Live music review: Free Week Austin 2024 huge success as thousands attended

Red River Cultural District’s Free Week is an opportunity for Austin locals to get a dose of what makes the Austin music scene a world-renowned phenomenon. For the first weekend of every year, Red River Cultural District curates a lineup of over 100 acts that spans some of the best the Austin scene offers. For the 2024 edition of Free Week, a diverse group of artists, including Nolan Potter’s Nightmare Band, Redbud, TV’s Daniel, Billy Glitter, and Half Dream, rounded out the massive lineup for a series of cover-free showcases that not only gave locals a taste of the year-round happenings of the Austin music scene, but felt like a compelling reason for non-regulars to keep coming back, even if it means a cover charge every now and then. Here are some sets that stood out to us for the free-as-can-be weekend.

Friday 

TV’s Daniel 

The stage energy of TV’s Daniel is undeniable. For this set, the Austin act took the stage in close quarters at Chess Club. TV’s Daniel is an Austin supergroup containing members of bands The Well, Porcelain, and Bad Sports. The intimate setting allowed for a close-up presentation of frontman Daniel Fried and his backing band of seasoned local musicians that prop up his dynamic range in the best way. Armed with a commanding frontman presence, Fried frequently takes time in between songs to comment on his surroundings and other miscellaneous topics of hot-button discourse. Drummer Chris Prorock, now also of A Giant Dog offshoot Tear Dungeon, ties the stage show together with dance-ready beats and air-tight heaviness that send the high-energy musical numbers through the roof. TV’s Daniel’s sound revolves around power pop and high-energy rock n’ roll.  The band rips through tunes with bombastic passion. Once they start, there’s no stopping them. 

Porcelain

Fast rising local act Porcelain took the Mohawk outside stage for a demented, heavy, shoe-gaze attack. Porcelain delivers a wall-of-sound approach with shouted vocals to make the hair stand up on the back of your neck. Dipping their toes into 90s hardcore and shoe-gaze from past eras, Porcelain comes bent on creating a noisy spectacle that rattles the eardrums. Since Porcelain was fresh off a sold-out opening slot for local grindcore act Portrayal of Guilt, the Austin band had aggression on their minds, and their Mohawk set was a testament that a local band could appeal to the indie/psychedelic fans while also giving the heavier side of the Austin music scene a run for its money. 

Billy Glitter

Cheer Up Charlie’s was packed on Friday night of Free Week. With a stacked lineup to boot, the Red River joint was ready to pack in as many fans as they could, even if it meant leaving little room to move, let alone breathe. Frontman Will Grover founded Billy Glitter in 2020 as a solo project to accompany all of his home recordings, often done on a Tascam 4-track recorder to pay homage to his lo-fi heroes. For the outdoor Cheer Ups gig, the shredding guitars and eccentric Jay Reatard-esque vocal delivery made for an explosive set that made for a fierce vibe that makes Billy Glitter one of Austin’s most entertaining acts. Self-described as “Neo-Progressive Rock,” Billy Glitter employs elements of psych rock, hard rock, and stoner rock that all come together to make their high-octane live show a reality. 

Nolan Potter’s Nightmare Band

Since the reformation of Nolan Potter’s Nightmare Band, Nolan Potter and his league of associates have been building on their technical chops with every live appearance. The late-night set at Cheer Up Charlie’s was no exception. Nolan Potter jokingly greeted the crowd as “Cheapskates” before plunging into original songs like “Seahorse Retreat” and “Gregorian Chance.” The Nightmare band communicates effortlessly, allowing each member to take their turn in the spotlight while the rest of the members support the soloing instrumentalist as each of them takes the reins. Guitarist Raze Regal and drummer Cole Koenning are an impeccable backbone for Potter’s original tunes, and each live show differs from the last. 

Saturday 

Semihelix  

The Cosmic Clash’s own Semihelix opened the last night of Free Week at The 13th Floor. Frontwoman Geannie Friedman’s sugar-sweet vocal delivery and luscious instrumentals create singer/songwriter personability while also making for a rocking good time. Bassist Mike Cosmic backs the trio with crisp melodies that act as a lead over Friedman’s guitar work, which gives each live show a keyboard-like, melodious structure despite being limited to three members. Drummer Valdemar Barrera also keeps the Semihelix rhythm section intact, allowing for a booming 90s indie, fuzzy overall delivery that made the early Saturday night set a dreamy session that made things as tight as they were catchy,

Easy Compadre

After venturing to the mayhem of Dirty 6th to Flamingo Cantina, Austin Latin-fusion act Easy Compadre delivered a party-ready set. The Easy Compadre live setup shows the power trio playing with drums, guitar/vocal, and keyboard in a stripped-down fashion. The three piece tested the audience’s will to dance, with upbeat tempos, funky guitar work, and fluttering keyboards all checked off the list. The wah-pedal-charged guitars were also a highlight, allowing for instrumental jams that were tastefully infused with world music and rock n roll alike. Percussionist Juan Alfredo Rios Rodriguez is a spectacle of his own with his one-of-a-kind custom set-up. Also, of Austin heavy hitters Como Las Movies and The Bright Light Social Hour, Rodriguez is a master of his craft. The astronomically rhythmic nature of the EC group has a way of making the audience move, and that’s always a good thing.

Luxury Television

Luxury Television gave the Mohawk inside stage a dose of the ever-revolving foot soldiers that lend their hands to bands like Acid Carousel, Gus Baldwin & The Sketch, Grandmaster, and more. Self-described as “Nocore,” Guitarist and co-vocalist David Rawlinson is a powerhouse songwriter. Since starting a new band, Commercial Breaks, late last year, Rawlinson and Lux TV drift further away from the psych rock norms and deliver a brand of music that feels too fierce to be placed into the regular Austin Psych bucket. Rawlinson has stayed prolific since the pandemic closures, and the musician is set to make 2024 a huge year. The set featured compositions that never wore out their welcome and saw the Lux TV members tearing through the performance like they were making up for lost time. With a new record expected in 2024, Lux TV will be a band to watch this year.

The Bright Light Social Hour

Austin’s The Bright Light Social Hour has been together for 20 years. With 2024 being the act’s third Free Week appearance in a row, it has become traditional that the Free Week concert series be capped off with a smoking set from the all-out dance party band. Empire’s Garage stage has the setup to deliver strobing, rave-ready spectacles that would make any headliner feel at home. The Empire set saw the mainstays dashing through debut album cuts “Back and Forth,” “Detroit,” and “Shanty,” making their 2010 debut tracks sound so pumped up with energy comparable with that of a legacy act. With this being a hometown performance, the energy in the venue felt like fans were endlessly cheering for their home team, allowing them to contribute to the excitement throughout their performance. The Bright Light Social Hour approaches each performance with a love and sheer enthusiasm for their art, and their liviness is always contagious. 

Red River Cultural District’s Free Week 2024 not only celebrated the local music scene but also served as a reminder of Austin’s role as a global music hub. The diverse lineup and memorable performances ensured that seasoned Austinites and newcomers alike could share in the magic of live music without barriers, fostering a sense of community and appreciation for the city’s artistic spirit. As the echoes of Free Week lingered in the air, it became clear that the Austin music scene continues evolving and enchanting, drawing people back year after year. To support RRCD, which is a music non-profit head to their donation page.

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