Live music review: Khruangbin Spins a World of Their Own at Moody Amphitheater
Tuesday, April 22 at Austin’s Moody Amphitheater felt like it would never dry out. A curtain of rain blanketed the city in the early evening, forcing fans to huddle under trees and the few dry patches the venue had to offer. I, running from improv class on the other side of town, took respite under a bridge for 15 minutes before the rain subsided. By the time Khruangbin finally took the stage after a brief delay, the air was so heavy with humidity that it clung to your skin, like you could reach out and grab it. But the moment the band walked out, framed by three glowing window panels inspired by their newest album, A La Sala, the crowd roared like the sun had risen through the parted clouds at 9 p.m. in the evening.
The night kicked off with Helado Negro (AKA Roberto Carlos Lange). The set unfolded like a slow exhale you can see: dreamy, understated, and hazy around the edges. They began playing to a sparse crowd, as their set time coincided with the moment the doors opened. Songs like ‘Running’ showcase downtempo Latin folk with Lange’s charisma gently coaxing the crowd into a trance. Constantly smiling and motioning to the crowd made the slower moments still warm and intentional. Though the rain delay stirred some restlessness hanging over the amphitheater, Helado Negro smoothed it out, setting the mood for the musical journey to come.
Khruangbin emerged as thick smoke curled across the stage. The band slipped into “August Twelve,” the opener from A La Sala. Then, the sticky heat transformed into something akin to a cinematic backdrop for their trademark hypnotic grooves.
Khruangbin is often labeled “vibe makers” and is probably being featured on some Spotify playlist right now titled “chill evening romantic lounge time” but I think it’s a disservice to trivialize their incredible musicianship and attention to tone. What they do is far more intricate: they build worlds. Each song is a portal, a new atmosphere to step inside, stitched together by Mark Speer’s languid guitar lines, Donald “DJ” Johnson’s crisp, precise drumming, and Laura Leezy’s cool, rolling bass. Their music feels borderless, equal parts Texas heat and global heartbeat.
Leezy had the crowd wrapped around her finger. Every time she casually dropped her hips or shifted her weight, a roar erupted. It didn’t feel like theatrics – more like a band and a crowd breathing in sync.
The setlist was a journey through new material and beloved favorites. “Pelota” bounced with playful urgency, while “Lady and Man” glided across the night like a slow night drive. The band let the music speak louder than words with almost no stage banter. Beneath the humid night sky, the hopefulness of ”So We Won’t Forget” hit even harder, soaring into an anthem for a night none of us wanted to lose to memory.
They returned for an encore with “People Everywhere (Still Alive),” a track that’s been a thread through different chapters of my life. It was in my top five most played songs in 2016, again in 2019, and once more in 2022. Hearing it live felt like reconnecting with an old version of myself, stitched across years and cities. As the chorus rang out, “still alive, still alive”, it felt less like a lyric and more like a mantra. After an unforgettable night inside Khruangbin’s universe, the real world could wait a little longer.
All photos by Drew Doggett
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