Every time Patrick Sweany rolls through town, I ask myself the same question: how is this guy not bigger? It’s the eternal curse of music nerds — finding an artist you love and wondering what the hell is wrong with everyone else. But Sweany’s different. He belongs in the same conversation as Chris Stapleton, Jack White, Marcus King, and the Black Keys. He’s that good.
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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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Japan’s Acid Mothers Temple returned to Austin for their fourth local appearance in two years at the 29th Street Ballroom in the University of Texas campus area on Sunday, marking another stopover for the band’s constant touring schedule that often has seven shows in seven cities per week. Acid Mothers Temple is a prolific force in the world of psychedelia, bringing their noise-infused brand of the genre through the crossbreeding of progressive rock, drone, and krautrock. For this stop, Acid Mothers Temple enlisted the help of Portland, Oregon garage rock outfit The Macks and local Austin psychedelic institution ST-37.
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The second day of Levitation’s Halloween Freakend at the Far Out Lounge & Stage showcased the more experimental side of the current indie music landscape, marking the third installment of Austin festival programming in 2025. With the Rob Fitzpatrick and The Black Angels-run music celebration entering its second decade, the Halloween two-day mini fest served as an optimal finale to a year of buzzing amps, underground artists, and legacy acts. Following a long-awaited headlining performance from Swedish dance punk stars Viagra Boys on Halloween night, the second day tapped into something a little different for the music fans who scour the internet for the weird and nothing but.
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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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Viagra Boys performed at South Austin’s Far Out Lounge in front of a sold out audience, in what might have been the most crowded the venue has ever been. 3500 fans showed up for the opening night of the two-day Halloween Freakend mini fest, put on by Levitation and Resound Presents on Friday and Saturday. The Black Lips, Bitchin’ Bajas, J’Cuzzi, and Stereo Lab all turned in fantastic sets on night one. The headliner, however, was Swedish post-punk rockers, Viagra Boys. After previous plans to perform in Austin were cancelled, the jubilant crown was beyond excited to finally catch the vaunted post punks.
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Heavy metal in 2025 is in a healthy, hell-charged state. Bands are experimenting with the genre like Deafheaven, Full of Hell, Sunn O))), and even Austin acts like Portrayal of Guilt. For Tokyo, Japan’s Boris, a wave of extreme metal shapeshifting has paved the way for an everlasting gauntlet that’s redefining heavy music for 2025. With releases that dabble in drone metal, doom metal, and noise/experimental rock, Boris arrived for a Tuesday night gig in downtown Austin that came as a stop on their US tour to celebrate the 20th anniversary of their landmark tenth studio album Pink. For their third local appearance in two years, the Japanese berserkers stormed the stage at Mohawk in the Red River Cultural District yet again to astronomical results.
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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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I take every chance I can get to escape the wheels of the capitalist death machine. My phone is constantly telling me someone’s been shot in a mall, or the asshole with the long red tie has done something to make me clutch my humanity pearls, so when an opportunity to melt away into dimensions unknown presents itself, I’m taking it. This past weekend, to celebrate my boys’ birthdays, we took them to Meow Wolf’s Radio Taves experience in Houston, and I’m still thinking about it. I got lunch next to a fucking rat in a blonde wig while a three-titted bar was above my head. This place was madness of the Hunter S. Thompson variety—save the ether binge.
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A sold-out show at Stubb’s Waller Creek Amphitheater in Austin can be one of the most treacherous live music experiences in the downtown area. For the occasion of hometown heroes Die Spitz, exceptions had to be made to celebrate their debut album release Something To Consume via Jack White’s Third Man Records on Friday, October 24. The Austin hard rock quartet has been busy the last couple of years, racking up multiple headlining tours, opening slots for the likes of Amyl & The Sniffers, Viagra Boys, and Sleater-Kinney, and dropping new tracks ahead of their recent full-length studio release. For their homecoming after multiple stints worldwide, Die Spitz brought fellow Austin acts The Opera and Fuck Money to help them celebrate this monumental occasion.
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Noise pop duo Water From Your Eyes formed when Amos relocated to Brooklyn, spurring a songwriting partnership that’s several records deep and becoming a tenured indie act. Since the release of their critically acclaimed Matador Records full-length Everyone’s Crushed in 2023, songwriting team Brown and Amos have been working to build their sonic relationship that shows the crowds getting bigger and the chatter in the online music spheres louder. For the unveiling of their seventh studio album and second Matador entry It’s a Beautiful Place doubling down on their hard-to-pinpoint approach, the duo hasn’t stopped creating or halted their relentless stints of touring. For their third stop in Austin in two calendar years at the recently rebranded Brushy Street Commons (formerly known as Parish), the Amos and Brown-led group showcases that they’re here to stay awhile and continue their surreal, self-aware brand of Gen-Z social commentary.
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