Wednesday, November 11, 2026

Review

Case CockrellLive MusicReview

Live music review: Knocked Loose, Denzel Curry Close Out Loud Week in Texas at Moody Amphitheater

Knocked Loose and Denzel Curry split top billing for their “Hive Mind” co-headlining tour at a packed Moody Amphitheater on Thursday, November 5, a few blocks from a Capitol building where the nameplates are about to change. Two days earlier, Texas Democrats ended thirty-odd years of losing statewide races by winning all of them: Talarico for Senate, then Gina Hinojosa for Governor, Vickie Godwin for Lieutenant Governor, attorney general, the whole damn thing, by wide margins. Nobody booked the show as a victory party. The blue tsunami made it one though.

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Brian HillsmanLive MusicReview

Live music review: Halloween at Far Out Lounge with The Jesus and Mary Chain, Protomartyr and more

On a warm, humid Halloween evening last month, South Austin’s Far Out Lounge was nearly overflowing with show-goers as the venue hosted another impressive live-music presentation with The Jesus and Mary Chain, Protomartyr, Austin acts; Daiistarr, Holy Wave, Blushing, and Commercial Breaks rounded out the bill. DJ Tropicana Joe kept things moving between sets. It felt like Far Out kind of saved Halloween for psych rock fans in Austin.

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Case CockrellLive MusicReview

Live music review: Toxicity at the Track – Sick New World Texas Debut

The inaugural Sick New World Texas heavy metal music festival hit Fort Worth on Saturday, October 24, packing a sold-out crowd of 80,000 into Texas Motor Speedway. Produced by the management behind headliners Deftones and System of a Down, the festival marked SOAD’s first Texas show since 2005. A year of hype came down to a bill that put Slayer’s 40th anniversary of Reign in Blood on the same grounds as Knocked Loose. Four stages, constant set overlap, and a crowd you had to wade through to get anywhere: SNW was a twelve-hour endurance test that didn’t let up until midnight.

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Case CockrellLive MusicReview

Live music review: Toronto Psych Punks Wine Lips at 29th Street Ballroom

Touring costs keep climbing, the tariffs keep stacking, and the U.S. is barely on speaking terms with its neighbors. Add corruption and wars nobody asked for. You’d forgive a Canadian band for skipping the U.S. leg of their tour. Toronto psych-punk risers Wine Lips came down anyway, keeping up a regular Austin habit with one of their best visits yet. Their opening slot for Death From Above 1979 got scrapped, and they still landed at 29th Street Ballroom, a few blocks off the UT campus, on Monday, October 19. With TV Dinner, a new album that doesn’t ease off the party one bit, 2026 has been shaping up as the year nothing slows them down.

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Case CockrellLive MusicReview

Live Music Review: Austin Went Dark for Phoebe Bridgers, and Nobody Complained

Somewhere between the skeleton suit and the arena rigging, Phoebe Bridgers stopped being anyone’s secret. It was the first night

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Case CockrellLive MusicReview

Live music review: Chat Pile played like demolition crew at Radio East

Oklahoma City’s Chat Pile named themselves after the gray hills of mine tailings that still sit over northeast Oklahoma. The Picher field supplied more than half the lead and zinc used in World War I, and the waste, called chat, was left in the open for decades. Families picnicked on it. Kids sledded down it. Nobody tied the piles to the lead in those kids’ blood until much later, and by then Picher was on its way to becoming a ghost town. The OKC quartet sounds like that debt being collected. At Radio/East on a Thursday night, they played like demolition crew, and Austin, a city that has always made room for bands willing to inflict pain, took every hit. Who Loves the Sun is the latest in a catalog that keeps getting heavier and angrier, and nothing about this set suggested they plan to let up.

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Greg AckermanLive MusicReview

Live music review: Die Spitz returned to SLC for make up show at Soundwell and conquered

Last night, October 12 fast-rising Austin act Die Spitz returned to Salt Lake City for a make up show at Soundwell from August that had to be rescheduled due to member Ava Schrobilgen injuring her shoulder. The SLC date was one of a few shows the group had to reschedule. The sold out Monday crowd at the downtown spot that caps out at 650 seemed unfazed and respectfully watched Farmer’s Wife the indie rock band Die Spitz had brought along from Austin as their support act. The front row appropriately reflected the young female makeup of the foursome as the rail was lined with of age and underage young women ready to live out their rock and roll dreams with the ladies from ATX.

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Case CockrellLive MusicReview

Live Music Review: Jack White Turns Moody Amphitheater Into Detroit Garage 

Detroit’s Jack White has spent close to three decades treating rock and roll like a contact sport. He locks your phone in a pouch at the door, keeps young bands pressing vinyl through Third Man Records, and lately has had less patience than most of his peers for keeping his politics to himself. Frozen Charlotte, his seventh solo record, picks up where 2024’s surprise-dropped No Name left off: blown-out blues, short fuses, garage rock with the grime left on. The band hasn’t changed, and that’s the point. Patrick Keeler on drums, Dominic Davis on bass, Bobby Emmett on organ. On a Wednesday night at Moody Amphitheater, Austin turned out again for Jack White, and in numbers. he gave them a set that hit hard, turning Moody Amphitheater into a Detroit garage and left fans with something to chew on afterward.

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Case CockrellLive MusicReview

Live Music Review: Built to Spill Carries the Zero in East Austin

 Built to Spill has been a reference point for indie rock music for more than three decades. The Boise band helped write the 90s indie rock playbook, and bands a generation younger are still working from it. Doug Martsch has been the singer, guitarist, chief songwriter, and only constant since 1992. Ten albums in, the songs hit as hard as they did the first time fans heard them. On Friday, September 25, Martsch brought the current trio, with Melanie Radford on bass and Teresa Esguerra on drums, to the Central Machine Works stage built last year. The show sold out. The crowd was split between lifers and newcomers, and both got 90 minutes of indie rock loyalty for their trouble.

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Live MusicMatt BassReview

Live Music Review: Fiddlehead played surprise pop-up show at Alewife Station in Boston

Hours after playing a once-in-a-lifetime bill at Portland, Maine’s Thompson’s Point with Dinosaur Jr and Turnstile, Boston post-hardcore legends Fiddlehead weren’t ready to end their weekend just yet. At 2:30 a.m. on the morning of Sunday, September 27, a post came across my social media feed announcing a pop-up show at the MBTA’s Alewife Train Station in Cambridge, MA – going down in 12 hours. The post read “we may get shut down, we may be able to get thru one song or maybe multiple…” – by the morning the post was gone – but the word was out. An Instagram story confirmed the band would be playing around 2:30 p.m., telling people to show up early, but not too early and encouraging attendees to respect employees and commuters around them.

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Case CockrellLive MusicReview

Live music review: Soulfly, Nailbomb and Incite took over Come and Take It Live

The Cavalera name is heavy metal royalty. Brothers Max and Igor dragged Sepultura out of Belo Horizonte and turned it into one of the most feared bands on the planet, then walked away. Whatever Sepultura did without them is a footnote. What the brothers did next is a sprawl of bands and records that hasn’t let up, and the bloodline didn’t stop with them. Max’s sons and stepson fill out his lineups and run outfits of their own. The family business is metal violence set to a downtuned riff, and business is good. On Monday, September 21, the Cavalera clan took over Come and Take It Live on Riverside for a full night of musical brutality with Soulfly, Nailbomb and Incite. Nobody in the building showed any sign of slowing down.

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