May 8, 2026 | ktru
Written and Posted by Israel Lerma
Photography Credits: archivedbyollie
For the first time ever, I attended SXSW 2026 with my two fellow DJs and now good friends, Chloe and Steven :)! Being in downtown Austin, while so dispersed, there was so much happening everywhere, from movie screens, innovative lectures, clubhouses, and most importantly, concerts everywhere. As the city is so diverse, from its people to its venues, there was always something for everyone's liking. And what better way than to highlight my biggest passion, hip-hop, and whose is about to start running it
Don Toliver
On the first day we arrived (Friday), the first show I actually saw was none other than the future of hip-hop, hailing from Houston, Texas, Don Toliver. Before the show, I was fortunate enough to be in the Billboard Interview with Don Toliver, a one-hour interview in an intimate audience of 40 people, sitting next to my friend and upcoming rapper, MoscatoJ. In this interview, Don revealed his thought process on how he created Octane, the idea, the influence of the observatory, and why he created it there specifically. He also discussed his relationship with his mentor, Travis Scott, how they are more than business partners, and how Rosary, the song featuring La Flame on the album, was made in one day, before the album's release. Lastly, he also mentioned that he was already in the creation of his new album and that new music is coming soon (so cool hearing that first, I might add)!
Following his first show post-Octane, in the heart of Austin in Waterloo Park, Don came on and put on the best performance of the whole festival. He came the banger intro of the album E85, playing an altered guitar intro to introduce the song. Being in general admission, the crowd already started getting crazy, as people had already started moshing and forming circles. People were screaming the lyrics like crazy, as we were getting a taste of the ethereal night to come. Following that was Body, the song that sampled Justin Timberlake's famous Rock Your Body. Again, people went ballistic as Don's voice and the iconic sample with the filthy bass had them hyped. The live guitar playing also made the song more atmospheric, but Don's voice, especially, and stage presence is what had the crowd floating. In just two songs, I went from being in the middle to being near the barricade!
Another song I want to highlight is Gemstone, which is as beautiful as its name. Sampling Malaguena by Stan Kenton, this song's trumpets just hit differently live. Like, whenever the first beat of the song played, people started getting ready to jump and push. When the famous four count of the bass started hitting, everyone was going crazy, and the person next to me even fell. The rest of the song was great, as Don strikes a good balance between keeping the crowd hyped and focusing on his voice and stage moves.
To close his set and celebrate the 6th year of his debut, Heaven or Hell, Don concluded with After Party. When the trumpets started playing, we all knew we had to celebrate its anniversary together. With an altered live guitar intro and improv, Don sold the last song, singing his heart out, as fire and smoke filled the screen. Everyone was enjoying and singing along to this classic song.
BigXThaPlug.
Lastly, I want to discuss another up-and-comer of the hip-hop game, BigXThaPlug. Coming from Dallas, Texas, he is a current legend notable for his deeper, raspier voice. BigXthaPlug's set felt really authentic, as he grabbed the Austin City Limits venue by the collar, and turned it into his. The bass of each song was shaking everything, and what made it work was how comfortable BigX was in his own element, proving he belongs in the rap game. He raps with that heavy, blunt, deep voice that cuts through the noise, and makes him so special to hear live.
What I liked most was the little human moments in between: him talking to the crowd and the ladies, laughing and admiring the crowd's reaction of us all, while keeping the show still goinggg.
He played "The Largest", where the beat knocks immediately, and BigX comes in sounding confident before the song even starts. It's that heavy, confident delivery in which every bar feels like he's stamping his own name on the line of what is hip-hop. The hook is one of the catchiest ever, something that was screamed out by the people around me. I really appreciate the songs and his rap style, as they don't try to be complicated; they simply hit the mark and encapsulate a simple yet powerful rap that sells. Even the songs where he doesn't rap and hits a country stick, sound quite good, as it genuinely surprised me hearing that vibe coming from a man his size. 
The last song he played was the most notable, as it brought out a seven-year-old fan on stage. Ending off with Texas, it feels personal, ending with as we jointly feel the pride, hometown energy vibe that united us all in the room. The way he rides the beat is pretty grounded, a little more chest and oomph in the voice. It's not just a song about a place that made him who he is, but it feels like he's carrying the whole state with him, as he and Don are quite doing! The hook feels like something you scream out loud, being from the place we love, making us proud to feel like a Texan.
Apr 28, 2026 | ktru
Posted By Israel Lerma
Credit: Photographs Taken By Patrick Gunning
Seeing PinkPantheress live felt less like attending a traditional pop concert and more like stepping into someone’s carefully curated digital UK girl-life dream. Her music already exists in a strange, lovely space between nostalgia and the present, drawing on garage, drum and bass, bedroom pop, hyperpop, and early Y2K aura! To start, the show feels so fast, with no breaks, all back-to-back, with her songs lasting an average of 1 minute (I am not joking). It was sort of intimate; the crowd was packed with people screaming most lyrics back at her. What makes a PinkPantheress performance stand out to me is her soft, shy personality, which made her music popular in the first place and provides an authentic sense of who she is.
From the moment she steps onstage, the atmosphere changes. PinkPantheress use of dramatic choreography started us off, and continued throughout the night, which was kinda cool. Her stage presence and dances themselves are understated, but it works because her music has always been built on feeling rather than overperformance. She moved around the stage smiling at the audience, dancing all the time, letting the production and live drums fill the space around her.
One of the weakest parts of the concert is how her songs translate live. On streaming platforms, many of her tracks are short, sometimes barely reaching two minutes, and live they just felt so short and lackluster. While the bass and drums feel sharper, her performance of singing along was not always 100%, as sometimes she would dance to the song. I feel like
Songs like “Pain” and “Heaven Knows” bring out the nostalgic side of her sound, which lets her hide within it. Thus, throughout the night, there were a lot of fans who sang her popular songs easily, but other niche songs were not recreated with the same energy. The number of phones at the shows was crazy, as sitting in the balcony, GA looked like a plague of phones. Because her songs are often short and catchy, the concert moves quickly, almost like scrolling through a playlist of hit. There is barely time to sit in one, which, to me, I am not a fan of. She talked twice to the audience, and was at the last venue when she was in Houston.
Her voice, when heard, is also worth praising. PinkPantheress has a delicate vocal style, and it would be easy for her to get swallowed by the heavy production. However, her voice cuts through the instrumentals, soft yet clear. She does not oversing as her voice carries a certain vulnerability, which sounds like someone telling you a secret over a chaotic beat. That contrast is one of the reasons her music works so well: the production makes you want to dance, while the lyrics remind you that the song is often about sadness or emotional uncertainty.
A major highlight of the concert is “Illegal”. It is one of those songs where the audience does not just sing along; they practically take over because it is a TikTok trend. The track has a playful energy, but underneath that playfulness is a familiar feeling of disappointment and insecurity in a new relationship. Hearing it live makes it clear why the song became so popular. It is catchy, fun, and easy to dance to, but it also captures a very specific kind of relationship frustration that the crowd feels with pure joy (and pain 🙁 )
Another standout moment was “I Must Apologize.” This song brings out the emotional core of her music. The melody is sweet, almost innocent, but the lyrics have an obsessive edge. To me, PinkPantheress handles the song beautifully, letting the softness of her voice sit above the beat. It is one of those moments where the concert feels less like a party and more like a shared emotional release that we all relate to,
The visuals and lighting also match her aesthetic well. The stage design does not need to be overly complicated because her music already creates such a strong mood. Pink lighting, dreamy visuals, and background film help build the atmosphere without distracting from her performance! The show feels feminine, digital, nostalgic, and slightly surreal, which I apprecite it. It indeed captures the same feeling as her album covers and music videos of playful, emotional, and stylish.
One thing that could be improved is the length and flow of the show. Because many of her songs are short, the concert can sometimes feel like it moves too quickly. Some moments could benefit from being extended, either through longer instrumental breaks, an intro, or even more interaction with the audience, which she lacked. PinkPantheress does not need to talk every song, but a few more personal moments between songs could make the performance feel even more intimate while filling space. Her fans clearly want to connect with her, and when she speaks or smiles at the crowd, the reaction is huge. More of those moments would make the show stronger.
Overall, a PinkPantheress concert is exciting because it feels both modern and nostalgic at the same time. She brings together the feeling of early 2000s dance music, internet culture, bedroom pop vulnerability, and club energy in a way that only she can. PinkPantheress may have a soft presence, but her impact on the crowd is undeniable. By the end of the concert, it is clear that her music is built for more than headphones. It belongs in a room full of people dancing, screaming, and feeling every lyric together as a fandom 🙂
Apr 27, 2026 | ktru
Written By Chloe Diehl
Credit: Photographs Taken by FionaFury
This past Friday, I attended Panchiko’s concert at White Oak Music Hall’s lawn venue along with my two good friends and former KTRU colleagues, Imogen Brown (Station Manager 24-25) and Amy Lam (Creative Director 23-25). The moment we stepped foot into the venue, we quickly noticed the sea of alternative teenagers, chanting out “I love you, Panchiko!” every 15 seconds as they impatiently waited for the main act. However, what was funny about the crowd was their stillness during the performance. Rather than naturally letting loose to the songs and singing along, the whole audience kept quiet and held their phones out to record every last second. Imogen, Amy, and I all felt like aliens, as we were the only three people in the crowd not on our phones, dancing and headbanging to the main set. It was truly ironic that the crowd, who were chanting their love for the band, would be more still than a terracotta soldier, instead of responding with even a sway to the beat like a normal human being.
Imogen perfectly described the crowd as a “stationary Gen Z epidemic,” which is totally bars, in my opinion. Everyone on the lawn was focused on the camera, capturing every moment, cramping the whole vibe. Throughout the concert, I could tell the band was having a hard time reading cues from the crowd because the crowd was still. It led me to so many questions. The biggest one being: “Does the audience truly care about the band or do they want to be perceived as having a certain music taste?” All the audience cared about was that their social media feed was getting the content rather than having the experience to themselves. The intention to go to this concert felt completely different from Imogen, Amy, and I. After reflecting on the comment Imogen made and the takeaway question I was left with, it makes total sense why artists are now pushing out no-phone concerts. Artists crave a clearer response from the crowd from a head nod to a sing-a-long. They also want to play music that resonates more deeply with the audience.
While the crowd felt stiff and performative in the cringiest way possible, this didn’t stop the three of us from really enjoying Panchiko’s main act. I also am quite the Panchiko fan, making it a little bit easier for me to blur out the crowd from giving myself. The band opened with an incredibly cool shred mixed with strong drudge with the addictive gritty textural sound Panchiko is famous for. Owain Davies’s voice also scratched part of my brain I didn’t even think existed. His voice was almost reminiscent of Muse’s lead singer Matt Bellamy back in his prime. They were similar in the way they have these impressively powerful belts that would highlight their vocal range, I am not just saying that because they are both British.
The instrumentals were also not something to ignore. Their intricate use of synthesizers and keyboards made their songs feel like I was levitating. It felt space-like and ethereal. This was perfectly balanced with the sexy grunge guitar riffs.
Overall, Panchiko is a force to be reckoned with. Despite this once-early-2000’s teenage garage band being discovered well after their youth, the band stays true to their original sound. We see this best when the band plays a newly unreleased song right after their 1997 demos.
In the middle of the set, they play “Untitled Demo 1997”. The acoustic guitar intro eases you into the sweet melodic verse “I’ve been waiting all this night for a touch, it isn’t that much.” As a hopeless romantic and a D1 yearner, this line pulled on my heartstrings like no other and moved me to tears. I was transported to a swing in the middle of some highland meadow, going back and forth, looking out in the distance, hoping for my prince charming to come for me.
The new unreleased song, while more upbeat than most, didn’t stray from Panchiko’s brand. Davies starts out the song in an army-like chant, increasing the energy of the concert. While the song was a total mood shift from the demos they played, they somehow incorporated their classic sexy lead guitar licks backed by these futuristic synths.
Aside from the music, the bandmates were all incredibly sweet and responsive to the fans in the crowd, responding back to the cries with “I love you too, babes!” and jokingly calling the band “silly sausages.” They gave off dorky dad vibes in the best way possible. They were also probably more responsive and energetic because this was the biggest gig the band has ever done and they were riding on that high that they sold out a show on White Oak Music Hall’s lawn venue. Which yes… if I were in that position, I would be equally as happy and charismatic. Maybe not to the extent of calling my audience silly sausages though.
Overall, I truly enjoyed Panchiko’s concert. While the fans were a little obnoxious with their phone recordings, it didn’t stop me from enjoying their live set. After seeing their wittiness with the crowd, the chemistry among the band mates, and each of the member’s their skillful artistry, I definitely think that they deserved to have a sold out concert. I’m looking forward to seeing them come by again!
Apr 24, 2026 | ktru
Review By Chloe Diehl, Steven Burgess, Israel Lerma
This year, KTRU had the opportunity to send out three of our board of directors to conduct press for the concerts occurring at SXSW 2026. While we all have seen well over 60 artists collectively, we wanted to highlight the top 10 artists who performed during SXSW.
10- KOJ: This Liverpool rapper brings a new sound to the United Kingdom’s rap scene. His witty lyrics, backed by aggressive, march-like drumbeats and a funk bassline, prompted the crowd to start headbanging throughout his set. KOJ perfectly blended rap with an aggressive rock instrumental, creating his own UK Drill genre.
9- Diles Que No Me Matan: Diles Que No Me Matan is an experimental group that creates the truest form of etherealism. They orchestrate elaborate instrumentals, incorporating saxophone riffs, a harmonica solo, and an electric bass played with a bow, all supporting the haunting chants of the lead singer. As they crescendoed into their outro, amplified by swelling woodwinds, the performance moved both me and the crowd to tears.
8- Yakiyn: Opening up for Top Dawg Entertainment, Dallas musician Yakiyn carves his own lane with mixed Texas Hip-hop sounds, R&B, and electronic sounds. With his famous mask, your boyfriend f*cking sucks slogan, and performing with-in the crowd, his energy stands out providing an immersive experience leaving his unique mark.
7- Lucid Express: Hong Kong’s Lucid Express is a Shoegaze powerhouse unlike any other at this year’s SXSW. Slamming the audience with reverb soaked guitars and subtle vocals, Lucid Express invited their crowd into a sonic daydream. Our shoes were indeed gazed after Lucid Express’ remarkable performance.
6- Water from your Eyes: Water From Your Eyes is a collaborative project between Nate Amos of This Is Lorelei and Rachel Brown of Thanks For Coming. The pair’s dynamic feels uniquely matched, yet effortless in how it comes together, allowing them to create truly avant-garde music. Their song “Playing Classics” stands out as one of their most distinctive and addictive tracks, blending a piano riff with a sleazy guitar line and Brown’s signature robotic voice. I almost wish they had stretched that song out for ten minutes.
5- Don Toliver: The future of hip-hop hailing from Houston, Texas, Don Toliver blends a melodic trap sound with psychedelic R&B. Following his critically acclaimed album Octane, with majority recorded in the Mount Wilson observatory, Don uses his floating vocals, live guitar, and altered intros to provide an out-of-this-world tone for his Octane tour to come.
4- Knats: This young band from the United Kingdom has the chops that everyone is sleeping on. Playing high-energy jazz, each member of Knats showcases their musical talent with precision and confidence. Being able to shine alongside rising artist Geordie Greep proved that their age doesn’t hold them back from performing at such an impressive caliber.
3- Ray Vaughn: The up and coming top dawg himself, Ray Vaughn from Long Beach provides an exciting voice that keeps the West Coast runnin’. His insane lyricism and rapping ability live, had me captivated, as his songs range from the west coast lifestyle to more introspective personal messages of the troubles of life. His intimate performance showcases his intentional passion with his words that forefronts as the West Coast’s next big name.
2- Jack Johnson: Hailing from Hawaii is legendary singer-songwriter Jack Johnson performing a 24-track set at Austin’s Stubs Bar-B-Q. During a time of deep pessimism and division among the masses, Johnson’s music has a healing component that artists can rarely tap into. Out of any performer at SXSW, Johnson is a master at bringing people together through his optimistic songwriting and warm personality. We are confident that no one left Johnson’s set without a smile on their face (it’s basically impossible).
1- Jasmine Jethwa: Climbing to our #1 spot is London-based artist Jasmine Jethwa. Delivering powerful performances at SXSW with a guitarist by her side, Jethwa proves you don’t need flashiness to be unforgettable. Gracing audiences with her stunning voice, complimented by her humility, Jethwa is a rare talent that cannot be dismissed. Out of any of the up-and-coming talent at SXSW, Jasmine Jethwa gets KTRU’s pick for most essential artist to check out from this year’s line-up.
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.
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.