Jack Anderson

Stone Wheels: “High in the 90’s”

While “Old Austin” is best embodied by Willie Nelson, Townes Van Zandt, and Armadillo World Headquarters, thankfully there are plenty of other old souls still permeating that “country hippie” aesthetic of decades past. Take for instance singer-guitarist Andrew Gerfers and his homegrown quintet Stone Wheels, who shared their first studio single back in 2015 and dropped their eponymous debut full-length in 2018. Listening to Stone Wheels is like cracking open a time capsule from an alternate 1960s where the Lone Star State was lacquered over with LSD and polishing it with the clarity of modern production. Complete with beatnik principles, “flower child” connections to nature, and far out counterculture ruminations, Stone Wheels has stayed true to their hedonistic country spokes straight through the COVID-19 pandemic. And just yesterday, following up their 2021 EP From the Forest to the Sea, Stone Wheels ushered in the official start of summer with a new standalone single. Less of a heatwave warning and more of an Orange Sunshine-tanned flashback to cooler days (especially with the recent passing of Austin icon Teresa Taylor), “High in the 90’s” blows off the forecast and takes you on a rolling four-and-a-half-minute piece of musical meteorology, a lackadaisical Cosmic Americana masterpiece that’ll will lift your spirits, whatever the weather.

Lady Chops & The Goddamn Jam: “Funeral Clown”

This whole week is shaping up to be a trying triple-digit scorcher, a bold barge-in of that iconic Lone Star sun. But if you’re the type who prefers to keep their sights locked onto their sneakers rather than ever glance up at the horizon, we’ve got something that’ll stick your soles straight to the pavement. We’re talking about Lady Chops & The Goddamn Jam, fronted by Lady Chops herself, singer Bethony Harnden. Backed by a tight three-piece with diverse musical tastes and backgrounds, Lady Chops & The Goddamn Jam served up their stealthy lo-fi debut single “Up To You” in the summer of 2020, stepping up the production value with the sparsely arranged “End All Be All” that October. This year, ahead of their first studio full-length, Time, the quartet’s given us sneak peeks at an impressive pace, with lead tracks trickling out in February, March, and April. Just like its title, the release date for Time is still uncertain. But thanks to tastefully restrained sonics that erupt like Pagliacci, a chord progression up to par with Broadway and opera, and disciplined vocal and instrumental performances that almost sound effortless, the record’s fourth single “Funeral Clown” will for sure keep your spirits cool enough for the foreseeable heatwave.

Dante Bowe: “Wind Me Up” (feat. Anthony B)

Happy Juneteenth! Although Juneteenth has been recognized as a U.S. federal holiday for three years now, of course its roots lie here in Texas. So in the rich century-and-a-half tradition of spiritualism, resilience, and commemoration, today we’re celebrating Juneteenth with a North Texas gospel inspiration. Hailing from small town North Carolina and now based out of the Big D, Dante Bowe‘s been blowing up pretty quickly over the past decade; beginning with his self-released 2017 debut Son of a Father and continuing with 2021’s Circles, Bowe’s empowered, contemporary approach to gospel has scored his original tunes tons of streams across the globe. On top of a win for his contributions to Maverick City Music’s Old Church Basement, the past two years at the Grammys have also seen Dante Bowe earn an impressive number of self-earned nominations. Closely coinciding with the recent launch of his own label, TRUE Music, this summer Dante Bowe bestows us with a passionate, self-titled full-length. This eponymous entry finds Bowe bringing his deep gospel roots and persevering voice into the worlds of hip-hop, and reggae with the help of some top-tier collaborators including Jekalyn Carr and Vic Mensa. Just last Saturday, Dante Bowe took part in Hartsville, South Carolina’s Juneteenth Celebration, marking a pretty sturdy midpoint between Dante Bowe‘s drop date on July 21st and the release of its latest single at the top of June. Thanks to Jamaican Rastafari reggae revolutionary Anthony B, “Wind Me Up” circumnavigates the constraints of Christian music with a beach-party-ready bop. “Wind Me Up” lets loose with tack-sharp timbale rolls, steamy rhythm guitar, dancehall-proven drum and bass, and just the best of both worlds when it comes to vocals.

ROXY ROCA: “The Nomad”

Here in the Live Music Capital of the World, we’re blessed to have an abundance of different genres, but truth be told, at the end of the day, rock is God in Austin, Texas. And while Austin does attract a vast rolodex of rockers, the city limits can also surprisingly shape previously non-rock sounds. Like, look at ROXY ROCA. When ROXY ROCA first got started a little over a decade back, they placed themselves predominantly in the funk-soul-R&B box. But by the time they teamed up with Chris “Frenchie” Smith to produce their sophomore LP A Better Way, the quartet not only acquiesced but fully embraced a harder-rocking repertoire. In any event, these rough riffers have continued to put on one hell of a show, even in the thralls of COVID. Well, this Fall, ROXY ROCA returns with their third full-length Greasy. On this record ROXY ROCA’s steady wheels of change are slicked with both the straight-up rock of 2018’s A Better Way and the retro-soul of 2015’s Ain’t Nothin’ Fancy. By blending classic rock with roots R&B, ROXY ROCA creates an oily middle ground that oozes over generations of different styles. Today, following up this April’s “Yazoo Queen”, the four-piece unfurls Greasy‘s sophomore lead single, “The Nomad”. Lathered up in blues rock testosterone with guttural vocals, rugged guitar, piercing percussion and bottom-dwelling bass work that keeps the whole thing together, “The Nomad” will keep meanderin’ around your mind well after your first listen.

Good Field: “Full Pool”

Back in 2018, we started the year off strong with our January Artist of the Month Good Field. The Austin quartet, their enthralling third full-length Surface Tension, and their easy-going brand of slacker indie-Americana perfectly embodied the worry-free character of the “before times”. But since the start of COVID, Good Field’s been noticeably quiet. Maybe that’s because Good Field’s been in the weeds of their fourth LP, Coyote. This seven-song collection follows up their seemingly-standalone October 2020 studio single “Coyote (Living Free)”, which now serves as the album closer and title track. Toting tunes like “Passengers”, “Airliner”, and “Lost in Morelos”, Coyote comes across as less of a yipping menace and more of a slinky, crepuscular traveler, fitting for a four-piece originally from rural West Texas. Coyote crests the horizon on November 3rd and Good Field takes the stage 10PM tomorrow night at C-Boy’s Heart & Soul, followed by Star Parks at 11:15PM and The Point just after midnight. And today Good Field’s graciously given us an early glimpse at Coyote from afar. Although its title instantly reminds us of Surface Tension, “Full Pool”‘s character doesn’t exactly reflect that last record’s shimmering indie rock liquidity. Instead, in a wooded trot or a sandy gallop, “Full Pool” takes its time and stalks listeners with cosmic Americana, like an infectious vector between Deer Tick and 2009-era Grizzly Bear.

Lauren Lakis: “Terror Tears”

When an actor gets their first big break out in L.A., most folks can quickly differentiate between the pretty faces and those with a burning creative core underneath. A dead giveaway for the latter? Other than a luminous performance that transcends the screen and leaves a lasting impact on the audience…maybe the most obvious tell is passionately and outwardly pursuing a separate discipline.

Just take a look at Lauren Lakis. The Baltimore native’s ever-growing feature-length filmography began in 2011, and while taking the whole singer-songwriter thing seriously probably did cross her mind several times, it really wasn’t until Lakis relocated from Los Angeles to Austin about ten years back that she doubled down on her musicianship. Lakis stayed busy at the turn of the last decade with her 2018 debut LP Ferocious, 2019’s Sad Girl Breakfast EP, and Daughter Language from 2021, not to mention recent live appearances at SXSW and Levitation alongside the likes of KUTX airwave alumni Holy Wave and Ringo Deathstarr.

Seemingly unable to take an extended siesta at this stage in her career, Lauren Lakis has been building hype around her third full-length A Fiesta and a Hell, out later this fall. This album perfectly preserves Lauren’s legacy as a rockstar stuck in a hard place with an authentically-emotional, infectiously-magnetic take on the shoegaze genre, as heard already on its delectably droning, reptilian crawl of a first glimpse, “Take My Hand“. Today, A Fiesta and a Hell‘s sophomore offering lobs Lakis’ already-leering mystique straight back to the late-’70s/early-mid-’80s golden age of post-punk goth rock with a stern ultimatum surrounding the divisive tactics of mainstream media and the capitalism that backs it. “Terror Tears” fearlessly lets the mascara flow freely and floods the ducts with deft retro dynamics, sweet-yet-sinister verses that strike a contrast from its animosity-anchored choruses, and a fuzzy-beyond-belief bridge section chock-full of vocal delay, that, altogether, expands Lakis’ purview to an almost satirical sense of sick dystopian schadenfreude.

Fort Never: “Take A Look At Us Now”

You might’ve seen recent headlines about Fort Hood changing their name to Fort Cavazos. Which, apolitically speaking, is fascinating because there was also an outfit right here in town under the same name who pulled pretty much the same move almost a decade back. But even before the Austin trio formerly known as Fort Hood adopted a new handle, the idea of rebranding amidst disappointment was already ripe in their minds. You see, before vocalist Chantell Moody moved to Austin, she felt emotionally destitute in Des Moines. Although she traveled light when relocating to the Live Music Capital, a set of pipes just as immense as her heart helped her achieve frontwoman status with The Digital Wild. After linking up with producer Timmie Rook, the pair began collaborating as Fort Hood and relaunched themselves as Fort Never with the recruitment of drummer Deano Cote in the mid-2010s. In the Fall of 2017, The three-piece dropped their debut 8-track Home, a garrison of Portishead-esque trip-hop, electronic dub, lo-fi folk and experimental arrangements in the vein of tUnEyArds. At the turn of the 2020s, Fort Never unfurled a pair of singles, the second of which enjoyed a Mobley remix in 2021. Well last weekend, Fort Never came strutting out of the portcullis with an absolute beauty. Sounding like Citizen Cope on a double dose of dopamine, “Take A Look At Us Now” (alongside its music video) wows with a languid boom bap beat, calm yet confident piano chords, pensive guitar, strings that give “Bitter Sweet Symphony” a run for its money, and a masterful vocal performance rivaling that of Roses Gabor all in just under five minutes.

Henry Invisible: “Dance Music Saves” (feat. Bernard Purdie)

For die-hard Steely Dan fans such as myself, the name Bernard Purdie is instantly recognizable; he invented the Purdie shuffle! So for someone that so casually blew the perfectionist minds of Becker and Fagen with his rhythmic genius back in the late ’70s, Bernie’s bar for collaborating is obvious purdy high. Which brings us to Henry Roland. Historically billing himself as Henry + The Invisibles, Roland semi-recently dropped the “backing band” portion of his handle in favor of something that better represents his one-man multi-instrumentalist endeavor, Henry Invisible. On top of his repertoire as a master singer, bassist, guitarist, and Native Instruments extraordinaire, one of Henry Invisible’s biggest assets is his ability to make seamless loops on the fly, a testament to his talents in keeping time and inherent understanding of groove building. Henry’s virtual weekly “Lovestream” kept us affable company at the start of the pandemic, and fortunately for us, those dozens of original jams have been taking shape as fine-polished studio singles. These days, with the mainstream resurgence of house music, we take the “four-to-the-floor” bass drum on the downbeat/hi-hat on the upbeat disco drum beat for granted. But when someone who essentially invented that style enters the studio with a young blood like Roland, all the life and nuance comes bounding back. With Purdie’s presence, “Dance Music Saves” is just that: pure disco-funk music in its fittest form, complete with the classic accouterments like gliding falsetto strings, simplistic lyrics that become hypnotic chants, stank face-inducing slap bass, sexy electric piano chords, and of course, those driving drums. Catch all that and more in person at Henry Invisible’s Friday residency at Meridian, kicking off this weekend.

Black Sheep Optimists: “Questions and Lies”

Our Saturday night specialty show The Breaks does a great job of highlighting Austin hip-hop. But naturally, stuff is bound to slip through the cracks, especially when it comes to events before broadcast. That brings us to Austin three-piece Black Sheep Optimists, who’ve been bending genre norms since the start of the pandemic. The trio dropped their debut EP Book One in that uncertain summer of 2020, a four-track tour de force of trunk-rattling ’90s-style beats, rapid-fire rhymes that seamlessly tie braggadocio and introspection together, and two top-tier collaborations from right here in our local community – with KUTX favorites Kalu James and Jackie Venson.

Subsequent BSO singles have veered into more modern sonic territory, with a higher level of production to match their earnest ugly-duckling-turned-alpha-underdog aesthetic. But the spirit of collaboration is still alive and well, as heard on last September’s joint with Kaylin Karr “Lost Boys” and a new single that just came out today. For the latter, the fellas have teamed up with certified Austin shredder Matt Muehling for a four-and-a-half-minute mad dash ahead of BSO’s upcoming sophomore record Book 2.

So shear into the weekend with “Questions and Lies” and take part in the Black Sheep Optimists’ flock this evening at The Hive off Menchaca if you can. “Q&L”‘s live instrumentation gives its looping drum break a ton of extra weight, deft flirtations with vocal effects pump up the already-lurid lyrics, the chorus is nothing short of epic, and Muehling’s nimble guitar work will have you making some serious stank face throughout. Just don’t flatline til the tune’s over.

Sidney Scott: “Maybe You Were Right”

Historically, a native Austinite status set you on an accessible, auspicious trajectory towards making music. But of course, as tech culture eclipses the “weird” Live Music Capital character that Austin’s clung on to since the ’70s, it just doesn’t happen as much any more. So while simply being born within the city limits isn’t enough to guarantee the songwriter’s lifestyle, having musical parents sure as heck helps. See: Sidney Scott. Raised by a professional singer and a professional woodwind player, Sidney’s childhood in the Scott household was always chock full of good tunes. So when Sidney started discovering her own pipes, her folks weren’t necessarily looking to maintain a family legacy in music…but they certainly weren’t hypocrites either; they encouraged Sidney to follow her own passion, and we’re awfully glad they did. In 2021 Sidney Scott shared a pair of standalone studio singles, showing off her proclivity for soul, jazz, folk, and blues, not to mention an incredible grasp on vocal performance. Today, as part of her patient plans to drop her debut EP tentatively in 2024, Sidney Scott gives us a sneak peek at her unique hybridizing process. What began as an iPhone voice memo attempting to capture the best of both Brandi Carlile and Lake Street Dive was fully fleshed out by seasoned Austin producer Ray Prim and a form-fitting four-piece backing band. This latest original is a sensuous piece of gospel-soul that from its first organ-vocal unison through its sparkling firecracker choruses, billowed arrangement nuances, and Shirley Bassey-meets-Amy Winehouse final falsetto vibrato, years from now, when looking back at those of us who recognized Scott’s promising potential, might just make you say “Maybe You Were Right”

Ekiti Sound: “Mami Wata”

The Nigeria-UK connection has given us some of the greatest musical talents of modern music; while Shirley Bassey and Sade became more of national symbols, legendary performers ranging from Seal to grime icons like Skepta and Dizzee Rascal alongside modern innovators like Little Simz, and Obongjayar have really upheld London’s reputation as an incomparable centerpiece of cultural crossroads. But of course, they’re not the only ones.

For instance, there’s also Leke Awoyinka, better known by his creative handle Ekiti Sound. Stemming from a childhood split between Lagos and Essex, this producer-vocalist just launched his eponymous “Ekiti Sound Show” on Hot FM Lagos – which as of now is the sole electronic music specialty show on Nigerian terrestrial radio. Ekiti Sound’s own style also reflects those cross-country pollinations with electronic-anchored junctions of Afro-juju, Afro-pop, the foggy UK mish-mash jungle/DnB/dubstep, as well as turn-of-the-millennium hip-hop, and Caribbean dancehall. Ekiti Sound first caught ears internationally with his bold foray into Afro-fusion on 2019’s Abeg No Vex, a near-hour-long full-length that lent itself to critical acclaim and a remix EP the following year – Ekiti Sound’s final pre-pandemic studio output.

Friday after next, Ekiti Sound drops his long-anticipated sophomore LP Drum Money. On top of circulating a much-needed fresh batch of percussive currency, Drum Money and its immense seventeen-song track live up to Ekiti Sound’s legacy of bridging the globe’s very best sounds through unorthodox yet accessible originals. For Westerners, it’s nothing short of exotic. For Awoyinka though, it’s just another passage through the transcontinental pipeline that is life between London and Lagos. And although Drum Money lacks some of the explicitly UK-derived grit of Abeg No Vex, it compensates with semi-placeless arrangements, somehow steeped in specific Nigerian regional soundscapes yet simultaneously fitting for party playlists across the globe. Hear for yourself on one of Drum Money‘s more subdued offerings, which follows “Chairman” from this past March. With a grime-inspired stop-and-start 808 beat, a vibrant blend of traditional and digital instruments, and truly untethered vocals, “Mami Wata” perfectly encapsulates Ekiti Sound’s worldly eclecticism and borderless genius in just over four minutes.

Genuine Leather: “Tear It Down”

When the handle “Genuine Leather” first catches your eye, a number of potentials present themselves; like Genuine Leather could easily be the name of a Kiss-era glam metal outfit, a bunch of Ramones-esque punks, a Berghain-inspired Western European dance DJ, or even just a dusty posse of country cowboys. Well, consider those expectations subverted, ’cause Genuine Leather is actually the alias of Austin-based lo-fi synth-pop multi-instrumentalist producer Chris Galis. Born to a Fort Worth community where commercial rock radio was king, Galis only got into more adventurous acts like The Beatles and Radiohead when he started studying jazz bass and classical music in college. By the time he founded Genuine Leather after graduation in 2011, Galis’ instrumental expertise had broadened out to synth and guitar, and his pop music vocabulary had expanded from Wilco and Prince all the way to Talking Heads and Tears for Fears. Gen Leath’s ability to contextualize those Gen X jukebox hits within a modern lens has allowed Galis to tan adjacent hides (be they indie rock, post-punk, or folk) into well-fitted, genre-defying garments across three EPs and three full-lengths. Well, hot off being signed to a London label and having already shared two singles in 2023, Genuine Leather is gearing up for the release of their fourth EP, Genuine Pleasure, out later this Fall. As heard on February’s “Promises” and April’s “Even If I Could”, Genuine Pleasure gels effects-filled synth pop together with ’70s yacht rock guitar and some f***ing killer contemporary flavors. Today Genuine Leather lends us the third of Genuine Pleasure‘s six songs, “Tear It Down”, a Tame-Impala-meets-Toro-Y-Moi wrecking ball of psych-pop. Bookended by long-swelling, heavily-modulated synth chords, “Tear It Down” creates a must-hear atmospheric foundation before pulling the rug out and letting loose with some of the slickest pop-rock we’ve heard come out of Austin in a minute.

Smarter, Not Harder

This week’s edition of The Breaks responds to allegations about 2Pac’s role in the aftermath of the infamous Quad Studios shooting, before breaking down why smarter, even in the hustle culture of hip-hop, is always a better approach than harder.

Hip Hop Facts feature little known tidbits like the reason Cypress Hill is banned from SNL, Jadakiss’ connection to the Notorious B.I.G., Nipsey’s plan for a STEM center, plus some history behind Slim Thug’s Interscope deal and Matthew Knowles.

Fresh’s Unpopular Opinion? There really aren’t male R&B stars like there used to be, and maybe toxic masculinity is to blame.

Finally, Confucius Reads the News about Ken Paxton’s impeachment, Macy’s and Costco’s warning about the economic situation, the debt ceiling resolution, and Boston’s recent Game Seven loss.

Dad’s Home: “Automatic Reply: No Thanks”

Ever since punk rock took off in the late ’70s, it’s expanded and matured into a ton of subgenres. Its kiddo pop-punk, on the other hand, is more like a Lost Boy from Neverland; it never grew up and that’s the way we like it. So when we look at the robust roster of pop-punk acts right here in our city limits, it fills us with a one-of-a-kind juvenile joy.

Embodying that theme of youth is Austin quintet Dad’s Home. Although its five members had already cut their teeth in groups like Quiet Company, Kingsley, Cruiserweight, and Closet Drama, Dad’s Home didn’t kick off until last summer. Following the concrete-scuffed footsteps of their pop-punk forefathers, Dad’s Home dropped their delightfully-uncouth debut EP My Sitcom Life on New Year’s Eve, almost as a resolution to keep following their favorite genre’s fast and fun formulas.

But since punk depends most on its live performance aspect, Dad’s Home riles up some more of that paternal testosterone with a show 9PM this Thursday at The Mohawk along with Bad Lives, Space Tan, and Midcard. The occasion? “Automatic Reply: No Thanks” – an emotional rollercoaster over perfect palm muting, superb group vocals, insane drum fills and a sense of instrumental unity which reminds us that being loud doesn’t signal a lack of taste.

Marlei: “Sheesh”

There’s no question that Queen Bey’s court extends to the furthest reaches of the globe. But especially in her hometown of Houston, Beyoncé really is royalty. Her majesty’s legacy – in particular her role in the progression of R&B into trap-pop – continues to shine as a statewide piece of inspiration with its pinnacle smack dab in H-Town.

And although she’s not necessarily taking a shot at Beyoncé’s crown, rising singer-songwriter Marlei could definitely feel at home in “Third Ward Trill”‘s inner circle. Marlei first emerged in Fall 2021 with her incendiary debut single “Burn”, instantly channelling Beyoncé’s regal confidence and sultry, soulful vocals. And today, just in time for rising Texas temps, Marlei’s cranked things way up on her sophomore offering.

Embedded in the steamy essence of the Bayou City, “Sheesh” finds Marlei directly comparing herself to the Queen and Ariana Grande before accepting and amplifying her own intrinsic audacity. Produced by Zayn/Mind of Mine magic ear XYZ, “Sheesh”‘ll have you saying its namesake thanks to Marlei’s lilting intervals, disciplined harmonies, and a sense of unbridled sassiness that might even make Sasha Fierce use her safe word.

KindKeith: “EVERYTHING FALLS INTO PLACE” (feat. 8bit_gf)

Happy Pride Month! As an advocate, it’s beyond encouraging to hear so many openly Queer Austinites sharing their art, spreading the love, and scoring pretty good opportunities here in our fair city. In that respect, we’ve got a live show recommendation to kick off June in proper form. It comes on behalf of singer-producer KindKeith, who first emerged with their 2019 single “Veronica’s Mom”. KindKeith’s sound has since matured over the course of two EPs and one full-length, cementing a genre-fluid, drizzled-in-synth style that sits somewhere between Thundercat and SiR. Picking up where last summer’s DON’T TALK TO ME >:( left off, KindKeith recently teamed up with Austin’s 8bit_gf for kind of a sonic curveball compared with prior expectations. While 8bit_gf’s debut streaming single “4NG3L W 4 9UN” basks in between hyperpop and drum n bass and KindKeith’s last EP leans on laid back grooves, “EVERYTHING FALLS INTO PLACE“ cranks the beat repeat effect way up to carve a glitchy niche outside KindKeith’s trademark R&B. The pair celebrate with a release show tomorrow night at Swan Dive; 8bit_gf gets it started at 9:30 followed by Yonah B and EddieAngel before KindKeith wraps things up just after midnight. Til then, enjoy the start of June with a tune inspired by mutual early-twenties struggles with sexuality and gender identity. Between its unorthodox triplet percussion, 8bit_gf’s pitched up pipes and some extra glittery guitar that engorges before grinding the whole song to a halt, “EVERYTHING FALLS INTO PLACE” is a modern waltz of frustration, revelation, and acceptance.

Generationals: “Strangers”

As streaming numbers become one of the defining metrics for success, you see a lot of young up-and-comers try to cover their bases by cranking out singles. Longer-standing, well-established acts, however, know that the “quality over quantity” builds stronger staying power.

Just look at NOLA-born indie-garage-pop duo Generationals, who first got started in 2008. With a decade and a half of experience and plenty of fans across the globe, they’re getting pretty close to reaching their namesake in terms of lifespan and impact. The pair’s fared well with a production technique of remotely collaborating – shaping songs one file share at a time – so in 2021 when Generationals went to track a new EP in Athens, Georgia straight to tape, it was already a trepidatious process. They listened back, weren’t thrilled with the results, and wisely went back to the drawing board.

The result is Generationals’ sixth full-length, Heatherhead, out this Friday. The LP’s a real case study in looking inward, defining what makes a certain brand of music great, and taking care to make sure the end product is far beyond listener expectations. In a final effort to familiarize us with Heatherhead before it drops, Generationals graciously introduces us to “Strangers”. From its initial ear-perking staccato guitar and hazy vibrato synth, straight to its driving daytime disco bass line and breezy, effects-tanned falsetto vocals, “Strangers” tosses chillwave into a caipirinha that’ll serve up the spirit of flirty summer fun all year-round – even when they stop by The Mohawk on September 8th.

American Dreamer: “Medicine Hat”

We all know that Austin’s far outgrown its once humble status as a cool college town. So with the current tech culture/Live Music Capital dichotomy, it’s no wonder we also often overlook institutions right in our own backyard. But we can’t forget about the Butler School of Music at UT Austin, which attracts, molds, and produces a ton of talent. For instance, there’s Austin folk quartet American Dreamer, who first met as grad students at Butler and began collaborating in the mid-2010s. With collective decades of formal training under their belt, this festival-proven four-piece builds on an already impressive ability to play off one another, leading to nuanced in-the-pocket arrangements that just keep getting better and better. Although their 2016 debut Restless Nights may have explored harder, more modern regions of Americana rock, 2018’s Go Where You Go and subsequent singles, ripe with themes of travel and nature, champion our continent’s rich roots music history. With American Dreamer’s upcoming third full-length, the songs steer further away from percussion than ever before, giving us some of the band’s most transportive and string-rich tunes to date, as already heard on 2023’s “Little Bird”, “Railway Bound for Mercy”, and “Heaven’s Child”. American Dreamer drops July 14th with a release show that same evening at the 04 Center and the record’s final lead single “Medicine Hat” (though lyrically pining over a missed loved one) will take you straight to the porch of a rustic Alberta cabin thanks to wanderlust-inspiring chords and a wilderness-thick dynamic range embedded in synchronous instrumental interplay and blossoming vocal harmonies.

The Best Around: “Lie to Me”

When decades of dominos fall before some of your finest work, it’s hard not to feel like fate led you to this moment. Just look at Austin songwriter Camron Rushin, whose grandfather worked with Lefty Frizzell producer Jim Beck way back in the ’50s. Within Rushin’s generation, there’d been about a ten-year-long break between artistic projects, but once he started sharing sketches with multi-instrumentalists Todd Pruner and Jon Merz at the start of the pandemic, the foundation was laid for The Best Around. If you couldn’t guess from the trio’s handle or their cutout ransom note/collage visual aesthetic, they’re not brazenly boasting about their abilities; they’re more navigating life like triplet Daniel-sans perfecting their musical martial art one waxing tune at a time. In wearing belts of both performer and audience member, The Best Around show up to the ongoing competition that is our Live Music Capital with a diverse style of art-rock. Last Friday The Best Around rolled out their ninth studio single total and first of 2023, one that features harmony vocals from Emma Kate, percussion from Josh Halpern and mastering from Cacophony Recorders’ Erik Wofford. A melancholy masterpiece from its first downbeat through its pre-chorus falsetto and cosmic Americana instrumental bridge all the way to its concluding chord, “Lie to Me” might honestly be The Best Around’s very best to date.

Kris Gruen & Kendall Jane Meade: “Heaven On A Car Ride”

While nepotism in Hollywood continues to give the questionably talented mainstream opportunities, it really doesn’t exist like that within the music industry. Like, if a performer’s truly not up to snuff, a familial claim to fame ultimately won’t get them all that far. Case in point, son of iconic rock ‘n’ roll photographer Bob Gruen, Kris Gruen, whose childhood exposure to turn-of-the-’80s NYC counterculture legends actually sent him on an impressive path of self-worth, one that eventually found him rubbing elbows with some of those same greats. Beginning with his 2007 debut Lullaby School, Kris Gruen has been bolstering his delicate brand of Americana and indie folk. Gruen’s momentum really took off between 2018’s Coast & Refuge and 2021’s Welcome Farewell; he’s since had the pleasure of touring internationally alongside KUTX favorites Chuck Prophet and Alejandro Escovedo. Now, Gruen is ushering in June with his sixth full-length In Bloom. Sure the LP features a cover of The Clash classic “Bankrobber” – a tasteful tie-in with Gruen’s star-charmed childhood, but the record also blossoms with some of his finest songwriting work to date. And ahead of In Bloom‘s release next Friday, Kris Gruen’s given us one more early look at what to expect; harvesting what started as a basic sketch penned by Mascott/Juicy frontwoman Kendall Jane Meade one idyllic LA afternoon, “Heaven On A Car Ride“ just pulled up. Along with its music video, “Heaven On A Car Ride” is an indie folk embrace like a sonic seatbelt, a soothing hug of harmony and soft acoustic strumming. Either way, shotgun seat’s all yours.