Live music review: Austin Psych Fest brought eclectic talent from across the psych spectrum

The Spring installment of Austin Psych Fest returned last weekend to The Far Out Lounge & Stage for a three-day, two-stage, no-overlap experience that brought over 30 acts to Austin for an eclectic weekend of music from all across the trippy psychedelic spectrum. For 2025, the billed talent stretched its boundaries by bringing a diverse array of artists that catered to fans of Psych Fest past and present. Here’s what stood out to us over the weekend-long stand in South Austin. 

Friday 

Portland-bred neo-psychedelia collective Federale brought an afternoon dose of revivalism, with Brian Jonestown Massacre member Colin Hegna driving the bus for an early festival highlight. The first two records from the group are focused on spaghetti western instrumentals, which were omitted from the set as they filled their allotted time with tunes that lean toward Hegna’s Newcombe-inspired strumming, Velvet Underground-isms.The Pacific Northwest group were joined by Black Angels frontman Alex Maas for collaborative tune “The Blood Flowed Like Wine,” a gratifying surprise for superfans in attendance. Blackwater Holylight made for a heavy psych side stage highlight, putting their neverending pedal boards into play that produced an enthralling wall of sound that scratched that My Bloody Valentine and Slowdive itch for all the shoegazing fans in attendance. A nice touch came with a cover of Radiohead In Rainbows cut “All I Need.” 

Vancouver’s Black Mountain made their first Austin appearance since the pre-pandemic years, a Central Texas outing that, while didn’t bring any new tunes to the fold, was a delightful retro rock rager that dabbled in the classics inspired from decades past. German stoner rockers Kadavar delivered a tornado of cacophonous riffs that hit with Motorhead-level octane. With fully stacked guitar amps and bombastic drum beats that escalate to redlining levels, the international act took the throne as the heaviest band to take the stage for the weekend. 

Godspeed You! Black Emperor took the reins to make a strong statement on the current state of the world, and did so without having to speak a single word. Besides projecting analog film reels onto the stage, the performing ensemble played their set in mostly pitch black. Using the nighttime to their advantage, Godspeed seized the opportunity to convey the dark truths of current events. With their time being dominated by new record No Title as of 13 February 2024 28,340 Dead, a snapshot of the death toll caused by the Israel–Hamas war, the eerie and despondent nature from the legendary post-rockers required deep rumination about the world at large. 

Longtime Austin experimental electro-psych berzerkers The Octopus Project took things over next, doing what they do best with a live presentation that shows a forever-creative trajectory that knows no bounds. Armed with instrumentation that stretches as far as using a theremin manned by founding member Yvonne Lambert, the goddess-like control of the movement-fueled instrument is a mesmerizing presence, adding a screaming layer to each track where implemented. Cathartic instrumentalists Explosions In The Sky closed the first day of festivities, bringing their homegrown legacy to the Austin stage with tension-and-release soundscapes that sent the crowd home in satisfied fashion.

Saturday 

Alex Maas appeared again on Saturday afternoon, bringing his biggest solo ensemble yet with other members from Black Angels, The Point, and The Golden Dawn Arkestra. For fans disappointed with the absence of the festival founders’ main vehicle, this one was for them. With Maas having to hop on a plane with offshoot MIEN after the conclusion of the set with featured drummer Robb Kidd, the early afternoon set featured as the overseas sendoff. 

London Black Midi visionary Geordie Greep opened up the evening hours with a triumphant sextet, a task that was not taken lightly. The guitar shredding skills from Greep are impeccable, showcasing lengthy guitar jams with a powerful rhythm section that may or may not lead to the next tune. Solo debut The New Sound is a transcendent departure from the heavy progressive jazz rock from his previous project, and the fast-paced “Holy Holy” served as a welcome grand finale for the sub-hour onslaught. For a lyricist who sang about capitalism and war in his previous work, “The New Sound” feels like a tonal shift to more emotional factors, a refreshing new take on where Greep is laying his hands in 2025. Portland indie pop legends STRFKR didn’t hold back for their primetime appearance, taking time to unload all the confetti they could onto the audience as the dance party commenced. The decorative streamers remained on the festival grounds throughout the remainder of the weekend, a reminder of the spectacular, feel-good affair.  

Sonic Youth alumnus and founder Kim Gordon closed out our Saturday experience, one that came with unrelenting experimentation and proof that rock and roll knows no age. Since the release of her latest LP, The Collective, Gordon has boded well to keep up with current musical trends while making a new sound uniquely her own. Opening track “BYE BYE” kicks off with a foreboding bass track and semi-rapped lines that read as a do-list with trap-esque beats in tow. Despite frequent long pauses between songs, the recently turned 72-year-old musician retained utmost energy while donning a “Gulf of Mexico” shirt. Well played, Ms. Gordon. 

Sunday 

San Antonio treasure Garrett T. Capps and all-star backing players NASA Country opened up the last day of Austin Psych Fest for a Sunday special, offering his enchanting brand of radical inclusivity. The release of latest full-length Everyone Is Everyone and previous record, People Are Beautiful, pack powerful messages, as is Capps’ mission statement to craft contemplative bodies of work that make his words something to behold. Cumbia originals Los Mirlos made for an overall festival highlight, coming from Peru to present an innovation that set an astronomical standard for countless troupes that came after them. Frontman and founding member Jorge Rodríguez Grández possesses an ageless art form, one that is brought to life by supercharged players who have kept the dream alive for over 50 years.  

The Mystery Lights woke the festival crowd up for a rowdy serving of rock n roll, a touring machine spearheaded by frontman and guitarist Mike Brandon. The bandleader brings an infectious, headliner-worthy energy to the stage, one that includes launching off amplifiers and engaging the crowd at every turn. The California to New York outfit also joined tourmates Levitation Room at The 13th Floor late-night showcase for an explosive grand finale featuring a dozen or so players onstage to send off the weekend. Massachusetts legends Dinosaur Jr. capped off Austin Psych Fest in glorious fashion, bringing a full album play of 1994 classic Without A Sound. Frontman and musical grandmaster J Mascis also made an appearance with side outlet Heavy Blanket this weekend at The 13th Floor, proving his deafening staying power timeless as a repeat Levitation flyer.

Austin Psych Fest will return in 2026 from May 8 to May 10, with details to be announced at a later date.

Featured photo by Renee Dominguez courtesy of Austin Psych Fest