Failure, despite the short run in the ‘90s, managed a level of success that feels more substantial in ways that may not have been defined by album sales, big tours, or chart topping hits. Their successful tour stop at Austin’s Mohawk on Tuesday is evidence of their sustained influence.
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Anyone who has fallen in love knows what it feels like at the very beginning: elation and euphoria punctuated by a sense of vulnerability at not knowing if this mutual attraction is actually something more– something real.
The new song “Let Me In” by indie-pop singer/songwriter Shae Lane captures this bittersweet feeling perfectly.
On the beautiful evening of Wednesday, May 25, London-based, post-punk band, Dry Cleaning played in front of a sold out venue on the Hotel Vegas patio. One year after the band released their debut LP, New Long Leg, the band toured the United States, finishing the current segment of their North American tour right here in East Austin.
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“Lucky to have people in my life with the power to break my heart”. After many months in quarantine, this opening line from Dehd’s song “Lucky” succinctly captures the time I’ve spent scrolling through Instatherapy accounts and reading Brene Brown. The band played Antone’s on May 13 to full-house with support from tour mates, Pixel Grip.
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Sigur Rós brought this music experience to life at ACL Live Moody Theater Monday night, the first of two appearances at the venue, and if you ask those in attendance what took place on that stage and in that room, the answers could be as diverse and mysterious as the band itself, but only in the best way. Fan or no fan, the emotional push and pull of this band live is hard to deny
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The world is a scary place these days. A real fucking scary place. The world is also a beautiful, amazing place, and we are all in this big, scary, beautiful place together. At least that is how Phoebe Bridgers makes us feel with her progressive brand of folk, indie-pop music that permeates the current emotional climate that most of us are experiencing in these tumultuous times. Despite Bridgers’ young, female fan-base, the kid just might be alright.
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Just when you think that there isn’t any room for another music festival in Austin that has the strength and originality to be taken seriously, enter Oblivion Access Festival. Formerly known as Austin Terror Fest, Oblivion Access Festival took over six venues in the downtown area over the course of four days last weekend and provided a diverse lineup that showcased some of the best artists of metal, hardcore, shoegaze, rap, electronica, experimental and DJ.
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Last month saw Buffalo Hunt release Ambitions of Ambiguity – a warm, potent, bourbon-spiked peach cobbler that starts sweet on the tongue before warming your insides with an ennui that perfectly captures this moment in time.
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On Saturday, May 14, Austin rockers The Bright Light Social Hour along with Lolita Lynn and DJ Cassandra entertained SIMS Foundation supporters at Central Machine Works. The concert and fundraiser sponsored by The Zebra, Storable and CMW has already raised over $7,000 to help SIMS Foundation
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Amazing shows are frequently measured by how loud a crowd can get. The Antlers created a special evening at Antone’s May 9, not by eliciting roars from the floor, but captivating the room into a quiet trance. The faithful crowd wasn’t rowdy, but respectful to the point where you could hear a pin drop, if not the bustling traffic outside of busy 6th Street.
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But then talent booker, Lawrence Boone, who lives nearby noticed the alcohol sales application in the window, called owners, Pedro and Bae, launching a booking operation with the Far Out owners, not long after that has blossomed into a super stage on the sizeable property (there are over 3.5 acres of space) that hosted Bikini Kill Saturday night in front of 2500 fans.
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