austin music

How are global and local changes impacting the Austin Music Scene?

How is climate change impacting Austin’s Music Scene? What about skyrocketing ticket prices? Or changes in AI and tech? How are new laws in Texas affecting women and LGBTQIA+ people in the music ecosystem? These are some of the questions that hosts Miles Bloxson and Elizabeth McQueen will explore in Season 5 of Pause/Play. In the first episode, they look at how COVID has shifted some people’s relationship with live music, plus they give you a season overview.

In this episode you’ll hear from neuropsychotherapist Bella Rockman, Lawrence Boone from the Far Out Lounge and Stage, Meteorologist David Yeomans, Jammy Violet from Pelvis Wrestly, Austin musician Caleb de Caspar, Adrienne Lake from Daydream Believer Austin and Frontgate Tickets founder Mellie Price.

Felt Out: “Crash Inside It”

When we last geeked out over Austin’s Felt Out, we broke down their foundation as that of auto-tune innovators on the cutting edge of alt-pop. And following the first anniversary of their second full-length Until I’m Light, that’s clearly still the case for these multi-instrumentalist-producers. They still sound like a next generation Imogen Heap. Their style still scratches that itch within the hyper-processed, accessible-yet-oddball alt-pop niche. And they’re still going strong in 2024.

Yep, after a year of silence for studio releases, Felt Out touched down from their natural habitat way up in the electro-aether last week, almost as if ushered in by the solar eclipse. On Friday they fired off “Know You (closer3.0)” – a Frankenstein re-assembly of leftover samples from their current streaming star – and “Crash Inside It” – which came alongside a minimalist music video. Unlike the polished, narrative-driven visual companion to “Closer”, “Crash Inside It”‘s counterpart lets a flickering frame rate and negative polarization do the storytelling, a return to their earlier aesthetic of amateur footage, analog grain, openness to interpretation, and all.

It’s certainly on brand for Felt Out, that’s for sure. And it’s got us eager to see and hear what they’ll come up with next. You feel us?

Tone Royal: “Alone” (feat. Daddy NAT)

When rappers claim to be “the best on the mic”, they’re talking about verbal skills, not their technical prowess with any specific equipment. Clearly that’s the case, since you’ll see those same people spend a whole set cupping the SM58 ’cause it turns out their mic technique actually sucks.

But in terms of intimate familiarity with spoken vocal performance, be it in the studio tracking voice overs, in the stadium making announcements, or onstage ripping up a show, few Central Texas figures rack up to the orator that is Ray Villarreal, better known as Tone Royal. Because between his home recording, sports work, and hip-hop side hustle there’s no such thing as an off-season for Tone. A slayer of sibilance and preventer of plosives, the San Antonio native also happens to have wealth in the ways of lyrical wordplay, as we’ve heard intermittently over the past decade.

On last Friday’s “Alone”, Tone Royal finds himself in good company with forlorn ’80s synths and a ’90s boom bap shuffle, not to mention Austin’s Daddy NAT gracing the hook with some sultry refrains. All in all, “Alone” would sound right at home in between Notorious B.I.G.’s “Juicy” and 2Pac’s “Only God Can Judge Me” thanks to those retro qualities, and yeah…Tone’s undying affinity for putting himself in front of the mic and unleashing the rhymes.

Street Peach: “Heavy”

If we’ve learned one thing from Destiny’s Child, it’s that vocal groups aren’t always limited to one breakout singer. Even if fate favors one over another in the long run. And that’s kind of lining up with how we see some of the expats from former Austin R&B trio Keeper.

See, while Keeper’s Yadira Brown has kept busy with longtime collaborator BoomBaptist through The Vapor Caves, her fellow Keeper co-founder Lani Thomison only started picking up speed with her solo project Street Peach in the past few months. As we already heard in Tomison’s work with Keeper, Street Peach’s techniques blend R&B, soul, and choral, plus (as you might’ve guessed from her handle) some extra urban sex appeal as well. Sure, Street Peach’s introductory standalone, “Qiller”, has kept us as sated as possible since May 2020. But truthfully, we’re already licking our lips over news of a full batch this fall.

That basket arrives this October in the form of Street Peach’s debut EP, Monarch, a seven-song spreading of wings created alongside producer Willie Green. And following Monarch‘s first offering that’s already enjoyed consistent spins on recent episodes of The Breaks (mid-February’s “Caroline”), another nubile installation just landed in our lap. “Heavy” lays the seduction on thick, thanks to delineated drums, drizzling synths, and a Sylvia Striplin-style chord progression channeled through a killer chorus guitar groove – one that makes the bed for Street Peach’s featherlight vocals. And those steamy conditions forecast for next week? They could get you sweatin’ juuust right for when Street Peach heats up the stage 7:15PM next Thursday at Hotel Vegas ahead of Daphne Tunes.

Faaris: “Taken Not Given”

As our ever-evolving hip-hop scene steadily expands, so does the representation of nations, cultures, and identities from its contributors. And for some truly refreshing cross-cultural flavors that have made their way into the ATX hip-hop melting pot, look no further than Faaris.

Brought up in a Pakistani household right here in Austin, Faaris brings a perspective not often recognized here in Central Texas. In the short time since he’s been making a name for himself (dating back to just 2021), Faaris has shown a skillful strive for variety, as heard on his 2023 LP Change of Scenery. But his standalone singles are what have propelled Faaris’ collective streaming numbers into the millions.

And this weekend we’re getting what’ll probably turn into another streaming heavyweight. Almost picking up where Britney Spears’ “Toxic” left off (sans mainstream appropriation), “Taken Not Given” puts a more authentic voice over those South Asian strings and Drum and Bass-style beat. Besides being an absolute banger, the lyrical braggadocio of “Taken Not Given” grounds itself in a clarion call for the historically conservative creatives of India and Pakistan to get with a more progressive program. And at just shy of two minutes, “Taken Not Given” begs for several repeat listens, no matter what tribe you call your own.

Adam Sultan: “The Great Divide”

They say, “write what you know”. And in music, if you know something well enough to perfect its performance, that usually means you’ve absorbed the material enough to build upon it and make it your own.

So let’s talk about Austin’s Adam Sultan. Sultan started off a singer-guitarist in the ’90s with Poi Dog Pondering before moving onto Flying Saucers, Hollowbody, and Mistress Stephanie And Her Melodic Cat. Adam’s also collaborated with Graham Reynolds for Richard Linklater scores, not to mention ascended to multi-hyphenate status, splitting time as a podcast host, meditation teacher, theater player, photographer, storyteller, and even a perfumer.

But here’s the kicker. Adam Sultan is a bona fide master when it comes to the art of musical tribute; his ongoing work with Super Creeps and Magnifico has granted Adam an intimate perspective to the discographies of David Bowie and Queen, respectively. And since you don’t just play those golden oldies time and time again without soaking up some of the timbres and songwriting formulas, when Sultan puts his six-string and pen to work, that classic rock royalty oozes right out onto the record. That’s something you can quickly pick up on with Adam Sultan’s two recently released singles. Where last month’s “Hard to Kill” captures Bowie’s earlier baroque folk era, January’s “The Great Divide” dives right into that later, heavier, glam rock period. Crazy to think we’re hearing such retro-sounding stuff like this in 2024, so major kudos to the Sultan himself for keeping those styles alive.

Trailer: Pause/Play Season 5

The new season of Pause/Play starts on April 17th. This season is all about change. We’ll be looking at the impact that climate change, changes in laws, changes in ticketing, changes in venues, changes in tech, and more are having on the Austin music scene.

Mountains in Stars: “Hazards of Loving Creatures”

You’ve heard it a million times before: a picture is worth a thousand words. But go ahead and try it out if you dare. Pick a picture and start verbalizing. Yeah…you’ll give up far before you get anywhere close to a four-digit word count. Music on the other hand? Each chord carries various connotations, which become more complex once in the context of a full progression. And for first time listeners, lyrics typically get eclipsed by the overall musical character. So when a picture inspires a piece of music, abstract beats verbose, because that pairing of art forms often has a more profound impact than words alone ever will.

Which brings us to Barry Stone, a real stalwart of Austin’s ’90s scene through his work with noise rockers johnboy and Desafinado. That legacy largely belongs to Stone alone. But the same can’t be said of the upcoming release from Stone’s indie folk trio Mountains in Stars. See, their debut album Watch the Years Gather interpolates century-old heirlooms from Stone’s great grandfather’s personal photography collection, (dating back to the early 1900s) for a new mixed media experience. From what we’ve seen so far, these skillfully-composed snapshots capture a bucolic equine atmosphere – which perfectly match the melancholy acoustic originals on this record.

More than a decade and a half after its initial recording, the full Watch the Years Gather package (40-page photo book and all) is finally being made available next Thursday thanks to a live music grant from the City of Austin Economic Development Department. You can get your hands on these temporally transportive documents straight from the source 4PM that same day at Northern-Southern Gallery as part of Fusebox Festival when Mountains in Stars performs alongside Knife in the Water pedal steel player Bill McCullough. And for early entry into this interpretative exhibit, sink your teeth into the soothing LP opener “Hazards of Loving Creatures”. Eerie, gorgeous, and otherworldly, it’s just the right kind of calm we could all use before a busy celestial weekend.

Nané: “Always On My Mind” (Live in Studio 1A)

As with any active artistic community, the Austin music scene has suffered its share of too-soon tragedies. And the passing of Daniel Sahad – the flamboyant frontman of Austin sextet Nané who left us in April ’22 – still feels especially fresh in our memory.

Thankfully Daniel’s legacy still lives on through his music, Nané’s remaining members, and the pair of recorded performances Nané gifted KUTX (as our January 2021 Artist of the Month who finally slid into Studio 1A later that December) that have since become treasured mementos and unbiased testaments to Sahad’s dearly missed talent. But also, this weekend marks the anniversary of April 7th as Nané Day, which was officially decreed by the city mere weeks before Daniel’s death.

So come help celebrate Sahad’s life on Nané Day 8:30PM this Sunday at Empire Garage featuring Nané with Quentin Arispe guesting on lead vocals, plus opener Jefferson Clay for a tribute concert and closing ceremony whose proceeds benefit the SIMS Foundation. If you can only attend in spirit, at least revisit the video of Nané’s December ’21 Studio 1A session below. Because the whole set captures Sahad’s nimble charisma, immense kindness, and tip-top vocal execution, particularly on the band’s biggest hit “Always On My Mind” – which, down to its title, beautifully embodies the enduring imprint of Daniel on his former bandmates and anyone else who ever felt his touch.

The Watters: “Set to Cruise”

Prayers for rain resonate all throughout the Lone Star State year-round…even in April with a once-in-a-lifetime solar eclipse on the horizon. So without wanting to entice a cosmically inconvenient drench, let’s dip our toes into The Watters.

This Americana soul love affair is teeing up to hit the two-decade mark, but the bond between husband and wife Daniel and Jenna Watters goes all the way back to grade school. After soaking up all that Los Angeles, Denver, and Nashville had to offer, the Sedona, Arizona pair eventually planted themselves here in Austin, where they’ve since gone on to play pretty much every venue within the city limits. And despite a rap sheet that includes opening for Michael McDonald and Devon Gilfillian, landing local grants and national songwriting awards, completing two full-lengths and an EP, and a recent leap into parenthood – The Watters aren’t slowing their flow anytime soon.

No, next Thursday The Watters roll out their third LP Duality, with a release show at Sagebrush 8PM that same evening with Tomar and the FCs and Rent Party. They’ll also be doing their thing out at Utopia 3PM this Saturday if you wanna catch the full band against a gorgeous natural backdrop. Either way, the new tunes off Duality are about to drop like April showers for just in time for a summer-ready, lake-lovin’ playlist. And like the rest of Duality, “Set to Cruise” makes for smooth sailing with channel-deep mixing and ocean-spanning arrangements that favor instrumental virtuosity and group momentum. So cop your captain’s hat, climb aboard, and don’t plan on disembarking anytime soon.

The Reverend Shawn Amos: “It’s All Gonna Change (For the Better)”

Search “reverend” on any streaming platform and you’ll see just how many clergy folk make the most out of their musical passion – and not just in the world of gospel. You’ve got Al Green, Gary Davis, hell we’ll even throw Horton Heat in there. Here in Austin? We don’t get on our knees and pray, because The Reverend Shawn Amos makes us want to get on the dance floor and slay.

Born in the Big Apple to a nightclub singer and a talent agent turned cookie mogul, Amos has been releasing records for nearly three decades – and as “The Reverend” for ten years now. Throughout, his sonic proselytizing through blues, soul, and roots has converted casual listeners into hardcore fans, made clear by Amos’ collective millions of streams. And following the release of last October’s “Revelation” and February’s “Back to the Beginning”, the good Reverend is getting settled into his next set of sermons.

That’s right, the anticipation for Soul Brother No. 1 (out May 3rd) has been building up for months now. The album stacks ten tracks – nine originals and a Sly Stone cover – which we only mention because the LP’s latest, “It’s All Gonna Change (For the Better)” boasts major Family Stone energy, wailing organ, wah guitar, brazen vocals, optimistic outlook and all. To best soak up this groove, we recommend checking out its succulent music video, one that captures that earthly essence of fluid transformation in a really fascinating and satisfying way.

Riders Against the Storm: “Black Girl Payday”

As Women’s History Month comes to a close this Sunday, we assure y’all that we’ll keep featuring the countless talented women of our fair city all year ’round. But March 2024 does end with a unique spectacle this weekend, thanks to a fierce feminine force who’s already left her historic mark on Austin’s steadily diversifying music scene.

And that’s Qi Dada, one half of the husband-and-wife hip-hop duo, Riders Against the Storm, one of KUTX’s very first Studio 1A guests and some of Austin’s most influential socially conscious creators. Following a track record of promoting Black and Brown women’s voices through RAS Day Fest (currently on hiatus) and Body Rock ATX (which has found new legs at Sahara Lounge), Qi Dada’s put something together just for the ladies…well…at least lineup-wise.

That’s right, audiences of all kinds are welcome to join Qi Dada and her handpicked crew for a live concert taping and post-show ceremony – Black Divas – 6:30-8:30PM this Saturday at Austin PBS. It’s all in the name of uplifting motherhood and maternal health, aiming to raise awareness around the rise of maternal death rates in Texas and beyond, so you know your cover fee is going towards a great cause and great music. And although we wish we could spin stuff from the whole roster of performers, we also don’t want to spoil the Black girl magic ahead of the actual event. So instead we’re bending the knee to Austin’s certified queen of the hustle with an oldie-but-goodie Qi Dada solo cut from RAS’ 2021 LP Flowers For the Living. Because with empowering triplet-ripplin’ lyrics and a sassy bass-heavy beat to match, “Black Girl Payday” is the alarm you need to keep from sleeping on Black Divas this Saturday.

Nakia: “Thrill-O-Matic”

If you’re already planning out your weekend and want to offset the Sunday scaries with some fresh visuals, consider checking out a three-act bill that coincides with a music video premiere.

The ringleader behind the affair is Nakia, the mononymous grifter of Austin’s vibrant blues scene. With only two records to his name at the time, Nakia started off the 2010s strong as a semi-finalist on The Voice‘s inaugural season. That’s absolutely an accolade worth bragging about, but nothing compares with new content, right? Well, keeping pace with his already-robust post-pandemic output, Nakia’s got some new optics he’s about to drop under the spotlight.

This Sunday Nakia commemorates the music video release for last October’s “Thrill-O-Matic”, a tune that was actually penned right after The Voice‘s finale, demo files long lost to the aether before a recent recovery made it a reality. Doors are at 7PM, Junerise kicks it off at 7:15, Nakia does his thing at 8:15 (your only opportunity to see “Thrill-O-Matic” before it hits the internet on Monday morning) and our June 2023 Artist of the Month Pelvis Wrestley wraps it up a quarter past 9. Until then, vanquish any Tuesday blues with the soul-rockin’, Abbey Road-mastered, Dolby Atmos-mixed mechanics of this Nathaniel Rateliff-esque original.

Giulia Millanta: “I Dance My Way”

Few people are as effervescent about their passions than those from Florence. But we’re not talking about the tiny Texas town about half an hour north of here. No, we mean the Tuscan capital that gave us cultural heavyweights like Leonardo da Vinci, Raphael, Michelangelo, Gucci, Cavalli, and more.Well, in a testament to “you can take the woman out of Italy but you can’t take Italy out of the woman”, Austin multi-hyphenate Giulia Millanta‘s pace of polymath output raises her profile towards that of her legendary Florentine predecessors. She’s a professional chef and a published author. Yet Millanta still finds the time and energy to write and record original music – which doesn’t sound quite as impressive as it truly is until you factor in what all she’s working with: guitar, upright bass, ukulele, plus vocals with lyrics in English, Italian, Spanish, and French. Yeah…Giulia’s the real deal.And this year is set to be another fruitful one for Giulia Millanta’s big batch of crafts; she’s soon set to share a new Italian cookbook – Dinner with Giulia – Flavors, Songs and Stories of a Florentine Troubadour, not to mention her ninth solo full-length, Only Luna Knows on April 19th. And while yes, you can hire Millanta to cook, spin yarns, and sing songs right in your own home, you can also familiarize yourself with this indie folk innovator in some more open settings – 8:30PM this Saturday at The Purple Barn in Wimberley, 7PM next Thursday at Pecha Kucha, 6PM at Guero’s on Wednesday the 17th, and the Only Luna Knows LP release party 6PM on Saturday April 20th at Saxon Pub.So there you have it – a full course of Giulia Millanta concerts to choose from. Now treat yourself to one of Giulia’s three pieces of antipasta from the album. We recommend last Friday’s “I Dance My Way”, since it’s got that ristorante-ready arrangement of piano, electric guitar, double bass, percussion, and vocals – all for that extra zest of Texan + Tuscan twang. Mangia bene.

Artist Interview: Buffalo Hunt – “Anonymous Pleasure”

FEAST YOUR EYE EARS ON PART TWO of our episode featuring Texan songbird actor director person, Buffalo Hunt. We highly recommend listening to the confession and song in PART ONE before Stephanie Hunts recounts how she transformed this raunchy boomer memory into such a sultry modern bop in our interview.

Big thanks to Visit Austin and Brand USA for sending us down to the festival.

Got a story you want to confess and maybe have it turned into a song? Join the Song Confessional mailing list to stay up to date on all of our latest episode, news, and the whereabouts of our confessional booth: https://songconfessional.com/connect.

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Polarizado: “Pagan Love Call”

When you operate all the way up until the witching hour, there’s no such thing as bad weather for sunglasses. So if you’re a degenerate lowlight reptile like us, we’ve got the perfect tint for you on the verge of severe thunderstorms this weekend.

We’re talking about Polarizado, the solo songwriting project of Austin producer/multi-instrumentalist Felix Bergman that dates back to 2018. Already a veteran of too many styles to list here, Bergman refers to his style as “Cult Americana”, obscuring all kinds of genre influences behind a thick film of Southern idiosyncrasies. And following a sole studio offering from last year, Bergman’s been busy lately, promising the release of “many singles” over the course of 2024.

Today, ahead of a single release show at Far Out Lounge on March 26th alongside Cobra Cats and The Discount Pills that promise came in like a clarion with “Pagan Love Call”. Like a sonic accompaniment to this Central Texas humidity, there’s no sacrificing the twang in this thang. So embrace the steam and put the remainder of your work week in a death roll, because “Pagan Love Call” is must-play for all kinds of weekend heathens.

Broken Gold: “Bad Days” (feat. Alejandro Escovedo)

Punk is a young person’s game, no doubt. Because while the counterculture spirit, tattoos, and tinnitus stay ’til death, even punk rock pioneers eventually mellow out towards “refined tastes” once they get comfortable on the other side of the hill.

Case in point: Ian MacDougall of The Riverboat Gamblers fame, who first broadened his genre horizons with Broken Gold alongside fellow Gambler Patrick Lillard over a decade and a half back. The offshoot’s initial indie punk prospects shined on their 2011 debut LP Recovery Journal, and have only departed further from the signature RG sound since, most notably on last March’s Live at Paint by Numbers. Well after waiting long enough, Broken Gold’s finally giving us another full-length entry into their studio discography.

Wild Eyes (out May 3rd) strikes gold with mixing from Modest Mouse/White Stripes engineer Stuart Sikes and mastering from twenty-one-time Grammy winner Howie Weinberg, not to mention one hell of a guest appearance. We’re talking about “Bad Days“, a look back to when Riverboat Gamblers were operating full tilt on tour, almost like a generations-later continuation of Ramones’ “I Wanna Be Sedated”. It dropped last Friday and features vocals from KUTX favorite Alejandro Escovedo, who could certainly lean on his formative days with The Nuns for similar inspiration. So as Broken Gold shifts the fuzz pedal into overdrive for SXSW, catch ’em 10:15PM tomorrow night at Valhalla for the Chicken Ranch Records Party and 5:45PM on Sunday at Empire Control Room for Smartpunk House. They’ll both be good nights for sure.

Kev Bev: “History Books”

It doesn’t matter whether or not lyrics are written before or after the instrumentation; there’s always room to build contrast between subject matter and sonic character. Like for each individual genuinely troubled by the texts of “Pumped Up Kicks” or “Semi-Charmed Life”, there’s a multitude more who just love what they’re hearing without second guessing the words or inspiration. Which proves you can appeal to the masses based on a great groove alone – without having to sacrifice any lyrical integrity.

That just about tees us up for the new one from Kev Bev. For more than a decade now, multi-instrumentalist/singer-songwriter Kevin Collins has helmed this eponymous Austin thirteen-piece, formerly known as Kev Bev and The Woodland Creatures. This hefty ensemble is about as festive as it gets, thanks to the bevy’s proclivity towards dance, loyalty to the jam (sans genre constraints), and especially their collective grasp of historical musicology.

But Kev Bev’s knowledge of history isn’t limited to sound alone. In fact, they’ve just reflected on the heavy lessons from a poignant chapter in our nation’s past: that of the 1921 Tulsa Race Massacre. And this where the power of positivity comes into play. History Books (the lead single and title track off KB’s next LP) confronts some tough stuff for sure, but balances the abysmal with killer brass, incredible rhythms, slick transitions, and easily accessible choreography, even if you’re in the library. The movement-inducing music video arrived just in time for International Women’s Day, not to mention a pop-up performance 5:45PM this Saturday at Austin City Hall for the Falasteen Street Museum and a record release show 8PM next Friday at ABGB alongside Bali Yaaah. So credit to Kev Bev, ’cause edutainment is rarely this infectious.

KONZI: “Red Velvet Room”

Swapping out lead singers can be risky for established listener-ships, but shaking up your sound can also reap some serious rewards and keep fans on their toes in the best way possible. So while not every band can boast a membership as eclectically talented as that of Fleetwood Mac, Pink Floyd, or The Beatles, a little vocal variety does go a long way. And that’s where Austin quintet KONZI finds themselves today.

KONZI’s been kickin’ it since the start of the pandemic – always with the co-lead vocalists in mind – but only implemented that dream on streaming this morning. Rest assured, the ’90s alternative/turn-of-the-millennium indie style that we heard on KONZI’s eponymous debut last year is well preserved. But there’s no denying the newfound fire from singer Carly Jo Jackson on this new one off KONZI’s upcoming sophomore album.

For a truly proper introduction, face the full-band effect with the music video for “Red Velvet Room”. To say “Red Velvet Room” absolutely rips is a criminal understatement, thanks in no small part to Jackson’s firecracker performance. So if you need a quick rock caffeine pick-me-up, step into “Red Velvet Room” with the volume up to eleven.

SXSW Plans / The Hard Early ’00s

Find out what Confucius, Fresh, and KUTX have coming up for SXSW and decide whether or not Nelly’s first three albums came up in the “hardest’ era. And in between Hip-Hop Facts and Confucius Reads the News, feathers get ruffled with Fresh’s Unpopular Opinion around the recent wave of women in rap.