Apr 17, 2026 | ktru
Written and Posted By Israel Lerma
Credit: Photographs Taken by Andrew Timmsy
On April 11th, at the grand Bayou Music Center in Houston, Santan Dave from the streets of Brixon, South London, kicked off his The Boy Who Played The Harp. From the streets of London, his sharp lyricism and introspective writing, with such a calming British delivery, make the song. His music is personal, and he is an emotionally raw artist who gives us a sense of life in his new music. After 10 years, the boy has started playing the Harp.
Starting up his set, Dave played the first song on his new album, History, featuring James Blake, a common feature for most UK rappers. Opening with this song was pretty classy, and having the live band play the whole time was neat. With live drums, guitar, and keyboard, every song really stood out, and it felt like an orchestra was playing as Santan Dave rapped. The James Blake vocals also made me levitate, and made my inner spirit feel like the album cover. The next song is a special one, Weapons, featuring one of the best upcoming UK rappers, Jim Legxacy, who has one of the best debut EPs in hip-hop history. Hearing his feature live was great, and Dave makes this song groovy in a way that makes you dance.
With the remaining of his set, he spiraled into the beginning and classics of his discography, as this was his first time in Houston in years. Thus, he spiraled into his 2021 album, We Are Alone In This Together, and played my favorite song Both Sides of a Smile featuring James Blake. This eight-minute song feels like Dave is talking to everyone as he shares a personal story with his love. The production, especially live, is literally cinematic, almost end-of-the-world beauty to it, and Dave rides it with this reflective and very emotional tone. It sounds like isolation, pressure, ambition, and survival all crashing together, with the voice of Dave and James hitting my inner spirit. My favorite part of this song is when the uncredited woman starts talking and shames Dave; her emotional voice makes us wonder who was in the right.
He then played one of his classics, Sprinter featuring Central Cee. Both these men rap so smoothly, effortlessly, and just overall very clean. Dave and Central Cee sound ridiculously locked in, trading this British cool, kinda cocky, confidence with slick bars over a trappy beat. It is one of those tracks that makes UK rap feel untouchable for a moment, and is a good song that represents their culture.
He then finished his set by playing Raindance, which features Tems. Now, his most popular song, the feature with Tems, feels so clean and vibey, with a smooth late-night luxury and a soft ache underneath. Dave brings that cool, controlled confidence as he raps about his life after all these ten years, while Tems floats over the track, giving it a dreamy, almost weightless feeling that makes the whole song glow. This collab sounds quite exquisite, and genuinely represents the position of Dave now, as a man turned boy who plays the Harp. Overall, Dave is more than just a technically strong rapper from overseas; he is an artist who knows how to connect real substance with great sound, something that islacking in today's hip-hop world. That is why he stands out so much: when you listen to him, it feels like you are hearing someone who is not only talented but who genuinely has something to say.
Mar 30, 2026 | ktru
Written By Chloe Diehl
Credit: Photographs Taken by Alan Davis
This past weekend, I got the opportunity to witness Rainbow Kitten Surprise’s concert at White Oak Music Hall. Before the main act, the opening band kept putting emphasis on the fact that “Rainbow Kitten Surprise” was a band everyone must see at least once in their lives. After seeing them play live, I understood why.
Photos by Alan Davis
The opener for this show was a group called “Common People”. In my opinion, this group was your regular vanilla indie rock band, almost reminiscent of something you would see from Disney Channel’s Camp Rock. I loved the lead singer’s energy, and he was great about getting the crowd to jump at the beginning of the show. However, the crowd quickly dissipated as his energy was not matched by the rest of his group. The rest of the band members were quite stiff with minimal to no movement, while the lead singer was prancing around the stage. This ultimately caused an awkward imbalance in the vibe. I was slightly underwhelmed, nervous that the opener would be similar to the main set. Luckily, my assumption was wrong.
At the start of the main show, the band's entry made the lead singer, Ela Melo, feel like a mystique. Her fierce confidence and elegance made me focus only on her. She had an absolutely magnetic personality on stage. Despite her siren-like characteristics, she was comfortable making jokes with the crowd. She even belted out a loud holler with the crowd to “match our chaotic energy”. Melo was truly dynamic, keeping her cool aura while connecting with the fans.
Photos by Alan Davis
Aside from the showmanship of Melo, the band’s overall musicianship was a force to be reckoned with. The clean, silent cuts in between the upbeat choruses felt resonant. What made it even more powerful was the vibrant lighting in the backdrop that matched every beat of the bass drum. This was especially seen when playing Cocaine Jesus.
While a good portion of the set was mostly upbeat rock songs, the band switched to an acoustic ensemble three-fourths of the way through. This long-standing band played songs they wrote ten years ago while living in the mountains of North Carolina. One of the songs during their acoustic portion of the show was their iconic "All That and More (Sailboat)". I loved the riffs from the banjo blended with the gentle guitar chords with a little blues scale at the end of the song. It was truly a treat to switch from the upbeat rock to something more calming, especially with after being surrounded by their hyper fans amidst the crowd.
Though Rainbow Kitten Surprise is not the typical band I gravitate towards, I truly appreciated them more when I saw them live. I also can understand why this band is a must-see. The band has very much refined the band’s overall sound, and has been sharpening its chops when it comes to playing live.
Mar 29, 2026 | ktru
Written and Posted By Israel Lerma
Texas-based rapper That Mexican OT, known for his high-energy Southern hip-hop sound that nods to Chicano rap, performed this month in Houston’s House of Blues venue during his “Herd the Cattle” tour. That Mexican OT has been an emerging figure within the Houston Hip-Hop scene, employing a unique rap style and personality. Releasing his recent album Recess (fun fact: this album cover pays homage to the Bay City mascot, the wildcats, which I have faced during my high school band competitions), where he started his new 2026 tour, Herd the Cattle, on February 10th, right here in the House of Blues of downtown Houston.
Opening on this tour was DRODi, a Freeport, Texas native, who brought me joy by representing my city. DRODi hit the stage with a kind of confidence that instantly grabs a crowd's attention: no long build-up, just straight into the energy. His delivery was sharp and consistent, rapping over the beat cleanly with enough stage presence to make the performance feel physical and interacting with the crowd when he could, smoking whatever fans threw at him. What stood out most was how he controlled his cadence; he can switch from faster verses into a slower, more methodical rapping style. Throughout the set, he would perform ad-libs about the grinding he did and the life lessons he’s learned. The whole night, he leaned into his sharper, punchier songs like “HOLY GHOST” and “EVERYTHING,” having the crowd turnt. Energy spiked whenever he performed his more accessible, repetitive tracks like " I NEED A FREAK FREESTYLE” and “PMW.” These two tracks had everyone singing and swinging their lights in unison. DRODi delivered an excellent performance, warming up the crowd and making the small town of Freeport, TX, proud.
Now it was time for that Mexican OT, and he came out with a bang. All the excitement and buzz surrounding That Mexican OT allowed him to lean hard into Texas identity—swagger, slang, and larger-than-life storytelling. He started with his song "Hate Being Famous," the first track on his new album, which explores the pros and cons of being a rapper. It was quite an interesting choice; OT was introspective on the mic, both proud and regretful about the career he had chosen. After this song, OT addressed the crowd, noting he had never visited Houston until now. He admitted to the audience he was scared that the people would not appreciate him, but after the first song, the fans proved him wrong.
OT soon performed “La Cobra,” one of those tracks that slithers in quietly for half a second and then strikes with a nasty, confident delivery from OT, lending a sample from the famous collective, Cumbia De La Cobra. “Fito Olivares Y Su Grupo” (2007) is an iconic Mexican song that, paired with his gritty, Texas delivery, feels natural and at home. The hook is quite addictive and fun to listen to, turning this classic Mexican dance song into one of OT's most iconic tracks. A standout moment in the setlist was when he played “Texas Technician 02.02.99.” This song is named after his birthdate and is quite personal, reflecting on his past. When the hook lands, the crowd goes wild because it's so catchy and relatable to everyone in attendance. The drums feel sharper live, and OT's rapping skills do a great job of showing his emotion and getting the crowd engaged with his work.
To close out the night, OT brought out his whole crew and DRODi to perform his hit song "Johnny Dang," featuring both men and Houston legend Paul Wall. Johnny Dang is literally pure swagger on ice as the most famous jeweler in the rap game. In the song, That Mexican OT has his best verse and hook to date, as he bounces on the beat while paying homage to his hometown of Bay City and Houston's influence on his sound. The way he name-drops Johnny Dang isn't just a shoutout; it's the whole mood, providing that cold, icy energy that shows how he made it in the Houston Scene. The hook is sticky as it is one of the quotable lyrics that everyone loves to say. Additionally, this hook was the loudest pop of the night, as everyone loves this hook and its homage to Johnny Dang. In my high school years, I felt like I heard this hook every day, and now seeing it live, it did not disappoint. Every bar and feature feels like a victory dance, as both DRODi and Paul Wall do an excellent job of having a sharp, charismatic sound that gets even crazier when the crowd yells it back.
For the first official time in Houston, Mexican OT and DRODi did not disappoint. I love both of these artists, as they put the cities of Bay City and my hometown, Freeport, on the map, which is something people need to keep an eye out for. Their performances confidently land all the time, as their delivery is loud, playful, and polished enough to feel major, but still gritty and authentic enough to feel real. It is nice to know that both these men are not chasing an already made sound; instead, they are stamping their name on this new wave of Chicano rap, and you walk away feeling like you just watched somebody level up the genre! If that Mexican OT ever announces a show near you, I recommend going, as there truly is no one else like him in the rap game right now.
Mar 10, 2026 | ktru
Written by Israel Lerma
This month, I visited for the first time the newly built Doc's Jazz Club located in Montrose. Opening on November 15, 2024, Doc's is billed as one of the largest jazz clubs in the nation, featuring a multi-genre lineup spanning jazz, blues, R&B, and soul. This month, I went to Doc's to experience "The Music from Cowboy Bebop with the Woody Witt Big Band."
The ensemble borrowed from a popular anime from the 1990s called Cowboy Bebop, a stylish sci-fi noir that follows a crew of bounty hunters drifting through the solar system. Though it's only one season (26 episodes), it's classy, jazzy, and mixes action, raw comedy, and melancholy in a retro-futuristic vibe that provides it with its unique aura. We get to explore the main character, Spike, and his past, slowly creeping up on him and his crew, while almost every sequence features various styles of jazz, from Japanese to ballads, of course, bebop, and more.
I arrived early at the venue and got to catch the soundcheck! Here, I could tell it was going to be a crazy night, as the iconic central theme of the song Tank!, playing with high energy, featured lots of punchy brass, walking bass, and rapid drum hits. Kicking off with the famous "3, 2, 1… let's jam!", the Woody Witt Big Band set the tone for the show. After talking to a server at the restaurant, I was informed that this was the loudest he had ever heard at the venue, as the band was 20 members deep, the largest band ever to perform at Doc's so far. He said, "This speaker you see up there, that's for decoration, this big band will literally fill every corner with sound, even up here."
As the show started and the audience settled in their seats, the music filled the room as Woody Witt performed a filthy saxophone solo with 32 bars of pure sharp accents, syncopation, and little rhythmic hiccups on “Tank.” Witt really raced through arpeggios and scales, with a great screaming ending of hitting such a high E flat to end off. The way Woody moves and plays, he seems flashy, restless, and precise with every breath and every note hit.
Following “Tank” was the upbeat, horn-driven "Rush". As each song is being played, footage from the TV show is shown on a large projector behind the band. “Rush” was the soundtrack to the first fight in Cowboy Bebop between Spike and his first bounty on the show. This song follows the whole scene, accompanied by jam-packed sounds in the six-minute fight. I really love how the entire show uses clips from the anime, as not only do we get to hear the music, we also get visual cues on where it lands in the series. Featuring scenes from the show in addition to the music helped to elevate the experience, making the audience feel more immersed in what is happening as we listen.
An impressive moment within the performance was "Sax Quartet," a jazz cut that consisted of the saxes trading tight harmonies and quick, bebop-style runs—smooth but restless, like a classy lounge vibe with sharp edges. The stacked sax chords mixed with call-and-response phrases make the performance feel immersive. Warren Reed does such a great job in improving these songs, effortlessly traveling through a blues chord during a solo. "Call Me Call Me", a moody, late-night ballad that feels like drifting through space, only to feel regret and longing. The band usually has a singer who sings in Japanese, but she was not able to make it to the performance. Despite the absence of vocals, the instruments did a great job of providing the romantic and lonely vibe of the song, playing over Ed and Ein deciding to leave the bebop, and Faye struggling to face her own demons.
To close the show, The Big Band proceeded to play one of the most iconic songs from Cowboy Bebop, "Space Lion", containing one of the best sax solos I have ever heard. Played by Woody Witt, his phrasing is quite slow yet deliberate. Every note is meticulously played with passion and emotion. Witt provided the solos with a breathy, sad subtone at the start, only to transform the tone into a warm, crying vibrato that resembles a passionate scream. The use of silence within the song is just as effective as the notes played, making the melody feel like it's echoing through a vast, empty room. “Space Lion” is slow and hypnotic, which made me feel like I was floating through space.
Leaving Doc's that night, I felt like I'd experienced Cowboy Bebop in a new context. Cowboy Bebop is my favorite anime ever, and being in Doc’s in what was set up as a half-concert, half-cinematic memory is something I haven’t found elsewhere. Hearing those tracks live made the aud
ience feel immersed in the adventures of the crew, and the music guided the story of the show. Throughout the performance, the sounds of the brass shook the room, the hypnotic use of drums that floated, a guitar that transcended the space, and sax lines that carried the emotional weight. Doc's on Westheimer was a perfect place for an evening out to experience great jazz music. The energy of the space and the skill of the musicians help to create a memorable time.
“See you, space cowboy…”
Jan 8, 2026 | ktru
Written by Israel Lerma
Born and raised in Detroit, Danny Brown is an American rapper, songwriter, actor, and podcaster. Brown was heavily influenced by his parents and the Detroit community, which led him to experimental hip-hop music, for which he is now known. Performing downstairs at Houston's gorgeous White Oak Music Hall on November 22nd, Danny Brown and his two openers, Femtanyl and Underscores, provided a memorable night filled with alternative experimental hip-hop you need to experience.
Femtanyl, the first opener, came on at 8 pm, experiencing technical difficulties at first, but still played their 30-minute set, which was slightly over, which was neat. While waiting for the first 5 minutes, they started with a very, very long joke to keep the crowd entertained. The joke told was about three men (who turned out to be them) who live very distinct lives, as each life was described in great detail for a long time. After the description, the punchline hit with a sex innuendo, including the three men. That complicated joke made no sense, but it still made everyone laugh, and as the second joke was being made, the punchline had no time to shine, but it was promised it would come later. They began their set with the song "P3T," a classic synth track that utilizes repetition to its advantage. Its heavy bass got everyone moving like crazy, as the sound was so loud and heavy that everyone felt it in their bones. The live guitar solos throughout the set were quite impressive, as the high notes resonated well with the audience. The stage presence was exciting, as the constant movement had people reciprocating in kind, and their fashion sense (see picture) is some of the best I have personally seen among artists. They ended their set with the song Fast-paced WORLDWID3 masking in the audience crowd. As they left their set, the crowd was waiting for the promised punchline at the end; however, it did not come.
Ten minutes later, Underscores came out to play her unique hyperpop sound, inspired by 100 gecs (whom she had opened for years ago). She started her set with "Point A," a hyperpop song that utilizes the xylophone to propel the song forward. With the bass coming again, these constant sounds get everyone moving. The song "Poplife" was quite nice, as the underscored vocals sang every word, no matter what. The lighting really made her stand out, enhancing her performance, while the heavy use of bass makes you want to keep moving. It was a fun time; even the fans next to me knew all the words and were passionately singing along with her. The most interesting thing I've ever seen happen at a show occurred duringher last three songs. When playing What A Girl Gotta Do, she hides behind a curtain while a light emits. Come to find out, Underscores is wearing a light source as a backpack, drawing all the attention to her. The crowd started cheering, then appreciated the creative aspect of this, as the light signals a metaphor that just that. While singing her most emotional song, she moves the light closer to her face to emphasize how she truly feels. Singing "What A Girl Gotta Do," I interpret this as her asking the world what she has to do to be the best. She turns off the light and ends her set playing "Music," her recent single. While leaving, she sings "thank you so much," a nice touch for both the audience and performer to come together and enjoy.
Now, for the headliner, Danny Brown came with his famous fur coat piece, white pants, and green-dye hair. He started with his self-titled song, "Stardust," and in these four minutes, he set the tone for the rest of the night. Performing in his shining box, the constant back and forth, along with the varying lights, makes Danny's passionate performance really stand out. Additionally, the instrument that sounds like it adds so much to the song, as well as the silliness Danny loves to portray. Continuing the Stardust, Flowers, and Lift You Up is a nice representation of this hyperpop song that Danny is starting to embrace. The song "Green Light" is my favorite off the new album, and hearing Lulu Prost perform live was a treat. The following few songs were all throwbacks to previous works like XXX and Atrocity Exhibition, one of the best albums of all time. Hearing his classic "Lie4" and "I Will," these are the songs that gave him a sense of direction when he recorded them at the age of 30, paving the way for where he is today. I Will has the best samples ever, and hearing them live with Danny spitting on it like crazy was incredible. Even crazier was when he played When It Rain and Ain't It Funny. This album genuinely inspired me to explore the alternative and experimental genre of hip-hop, as 'Ain't it Funny' is a hip-hop classic that pushes boundaries of the genre. It is such an important, well-produced song that deserves all its flowers. The music video itself is also one of the best, so hearing this live with other Danny's fans was so cool.
Then, the next song off his collaboration album with JPEGMAFIA, playing the self-titled track SCARING THE HOES. This 
track live is an experience I cannot even describe. The raunchiness, randomness, and all are perfectly crafted into a unique piece of work that is mastered really well (in which Peggy does!). To end his set, Danny played a couple more hit songs off Stardust, bringing out both openers to play their songs off the album. Seeing all the artists on stage, it's a beautiful sight to see the veteran Danny Brown blending into a new genre that the up-and-comers are paving the way for. Ending his set, Danny played "All4u," which is a perfect love letter to all his fans. As he says, this music saved Danny's life, and thanking us, the fans, by making him into the man he is today is a powerful lyric Danny ends with. In this case, the "U" isn't a female or a partner; the "U" is us, the fans who support Danny in whatever he does. He is grateful, and we, the fans, are grateful as well, for witnessing a living legend in the modern hip-hop world.
Dec 6, 2025 | ktru
Written by Gustavo Roskowsky
Pinwheel took over The 13th Floor in Austin on November 29th with a set that felt equal parts rock show and beautifully unhinged experiment. Their current lineup features Jim on electric guitar, Mark on electric guitar, Cam on bass, and Terrin on 
drums, with Jimmy Swagg stepping in as vocalist for the night. Their recorded tracks “Lapse” and “Glass Ceiling” still feature former lead singer Riki Shae (Chryst Moon), but this live setup carried its own raw personality.
From the moment they stepped on stage, the band leaned fully into their aesthetic: mascara, a striped mime with full white face paint, a bassist who looked like he walked straight out of the intro scene of “The Dark Knight,” and a drummer thrashing from behind a skull mask. Jim and Mark framed the stage with riffs and energy, while Cam and Terrin drove the heartbeat from the shadows.
They kicked off the night with “Broke,” a gritty opener that set the pulse in the room. “Komodo” came next and immediately amped up the crowd before they slid into “Glass Ceiling.” Even without Riki on vocals, Jimmy Swagg filled the space with commitment that genuinely deserved applause. “Minerva’s Den” was another standout, but “Lapse” and “Glass Ceiling” hit the hardest and felt the most familiar to most listeners. The instrumental format ga
ve them room to experiment and reshape the songs in real time. They closed with “As Above” and left the room buzzing.
Pinwheel ran through instrumental versions of their songs while mixing in Jimmy Swagg for a few. He performed. He wandered off the floor, frolicked across the stage, exchanged moments with the crowd, and sparked playful interactions with the band. The whole set felt alive. At one point, the guitarists even touched guitars mid-song just to see what would happen. Whatever it was, it worked.
The night opened with Burning Low, who set the tone beautifully. Every musician in the group was fully engaged. You could feel that collective zone the moment they started 
playing. Even Pinwheel’s members were spotted near the front vibing to their set before their own show began.
The night felt like a small corner of Austin exploding with creativity. Pinwheel delivered a wild, funky, and memorable performance. Even after the show, the crew stuck around, helped each other out, and enjoyed their time watching other groups together. It felt like watching a group of friends who trusted each other enough to try anything and have a blast doing it. If this is the direction they are heading, they are a band worth following closely.
Dec 6, 2025 | ktru
Written by Israel Lerma
Atlanta-based quadruple threat Zack Fox performed at Houston's White Oak Music Hall on November 22nd. A stand-up 
comedian, rapper, actor, and now DJ, Fox has done it all. Fox and his DJ openers, IDKRYAN and Hyperrace, spun and provided the vibes. The doors opened at 8 pm, with the first opener, IDKRYAN, coming out, and exactly an hour later. Playing his one-hour set, IDKRYAN is a DJ and producer from Houston, providing a techno-hip hop classic vibe for the night. His whole set was a constant vibe, with smooth transitions being subtle and foreshadowing. I loved how he used isolated vocals from “Whoomp! (There It Is)”. He used a lot of isolation with specific instruments, but primarily the vocals. He engaged the crowd with this technique, having them reciprocate the same energy, something every DJ should aim for. This has been my first time seeing a DJ set live, so to see IDKRYAN on stage manipulating well known songs was an amazing experience. I felt every snare hit and bass sample, and coupled with the countless smooth transitions, made it quite a surreal experience. It was as if every two minutes, a different song would play, and every eight measures, something would be constantly added or taken away. My biggest highlight of IDKRYAN’s set was when he did a mashup of "Sticky” and “Tamale” by Tyler, The Creator. Hearing both songs mixed in a club/house mix with an almost doubled BMP was insane!
An hour later, a DJ duo from Houston, Hyperace, came on stage. There was a seamless transition between IDKRYAN and Hyperrace, which was so smooth that I didn't even expect it. Throughout their entire set, they played various genres, including club/house, pop, hip-hop, and R&B. Moments that stuck with me were at the beginning, when they chopped up vocals over a synth-heavy beat that continued to repeat. It was such a dope use of vocals, especially when it's in a constant spliced-up one-second loop; the cherry on top was the bassy transition that made it perfect. Throughout the set, I would turn around and see people dancing and vibing in a way I did not expect. Hyperace closed off their set, transitioning into Zack Fox. I heard the loud cheers from the crowd and the mixed vocals from the set created this moment of harmonic peace as Zack entered the building.
Zack Fox came on exactly at 10 pm and played for two hours and thirty minutes. For the first ten minutes, I was at the photo pit taking as many photos as I could and enjoying the moment. This was the first time I had ever been in front of the barricade, which was a surreal feeling as Zack himself was just a few feet away from me!
How Fox blended genres was amazing, from pop to rap to Mexican music;
I appreciate the diversity in the genres of music. During his set, Fox performed a monologue about the creative minds behind mainstream music and how it was developed by minorities. Throughout his set, he paid homage to Detroit, Atlanta, and Chicago, crucial cities that developed the styles of music he borrowed from. While performing, Fox had such an entertaining presence when he was spinning; the way he moves and grooves is so clean, and it provides an underlying tone of how the crowd should respond. Seriously, look up a Zack show on YouTube, and the way he portrays and dances himself makes the vibe (I recommend you to watch his Camp Flog Gnaw Set 2025, just released). Also, credit to his entourage, who also helped to enhance the vibe; they were killing it! Fox’s DJ set had a great selection of songs from “Millionaire” by Kelis (feat. Andre 3000) to a modified version of “Family Ties” by Baby Keem. The isolated vocals of “Family Ties” played over a club beat. Hearing Baby Keem's part at almost 2 times its tempo w
as a neat touch. Overall, Zack Fox is a creative genius with so much talent. His sets were inspiring because of his ability to get the crowd moving. For four hours (of pure spinning!), I was always dancing and vibing. Lastly, thank you to the White Oak Hall Staff for being the nicest and giving me the opportunity to be in the photo pit! Most importantly, shout out to Zack Fox for being my first proper DJ set. Fox did not disappoint, and he needs to be seen live if he tours in your city.
Nov 17, 2025 | ktru
Written by Steven Burgess
CREDIT: Photographs taken and provided by MIGUMONI. Artwork and visual art provided by Mia Rasmussen.
Mia Rasmussen, better known as Temachii, is a multi-instrumentalist and self-producing artist based out of San Antonio, Texas. She has released two albums, “flora maniia” and “akrasiia,” and recently opened for Wisp on her tour, “If Not Winter,” alongside Dream, Ivory.
SB: How does it feel to wrap up the tour with Wisp last month?
MR: It was my first big tour. I hadn't played any shows outside of Texas, so [it was] super exciting, and I had a lot of fun. Both Dream, Ivory and Wisp were super nice and amazing. I was very blessed to have done a first tour with them.
SB: Are there any specific venues [in Texas] where you have performed that really stood out to you, or that are really near and dear to your heart?
MR: I really liked playing the House of Blues in Houston, and I loved Tulips in Dallas-Fort Worth. That was a really nice venue, and super kind people [attended], but all the venues in Texas were pretty good. I don't think I have an issue with any of them.
SB: This year was your first time you had headlined shows, one in San Antonio and then another one in LA. Can you tell me about the experience of going from an opener to being the headliner of your own show?
MR: Yeah, it's totally different. Night and day. Being an opener [versus] a headliner. I loved being with Wisp, and they were amazing, but it was so shocking to me when, even just those two shows, that [headlined]. It's so jarring to see everyone [is there] just for you. That was something I wasn't used to, but it was very flattering.
SB: How was it like to have a crowd know your songs and sing along to things that you wrote in your room?
MR: I never thought that would happen. When I first started making music, it was just for fun. I wasn't planning on making it into a career. I was still in college when I started making music, and it was just something I wanted to do, like how I love to draw. I was friends with a lot of musicians, and I was in Band growing up, and [my friends] heard I could sing, and they were like, “oh, you should just try and make your own music. I think you'd be good. Your voice is super nice…” I treated it how [I did] my art, just something [for] self-expression [and] enjoyment. To see how far it's reached people, it's something I never imagined would happen.
SB: How do you feel collaboration has helped you throughout your [musical journey], especially with collaborators like Gabe Jimenez?
MR: I think collaboration is super important, especially in music, but in most art-related things, it's good to have different perspectives and different views impacting your art. Even though I write a majority of my music, I'm not amazing at everything… that's where Gabe would come in. He's a good friend of mine… [he’s a] super amazing guitarist and bassist… I would reach out to Gabe, and he would come and record for me, or even sometimes help me write stuff.
SB: - You started work on your first album, “flora maniia,” in 2020. How did the pandemic affect your workflow and lead to the release of your album 3 years later?
MR: [The pandemic] definitely gave me more time to do it because we were all at home, and I was working at a grocery store when I was making that album, and that's where I met everyone. That's where I met Gabe. That's where I met my engineer, Pedro. He [helped when we] recorded, mixed, and mastered all of my songs that are on Spotify right now. During the pandemic, being a grocery store worker was an essential worker, so we were just around each other all the time, and we were all musicians, and that's how we connected.
SB: Were there any challenges or roadblocks you had to overcome throughout the process of “flora maniia?”
RM: Since everything was recorded in a home studio [during] Covid, we didn't really have access to… drums. I think live drums sound so good… I didn't have a lot of money, so just [trying to find a] really good drum machine [and] trying to make sounds that were not real [like] drums or piano… sound really good, even if it's just a digital machine on a program.
SB: How much of the production is live compared to synthetic?
MR: Usually, all guitars are live. Bass is live. MIDI is recorded on a MIDI synth. For “akrasiia,” I just wanted something super stripped back and acoustic. It was just what I was feeling to make now… When we start touching it up and adding drums or other textural sounds, [that] is when we start adding synthetic sounds.
SB: One of your standout tracks [off “flora mania”] is “Born Into.” I really love [that you] use your voice as an instrument… How many tracks of vocals does it take to get that intended effect?
MR: “Born Into” didn't really have too many [vocal tracks]. How I started that song is I first laid down the chords with MIDI. I would [create] chords on the piano, but I knew I wanted the song to just be my vocals… I wanted to make sure I got the melodies I wanted out first, and then I [recorded] each note of the chord I laid out and sung that note. I think maybe five or six layers of my vocals to achieve that.
SB: Who are some of the artists that come to mind that you play on rotation when you're in this [musical] workflow?
MR: Bjork and Ichicko [Aoba,] I love them, and I listen to them constantly. I love all kinds of genres… Even if you just look at my first song, “Echoing,” it's kind of more electronic, but… I love heavier stuff, I love electronic, I love jazz, I love bossa nova, I love rock… I listen to everything.
At the time of making “flora maniia” and “akrasiia,” I was listening to a lot of Radiohead, a lot of Fiona Apple, and Mitski at the time. I didn't really know what Shoegaze or Dream Pop was, which is what a lot of people like to describe my music as… so then I started listening to Cocteau Twins, Autumn’s Grey Solace, Alison’s Halo, or Slowdive… I think that's interesting to me that I didn't even know of those genres, but I was kind of making songs within [them].
SB: - After “flora maniia,” you released your follow-up project “akrasiia.” Between projects, you shifted from a dream pop/shoegaze sound to a more ethereal/ambient direction? What informed this change in sound and the addition of purely instrumental tracks?
MR: After I released “flora maniia,” I just really wanted to make some songs that were very minimal, just acoustic guitar. Not that they're simple, but just not a lot of production. It's really just guitar, bass, or even for the instrumental tracks, just to try and convey a feeling.
SB: What would you say was the song that really stood out to you as being hard to produce? Especially [given] how complex some of the instrumentation is on “akrasiia.”
MR: Anything with my piano, so “nepenthe” or “do you remember,” even “stupid piano” off “flora maniia” … those were harder specifically because my piano's out of tune… I think it's [tuned to] around 432 Hz… For “stupid piano,” we had to digitally tune my voice to make sure it was [in tune] with the piano as well as all the other instruments. Then, [we did the] same thing with the songs on “akrasiia,” making sure everything fits the tune that my piano is [currently in].
SB: Is there a story behind how you got [your detuned] piano and how it came into your possession?
MR: When I was growing up, the first instrument I learned was piano… I was just [learning] on this really small digital piano I had, so then my parents [brought me] to a thrift store in middle school, and there was a piano there, and that's the one I bought, and we just never ended up tuning it… you need to do multiple tuning sessions to get it to standard tuning, so it's only [been] tuned once and then never again, which is probably why it's out of tune [still].
SB: - Not only are you a musician, but you also produce a lot of visual art. What was it like being a freelance artist before making the transition into music?
MR: I've been making art ever since I was really little. I just knew I wanted my art and music to be connected. I just felt that was natural, like they would go hand in hand. I started to make visuals for my music as well as try to build a little world. I was really inspired by Gorillaz or Studio Killers, where they have little characters… [I thought,] “I guess I could do that,” and I didn't delve too deep into it. I just made a caricature of myself, rather than like a whole new character that looks completely different for me.
SB: Can you kind of walk me through the rollout for Not/Lost… [with this] surreal and kind of cool and trippy imagery?
MR: I've obviously been working on new music, trying to get it the best that it can be. When I wanted to release “Not/Lost,” I wanted to tease a new era. I still plan on doing a lot of nature [themes] because I love nature, but shift it from forestry imagery [towards] a little more water… I made a little comic of the Temachii character in the forest, but finding a pond.
SB: What is your favorite medium: drawing, painting, animation, or digital art?
MR: Either painting or sculpting. I got into sculpting from when I was still in college. I took a 3D art course, so we did a lot of sculpting with many different materials, and I didn't think I would enjoy it as much as I did, but I really did, which is why I made that Little Lamb sculpture, and I want to make more… I tend to do mostly digital because it's very convenient, easy to do, cheap… so I tend to do that more, but whenever I have time, I love to do either painting or sculpting.
SB: What was it like balancing school and making music/art?
MR: It started to get more difficult as I gained more popularity, just because… more opportunities came my way, which I was super thankful for, but then that meant playing more shows and rehearsals, traveling more… I was also still working at the grocery store, so I was getting worn thin. I do find I have less time to draw nowadays, but I still always try and make time, and it's still something I'm super thankful for the opportunities I have that I would never thought I would get.
SB: I'm assuming you probably receive a lot of fan art. Is there any specific fan art that comes to mind that was really meaningful or special for you?
MR: Yeah, I love getting tagged in stuff… my favorite is when someone gives me something physical. I've had many pieces of art, whether it's a drawing or even jewelry given to me… at shows, that's my favorite. I obviously hold on to them, and I find physical things very… amazing, very beautiful.
SB: I believe you had said that you [refer to your] fanbase as Teminions. What is the inspiration behind this?
MR: It was just one of my good friends. We always make little jokes when we're hanging out, and he invented the phrase Teminions. And he's like, “you should call your fans the Teminions.” At first I hated it, I was like, “no, that sounds so silly.” Then… the silliness grew on me, so then I was like, “Okay, I'll embrace it.” They're the Teminions.
SB: Recently, HunkofPlastic Records just pressed your album, “flora maniia,” on vinyl. How does it feel to be able to hold your work in your hands?
MR: Yes, they did. That is the first time any of my songs are on vinyl, which is so exciting… It feels surreal… Everything that I've done [between] touring, performing at venues, meeting fans, having a vinyl is something I never predicted would have happened… I didn't get to see too much of the process. They're still being shipped to me… [HunkofPlastic Records is a] small label, so it takes them a while, but I'm super thankful they did that for me.
SB: You have produced all the album cover art for your music. Do you have a favorite cover you've made?
MR: “Flora maniia” for sure. That one took me the longest. It took me a few months to make it, which is the longest I've taken on any piece of drawing, especially digital. I'm doing the same, obviously for future releases… If it's an album, [I like] to put a lot of detail into the artwork.
SB: - Does the surreal imagery of your visual artwork ever transform itself into a song?
MR: For me, usually the song comes first, and then when I listen to the song… I create the visuals. I've yet to make a drawing and then make a song, but that's probably something I'll explore eventually.
SB: One of your songs, “a lamb’s lullaby,” was turned into a variety of different art pieces. Can you talk about that process more?
MR: After I released “flora maniia,” I really wanted to make a bunch of physical pieces… so that I could do a gallery based off of each song… I kept doing “a lamb’s lullaby” because that one is one of my favorite songs from that project.
I would make a piece and then people would reach out to me, wanting to buy it, so then I would sell it, and then I'm like, “I don't have a piece for this gallery I want to do anymore…” I do hope eventually, even if it's ten years from now, I want to have a little gallery showing [work] based off my songs.
It would be in Texas, but if I ever got the ability [to put it on, it would] be in multiple places… I just imagine a little space and just all of my artwork would be there… to fit the “flora maniia” themes… I could see myself doing a little live performance along with it, but I for sure see it like how a normal gallery would be for [other] artists. You see other pieces on the wall, you walk through it, and experience it.
SB: You also design your own merch. Are there any specific merch pieces you've made that you’re really proud of?
MR: I really love the rib cage design… there's nothing specific about it, I just really like the design idea for it.
I love designing merch… I tend to change the designs a lot just because it's so [much] fun for me… In the beginning, I [screen printed every shirt], but now it's gotten to a point where it's just too much [demand], so I do need to outsource.
SB: - Throughout your performances, you have an array of unique-looking instruments such as a heart-shaped guitar or a butterfly bass. Is there a story behind any of these designs?
MR: I didn't know how to play a guitar when I was first making music, but when I first started [working on] “flora maniia…” I picked up guitar and… started teaching myself guitar. When choosing a guitar, my only logic was I want it to look really cool because the cooler the guitar looks, the more likely I'm going to want to pick it up and play around with it… The first one I ever got was the little heart guitar, and then I got the butterfly bass because I needed a bass to [play] on my songs as well.
As I’ve gotten better at guitar [started] caring more about its tone… I still care about the way it looks. I have a floral design one, a watery [looking] one, but different models, I have a Jazzmaster now [and a] Strat.
SB: What would you say is the most atypical instrument you play?
MR: I don't play it often anymore, but I do have a song on “akrasiia” that has banjos. It's not the weirdest instrument, but I don't really pick it up too often. I just wanted a song with the banjo, so I have a banjo. I play it every now and then.
SB: You have amassed a large social media presence since your first album. How has a platform like TikTok affected your music career?
MR: It's 100% what gave me what I have now. I feel every artist feels this, where no artist really likes to post and promote their stuff… but without TikTok, I wouldn't have gotten the attention I have now, it's the reason why my songs blew up, and so I'm very grateful for that. I haven't experienced that on other social media platforms, YouTube or Instagram. I do have followings there, but to me, it's mostly because my songs blew up on TikTok, so then it trickled down to the other social media platforms.
Because of my songs blowing up on TikTok, I've met so many talented musicians: Wisp, Dream, Ivory, [and] Kitty Craft. Those are all people I listened to before I even [started] making music. So it was just crazy now we're in the same room… [and] friends.
SB: Can we expect a new project from you soon?
MR: Yes, I've been working on [a new project] since “flora maniia” released… I'm just struggling with the pressure… When I made “akrasiia,” I didn't have [this attention], so I was able to release it pretty quickly, but now I feel I have to make [this project] the best that it can be… It should be done soon. I am working very hard on it for everyone.
SB: Are you going to [perform] any shows in the future in Houston, Texas?
MR: I will for sure… nothing for the rest of this year, but next year for sure. I'm going to keep performing and playing shows all over [Texas]. I love playing Houston, so I will definitely be back.
Nov 2, 2025 | ktru
Written by Israel Lerma
American singer, songwriter, and self-producer Quadeca is currently on tour for his newest project, Vanisher, Horizon Scraper. Quadeca underwent a fascinating evolution as an artist, initially posting videos on YouTube that showcased different rapping techniques and FIFA content. At some point, he deviated from his YouTube career to fully pursue a music career. With this third-ever tour, and second time in Houston, Quadeca came to town and delivered.
On October 27th, 2025, American singer, songwriter, and self-producer Quadeca came into town, playing downstairs at the White Oak Music Hall. The door opens at 7 pm with the opener, kmoe, coming out exactly an hour later. Coming out of Vancouver, British Columbia, kmoe has a unique underground sound that combines hyperpop and indietronica, getting people moving. His first time in Texas, kmoe is an up-and-coming artist who just released his critically acclaimed debut album, K1. He opened with "Aired out", a hyperpop track that sets the tone for the rest of the set. For one of his last songs, his unreleased track "Heat Death" was played for us, surprisingly. An emotional song, about regret and bringing someone back to your life, I found this to be my favorite song of the set. The constant "back", accompanied by soothing synths, and the bright purple lights' constant flashes emphasized the emotional side of K1. I'm very excited to see what he will do on his upcoming project, as I assume 'heat death' could be a potential single. The next song, "Carpet," was a defining moment where he encouraged the crowd to clap along to the song. It was a moment t
hat started slowly but grew to a fast, intense tempo. Kmoe's constant movements, hair swaying, and excitement pushed the crowd to start moshing throughout the night. For his last song, he played a track on which he is featured on Jane Remover's debut mixtape, called Homeswitcher. Jane Remover, known for her hyperpop, is a significant influence on the current underground music scene. I see her as a notable influence, as saving to conclude the set is a nice homage. As the lights dimmed for the first time, this song was the wildest, most extreme of the night. Jane's production on this song is incredible, and kmoe's uniquely smooth vocals, combined with the microphone filters, make it stand out. Screaming out the lyrics "I just fall silent when it starts to hurt" and "31st we talk on the 16th" were emotional culminations for kmoe, as the pain heard through his voice resonated with the crowd.
Once kmoe concluded his set, Quadeca's crew set up his famous lamp, a wireless lamp created by a couple, Daniel and Ashley, who were at the Houston show and were shouted out by Quadeca. Quadeca set focused on his newest album, Vanisher, Horizon Scraper, but played all his classics from his previous projects, Scrapyard and I Didn't Mean To Haunt You. His diverse catalog took us everywhere from instrumental self-produced songs focused on synths and flutes to slower songs with a choir background. As soon as the clock turned nine, the band came out and the first vocal humming on "NO QUESTIONS ASKED" had the crowd and me hypnotized. The addictive humming, accompanied by Autumn's high notes and pristine flute playing, helped the song flow. (Interestingly enough, Quadeca shouts out Autumn later, recalling a story of how they met at the White Oak years ago, when she was still working here, and her recruitment to the band was all fate.) The lights throughout the song emphasized the instrumentals coming in and out. This trippy song featured a live piano, guitar, and drums, with unpredictable moments that heightened the song.
Quadeca then reveals himself to the audience with his clear, beautiful vocals, wearing the Vanisher, Horizon Scraper outfit he wore in his hour-long movie made for the album. This dark blue, branded with the album's logo, suggests that he is a captain in his life, uncertain about his future.
As soon as the reverse drums start to hit, and the siren synth hits, "AT A TIME LIKE THIS" captures the crowd's attention, a slow song that plays into a climactic buildup of the hitting sirens, Quadecas's first rap of the night. Pulling out his guitar, Quadeca plays RUIN MY LIFE with some sweet vocals, which had the crowd rocking back and forth. Everyone sang along, as his stage presence felt so welcoming, and the lights flashed orange, as if we were around a campfire, singing along. After such a calming, warm-hearted moment, he threw it back to his previous album, Scrapyard playing "GUESS WHO?", an incredible experimental rap song that had the crowd turnt and jumping! With his eyes closed, Quadeca slips into his excited flow state, hesitating not at all.
The most powerful moment of the show was when he played "Abandon Me" from Corpus Christi legend Kevin Abstract's album Blush. As the producer and solo vocalist, Quadeca leaves a mark on this song. As the synths and static hit, his live singing hits all the notes and brings out all the emotions held within. The theme of the song is about a lover not abandoning them after all their mistakes. Seeing Quadeca stationary, jittery at the end, followed by the live guitar solo, reveals an inner side of a performer he is not afraid to show. We hear the vulnerable emotions throughout the song as he sings, expressing his gratitude that this person remained with him. As my favorite song, this one hit me personally, as it is one that everyone can relate to. The feeling of someone staying with you is something we all tend to question, and I am pleased Quadeca played this song to express that gratitude.
A couple of songs after, he played a fan favorite THUNDRRR, screaming out the lyrics. Hyping the crowd up, followed by the tickling clock as a drum, led to the biggest mosh of the night. The "Bring it out of Me" line had the crowd pumped, as I could feel all the energy being released in the room. Forgone by Quadeca was the concluding moment that all fans loved. He played this song solo on the piano and sang the whole 7-minute song all to himself. It was a neat touch with the spotlight hovering over him, and the background lights representing a bloody moon. Another vulnerable moment we see is as he sings his heart out; all the fans remain silent and enraptured as he plays the last of the night.
Quadeca is such a fascinating artist, and it's fantastic to se
e how the set evolved. Bringing in a live band enhanced all performances and kept the crowd excited. From the orchestral rap of MONDAY and DANCING WITHOUT ME, to the indie pop singing of Abandon Me, to the experimental high-pitched U DONT KNOW ME LIKE THAT and Sisyphus, every song played had its own identity. Quadeca's vision of transitioning from a content creator to a respected artist in today's generation is coming true. A self-producer, masterer, and filmmaker, he is a one-person visionary who created this fantastic project for the world to share. His one-hour film visually showcases his vision, something that we, as fans, should all take the time to check out and admire. His stage presence is natural, as he knows how to move, what to say, and how to get the crowd to interact and mosh at those exciting moments. As my first-ever concert review, I will never forget the night Quadeca and his band provided. The amazing live sounds, set design, and placements, along with the fans (shoutout Cody), who are so welcoming, left a vivid memory that I will continue to admire.
Oct 24, 2025 | ktru
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.
I arrived early at the venue and got to catch the soundcheck! Here, I could tell it was going to be a crazy night, as the iconic central theme of the song Tank!, playing with high energy, featured lots of punchy brass, walking bass, and rapid drum hits. Kicking off with the famous "3, 2, 1… let's jam!", the Woody Witt Big Band set the tone for the show. After talking to a server at the restaurant, I was informed that this was the loudest he had ever heard at the venue, as the band was 20 members deep, the largest band ever to perform at Doc's so far. He said, "This speaker you see up there, that's for decoration, this big band will literally fill every corner with sound, even up here."
a jazz cut that consisted of the saxes trading tight harmonies and quick, bebop-style runs—smooth but restless, like a classy lounge vibe with sharp edges. The stacked sax chords mixed with call-and-response phrases make the performance feel immersive. Warren Reed does such a great job in improving these songs, effortlessly traveling through a blues chord during a solo. "Call Me Call Me", a moody, late-night ballad that feels like drifting through space, only to feel regret and longing. The band usually has a singer who sings in Japanese, but she was not able to make it to the performance. Despite the absence of vocals, the instruments did a great job of providing the romantic and lonely vibe of the song, playing over Ed and Ein deciding to leave the bebop, and Faye struggling to face her own demons.
ience feel immersed in the adventures of the crew, and the music guided the story of the show. Throughout the performance, the sounds of the brass shook the room, the hypnotic use of drums that floated, a guitar that transcended the space, and sax lines that carried the emotional weight. Doc's on Westheimer was a perfect place for an evening out to experience great jazz music. The energy of the space and the skill of the musicians help to create a memorable time.
Ten minutes later, Underscores came out to play her unique hyperpop sound, inspired by 100 gecs (whom she had opened for years ago). She started her set with "Point A," a hyperpop song that utilizes the xylophone to propel the song forward. With the bass coming again, these constant sounds get everyone moving. The song "Poplife" was quite nice, as the underscored vocals sang every word, no matter what. The lighting really made her stand out, enhancing her performance, while the heavy use of bass makes you want to keep moving. It was a fun time; even the fans next to me knew all the words and were passionately singing along with her. The most interesting thing I've ever seen happen at a show occurred duringher last three songs. When playing What A Girl Gotta Do, she hides behind a curtain while a light emits. Come to find out, Underscores is wearing a light source as a backpack, drawing all the attention to her. The crowd started cheering, then appreciated the creative aspect of this, as the light signals a metaphor that just that. While singing her most emotional song, she moves the light closer to her face to emphasize how she truly feels. Singing "What A Girl Gotta Do," I interpret this as her asking the world what she has to do to be the best. She turns off the light and ends her set playing "Music," her recent single. While leaving, she sings "thank you so much," a nice touch for both the audience and performer to come together and enjoy.
Now, for the headliner, Danny Brown came with his famous fur coat piece, white pants, and green-dye hair. He started with his self-titled song, "Stardust," and in these four minutes, he set the tone for the rest of the night. Performing in his shining box, the constant back and forth, along with the varying lights, makes Danny's passionate performance really stand out. Additionally, the instrument that sounds like it adds so much to the song, as well as the silliness Danny loves to portray. Continuing the Stardust, Flowers, and Lift You Up is a nice representation of this hyperpop song that Danny is starting to embrace. The song "Green Light" is my favorite off the new album, and hearing Lulu Prost perform live was a treat. The following few songs were all throwbacks to previous works like XXX and Atrocity Exhibition, one of the best albums of all time. Hearing his classic "Lie4" and "I Will," these are the songs that gave him a sense of direction when he recorded them at the age of 30, paving the way for where he is today. I Will has the best samples ever, and hearing them live with Danny spitting on it like crazy was incredible. Even crazier was when he played When It Rain and Ain't It Funny. This album genuinely inspired me to explore the alternative and experimental genre of hip-hop, as 'Ain't it Funny' is a hip-hop classic that pushes boundaries of the genre. It is such an important, well-produced song that deserves all its flowers. The music video itself is also one of the best, so hearing this live with other Danny's fans was so cool.
track live is an experience I cannot even describe. The raunchiness, randomness, and all are perfectly crafted into a unique piece of work that is mastered really well (in which Peggy does!). To end his set, Danny played a couple more hit songs off Stardust, bringing out both openers to play their songs off the album. Seeing all the artists on stage, it's a beautiful sight to see the veteran Danny Brown blending into a new genre that the up-and-comers are paving the way for. Ending his set, Danny played "All4u," which is a perfect love letter to all his fans. As he says, this music saved Danny's life, and thanking us, the fans, by making him into the man he is today is a powerful lyric Danny ends with. In this case, the "U" isn't a female or a partner; the "U" is us, the fans who support Danny in whatever he does. He is grateful, and we, the fans, are grateful as well, for witnessing a living legend in the modern hip-hop world.
drums, with Jimmy Swagg stepping in as vocalist for the night. Their recorded tracks “Lapse” and “Glass Ceiling” still feature former lead singer Riki Shae (Chryst Moon), but this live setup carried its own raw personality.
ve them room to experiment and reshape the songs in real time. They closed with “As Above” and left the room buzzing.
playing. Even Pinwheel’s members were spotted near the front vibing to their set before their own show began.
An hour later, a DJ duo from Houston, Hyperace, came on stage. There was a seamless transition between IDKRYAN and Hyperrace, which was so smooth that I didn't even expect it. Throughout their entire set, they played various genres, including club/house, pop, hip-hop, and R&B. Moments that stuck with me were at the beginning, when they chopped up vocals over a synth-heavy beat that continued to repeat. It was such a dope use of vocals, especially when it's in a constant spliced-up one-second loop; the cherry on top was the bassy transition that made it perfect. Throughout the set, I would turn around and see people dancing and vibing in a way I did not expect. Hyperace closed off their set, transitioning into Zack Fox. I heard the loud cheers from the crowd and the mixed vocals from the set created this moment of harmonic peace as Zack entered the building.
I appreciate the diversity in the genres of music. During his set, Fox performed a monologue about the creative minds behind mainstream music and how it was developed by minorities. Throughout his set, he paid homage to Detroit, Atlanta, and Chicago, crucial cities that developed the styles of music he borrowed from. While performing, Fox had such an entertaining presence when he was spinning; the way he moves and grooves is so clean, and it provides an underlying tone of how the crowd should respond. Seriously, look up a Zack show on YouTube, and the way he portrays and dances himself makes the vibe (I recommend you to watch his Camp Flog Gnaw Set 2025, just released). Also, credit to his entourage, who also helped to enhance the vibe; they were killing it! Fox’s DJ set had a great selection of songs from “Millionaire” by Kelis (feat. Andre 3000) to a modified version of “Family Ties” by Baby Keem. The isolated vocals of “Family Ties” played over a club beat. Hearing Baby Keem's part at almost 2 times its tempo w
as a neat touch. Overall, Zack Fox is a creative genius with so much talent. His sets were inspiring because of his ability to get the crowd moving. For four hours (of pure spinning!), I was always dancing and vibing. Lastly, thank you to the White Oak Hall Staff for being the nicest and giving me the opportunity to be in the photo pit! Most importantly, shout out to Zack Fox for being my first proper DJ set. Fox did not disappoint, and he needs to be seen live if he tours in your city.
SB: Can you kind of walk me through the rollout for Not/Lost… [with this] surreal and kind of cool and trippy imagery?
SB: - Throughout your performances, you have an array of unique-looking instruments such as a heart-shaped guitar or a butterfly bass. Is there a story behind any of these designs?
e how the set evolved. Bringing in a live band enhanced all performances and kept the crowd excited. From the orchestral rap of MONDAY and DANCING WITHOUT ME, to the indie pop singing of Abandon Me, to the experimental high-pitched U DONT KNOW ME LIKE THAT and Sisyphus, every song played had its own identity. Quadeca's vision of transitioning from a content creator to a respected artist in today's generation is coming true. A self-producer, masterer, and filmmaker, he is a one-person visionary who created this fantastic project for the world to share. His one-hour film visually showcases his vision, something that we, as fans, should all take the time to check out and admire. His stage presence is natural, as he knows how to move, what to say, and how to get the crowd to interact and mosh at those exciting moments. As my first-ever concert review, I will never forget the night Quadeca and his band provided. The amazing live sounds, set design, and placements, along with the fans (shoutout Cody), who are so welcoming, left a vivid memory that I will continue to admire.
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.
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.
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.
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.