I have a deep love for The Get Up Kids. Their 1999 classic Something to Write Home About is an all-timer for me—one of those records that somehow still hits the same decades later. (I’ve been caught hoarse-singing along to “Action-Action” more than once in my life.) So when word came down that frontman Matt Pryor is dropping back into town, armed with nothing but an acoustic guitar, I was immediately in.
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The second annual Resound and Pooneh Presents Holiday Hootenanny on December 13 at southeast Austin venue Radio/East marked another musical holiday celebration, bringing national talent and local acts alike to mark the end of another pivotal year for the Austin music scene. For the occasion, promoters filled the backyard venue with holiday decor, themed mechanical bull rides, a holiday gift vendor market and booked a national lineup that brought the holiday cheer for another successful installment.
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Alaska natives and Portland-based musical collective Portugal. The Man is an outfit that knows no creative bounds. Built by visionary John Gourley and rounded out by a laundry list of collaborators who have come and gone over the years, the Oregon vehicle has retained a creative streak that’s produced 10 full-length studio projects since forming in 2004. For the last stop on their run supporting new LP Shish, the Portugal company made their way to Austin’s premier venue ACL Live on Friday, December 12 for a headlining extravaganza that brought the new and old material, with a lot of new in rotation to celebrate the latest release.
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The 1990s saw many monumental alternative rock and indie releases that many music fans, new and old, hold dear. For some, it’s The Lonesome Crowded West by Modest Mouse, Slanted & Enchanted by Pavement, or Dolittle by Pixies. There are too many hidden gems that fly under the radar, however, proving that we as music lovers, need to go crate-digging at our favorite record stores a lot more often. For Rhode Island’s Belly’s second album, King, a body of work with the underrated alt-rock icons exists, featuring crossover membership with the likes of Throwing Muses, L7, and The Breeders. With this seminal rock and roll legacy in mind, Belly released the now 30-year-old record in 1995 and disbanded shortly after. In 2016, the New England-hailing quartet reunited for another record and has since embarked on an anniversary tour to commemorate the now landmark release. On Wednesday, December 11 in the Red River Cultural District at scene staple Mohawk, fans both old-school and new were treated to a two-set experience by Belly that included that penultimate sophomore effort and other offerings from their scant but worthwhile catalogue.
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So on a warm Tuesday night, a two days before Thanksgiving, Neko Case and her touring band returned to the Paramount Theatre in support of her latest album, Neon Grey Midnight Green, her eighth studio album, which also follows her recent bestselling memoir, The Harder I Fight, The More I Love You. I’ve been lucky enough to have seen the New Pornographers on a couple of occasions but have only seen Neko Case solo once at the Paper Tiger in San Antonio. While I haven’t always thought of the Paramount Theatre as my go to place to see live music, I will concede that certain musical artist do benefit from its historic ambience, which can lend a sense of intimacy and warmth that you can’t find at any other venue.
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The eighth annual Big Bill Ball at Radio East in the Southeast part of town, marked another celebration of the Austin scene, offering a snapshot of local music in 2025 with a six-band bill featuring some of the best active acts in the Austindie sphere. For this year’s installment, the philosophical art punk mainstays celebrated the release of their new studio LP, Sick Myth. Continuing the Big Bill way of inclusive activism through comedic lyrical punchlines and a variety of punk rock angles, the one-day event gave attendees one of the most coveted evenings of live music in 2025 during Saturday night’s (November 22) gig at the southeast Austin backyard venue. The mini-fest was co-sponsored by famed photographer and show promoter, Pooneh Ghana for the annual showcase.
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The Midwest Emo Kinsella dynasty feels everlasting in 2025. For this outing, the emo originals Cap’n Jazz made their way to Mohawk in the Red River Cultural District on Monday night to assert a legacy that proved undeniable for an endless gauntlet of bands that came after them. Frontman Tim Kinsella, guitarist Nate Kinsella, and drummer Mike Kinsella remain a staying force within their niche. With all the records between them, the music has never halted, with over 35 years of nonstop creativity and touring. With bands like Owls, American Football, Joan of Arc, Owen, and many more making up their rotation of projects throughout the last few decades, the Kinsellas feel like they can’t miss.
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The two-stage setup in the Radio/East backyard was the perfect setting for the Been There 4 benefit live music event – “the party to end homelessness.” The event took place on Saturday, November 8 with Beastie Boys’ wax authority, Mix Master Mike atop an impressive bill that included a raft of high quality Austin artists amid a decidedly upbeat vibe. The annual fundraiser began humbly at Camp Esperanza, the state-ordered Northeast Austin homeless encampment that The Other Ones Foundation (TOOF) set about to support with a wealth of services for folks struggling to make ends meet. The TOOF staff included many members of the music community and their friends, including filmmaker Aaron Brown (Onion Creek Productions) and his partner at Been There Lenny Barszap.
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Emotions are running deep this year. Hints of hope are dwindling, leaving the house costs $50, and making ends meet is becoming increasingly daunting. For Brooklyn’s Big Thief, cautious optimism is the North Star, and being present in the moment and looking inward are the keys to maintaining a gratifying existence. For their graduation from mid-sized theaters to larger headlining appearances, an adoring array of fans made their way to Waterloo Park’s Moody Amphitheater on Wednesday night to celebrate the release of new LP Double Infinity. Their biggest Austin headlining show to date, the confidence and dynamic connection between them brought everything full circle for their career, which has seen personal development that feels unrivaled in 2025.
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I love The Far Out Lounge (FOL), I love the people who book the shows, bartend, run the door, and clean up after all of us. This spot opened up safely, from a distance, during the lockdown to give live-music hungry people a safe place to see a show. We were like Footloose and unable to dance, and we had to remain socially distant, but we could feel a sense of normalcy that was sorely missed. All this to say, I love that The Far Out Lounge gets to host Levitation events like Halloween Freakend. Two, easy-to-get-to stages, with zero band overlap, in a large gravel yard in far South Austin with food trucks, bars, merch area, poster museum, and more to keep you entertained between sets.
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Every once in a while, you’ll be at a show and wag your finger because you just know. That familiar light pops on that a music nerd can recognize when the band onstage isn’t just another local band; they’ve got the sound that moves beyond “this is good” to “this is international.” I’ve been to easily over a thousand shows in my life. I have seen many a band. Sometimes, you catch a Spiritual Cramp and can see from a million miles away, “these guys are gonna blow up,” and slowly but surely, those tours keep getting bigger. I said the same thing about Fontaines D.C., and after catching Austin’s Nuclear Daisies onOctober 28 at Hotel Vegas, I think it’s pretty obvious they have all the correct DNA to make a splash. Some of us can remember when Die Spitz was playing Chess Club. Now, they’re headlining Stubbs.
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