May 21, 2026 | ktru
If you’re a Hip-Hop fan of any caliber, rappers like Kendrick Lamar, Schoolboy Q, Ab-Soul, Jay Rock, and Isaiah Rashad have spoken to you in one way or another. They are all linked by the fact they are currently or formerly signed to famed music label Top Dawg Entertainment (TDE). At this year’s SXSW, TDE had a showcase of some of their most promising artists.
Kembe X
The first artist in the lineup was Chicago-based rapper Kembe X. His performance consisted of a mix of melodic rap songs and bangers - balancing good flow with a solid singing voice. Songs like “Cozy Forever” are a great example of Kembe X’s ability to strike a balance between these differing styles; the beat is filled with triumphant strings and trumpet lines as Kembe delivers a catchy hook and infectious flow.
Kembe X’s approach to creating bangers is uniquely infused with a laid-back approach and introspection such as the case of “Crooks & Castles,” unreleased at the time of the performance.
This performance during the showcase displayed Kembe X’s ability to infuse sticky melodic hooks into a dynamic rhyme scheme.
Devin Malik
Taking the stage after Kembe X was LA-based rapper Devin Malik. Malik has started to make a name for himself, both as a rapper and producer, on his debut record, DEADSTOCK; in the same year, he appeared alongside Schoolboy Q on his critically-acclaimed album, Blue Lips.
Performing a myriad of trap-flavored tracks, Malik allowed each song to reach its full potential. Listening to Malik beforehand, I did not find myself replaying many of his songs. I appreciate Malik much more as a performer because songs like “PEARLS” and “CANADIAN TUX” feel fully realized when coupled with his high energy and interactions with the crowd.
Malik is a performer that tends to outperform the studio versions of his tracks. The rush of adrenaline felt through each bar and the reciprocal energy of the crowd makes me curious to see if Malik can mirror this same atmosphere in future releases.
Yakiyn
Following Kembe X was the endlessly energetic Texas-based rapper Yakiyn. Having the smallest catalog, I felt that Yakiyn was the wild-card out of the bunch.
Coming onto the stage with an encrusted face covering, Yakiyn took the audience by storm and energized them unlike any other performer.
The previous sets had people bobbing their heads. Yakiyn raised the bar tenfold, launching the audience into a full-blown moshpit. The shift in energy and audience participation became apparent as Yakiyn even went into the crowd and moshed with them; this turned the venue into the most electric crowd I had experienced in all of SXSW.
One of my favorite songs out of the set was the mind-bending, “CALCULATE,” with a psychedelic synth-based beat. Despite its repetitive elements, songs like these had played a factor in the audience remaining as hype as it was.
Something I really love about Yakiyn’s performance is that he remained introspective in between songs, talking about how only a few years ago he was delivering packages for Amazon and fueling planes to make ends meet. His humility and genuine love for performing makes Yakiyn the most exciting up-and-coming performer out of the TDE Showcase.
Ray Vaughn
The last performer on the bill was Long Beach rapper, Ray Vaughn. Out of all the artists from the showcase, Vaughn was the most established. Collaborating with Isaiah Rashad and Jay Rock on his mixtape, The Good The Bad The Dollar Menu, Vaughn proved himself a worthy lyricist with a focused sound.
Starting off his performance with a song like “XXXL Tee,” Vaughn displays a dynamic use of cadence and clever wordplay. Each line is helped by Vaughn’s physicality, utilizing numerous emotes within a song while contorting his face to express a range of emotions.
Vaughn proved himself to be incredibly charismatic and funny throughout his set. He would perform bits of stand-up comedy in between songs, allowing an opportunity for audience interaction.
My favorite song out of the set was “MILES AWAY from Heaven,” a ballad-like Hip-Hop song about depression and drug abuse. The vulnerability showcased with lines like “the hate feels so much better than the love / I only wanna see my daughters when I'm buzzed,” gave insight into the struggles Vaughn has faced and continually overcomes. Placing songs like this alongside energetic bangers like “LOOK @ GOD” allowed for a beautiful display of contrast that gripped the audience.
Ray Vaughn, in his current form, seems to be the next big player that can potentially help to define a new era for Top Dawg Entertainment’s sound.
May 21, 2026 | ktru
If you were anything like me, watching the Curious George film as a kid, you would know “Upside Down” by Jack Johnson is a staple in Gen Z’s childhood. The singer-songwriter made an appearance at this year’s SXSW as part of the promotion for his newest film, Jack Johnson: SURFILMUSIC.
Performing at the Stubb’s Bar-B-Q in Austin, TX, Johnson performed a 24-song set. Opening for Johnson were Hermanos Gutiérrez. A duo made up of Ecuadorian-Swiss brothers, the pair performed instrumental guitar tracks. Much of the set consisted of the brothers playing intricate guitar passages as shades of blue, yellow, and purple light washed over them. Elements of psychedelia and latin were present as the guitars bathed in reverb and tremolo. 
Once Hermanos Gutiérrez left the stage, the audience gave a warm welcome to Jack Johnson. Similar to his songs, the positivity and warmth emitting from Johnson could not be understated. With a calm and gentle demeanor, Johnson stepped up to the microphone and started off his set with “Mudfootball (For Moe Lerner).”The dynamic between Johnson and his backing band was effective with a simple arrangement of instruments that placed acoustic instrumentation at the center of the performance. I was impressed by Johnson’s vocals; they sounded exactly as they did on studio recordings 20+ years ago. Songs like “Banana Pancakes” and “Sitting, Waiting, Wishing” felt at home in a concert that displayed the communal aspects of a campfire. Hearing the crowd sing a multitude of songs back to Johnson felt intimate despite the size of the crowd.
Occasionally, the band would opt for more grandiose instrumentation on tracks like “Holes to Heaven,” featuring the likes of heavenly organs, while other songs would feature solos from an accordion and a melodica.
Johnson’s personality would shine through between songs, telling the audience stories behind the songs he was performing. Johnson recounted the story of how he crafted the chorus for “Inaudible Melodies.” Johnson cited a professor as the inspiration behind the lines “Slow down everyone / You're moving too fast / Frames can't catch you when / You're moving like that that” as he recalled the professor saying that “Every 24 frames is in one second of film… and Bruce Lee is too fast for the frames.” Another anecdote was the creation of “Tomorrow Morning,” originating from a voicemail he sent to his wife, then-girlfriend, that he transformed into a song on his debut album, On and On.
What made this performance unique to SXSW was Johnson’s break from his catalog. Johnson and his backing band performed a 15-minute improvised jam session to the visuals of his film, SURFILMUSIC, resulting in one of the most unique moments of any concert I’ve been to. Gazing up at the ceiling of Stubb’s outdoor venue, I and many in the crowd were entranced by the visuals of surfboards and extravagant waves.
Despite releasing his first album in 2003, Johnson’s songwriting remains timelessly compassionate as he continues to build community through his messages of love and kindness. People of all ages attended the show; the most diverse crowd in terms of generations, with Gen Z shoulder-to-shoulder with boomers and everything in between. Johnson is a reminder that in 2026, “we got everything we need right here
May 21, 2026 | ktru
Former Black Midi frontman, Geordie Greep, joined this year’s SXSW music lineup as part of the program organized by the British Music Embassy. Joined by UK jazz collective Knats, Greep delivered organized chaos in its purest form.
Playing songs from his 2024 album, The New Sound, Greep achieved kaleidoscopic soundscapes through unique genre fusions, eccentric vocals, and an unpredictable wall of sound.
The latin influence of a song like “Terra” contrasts the paranoia-ridden soundscapes of “Blues.” On each song, Greep sounds like a madman on the microphone. Greep’s eccentric vocal delivery walks a fine line between spoken-word and unhinged yelping. This performance style helps to enhance the intensity of lyrics like “Have you ever seen a man boiled alive?” on “Through a War.”
I was incredibly impressed by the musicianship of the backing band. Knats expands upon the soundscapes of Greep’s studio recordings with incredible energy. An assortment of trumpet, bass, keys, and drums helped to bring to life the frenetic nature of every song. Greep was feverishly shredding away on the guitar. I have seen few guitarists with as much dexterity as Greep resulting in some of the best guitar playing I’ve ever seen.
Seeing Geordie Greep live is the sonic embodiment of a psychedelic trip fueled by Jazz-influenced Rock. As each song played, I found the instrumentation was pulsing through my veins as each instrument took on a singing voice of its own. Nothing can quite prepare you for what you are about to experience if you choose to see Greep live.
May 14, 2026 | ktru
Written By Cheryl Lee
LA based alternative indie pop band Inner Wave exploded onto the stage at White Oak Music Hall with “Child”, the third song off their fifth studio album SEE YOU WHEN I GET BACK. Their newest work doesn’t stop at music—lead singer Pablo Sotelo stated that SYWIGB is “more of an interconnected project”, including a book and film documenting the process of album recording and previous tour adventures. Off the bat, their stage presence and addictive guitar riffs entranced me and my fellow ktruvian and station manager, Chloe Diehl. Their music feels like The Strokes meeting Tame Impala halfway with a touch of Magdalena Bay. I was pleasantly surprised at how full and multi dimensional their music sounded in person. In the studio recordings, some of the songs on SYWIGB can feel a bit flat, which was slightly discouraging leading up to the actual concert. But experiencing their music live allowed me to appreciate each element of their music individually, from the bass to the synths to the semi monotonous lull of Sotelo’s voice.
Opening for Inner Wave was Twin Seas, an east LA based indie pop band that complemented Inner Wave’s sound very well, playing with a variety of synths and guitar riffs that supplemented the rich voice of the lead singer, Eduardo Bueno. There was a last minute swap in the tour, as Los Mesoneros were the original openers. I enjoyed the beachy, summery, and laid back feeling that Twin Seas brought to the stage, particularly by “Surf Wave”—a 2016 single that highlights the ephemeral nature of life in youth. Twin Seas’ short but cohesive set warmed us up well for the psychedelic indie rock performed by Inner Wave.
Having received a photo pass, I had the pleasure of experiencing “ONE IN A MILLION” from the photo pit, which had a hypnotic and funky energy about it that doesn’t necessarily feel present in the studio version. It was followed by “Rose”, a 2019 single that brought a dynamic intensity to the downstairs stage at White Oak. Having to go back to the crowd after the first three songs was frankly pretty sad after being able to shoot the members of Inner Wave up close in action, but experiencing the show from the crowd was lovely in itself. I really appreciated how the Inner Wave crowd was calm and swaying gently to the music, as it made the venue easier to navigate when I was shooting. However, I kind of wished the crowd brought more energy, especially during more vibrant moments in the set, such as “IF YOU LIKE”, which reflects the 1970s low-budget horror and grindhouse cinema theme in their film. I appreciated the crowd engagement that Sotelo displayed—reflecting on the band’s previous trips to Houston and how the venue, White Oak Music Hall, holds a sweet place in their heart after they performed on the same exact stage in February 2022 for the Apoptosis tour. In between songs, several people shouted out “Take your shirt off!”, to Sotelo, who was rocking a cropped camo print tee. To these cries he teasingly replied, “Would you want us to get fully naked? I think that’s a crime, no?”
While the focus of the set was songs from SYWIGB, it was interspersed with some throwback songs like “Oof”, originating from their EP wya. For some other artists, changing between different musical eras can feel very jarring, but Inner Wave did this well without compromising their sound and the uniqueness of it between different pieces of work. After a stellar performance of “Estrella”, the band went behind the curtain, prompting the crowd to scream “One more song!” They reentered the stage once again for “Take 3”, an entrancing and hauntingly beautiful single from 2021. They closed out their set with their most famous song (and the one that I suspect many fans were there to hear), “American Spirits”. A concertgoer next to me cried out right before the encore: “PLAY AMERICAN SPIRITS!! I GOT WORK TOMORROW!”
While the sound and vision of Inner Wave has evolved considerably over the years since III came out, I still think that their music and work is still cohesive as a whole and occupies a unique niche within indie pop/rock. I hope to see them continue progressing artistically and can’t wait to see them perform at WOMH again!
Set List (from artist):
SEE YOU WHEN I GET BACK Intro
CHILD
ONE IN A MILLION
ROSE
PUSH
PULL
MADRE
BIG FOOT
SCHEMIN
IF YOU LIKE
SAME IS THE CHANGE
pay phone score
ALL OF THE THINGS
OOF
142
Estrella2
Encore:
Take 3
American Spirits
May 8, 2026 | ktru
Written By Chloe Diehl
Photo credit: Shelby Duncan
On the third day of SXSW, Spotify hosted a concert at Stubb’s Barbecue, headlining Alanis Morrisette with the opener Ella Langley and a closing DJ set from St. Vincent. To put it simply, this lineup was incredibly strong, featuring impressive female artists from diverse genres.
Ella Langley was a country-singing goddess. While I am no country fan, I have made an exception. She finished her set with her hit song, “Choosin’ Texas” which got me into tears. I usually never listen closely to lyrics; however, her melodic voice drew me in. The song is about her lover moving on to another girl, and the emotions of seeing a partner fall out of love with her and onto a totally different girl. The song is witty, using the southern state as a conceptual metaphor. She refers to herself as "Tennessee" and to the other woman as Texas. She remarks on the trademark features of the two states, from Texas two-stepping to the Tennessee Blue Ridge Mountains. The song is so catchy and resonant that I couldn’t get it out of my head for a month and a half. My song replay of “Choosin’ Texas” got even more severe, especially after discovering Waxahatchee’s cover. After hearing Waxahatchee sing the cover, I secretly became more of an Ella Langley Fan.
St. Vincent’s closing act kept the energy of the crowd going after, mixing songs from Charli XCX’s “Brat” album with David Bowie’s “Just Dance.” She kept the set very pop-forward, which the crowd loved, and retained the hype dancey energy till 3:00 AM. However, I wished St. Vincent had mixed more of her own songs into the set and had been more experimental with the genres she played. That is just personal preference, though.
The true star of the show was Alanis Morrisette. At the beginning of her show, she played a montage of interview snippets and old videos from the 90s, walking the audience through her career progression. Then, she confidently strutted out as the montage was concluding, letting out her “Hi yi yi…” as she excited the crowd with the iconic intro of “Ironic.” She majestically swayed along to her songs, her long flowing hair paired with her silky mesh red cover-up.
I have always been a fan of Alanis Morissette since I was in eighth grade. She was the most impactful woman of the 90s, as she vocalized the angst of dating that was stigmatized to the point of not even being mentioned. She also set the tone for women in grunge rock… Dare I say she was even better than all the all-male Nirvana wannabe bands! To see her play live at Stubb’s felt like I was coming of age. Listening to Morissette gave me a definition of womanhood. I will admit that she was a pretty unconventional artist to idolize from a young age. However, her impact on alternative rock in the 90’s gave me the confidence to be my strong self even in spaces and fields where I was the odd one out.
Most of her songs were from her hit album, Jagged Little Pill. The whole set brought the audience into a state of nostalgia, headbanging to the grunge guitar in the chorus of “You Oughta Know,” and prompting different gestures like making peace signs during “Hand in My Pocket.” Considering that it has been a while since Morissette had a major show since her debut in ACL 2023, she still evoked a strong energy from the crowd. She connected with the crowd by being a time capsule from the early 90s and held her own on the impressive belt-outs. Her voice was truly a powerful force.
May 8, 2026 | ktru
Written By Chloe Diehl
On my first day at SXSW, I attended a talk at the Mohawk hosted by Billboard, highlighting the All-American Rejects’ recent house-party tours and their new music releases following a 10-year hiatus. On the panel were lead singer Tyson Ritter and guitarist Nick Wheeler. It was the band’s first time attending SXSW, which is surprising, as they are truly an incredible case study in adapting to a changing industry like music.
The band has just returned from a 10-year hiatus after building the band for 10 years. In the past year of bringing the band back together and playing again, All-American Rejects have joined artists like the Jonas Brothers on their stadium tours and hosted backyard parties all around the country.
Ritter and Wheeler were asked which type of concert they prefer, their house parties or their stadium tours. They were quick to answer that their preference was their house parties. The energy they received from hosting these smaller backyard concerts generated more hype, which, as Wheeler stated, “fired up their engines”. In comparison, the stadium tours left the band feeling more detached from the audience they were trying to connect with, and the energy was lifeless.
When the band decided to come back from their hiatus and play again, their main objective was to make new music and rebrand themselves not as a sunsetting legacy group, but a continuing force. During that time, their manager, who had been a huge fan of their band even before working with them, suggested holding backyard concerts. This new suggested strategy brought them back to their core roots. All-American Rejects started in the quaint small town of Stillwater, Oklahoma. In their come-up, they would host their own shows in unassuming places like cornfields. Going back to a tried-and-true method gave the band more drive and meaning in their work. As Ritter stated, “Watching kids be elated at the house parties feels better than being in a stadium, and the audience is in the complete dark.”
They kicked off their house party tours with a pop-up in a quad at the University of Wisconsin. Social media posts about these pop-ups led to a resurgence of the All-American Rejects. While agencies questioned their approach, fans and businesses flooded the band’s Instagram with requests to play in their cities and have sponsorships support their pop-up concerts. As both Ritter and Wheeler perfectly defined their tour as a “DIY Rollercoaster”. They found an unconventional and scrappy approach that gave All-American Rejects a fresh new look, which, as Ritter nicknamed, “the people in the tall ivory tower” were too ignorant to understand.
The band became increasingly popular to the point that Ritter worked with one of his friends, an engineer, to create a map identifying third spaces for concerts and outlining core logistics, such as room capacity, inventory fees, and security. Through this software that they have now shared all called “playhouse.band”, they have created an outlet where artists and fans can have a show link for a smaller third-space concert venue. It also opens the door for thirdspace parties, as they used the example of a yoga studio that converts into a venue at night and shares the space with bands in the area. In this space, artists use third spaces without going through booking agents or getting into debt by playing on tours and in stadiums. Concerts, as they mentioned, have become a luxury; they want to change that.
What is incredibly interesting about the All-American Rejects is that they are an independent group. No agency or label supported them in making new music, and the band was frustrated by the constant nagging to do a 20-year anniversary tour for their older album. The band didn’t want to dip into it, as they stated: “the legacy ‘mothball’ tours,” and they were stubborn, refusing to attempt a project unless they were truly passionate about it. However, after hearing about their success with these house-party concerts in this talk, I think it is clear that their achievements warrant attention. Record labels and talent agencies, take notes.
May 8, 2026 | ktru
Written By Chloe Diehl
I attended a panel highlighting two artists who have used Twitch to enhance their fan engagement with their work. Over the past year on Twitch, approximately 69.2 million users watched music-tagged streams, and music streaming has become increasingly popular on the platform. Additionally, Twitch is known for highlighting teases and providing backstage-exclusive moments during streams. Meek Mil and Friends streamed part of their concert, and the audience members filed in. Charli XCX even debuted her premiere of the “Brat” remixes.
During the panel, the head of marketing at Twitch interviewed two musicians who have enhanced their fan engagement on the platform: Tierra and DJ Dave.
For Tierra, she used the platform to highlight her lifestyle in an effort to take the guard down, letting her fans get to know her on a more personal level. She does not focus on high performance. Her content ranges from her trying out unique side quests around her city to her simply making and eating breakfast. For her, the streaming is not performative; it’s instinctive.
For DJ Dave, she streams her music process as she live codes. In live coding, there is an emphasis on transparency. Many of her fans from past gigs asked her to share more of her “raw moments” online. So, over the past 6 months, she has been streaming her music and coding live.
What was interesting about DJ Dave was her upbringing and how she became a musician. While studying fashion in college, she enrolled in a live coding elective course. After taking the course, she pivoted and continued to practice live coding. For the past six years, DJ Dave has been transcending the avenues for STEAM projects.
While their streaming content differs, they both appreciate how the platform has allowed these artists to show much of their humanity. They found beauty in embracing their mistakes. For Tierra, sharing her daily life gives fans something to relate to, allowing them to see her as her grounded self rather than a high-status artist. For DJ Dave, streaming has made her more comfortable with her workflow. She used to be her own worst critic, stubborn to make every line of code on point. As a young woman with no proper STEM background, she felt even more pressure, worried about the backlash the audience might have to someone like her in the live coding space. However, filming her process has dismantled her obsession with perfection.
Streaming has become a new way to engage fans, creating more exclusive, intimate settings through a connected environment. Twitch has the longest user retention rate, and artists have leveraged this value proposition to maintain more humane relationships with their fans. These women have pioneered that.
May 8, 2026 | ktru
Written and Posted by Israel Lerma
One of my favorite performances was the TDE showcase at Antonne's in Downtown Austin. The opening act was Yakiyn, a Dallas-born rapper who ranges across rap, R&B, and electronic music. Such a varied musician, he can do it all and plays a persona that I really enjoy. Seeing him open three times myself, he always wears his iconic mask and rocks his slogan your boyfriend f*cking sucks. When he went on stage, he did not need a warm-up as he was already ready from opening for Don Toliver earlier in the week. In a smaller more intimate venue, I saw a different side of him, as being barricaded made me connect to what he was saying much more. His voice sounds so clean through the mix, and his DJ does a great job of getting us hyped. The way he moves, rapped over the soul beat so simply, and kept his breath was so impressive that it makes him a top-notch performer. During his set, he even got into the crowd itself, from his own most pit and started performing. Here, everyone started going crazy, and being in my first mosh pit with the performer himself is just nuts! After such an exciting performance, and my favorite time I've seen him perform, Ray Vaughn was coming next.
Ray started with playing some of his debut album The Good The Bad The Dollar Menu. One of the most notable songs on here was the XXXL tee, which came off quite confident. His rapping ability live is actually insane, as being so close, I saw the passion flowing through his veins. The way he controls his breath and says every word, it was amazing to see his skills come to life five feet away from me. His rapping ability put us in a trance, showcasing his vibrant energy and overall control. Next up, he played Dawg House featuring Isaiah Rashad. This song had everyone locked in and made us feel like we were part of the TDE family. The track hit extra hard, built for that chant-back energy, where he knows exactly when to pull the mic away and let people yell it. Overall, his performance was one of a kind; throughout the night, he built momentum that the crowd loved. The way he punches his lines, reflecting on the good and bad sides of the West Coast, gave us not only a fun, hyped night but rap that made us reflect on our lives as well.
The crowd was so much fun and both artists even came down and moshed with us. Looking back at my videos, it is so crazy how they both started spitting with the crowd, and got excited with us aswell. After the show, I snapped a pic with Ray Vaughn for the second time, while he did not remember me, he is always such a nice respectful guy that is always down to converse after a show 🙂
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 🙂
