May 14, 2024 | ktru
By Keegan Pierce
Every year around Spring Break, thousands of bands and brands, as well as hundreds of thousands of professionals and partiers, descend on downtown Austin, TX. for the one-of-a-kind festival/conference/expo/billboard that is South by Southwest. Since 1987, the annual event has been a hub for all kinds of creative industries, showcasing music, movies, and more. Here’s some stuff I saw there this year.
Some Non-Music
A big part of the conference is the industry focused keynote speakers. I saw Conan O’Brien and Dave Kroll at one cutting it up about Conan’s new show, which won him a new fan. J.K. Simmons got stuck talking about his insurance ads, which was a nice nap, and I saw Mike Judge and the cast of Office Space do an anniversary panel for the movie. In my opinion, that panel was overly editorialized by the moderator. She didn’t let David Herman joke around.
SXSW runs on corporate sponsorships, which means that there’s all kinds of sponsored “activations” around. I got jumpscared in a confession booth set up on the side of the road to advertise some movie. I got a picture with Master Chief and in the USS Enterprise’s captain chair at a Paramount place. I saw Mark Cuban at a party hosted by the host of the “Call Her Daddy Podcast.” There were also giant eye-catching inflatable poops around by Poo-Pourri. Fun stuff. You can really feel the new skyscrapers around downtown.
Inside the convention center, there was a creative industries expo featuring all kinds of companies giving out swag for contact info and such. What I was most excited about was the Flatstock 92 print showcase. There were rows and rows of vendors showcasing and slinging their poster prints. As an amateur screenprinter, I was blown away by every booth and star struck to meet the artists behind gig posters that I have on my walls. I was honored to get a book signed by the OG Andy Macdougall and hear him talk about motorcycles.
Music
The first big show I went to was a crazy triple header of experimental rock music. First was the minimalist rock band Water Damage, whose artistic focus is monotony and whose motto as a group is "Maximal Repetition Minimal Deviation." I’ve been wanting to experience their radical repetition for a while, and it did not disappoint. While I’m not sure that they played any more than one song, the members deftly wielded their repetition to constantly reveal new patterns and textures in the loops like a violent William Basinski. A special treat for the weekend was the reformation of the short-lived dub offshoot of At the Drive-In, (which would become The Mars Volta), De Facto. It’s really saying something that De Facto is perhaps the strangest turn for the band members Omar and Cedric considering their other genre-redefining projects. Still, next to the driving bass of ATDI and the proggy-weirdness of Mars Volta, their improvised, Scientist/King Tubby-esque, instrumental dub kind of makes sense as the bass drives and the keyboard strikes and weaves. Finally was the headliner, Mogwai. The songs of the Scottish post-punk band are less structured and more shaped. Each of their songs starts as a seed– a little line that repeats itself– and crecendos into ear splitting volumes pummeling your chest. It’s inescapably moving because the music moves so much itself like the breaths of a giant– in dynamics, speed, and tonality. It’s like a meditation CD turned up so loud that it pumps your blood for you.
The next night, I got my blood pumping to Veeze. Veeze practically slurs his raps in a deceptively laconic Detroit flow, which can hide all of his great one liners and make it appear like he’s not even trying. I’m a big fan though. If you can see past his bleary-eyed veneer, I really think he’s got the hooks and bars. Teezo Touchdown was up next. He’s also totally up next – a great performer who works the crowd way above his weight class. Just gotta get some better songs lol.
One of the biggest established names on the lineup this year was The Black Keys, who came promoting a new album and a film. While they performed a number of sets throughout the week, I know I caught the best one at Mohawk when they were playing songs from their 2021 album, Delta Kream. That’s because it’s an album honoring the Mississipi blues that inform the Black Keys sound, and I love some MS delta/hillcountry blues. In a way, I was reminded of the acoustic Beck show I saw last time I was at SXSW, where he wore his country and blues influences on his sleeve for an intimate set. In two ways, The Black Keys’ set was not like that. For one, The Black Keys went a step further by bringing out their heroes turned collaborators Jimmy “Duck” Holmes and Robert Finley (and others I didn’t see because my bike got stolen right before I went over), to play on the stages before them. “Duck” Holmes had me laughing and hollering at his alternatingly raunchy, devastating, and worldly blues. Known as the last Bentonia bluesmen, he stands, at the age of 76, as the last known steward of his regional style of blues. I’m very glad The Black Keys brought him out. Robert Finley, legally blind, age of 70, only released his debut album 6 years ago, but he his soulful blues voice shows his life drenched in the gospel and blues of Louisiana, which is why Dan Auerbach of the Keys collaborates with him and brought him out. To prove I was in the right place, I got to shake hands with the frontman of Spoon, my favorite band, who was also there to check it out. The Keys were good too.
SXSW offers the unique opportunity to see a lot of small international bands that don’t normally tour the states. I saw Tokyo Syoki Syodo at a stage of Tokyo artists. This Japanese punk band brought an infinite amount of energy and little chocolates to give to the audience and it was a blast seeing them tear down the club. There was also The Canada House down the street, where I caught the end of a buffet but no bands that really excited me. I think the Canucks just don’t really have good music and that The Unicorns are a bit of a unicorn. (I kid– really, I just didn’t go at a good time, and this Yankee thanks ye for the sandwich.)
Our Southern neighbors were out in full force, however. The burgeoning Latin American influence on pop music was clearly heard at the festival (or at least at the shows I went to). I saw American groups like the Chicago-based “psychedelic tropical” band Cabeza De Chivo or the hometown cumbia group Los Bravos De La H driving the dance floor harder than any other acts. Meanwhile, the Mexican star Peso Pluma’s set at ACL Live was at capacity from early in the afternoon and was the most hyped concert all week. I saw one of the openers, the Puerto Rican singer Pink Pablo, at another showcase, and I totally recommend checking out his unique blend of sounds, but I wasn’t cool enough to get into ACL Live that night.
Instead of the Peso Pluma show, I saw the breaking London-based, indie-darling trio (quintetto live) Bar Italia. The set captured the entrancing and moody sound of their records; however, with live drums and bass replacing the programmed rhythm section on the album, there was an added edge of energy as the band ploddingly entwined their melodies. The audience was completely dialed in. Unlike many bands at SXSW that are still building a fanbase, Bar Italia had a packed house singing along, and while their blend of lo-fi, post-punk, and shoegaze might not seem to lend itself to mosh pit formation, the excitement boiled over, and you know that I was throwing elbows. I met this cool dude there who had just graduated from college radio, and I asked him where to go next.
He introduced me to Zheani, a self-described “Australian artist, musician, and occultist.” Equally infectious, scary, pummeling, and grooving, I never would have heard her otherwise since A) I haven’t explored a lot of occult electo pop and B) She claims to be shadowbanned because of the videos of her scantily clad running around the Australian outback that often accompany her music.
This takes us to a whole host of Texas bands I saw!
I randomly stumbled upon Joe “King” Carrasco returning to SXSW. While he is listed a notable musician of the year 1990, the “King” of tex-mex, who has a song with the king of pop, was playing a random small stage in East Austin next to the food truck I ordered chicken at. Even if his spotlight has changed, I think that his audience consisted of the same people at 1990. A polo’d fan was harassing him before the set about doing a cruise, which is probably the catalyst for me seeing him as a Tex-Mex Jimmy Buffet.
The most impressive soloist I saw was the Texas born multi-intstrumentalist Blue Lakes. He designed his custom zither especially for his playing style, which is to say that he’s masterminded completely unique aural landscapes. I saw him inside a beautiful historic church sancutary, which further elevated the zither’s spell as it washed over me. It was ultimately serene.
Behold! born from the ashes of various psych rock acts across Texas and possessed by an interdimensional being of funk, the band Grandmaster! This band has an expanding universe of lore following it with a YouTube series documenting their story of being possessed by this cosmic force of funk that writes all of their songs. I did an interview with them while they were loading out, and the members I grabbed were worried that they weren’t familiar enough with the forbidden knowledge to tell me about it. “Just make it up!” their band leader said, which I think sums up this silly, funky, and cosmic band.
I’m like 90% sure that Nolan Potter of Nolan Potter’s Nightmare Band was filling in for a member in Grandmaster – I definitely saw a case with his name on it there. I ended up walking past this band a few nights later and stopped by. They were pretty groovy, but I couldn’t really get lost in the jam because this dude sitting on a block close to me started a fight with the people in front of him by aggressively tapping them with his cane to get out of the way, which lead to security coming over and yells exchanged.
After evacuating that scene, I headed over to Revival coffee to wait in line for the Houston legends Propaine, Sauce Walka, and Z-Ro. Shouts out to them all for showing up late else I probably wouldn’t have gotten in. I got stuck just outside the gate at capacity. Even bigger shouts out to the security guard out there who saw my Houston radio badge and fought for me to get in to see the Houston rappers. I did get in before it got real, and I had my H in the air. A fitting end to my time in Austin that got me excited for the drive back to Houston.
May 14, 2024 | ktru
By Steven Burgess
This year, I attended SXSW with two other KTRUvians (Gustavo and Keegan) as we experienced the explosive music scene surrounding Austin. Being at SXSW, every direction you look, something is happening: movie screenings, promotional events, and concerts. The variety of venues at SXSW ranged from huge to intimate stages allowing for multiple artists to play wildly different sets.
Mogwai
The first show I got to catch at SXSW was Mogwai. Mogwai, hailing from Scotland, are a post-rock band that have made a name for themselves with seminal records in the genre like Young Team (1997). Seeing Mogwai live could best be described as having your face sonically melted off. Performing at the Austin City Limits venue, Mogwai had the longest set out of the acts I saw with a 90-minute show. What Mogwai does best during their sets is create atmospheres on their songs, whether it be creating beautiful and lush arrangements on “A Place for Parks” or eerie build-ups to songs such as “Like Herod.” These atmospheres build to the eventual gut-punch of sound Mogwai releases through the speakers.
The band ended with their 16-minute epic “Mogwai Fears Satan,” hitting the crowd with a wall of sound. From ear-piercing drums to distorted guitars, the volume and intensity of Mogwai’s musical peaks made my clothes shake. The band would communicate non-verbally on-stage to seamlessly crescendo from quiet and melodic instrumental sections to heavy and monolithic soundscapes. Mogwai delivered one insane show that overpowered the audience with its melodic build-ups and abrasive sonic climaxes.
The Rare Occasions
Next, I headed to Cooper’s BBQ for The Rare Occasions to perform in a fairly intimate setting. The garage rock band hailing from Los Angeles, CA, The Rare Occasions became viral sensations with their song “Notion” blowing up on TikTok. During their set, they played fun and ear-grabbing rock songs which translated well to the small, but responsive crowd. Throughout their 45-minute set what was most apparent about the band was their energy and how much fun they had on-stage and with each other. The Rare Occasions would interact and talk to the crowd, dancing alongside to their carefree tunes. They performed songs like “Origami” to the crowd as if it was a sold-out show. The Rare Occasions gave such a fun performance with a lot of audience engagement and great stage presence!
Friko
The last stop on the SXSW music scene was Friko. Friko, a Chicago-based rock group, has been making waves with their most recent EP, Where we’ve been, where we go from here (2024). Performing at the iconic Waterloo Records, Friko’s songs are loud and pack a punch!
I loved rocking out to songs such as “Crashing Through,” delivered with eccentric and passionate vocals over crunchy bass lines and booming drums. Frontman Niko Kapetan holds so much love for his craft that anytime he picked up the mic, veins would pop out of his neck as he belts vocally over electrifying song after song. “Cardinal” was a highlight for me as it was a musical shift for the band, with a hauntingly beautiful vocal performance over a lovely fingerpicked ballad in the same vein as Jeff Buckley. The seamless shift between energetic rock and stripped back ballads made me a fan of their music. With this performance, Friko proves themselves to be one of the most exciting up-and-comers in the indie rock scene with versatility and energy that is refreshing.
Mar 26, 2024 | ktru
By Devin Gonzalez
We recently had the opportunity to talk with Allah Las/PAINT guitarist Pedrum Siadatian about their experience touring, finding musical inspiration and putting out their latest albums “Zuma 85” and “Loss for Words”.
How does touring with the Allah Lahs now feel different compared to when you were first starting out?
Pedrum: When we first started, it was a way smaller operation. There’d be tours where we’d be opening for a other band. And we’d rent a minivan or something and fit all our gear in and just drive together. We’d share one room, two people a bed, and sometimes we’d sleep in the van. Now we get hotel rooms, sometimes we tour in a bus, sometimes a sprinter. It’s just more comfortable now than it was because we have gotten a bigger audience and all that.
Have you noticed if your audience has changed(like new, younger fans in the crowd) or do you feel like there still remains a strong demographic of longtime psych fans that go to shows?
Pedrum: It’s a bit of both honestly, I’d say it’s mostly people in their 20s and 30s for the most part.
How do you go about getting inspiration for your music? Or do you find yourself getting inspired when you travel on tour around the world? Or do you mainly have to sit down in a studio and see what flows out?
Pedrum: I feel like I always have my antennas up and it’s just a matter of paying attention to what’s around you, and what you’re digesting, what you’re watching, what you’re reading, and actually putting the effort into making something whether you feel inspired or not. So I never regret trying even if I’m not feeling it in the moment because things reveal themselves when you least expect it.
What’s you’re general approach to how you want your sound to evolve, like do you explore through different decades and eras or do you feel what’s in the moment?
Pedrum: I don’t really think about encapsulating a specific era necessarily when I’m working on stuff. But I do always want it to be different from the record before. That’s all I know, I always want to be advancing and changing.
Devin: I hear a lot of like, especially for your albums Zuma 85 and Loss for Words, a lot of Kraut Rock influence and stuff like that.
Pedrum: Yeah, we love that stuff, I love that stuff. I feel like for the most part, I honestly don’t listen to much rock and roll anymore. I mostly listen to electronic music. A lot of German stuff like the Kraut Rock stuff and like Cluster. And a lot of dance music honestly like house.
What’s your experience like self releasing your album versus working with a label?
Pedrum: There’s something satisfying about doing it yourself and having full control over when it comes out. And you’re just involved every step of the way and you realize how expensive it is. But there is something satisfying about doing it all yourself. The nice thing about a label though is that a label has a built in kind of audience usually who is alerted to the record coming out. They’re just connected to all these facets of the music industry. So more people will end up hearing it and you don’t how to pay as much out of your own pocket, which those things are nice. But the downsides I guess are the money is less transparent and you may not get paid from the record you put out for a while. You may not see like money from it, but more people will be exposed to it.
What was your intention behind creating your own label, Calico Discos?
Pedrum: I think it was just to kind of put out records from people we know, friends and things. It’s just another avenue for putting things out from people we believe in. And the record we just put out with Innovative Leisure was like a joint release with Calico. So just building another thing up. And going to back to record labels versus self releasing, with the record I put out, I don’t have any distribution or anything. So it’s all direct from me, like through Bandcamp and through shows. So it’s a lot harder to move records if you’re not touring a lot and stuff. And it’s like how many times can you post your Bandcamp link, it’s kind of just like ridiculous at a certain point. So there’s satisfaction putting it out yourself but ultimately you have to put a lot of your own money into it, a lot less people hear. Even though I think it’s the best thing I’ve ever done.
How do you navigate collaborating with other musicians?
Pedrum: Honestly, I haven’t done much of that. I haven’t done many co-writes. There’s one that’s gonna go on the new PAINT record. Maybe a few of them but outside of the Allah Lahs, I don’t really do many collaborations.
How do you go about finding your sound for your solo project? And how is it different from like, how you try to go for the sound of Allah Lahs? Do you find a natural separation between your ideas?
Pedrum: Yeah, I try to keep them sonically different, but sometimes you can’t help for one to make it into the other.
How is the workflow with working with the other members in the Allah Las versus just on your solo project?
I feel because Allah Las is a really democratic band, everyone kind of puts their own touch on it. And there can be a certain magic in that but it can also be hard to arrange a song I guess. When it’s like [solo], I can execute what I want and there’s something easier about that, sometimes. But there is a whole different magic about trying to work with people you’ve been playing with for 15 years, you know.
Do you find yourself wanting to leave the past behind?
Pedrum: Yeah, I do. For real I do. But I’m always trying to move forward with stuff and playing newer songs because I identify with them more and they feel more relatable to who I am now. Playing older stuff, I feel a detachment.
This interview has been edited for length and clarity. The views, commentary, and opinions expressed during the preceding editorial are solely those of the person(s) expressing them and not necessarily those of the faculty, staff, or administration of Rice University.
The Allah Las’s album “Zuma 85” and PAINT’s album “Loss for Words” are both available wherever you stream music.
Photo: taken by Andrew Riley (@_soggycardboard on Instagram)
Mar 20, 2024 | ktru
By Gustavo Raskosky
As self-described on their website, the members of Bombay Bicycle Club have been writing songs for Saturday nights and songs for Sunday mornings since their mid-teens. I think that’s a perfectly apt summary of the type of energy the group brings to their art. After speaking with a variety of concert-goers, I realized that this was about to be a shared journey of nostalgia – and that is exactly what it was. It had been 10 years since the group had graced Houston. The anticipation in the air was palpable. It felt like a decade's worth of memories was about to be unraveled.
Opening the night was Mustard Service, a band that seemed to arrive on stage with a touch of nerves but left with the crowd wrapped around their fingers. Even those unfamiliar with their music embraced them as if they were the headliners. Their infectious energy set the tone for the evening, with everyone in the audience visibly enjoying the performance.
As Bombay Bicycle Club took the stage, the crowd erupted with excitement. Being in the pit, I had a clear line of sight of all the members of the group – each wearing a giant smile as the crowd continued to cheer. They opened with "Just A Little More Time.” Fun fact: most shows that allow photographers in will only allow the photographers to shoot the first three songs. The last song I was able to see up-close-and-personal was “Feel,” which is a favorite of mine. “Feel” combines South Asian influences with a 2010s indie groove. The energy is contagious – at least it felt that way.
"Luna" was a standout moment, with a fantastic performance by the lead vocalist, captivating the crowd. “How Much Sleep Can You Swallow” turned out to be an unexpected crowd-pleaser, despite its more mellow vibe. To be fair, it’s one of the three more viral songs that had introduced the band to many people. "Everything Else Has Gone Wrong" carried a poignant message, especially considering the challenging times during the pandemic. Jack Steadman, the lead singer of Bombay Bicycle Club, mentioned how the song was formulated to encapsulate the moment they found themselves in shortly after reuniting. “Eat, Sleep, Wake (Nothing But You)" showcased the power of simple repetition, creating a fan favorite with its infectious rhythm.
The performance of "So Long, See You Tomorrow" stood out as one of the better-paced songs. The transitions around this song were the best crafted of the set. It began with the calming sounds of “Reign Down” (that actually acts as a portion of “So Long, See You Tomorrow”) and accelerated as the drummer changed the tempo. The drummer's chimes at the end added a unique touch, leaving a lasting, *tongue-in-cheek* impression.
The false ending with "Always Like This” created an infectious wave of clapping and dancing. The real ending featured two special songs, "Turn The World On" dedicated to the lead singer's two-year-old son, and a lively finale with "Shuffle," reigniting memories for the entire crowd. Bombay Bicycle Club's concert at White Oak Music Hall was a celebration of a decade of music, bringing together a crowd of (mostly) lifelong listeners and creating an unforgettable night.
Mar 9, 2024 | ktru
By Jacob Pellegrino
Dreamville rapper Bas is currently on tour on the heels of his 2023 solo album We Only Talk About Real Shit When We’re Fucked Up. We attended Bas’ Houston stop at the House of Blues, his third show of the tour. Bas did not disappoint live and played tracks spanning his own releases so far, along with some of his most notable collaborations.
The show featured three openers: Blxckie, Reuben Vincent, and Hoosh. While that number of openers might feel excessive, each played for around 20 minutes, giving a taste of their style and sound. This shorter set time and the overall quality of the openers worked really well for getting the crowd ready for Bas to take the stage. It was obvious that Bas picked musicians he respects and enjoys listening to to open for him, something emphasized by a story he told about first hearing Blxckie’s music while in South Africa.
Bas was particularly good at interacting with and engaging the crowd, even pouring out shots of Clase Azul tequila for members of the audience celebrating their birthdays. The show kept a great energy with the crowd getting into songs from We Only Talk About Real Shit When We’re Fucked Up and Bas’ back catalog.
Unlike many other artists who simply rely on backing recordings for vocal additions live, Bas brought backing vocalists who really filled out his live sound and added a sense of harmony to the performance. These vocals were such a nice touch that really show his attention to detail in putting together a performance.
A highlight of the show was hearing “Dr. O’blivion” live. The track, a standout from Bas’ newest album, has an incredible aura with its jaunt-like instrumentation and strong vocals. Bas’ energetic cadence over relaxing backing made the crowd sway and become entranced by the music.
Bas’ Dreamville connection was fun to see as well when he performed “Costa Rica” and “Down Bad” back to back from the label compilation Revenge of the Dreamers III. For “Passport Bros,” the lead single from his newest album, and a collaboration with J. Cole, Bas rapped Cole’s verse live instead of playing the studio track, a nice touch that added to the intimate feeling of the concert.
The show ended with Bas inviting a fan up to rap J. Cole’s verse on his song “Lit.” Clearly energized, the fan selected from the crowd excitedly performed with Bas, rounding out a great night of music and vibes.
Feb 23, 2024 | ktru
By Kevin Lei
After Ryan Beatty dropped his third album Calico last April, I eagerly awaited the announcement of a tour. Calico was an intimate and stripped-back album for the singer—a project that showcased his spectacular skills as a 
songwriter and vocalist. In the months following the album’s release, Beatty treated his fans to live performances of several tracks on his YouTube channel. Additionally, in the fall, he embarked on a short run of concerts in select cities. Having seen various video clips from those gorgeous live shows, I eagerly jumped at the opportunity to see him at White Oak Music Hall in Houston when he announced his full North American tour in October.
The Calico tour has no openers. This meant that, for better or for worse, everyone in attendance was there to give their full attention to Beatty. It also meant that after the doors opened, we didn’t have to stand around for long before Beatty took the stage.
The show felt as if I was sitting in his living room listening to Beatty and his friends jam out on the couch. That is to say the Calico tour, like the album, is incredibly intimate. There was zero theatrics; Beatty would say a few words between songs but besides that, he let the songs speak for themselves. There was no jumping around or dancing; in fact, Beatty remained seated for 95% of the show. There was no stage design and no lighting changes; there was just a soft glowing light that surrounded Beatty and his band. The simplicity of the show allowed the songs and Beatty’s voice to shine.
All nine tracks from Calico were included in the setlist. To start, Beatty played the first five tracks all in a row, from “Ribbons” to “Bright Red.” I’d consider this entire run of tracks to be a highlight of the show. On songs like “Andromeda” and “Bright Red,” Beatty and his band sounded as good, if not better, than the original recordings. The live instrumentation added a new dimension to the sound and aesthetic. And of course, Beatty’s voice was breathtaking. There was chatter among the audience between songs, but when Beatty began to sing, the crowd would go silent as everyone sought to take in every note. Later on, Beatty shared that he was recovering from illness and might sound rougher as a result. He did awkwardly skip a few lines in certain tracks, possibly to reduce his strain. But based on his voice alone, I could not tell. The clearness of his voice was mesmerizing.
Before performing the remainder of Calico, Beatty treated longtime fans to acoustic renditions of tracks from his past albums, 2020’s Dreaming of David and 2018’s Boy in Jeans. Hearing him perform energizing and
lush songs like “Powerslide” as slow poetic ballads was a unique experience, but I did feel that some of these tracks worked better in their original forms. Overall, I think Beatty sounded slightly insincere while performing his older tracks, which makes sense since he made a significant artistic evolution on his recent album and is no doubt a different person than he was in 2020, let alone 2018. The one exception was the performance of “Casino,” which was another gorgeous moment.
To conclude the show, Beatty played the remaining four tracks from Calico. With this, I think the concert ended on a high note. In particular, “White Teeth” did not disappoint as an emotionally potent closer to a beautiful concert. I was grateful for the opportunity to attend Beatty’s tour and hear him and the band play Calico live. After leaving the show, I couldn’t help but feel that the Calico album was meant to be heard in a live setting; I hope Beatty records and releases a live album so that more people will get the opportunity to hear the songs live.
Feb 17, 2024 | ktru
By Rachel Bui
Sammy Rae & The Friends are currently on tour, with an album to be released before the end of the
year. The backdrop and stage setup evokes a “summer camp in the woods” vibe, befitting for a tour
titled, “CAMP.” As this was her homecoming show, it was to be expected that there was going to be a
special type of energy for the night.
Opener Funky Dawgz started the night on a fun note, blending covers with their original works. Their
brazen renditions of songs like “Unwritten” and “Water” brought joy to the audience, with everyone at
least grooving, if not dancing. Despite having a short set, the band primed the venue with a vitality that
was only going to be ramped up once the main act arrived on stage
The Friends entered the stage as if setting foot onto camp grounds, holding lanterns as they wandered
around the stage before getting into position. The band cued “Talk It Up,” and Sammy Rae teared on
stage with explosive, infectious energy. Throughout the night she sang with such bright, strong vocals
while strutting around the stage, it would be difficult to not be enamored with her as a performer. Her
charisma came off strong, and she connected with the audience from the start.
For the ballad “Living Room,” the band gathered in a semi-circle, conjuring an atmosphere of a fireside
singalong. This provided a cozy ambience as Rae belted out emotional lyrics to a captivated crowd. After
this soulful track, the band then kept the energy up for the rest of the night. Rae & The Friends also
performed “Thieves,” an upcoming single to be released Mar 8th and will be part of her upcoming debut
album.
Joyous, raucous, fun, Rae & the Friends served up an entertaining night, making it quite memorable. It
was a blast to see the band live, and I would highly recommend everyone to check them.
Dec 8, 2023 | ktru
By Kevin Lei
White Oak Music Hall became a haven for pop-punk enthusiasts as Knuckle Puck and Real Friends took the stage for a joint concert last Thursday night. The two bands are currently on a co-headlining tour across the United States. Despite the fact that it was mid-week, the two bands were able to garner an impressively sized audience.
Openers One Step Closer & Arm’s Length helped to set the tone for the rest of the night as they rocked out on stage. I was particularly impressed with the Arm’s Length set; they wore their emo influences on their sleeve, but their stage presence was infectious. I could see them being excellent successors to Real Friends and Knuckle Puck. One Step Closer’s sound was more hardcore, and their explosive performance energized the crowd ahead of Knuckle Puck’s set.
In order to make time for the other co-headlining band, Knuckle Puck had to keep their setlist relatively short. They played for just under an hour, but were able to play a breadth of songs from their catalog. This included classic tracks from their earlier albums like “No Good,” and “Want Me Around.” They also performed some songs from their latest studio album released a few weeks ago, Losing What We Love. Lead singer Joe Taylor acknowledged the fact that many fans might not have heard the new songs before, but from the energy of the crowd you would not have been able to tell. The band’s stage presence and the collective vigor within the room made it easy for anyone to enjoy themselves even if they weren’t familiar with much of the band’s recent releases. Before leaving the stage, Knuckle Puck finished off their set with a few fan-favorites like “Pretense,” “Gone,” and “Untitled,” which the rest of the fans and I greatly appreciated.
During the intermission before Real Friends, I noticed that many Knuckle Puck fans left the venue. However, those that stayed were rewarded with an exceptional second half to the show. I wasn’t a huge fan of Real Friends before attending this concert, but I was astounded by how engaging they were as performers. A lot of this was chalked up to the charismatic personalities of the band members. Real Friends played a wide range of songs from their discography, including a few singles from their latest album There’s Nothing Worse Than Too Late, which was released in early 2023. The band even performed a rendition of “Happy Birthday” to celebrate bassist Kyle Fasel’s birthday (happy birthday Kyle!). Towards the end of the set, lead vocalist Cody Muraro came off the stage and stood in the middle of the crowd to sing “Teeth,” one of the band's most emotionally potent songs. This definitely tugged on my heartstrings and was by far my favorite moment of the concert. Real Friends also played a cover of Jimmy Eat World’s “Sweetness” and two fan-favorites, “Get By” and “Late Nights in My Car,” to finish off the show.
My Thursday night at the Knuckle Puck & Real Friends concert was full of fun surprises and unbridled energy; I was incredibly grateful to be in attendance. The two powerhouses of pop-punk put on an entertaining show that was mostly exciting and at times emotional. The show also felt very welcoming, and I think that anyone, regardless of their familiarity with pop-punk or emo, could have found something to enjoy. Afterwards, I was left exhilarated and exhausted, but also convinced that pop punk is very much alive and kicking.
Nov 23, 2023 | ktru
By Rachel Bui
The 6-piece band Ripe, hailing from Boston, ended their tour at a small venue (about 300 people) Sunday night, though this did not indicate the following this band has achieved (the band has performed at venues like MGM Music Hall and Brooklyn Steele). What was interesting was that people in the crowd were equally excited for the opener HOKO as they were for Ripe. Both bands were to perform a sold-out show that night.
Openers HOKO brought a liveliness that a typical main act would garner up. The band translated their experimental pop sound to a live band act seamlessly, and their performance did not disappoint. Lead singer Nathaniel would periodically hop from the stage into the crowd to hang out with the audience while singing; this interaction with concert-goers felt natural and laid back, the general vibe that the band gave off. A favorite song of their set was "Hellogoodbye."
After a much needed stage reset to accommodate the headcount increase in performers, Ripe hit the ground running with their beloved cover of “Lola,” originally sang by The Kinks. From there, the tracks continued to get everyone dancing. Between the soulful style of singing and the incorporation of live brass, the dance/funk band kept the energy levels up. While some audience members may have been disappointed that the band’s setlist of the night did not include tracks they shouted requests for, towards the end of the night, lead singer Robbie Wulfsohn did sing snippets of songs that were requested.
Not only did the band have great stage presence, they also had light-hearted stage interactions with each other. They had the hallmarks of a band that truly have fun together, and it seemed like they enjoyed being on tour throughout the experience. Before their encore tracks, they brought back onto the stage HOKO to perform a cover of “Tubthumping” by Chumbawamba.
Ripe performed “Good Intentions” once returning to the stage, and then sent the crowd off to feel a “Little Lighter” with their final song. Overall, both HOKO and Ripe are recommended bands to see live to enjoy their presence as well as musical performances.
Nov 20, 2023 | ktru
By Alexa Scott
Few albums changed the indie music landscape as much as ‘An Awesome Wave’ by alt-J did when it debuted in 2012. With its seamless transitions from track to track, the album succeeds in immersing the audience in a unique sonic experience with its weird nonsense-esque sounds, which somehow transform into clever references the more you listen. Despite how dense and meticulous each track is, each song is catchier than the last, a feat to be recognized and applauded.
So, when I heard alt-J was coming to White Oak Music Hall in the middle of November for an anniversary tour, I knew I had to be there. And by the looks of the sold out sign on the door as I walked in, so did every single alt-J fan in the greater Houston area. The venue was packed, with people left standing in the middle of the open doors leading into the space (this I think was largely due to the crowd’s unwillingness to crowd together).
There’s something uniquely special about anniversary tours, not only do artists get to revisit past work and long-time fans get to reminisce about the first time they heard the band, it also gives artists full freedom over setlists, to hell with playing recent tracks. alt-J clearly took advantage of this, playing the entirety of ‘An Awesome Wave’ from start to finish and wrapping up with some fan-favorites from other albums.
Right off the bat, I was wowed with the light production for the show. Combined with the heavy building bass of songs like “Fitzpleasure,” it created an otherworldly atmosphere. Largely due to the layout of WOMH Downstairs, alt-J frontman Joe Newman was consistently bathed in streams of red beams of light timed with drops that made for a really cool visual experience.
I was a bit disappointed to see an overall lack of energy from the band as a whole. Other than the occasional breaks between songs to talk to the crowd, there was very little that differentiated one song from the other in terms of what they were doing. This meant that for popular, fast paced songs, the momentum from the crowd was there, and it was awesome. But for more dramatic, slower songs like “Bloodflood,” it felt lackluster. Maybe this is part of a larger conversation of comparing bands to past versions of themselves, but it was tough to see.
All in all, I’m glad I got to catch alt-J on their tour. After this brief stop in Texas, alt-J is headed to Canada before coming back to the US to wrap up their An Awesome Wave Anniversary Tour.
SXSW offers the unique opportunity to see a lot of small international bands that don’t normally tour the states. I saw Tokyo Syoki Syodo at a stage of Tokyo artists. This Japanese punk band brought an infinite amount of energy and little chocolates to give to the audience and it was a blast seeing them tear down the club. There was also The Canada House down the street, where I caught the end of a buffet but no bands that really excited me. I think the Canucks just don’t really have good music and that The Unicorns are a bit of a unicorn. (I kid– really, I just didn’t go at a good time, and this Yankee thanks ye for the sandwich.) 
The most impressive soloist I saw was the Texas born multi-intstrumentalist Blue Lakes. He designed his custom zither especially for his playing style, which is to say that he’s masterminded completely unique aural landscapes. I saw him inside a beautiful historic church sancutary, which further elevated the zither’s spell as it washed over me. It was ultimately serene.
Behold! born from the ashes of various psych rock acts across Texas and possessed by an interdimensional being of funk, the band Grandmaster! This band has an expanding universe of lore following it with a YouTube series documenting their story of being possessed by this cosmic force of funk that writes all of their songs. I did an interview with them while they were loading out, and the members I grabbed were worried that they weren’t familiar enough with the forbidden knowledge to tell me about it. “Just make it up!” their band leader said, which I think sums up this silly, funky, and cosmic band.
Opening the night was Mustard Service, a band that seemed to arrive on stage with a touch of nerves but left with the crowd wrapped around their fingers. Even those unfamiliar with their music embraced them as if they were the headliners. Their infectious energy set the tone for the evening, with everyone in the audience visibly enjoying the performance.
songwriter and vocalist. In the months following the album’s release, Beatty treated his fans to live performances of several tracks on his YouTube channel. Additionally, in the fall, he embarked on a short run of concerts in select cities. Having seen various video clips from those gorgeous live shows, I eagerly jumped at the opportunity to see him at White Oak Music Hall in Houston when he announced his full North American tour in October.
lush songs like “Powerslide” as slow poetic ballads was a unique experience, but I did feel that some of these tracks worked better in their original forms. Overall, I think Beatty sounded slightly insincere while performing his older tracks, which makes sense since he made a significant artistic evolution on his recent album and is no doubt a different person than he was in 2020, let alone 2018. The one exception was the performance of “Casino,” which was another gorgeous moment.
For the ballad “Living Room,” the band gathered in a semi-circle, conjuring an atmosphere of a fireside
In order to make time for the other co-headlining band, Knuckle Puck had to keep their setlist relatively short. They played for just under an hour, but were able to play a breadth of songs from their catalog. This included classic tracks from their earlier albums like “No Good,” and “Want Me Around.” They also performed some songs from their latest studio album released a few weeks ago, Losing What We Love. Lead singer Joe Taylor acknowledged the fact that many fans might not have heard the new songs before, but from the energy of the crowd you would not have been able to tell. The band’s stage presence and the collective vigor within the room made it easy for anyone to enjoy themselves even if they weren’t familiar with much of the band’s recent releases. Before leaving the stage, Knuckle Puck finished off their set with a few fan-favorites like “Pretense,” “Gone,” and “Untitled,” which the rest of the fans and I greatly appreciated.
During the intermission before Real Friends, I noticed that many Knuckle Puck fans left the venue. However, those that stayed were rewarded with an exceptional second half to the show. I wasn’t a huge fan of Real Friends before attending this concert, but I was astounded by how engaging they were as performers. A lot of this was chalked up to the charismatic personalities of the band members. Real Friends played a wide range of songs from their discography, including a few singles from their latest album There’s Nothing Worse Than Too Late, which was released in early 2023. The band even performed a rendition of “Happy Birthday” to celebrate bassist Kyle Fasel’s birthday (happy birthday Kyle!). Towards the end of the set, lead vocalist Cody Muraro came off the stage and stood in the middle of the crowd to sing “Teeth,” one of the band's most emotionally potent songs. This definitely tugged on my heartstrings and was by far my favorite moment of the concert. Real Friends also played a cover of Jimmy Eat World’s “Sweetness” and two fan-favorites, “Get By” and “Late Nights in My Car,” to finish off the show.
The 6-piece band Ripe, hailing from Boston, ended their tour at a small venue (about 300 people) Sunday night, though this did not indicate the following this band has achieved (the band has performed at venues like MGM Music Hall and Brooklyn Steele). What was interesting was that people in the crowd were equally excited for the opener HOKO as they were for Ripe. Both bands were to perform a sold-out show that night.
Openers HOKO brought a liveliness that a typical main act would garner up. The band translated their experimental pop sound to a live band act seamlessly, and their performance did not disappoint. Lead singer Nathaniel would periodically hop from the stage into the crowd to hang out with the audience while singing; this interaction with concert-goers felt natural and laid back, the general vibe that the band gave off. A favorite song of their set was "Hellogoodbye."
