them out if you are in your feels, even if you understand Spanish, this stillll hitsss, I PROMISE!
Now to give this a rating out of five, Letterboxd Style!
Raveena stepped out onto Rice University’s Moody Center stage on February 28th. As she opened her set with the tender first notes of “We Should Move Somewhere Beautiful,” a voice from the crowd called back, “With me!” It might as well have been all of us speaking.
Before Raveena even took the stage, the audience had already been drawn into her sonic world by DJ Yorztruly, a local artist who frequently plays sets with Ice House Radio. As the crowd made their way from the Imaging After Photography exhibition to the outdoor stage, his set introduced us to the musical mood for the evening rather than simply filling time. Moving fluidly between genres, he incorporated songs reflecting the many influences that shape Raveena’s sound. His blend mixed everything from shimmering 1970s disco grooves to passages of Indian classical music. His equipment perched precariously on a folding table, DJ Yorztruly tapped into some communal rhythm. Fans were abuzz with excitement, dancing long before the headliner appeared.
The stage design fully leaned into the dreamy aesthetic that defines Raveena’s music, an intoxicating blend of R&B and soul with soaring Bollywood ballads. Throughout the night, she practically floated among the draped tulle and cascading garlands. The set created a soft, almost bridal atmosphere. Designed by visual arts students at Rice University, the details were deliberate: a microphone stand wrapped in pink lily-like flowers, and a plastic lawn chair similarly festooned with white blooms on an elevated platform behind the band.
From this makeshift throne, Raveena honored Aaliyah, forever known as the “Princess of R&B,” with a gentle rendition of her song “At Your Best (You Are Love).” And that evening, under the stars and swaying iPhone flashlight beams, Raveena’s performance suggested that there may be space for two in that royal court. Halfway through the song “Pluto,” whose lyrics lend a line to the title of her newest album Where the Butterflies Go in the Rain, longtime collaborator Aaron Liao got down on one knee to hand Raveena his electric guitar. This gesture felt less like routine than a moment of devotion fit for a noble.
Raveena played with the visual levels of her performance, skillfully traversing the whole stage in her ballet grip socks. She moved with intention, allowing herself to feel through every tone. She spun in her billowy dress, leapt on and off of the raised platform, threw herself into gestures that made it seem as though she was physically tracing each note in the air. It was a real privilege to see someone so in her element. At times she lunged forward into the crowd, blurring the boundary between stage and audience. Most memorably during “Smile for Me,” she pointed to her fans on the line “baby, if I ever get a minute, I will spend it with you.” The moment was utterly enchanting, and made the large production feel strangely intimate, almost as if the lyric had been delivered to each person individually.
During “Kehna Hi Kya,” she shifted into movement inspired by Indian classical dance traditions. Her fluid hand gestures that were reminiscent of mudras, delicate wrist rotations, and rhythmic footwork grounded the performance. Later, in “Honey,” the precisely executed choreography gave way to a collective sing-along. The audience took up the chorus while Raveena layered airy vocal runs above them, letting the crowd carry the melody as she floated over it. After the song ended, she praised her fans with a giggly remark about being able to “tell [they] were singers.” Maybe some were indeed, but this reviewer suspects that the energy there that night was what had unlocked the courage needed to sing out in all of us, at least for a chorus or two.
At one point, before one of the final songs of her performance, Raveena implored us all to hold our partners or friends close. She jokingly laid out a third category as well, “a friend you want to get with,” which prompted a laugh from the audience. In any case, it seemed as if everyone inched just a step closer together. Strangers smiled together in the dark, nearly cheek-to-cheek. By then it had become apparent that the energy felt from the opening notes was not just a coincidence, but a space that Raveena and her team had been cultivating all evening. The night was as tender as the soft washes of purple light that bathed the stage throughout the performance. Love flowed freely throughout the crowd. Even after the music faded, this reporter drifted away from the stage carrying that warmth with her.
Not For Radio or Maria Zardoya from the Marias, kicks off her A Summer in the Forest Tour in the majestic Hobby Theater. I was fortunate enough to take photos for both artists and review them in a proper video format. The rating will appear at the bottom of the screen.
Lelo and Groovepill are both underground rappers from Detroit going on tour for the Pink Tiles V2 Tour. I was fortunate enough to take photos for both artists and review them in a proper video format. The rating will appear at the bottom of the screen.
As the festival was coming to a close, Diles Que No Me Maten played their final performance in the middle of the day at the BBC Radio Day Stage. This Mexico City-based band was unlike any other experimental group I encountered.
What first captivated me was their name. “Diles Que No Me Maten” directly translates to “Tell them not to kill me.” They are named after the book written by Juan Rulfo. In the story, the protagonist, Juveinco, is pleading with an officer not to be killed after he hid away for 35 years from committing a murder. Lo and behold, the officer is the son of the man Juveinco killed. The book holds political undertones as it unveils the harsh realities in rural Mexico. While the band doesn’t directly reference the story within their projects, their music is rooted in conveying the pressing social issues in Mexico City and alludes to themes of existentialism.
Many of their songs are improvised and feature an offbeat jazz instrumental backing for fast-paced spoken word. In their songs, there would be breaks in between the spoken word of lead singer Jonás Derbez, who would pull out different woodwind instruments and a harmonica. Each woodwind break sounded like a spasm on the pad keys, going up and down different octaves and messing around on the chromatic scale. The most peculiar setup Derbez had was his saxophone with a flute resting inside.
They kicked off their set with their new single, “Hiriku”, one of their songs on their unreleased album Escrito en agua. This song drove the crowd's energy. It's more of a swing, with a follow-the-standard-pattern verse and catchy chorus, a unique choice for the first song. The drum beat was almost similar to the swing of “Weird Fishes/ Apreggi” by Radiohead. However, the simple bass beat feels heavy, giving it some grit. Once the song reached the chorus, the drums and bass suddenly cut out, and soft, reverbed guitar strumming took over. Derbez switched from a chant to a soothing melodic voice. When the drums and bass cut back in after the first chorus line, the song suddenly entered another dimension. While I wish I understood the lyrics, the sonic contrast and raw emotion were enough to feel the gravity of their performance.
The best part of the show was the song they played to close out their set. They finished with their recent single, “Manos de Piedra (Revisitada)”. The song transported the audience into so many different vibes. It started out very upbeat, with a marching bass line, a surf reverb guitar line, and a swinging drum. Then the instrumentals die down, and a melancholic acoustic guitar crescendoes, slowly enveloping a feeling of tension and curiosity throughout the song’s journey. Derbez took the trip even further with his saxophone solo, freestyling and harmonizing with the rest of the group. Derbez pushed past the boundary, creating a perfect clash of sounds that moved me to tears.
Diles Que No Me Maten brings out the angst and emotions that move crowds even when there is a language barrier. From the band's name to their experimental sound, they have been intentional about sparking conversation for deep reflection and serving as reminders for listeners to confront the heavier, often uncomfortable realities of existen
This year’s SXSW resulted in one of the largest music showcases of the year, featuring over 300 artists as part of their annual music festival. The line-up can be overwhelming with a variety of acts from across the world performing various genres and some in different languages. This list is to help KTRU listeners from around the globe to discover new, exciting talents!
Jasmine Jethwa (London, UK)
In my lifetime, I have only seen three artists more than once live: Kendrick Lamar, The Flaming Lips, and London-based artist Jasmine Jethwa. Having caught two performances by Jethwa at SXSW (British Music Embassy and the Global Music Stage), I can confidently say that she was my favorite performer of the festival.
Performing alongside guitarist Izzi Bard, the duo performed with powerful simplicity: an acoustic guitar and Jethwa’s voice. Her stunning use of falsetto and vibrato on songs like “I Believe in Love” and “Vulnerable” caused me goosebumps. When reflecting on her song “Vulnerable,” Jethwa said, “[there’s] not a lot of poetry, but a lot of honesty.”
Meeting both Jethwa and Bard after the show, I was delighted by their humility and kindness. Both musicians had such warmth to them, both on-stage and off. The sheer power of Jethwa’s voice and her gentle presence left an incredible impression on me since SXSW.
Mark my words, Jasmine Jethwa will be a star - it’s only a matter of time until TikTok hears her voice and she explodes in popularity. Jump on Jasmine Jethwa’s musical career while she’s still growing.
Neptune XXI (Philadelphia, PA)
One of the most enigmatic and engaging performances from the festival comes from Philadelphia-based hip-hop extraordinaire Neptune XXI. Promoting the upcoming release of her album, Medicine Music 2, Neptune opened for Vic Mensa at the Flamingo Cantina - a small and intimate venue.
Right from the first song, Neptune had a chokehold on the audience’s attention - one that was unlike any other at the festival. Her passionate flows and delivery remained creative throughout songs like “Big Fish.” Coupled with her superb cadence and stage presence, Neptune XXI immersed the audience by being incredibly emotive through her mix of flows/melodies and her dancing.
One of the most impactful moments of Neptune XXI’s performance was when she performed “I AM A REVOLUTIONARY.” Citing inspiration from Nina Simone and Fred Hampton, Neptune said that, “It’s the artist’s duty to reflect the times.” Sampling Simone’s famous cover of Billie Holiday’s Strange Fruit, the anthemic song is as empowering as it is haunting.
Neptune XXI is an artist that is the full package with an endless amount of charisma, energy, and passion behind each song - carefully crafting messages of empowerment and resistance within each verse.
Lucid Express (Hong Kong, China)
Hailing from Hong Kong, Shoegaze band Lucid Express was one of the most mind-bending acts from this year’s lineup. Performing on this year’s Global Stage bill, Lucid Express created dreamy and surreal soundscapes soaked in tremolo and reverb.
Lead singer Kim Ho Tsz-ki’s vocals are faint and subtle, yet added tremendous texture to the wall of sound coming from the guitars and bass. In their performance, Lucid Express used at least 15 guitar pedals, with the guitarists using the whammy bar like there was no tomorrow. This helped to create a larger than life sound that felt visceral throughout.
The band performed one song into the other, playing material from their new album Instant Comfort and deeper cuts from previous records like Floret and their self-titled record. This resulted in a mixture of entrancing dream-pop ballads and reverb-heavy Grunge anthems.
I can assure anyone that listens to Lucid Express that, after you listen to a few songs, your shoes will indeed be gazed.
Mariae Cassandra (Perth, Australia)
One of the youngest acts at this year’s festival was 18-year old Indie Rock artist Mariae Cassandra. Making her US debut, Cassandra’s sounds are a mix of Alvvays and Paramore.
Cassandra played songs from her EP titled Everything in my Backpocket. The EP showcases Cassandra’s ability to provide delicate and beautiful vocals that detail the plights of being a teenager.
I found that Cassandra’s songwriting was fun yet introspective. On “Theodore,” Cassandra explores identity and soul-searching on a song about an imaginary friend, contrasting the lighthearted “Million Billion Trillion,” a song dedicated to loving her best friend.
Overall, I found Cassandra to be incredibly positive and excitable, singing with an infectious energy. Cassandra’s performance shows promise for the young singer’s future as she remains dynamic in her search for the sound that will soon define her career.
The Tullamarines (Adelaide, Australia)
Bringing a punk energy to the dancefloor this year was Australia’s The Tullamarines.
Packing their set with fun, driving instrumentation, I found that the crowd couldn’t help but dance.
Songs like “Running on Empty” are earworms that are helped by the passionate vocals and high-energy emitting from the backing band. “Head Roll Back,” about the singer’s girlfriend, is another example of a catchy hook that is propelled by great, genuine energy.
Something that makes the band a rare case is that every member sang individually and I was blown away by how solid each member’s vocals were.
Audience members reciprocated the band’s energy throughout the set; the excitement was felt as this was the band’s US debut. The Tullamarines are fun, bright, and electric. This is 100% an act that you will not be able to listen to without tapping your foot.
I See Orange (Swindon, UK)
High-octane and ear-piercing is how I would describe UK-based group I See Orange.
Infusing their music with elements of 90s grunge, the sound from I See Orange is loud and ferocious. As trippy psychedelic visuals projected onto the band, the towering sound of bass and guitar consumed me from head to toe.
Songs like “La Bruja” reverberated throughout the venue with their fast and punchy delivery. I loved how loud and booming the guitar solos were on tracks like “Wine Boy.”
Despite the intensity of their sound, I See Orange made their show a lot of fun. A standout moment was when they brought out bubble blowers and played as bubbles floated throughout the dimly-lit bar.
MT Jones (Liverpool, UK)
With a blast from the past, singer MT Jones spins the sounds of the 60s and 70s for a new audience. Hailing from the UK, Jones played a set in a similar vein as Thee Sacred Souls and Jalen Ngonda, with a voice that is comparable to Van Morrison.
The funky and groovy nature of tracks like “I Don’t Understand” transports the audience back into another time. Jones also showcased a more melodic side to his performance with songs like “Nothing I Can’t Do,” with audience members slowly swaying their hips from left to right.
MT Jones is an artist that captures the sounds of the past and transforms them into new music for a new generation to experience.
was better for sure. This new generation (hehe) is quite solid, a different sound of early Thug, but they are paving their own similar sounds to be something great that is for sure. The biggest start was for sure Teezus, and holy he is a star. He is one of the few new-age rappers who genuinely impressed me. Why? Well, man, his energy is nuts. I have never seen a live performer like him, frankly. He is new to the game, but his energy and stage prese nce do not feel like it. He is like prime UZI type of energy! His 25-minute setlist was also the best out of the openers, and he delivered in his performance, actually rapping along. Also, the fans went crazy, people in the stands love bro, and he had the same amount of pop when Thug came out. Also, while Teezus was interacting with the fans, he tried to go backstage, and lowkey smacked me lol. This lowkey upset me, but I gotta respect the energy at the end of the day lol.
Moving on, we then had the goat NAV come out, and yeah, he is quite good. Lots of people complain about him coming, since it's not YSL and his music sucks, but nah. His music is good, and he is an experienced fellow in the game. I will complain, his songs were practically all featuring someone, from Uzi to Travis, he kinda relied on their bangers to carry rather than a solo set. But even his own personal tracks like Myself, ehh, lowkey that was it lol. Yeah, looking back, every song he played had a big modern trap feature and just Nav. He also played one of his iconic features, Beibs in the Trap, an iconic bird's song that was appreciated and loved in the H. Still, Nav knows what the people want, and he lets them bang. I respect that a lot. Not everyone in the audience was loving that, but I sure did. He did not really interact with anyone in the audience, but his constant energy and confidence made it pretty worthwhile. I mean, if you look at the track record of his set, it is insane that he can just perform these songs lol. And welp, he can support that, as can what I experienced. 
finally, Thug! was on the verge. So as Thug came out, everyone came out, I mean, it is called the YSL tour. The first 10 minutes of his set were him and the YSL boys playing their new stuff, which I really think is just okay. It was quite a boring 10 minutes, with many repetitive tracks and just them ad-libbing their parts, trying to get stuff lit. It really fell flat, and most people would agree. It felt more of a showcase, which I respect, just not a good one whatsoever. BUT then finally, everyone left, and it was just Young Thug. That's when he made the night special. First performance in Houston after all the Rico stuff, this was monumental for the H. He started playing his bangers, Lifestyle, Hot, Mamacita, Surf... and wow, that is what we call a TRACK RECORD. His performance was lit, he loved the fans, interacted with us, made people's days, it was awesome. He also had this confident swagger, moving around the stage, trying to get everyone involved and hyped up even more. Like he was hitting pretty much everything correctly, and the crowd was finally all in sync, all hitting that peak groove.
Every
d ready to pull up. With such a big discography and his songs blowing up on TikTok, Keef has a big catalog to pick and choose from. With this show, he delivered on that, picking niche deep cuts, to the famous bangers we all expected. 
stood out. 
nd more like a shared experience between the band and its fans.
Now to give this a rating out of five, Letterboxd Style!
The stage design fully leaned into the dreamy aesthetic that defines Raveena’s music, an intoxicating blend of R&B and soul with soaring Bollywood ballads. Throughout the night, she practically floated among the draped tulle and cascading garlands. The set created a soft, almost bridal atmosphere. Designed by visual arts students at Rice University, the details were deliberate: a microphone stand wrapped in pink lily-like flowers, and a plastic lawn chair similarly festooned with white blooms on an elevated platform behind the band. 
may be space for two in that royal court. Halfway through the song “
During “
