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SXSW Review: Meg Elsier, Grrrl Gang, Girl Tones, Mikky and the Doom, Haylie Davis, CorMae, March 15

Posted on
20 Mar 2026
by
Paul

Haylie Davis @ The Lucky Duck

Sunday at SXSW was hot.

I don’t mean that in a Stefon “the hottest club is Austin is ..” sense but in the literal sense – it was uncomfortably hot for much of the day. Luckily, it cooled off considerably by the evening, but in the meantime, things were scorching. And while the logical thing to do would be to skulk off to some air conditioned room somewhere, it turns out all of the things I wanted to see were outside. So while I may have had to suffer through the heat, i ended up seeing some great shows. A fair enough trade-off, I guess.

Meg Elsier @ High Noon

Paste Magazine’s day parties have been a staple of SXSW for as long as I’ve been going and they always bring it with a killer lineup. This year, they were billing  it as the “Best Paste Party Ever” and while that may have been overselling it a bit (for me, the best Paste party was the year I saw The Barr Brothers, Crooked Fingers and The Lumineers back-to-back while sipping on complimentary gin and tonics), this one was pretty good.

Meg Elsier opened up the day with a set of fun indie rock peppered with a sassy, sarcastic attitude and highlighted by a song about people in New England having really nice lawns. OK, the song’s probably about something more than that, but that’s the part that stood out for me.

Grrrl Gang @ Zilker Brewing

Coming all the way from Indonesia, Grrrl Gang singer/guitarist Angeeta Sentana noted that they were feeling at home in the Austin heat. “Not gonna lie – with this heat it feels like Bali.” She was OK with that though as she said she was shivering onstage just a couple of days before. The Yogyakarta trio play a power-poppy brand of indie rock and put on a solid show for thieir early afternoon set at Zilker Brewing. They were a lot of fun live, but not quite as high energy as expected. Perhaps they were preserving their energy due to the high temperatures. If so, fair enough – they did have a show later that evening just up the street at Hotel Vegas

Girl Tones, Mikki & the Doom @ Hotel Vegas

Shifting from Grrrl Gang to Girl Tones, it was a short walk over to the aforementioned Hotel Vegas for my next stop: a set from the sister duo of Kenzie Shultz and Laila Crowe, who were playing as part of the daylong Grillo’s Pickles-presented St. Pickles Day Party.

“Do you like heavy shit?” asked Shultz partway through their set. “If you don’t that’s too bad – we’re still gonna play heavy shit.”

True to their word, Girl Tones brought the heavy shit, including a surprise cover of The Vines’ “Get Free” (well, a surprise to me anyways, as I’d kind of forgotten about that song). They rocked out while also professing their love of pickles, with Shultz sharing a quick anecdote about drinking pepperoncini juice straight from the jar as a kid. They also urged the crowd to clap along throughout, though they acknowledged it might have been a bit of a hard sell in the heat.

It was much easier to convince people to grab a free pickle, though that didn’t stop locals Mikky & the Doom from starting off their set with their own pickle theme song. Joined by some friends onstage, the band played an ode to pickles using Grillo’s slogan (“Chill out, eat a pickle”) as its chorus. Mikky is a hell of a frontwoman, and the band’s cool, sleazy rock n’ roll vibe was just as refreshing as a cold pickle on a hot day.

Haylie Davis @ The Lucky Duck

And now for something completely different.

Surrounded by all of the raging guitars and punk rock attitude that made up most of my afternoon, Haylie Davis provided a little oasis of chill, ’70s-inspired folk-pop. While the singer-songwriters of the Laurel Canyon scene are obviously a big influence on Davis, I also detected a bit of Emmylou Harris at times, maybe even a hint of Judy Collins. It’s unfortunate that many of the folks on the patio treated her set as a bit of background music for their own conversation, but those of us paying attention were treated to gems like “Young Man” and “Give Me a Rainbow” off her upcoming debut album Wandering Star.

CorMae @ Zilker Brewing

Look, there are bands that keep busy with a bunch of shows around Austin during SXSW, and then there’s CorMae. The punk quartet are from Austin, but not content to just play SXSW this week, they ventured further afield to play yet another festival – this one all the way in Arkansas. That’s dedication. Or insanity. Maybe a bit of both.

As such, they were probably all a little worn out (the singer said she’d only had about three hours of sleep) and I’m sure the heat didn’t help. Regardless, they put on a fantastic, high-energy set as the penultimate act at Peelander-Z’s Peelander Fest. And as a nod to their hosts’ predilection for over-the-top, cartoonish antics in their shows, CorMae’s bassist took to the stage wearing a full anime cat costume with a giant mascot head. Props to them for going the extra mile, especially on such a hot day.

SXSW Review: Knats, Hector Gannet, Jenna Cole, Loren Heat, March 15, BME @ Palm Door on Sixth

Posted on
19 Mar 2026
by
Gary

Loren Heat @ BME

The British Music Embassy has long been essentially our second home at SXSW. For 2026, we spent at least a little bit of time there every day and on Sunday, March 15, Gary pretty much camped out there for the afternoon, taking in sets from Knats, Hector Gannet, Jenna Cole, and Loren Heat. Here’s his take.

Knats

After taking in a bit of the Paste Party at High Noon and stopping off for some much needed lunch, I only managed to see the tail end of Knats’ set. Still, their flowy jazz sound shows a lot of promise and I will follow up with a proper listen to their album when I get the chance.

Hector Gannet

Hector Gannet may have been playing the Northern Sound showcase at the British Music Embassy, but their sound is pure Americana. When the main vocalist breaks out the harmonica for one number, it is hard to describe it otherwise. The songwriting was quite sound, with “No Money No Time” standing out in particular, though the extended “The Jetty’s End” is pretty good too. “Hector” (real name Aaron Duff) complained a few times that he would rather have the Northern British rain and fog over this heat – he might have gotten his wish just 7 hours later when the winds howled at 25mph and temperature dropped to “jumper weather.” 

Jenna Cole

Newcastle-based R&B/Afrobeats artist Jenna Cole makes dance music that almost sounds like JLO with some Carribean influence. Or maybe I just don’t know my dance music … 

Loren Heat

In the 35°C heat – no pun intended – Loren Heat wasn’t paying attention and singed her knee on the uber-hot stage floor. Ouch.

Heat’s deeper singing voice, attitude, and volume all resembled Florence Welch, but with much less goth. However, three songs into her set, the tones began to diversify, and the melodies became more reminiscent of 2000s-era pop. Quite good, in fact.

SXSW Review: better joy, Grandmas House, March 14, BME @ Palm Door on Sixth

Posted on
19 Mar 2026
by
Paul

“This is a weekend I’ll never forget!”

So said Bria Keely, aka better joy, during her Saturday night set at the British Music Embassy, and I must admit, I appreciated her enthusiasm. It’s easy for old heads like me to get jaded about SXSW and how it’s not quite what it once was, but for younger performers making their way to Austin for the first time, it’s definitely an experience.

With their guitar-driven indie pop sound, better joy put on a solid performance, starting off the Saturday night showcase at the British Music Embassy on a high note. As she ran through catchy tunes like “steamroller” and set highlight “this part of town,” Keely proved herself to be a compelling frontwoman – she’s got a lot of charisma onstage … or, as the kids these days say, rizz.

Speaking of rizz, As I was talking along East 6th a little earlier in the day, I happened to pass by a group of folks and overheard one young woman ask a guy, “What’s your rizz like?” His reply: “My rizz is just me.” I’m not really sure what this means exactly, but I suppose it’s as good a descriptor of better joy as anything else – her rizz is just her,

Next up at BME was Bristol four-piece Grandmas House, who impressed with their heavy post-punk sound. And if I wasn’t already looking forward to their set, the glowing introduction they received from BBC host Steve Lamacq would have sealed the deal.

Waxing poetic about the city of Bristol and placing the group in the long lineage of bands from their hometown, Lamacq noted that, alongside acts like Idles and Massive Attack, Grandmas House have a certain something about them. He highlighted the “anger, emotion, and empathy” he hears in their sound – qualities also present in those other acts.

Once they took to the stage, Grandmas House proved that Lamacq’s hype was entirely justified. “I’m charming and I’m confident,” deadpanned singer/guitarist Yasmin Berndt  – and yeah, the band carries themselves with plenty of confidence, delivering an energetic performance for what, if their Instagram posts are to be believed, was their last of four shows at SXSW this year. In fact, they’re so confident they don’t even bother with the apostrophe in “Grandmas.” Now that’s some rizz.

SXSW Review: Kali Horse, March 14, Swan Dive

Posted on
18 Mar 2026
by
Paul

In Austin, everyone gets their ID checked … even grizzled rock veterans like me. And though I had my ID checked many, many times throughout the week, one encounter stands out for a particular reason.

While entering the British Music Embassy on Saturday, the security guy noted that I was coming from Canada. “I’m sorry,” he added – presumably a comment on the rising tensions between our two nations over the past couple of years – though he also threw in a little jab, joking about us being “number 51.”

It served as a reminder that, not just for Canadians, but for any of the international SXSW attendees, coming to the U.S. these days can feel a little weird. And it’s definitely having an impact. The number of Canadian acts on the bill seemed notably lower than in years past, and while Canada House was back this year after its cancellation in 2025 over tensions surrounding trade and tariffs, it appeared to be focused solely on the Film and Innovation aspects of SouthBy, leaving out the dedicated Canada House showcases and parties.

Regardless, there was still a solid contingent of Canucks in town for the event, and, much like I did last year, I made a bit of a concerted effort to check out my fellow Canadians while in Austin. Luckily, supporting the home team is easy enough to do when they sound as good as Kali Horse.

The Toronto art/psych rockers were playing the Swan Dive Patio on Saturday night as part of the Project Nowhere showcase on a bill that also featured OOZ, Ancient Greece, Spoon Benders, and CDSM and they put on a solid performance that definitely got people’s attention on Saturday night. Sam Maloney & Desiree Das Gupta are both commanding presences onstage, and the band’s trippy psych rock, often incorporating electronics, translates quite well in the live setting.

During their set, I overheard a woman telling her friend that she could watch the band “do anything.” She did qualify that by adding she was on mushrooms, but honestly, she wasn’t wrong. Kali Horse are a very watchable band.

SXSW Review: Lena Dardelet, Yes and Maybe, March 14

Posted on
17 Mar 2026
by
Gary

It’s 10:30 on Saturday night at SXSW and those of us who can’t get their jagged little pills after seeing the lineup stretching around the block for the impossible-to-get-into Alanis Morissette show at Stubb’s start looking into our other options. With the Global Stage at the Downright Backyard just around the corner, we opted to take in a set from Lena Dardelet.

Starting things off with a bit of trumpet, French-Dominican singer Dardelet played a short set of of mostly light ballads. But being quite adept at rallying the audience, she turned her show into not just a concert, but a dance lesson on basic bachata and mamba. While the crowd was a little thin and likely orders of magnitude less committed than what she might be used to, the atmosphere was relaxed and fun, her voice crisp and light. And the bit of French infusion in the lyrics certainly added to the joie de vivre. 

A bit later in the evening, I headed back to the British Music Embassy for Glasgow indie poppers Yes And Maybe. Comprised of a Scot (“Maybe”), a Frenchman (“Yes”), and… AND (possibly the name of the third guy onstage?), the band takes a bit of time to get up to speed, and I’d say the buildup becomes a bit of a letdown. Playing vinyl era voices in the background before the songs had already become a contrived schtick by the second time they did it. The song writing, styled after that of an indie-pop boy band, wasn’t much better, betraying a feeling of more style than substance. Perhaps I should have given them more of a chance but at 12:30am, a samosa from a food truck I passed by earlier in the evening seemed much more enticing. 

Concert Review: Mammoth, March 8, Danforth Music Hall

Posted on
9 Mar 2026
by
Paul

Partway through their Sunday night show at the Danforth Music Hall, Mammoth frontman Wolfgang Van Halen did an informal poll of the crowd, asking how many had seen them before and how many were first-timers. Surprisingly, the number of cheers ended up being split pretty much evenly down the middle.

“That’s crazy, that’s like, 50-50. Thanks for sacrificing your Sunday night for us,” said Van Halen. He added that even for those who had previously seen them, things would be a little different this time around. One major change, he noted, was that they now had a screen. Van Halen described the added visual element as being akin to cramming an arena show into a theatre, and went on to point out that all of the animations we’d be seeing that evening were made by actual artists, not AI.

“Everything you’re seeing tonight is made by a real human being and not that generative AI bullshit,” he said, adding, “That shit sucks,” and opining that it isn’t necessary. He stopped himself from going too far by reminding himself that this was a concert and not a TED Talk, though I appreciated him standing up for art made by actual people.

It’s hardly surprising though that someone like Van Halen, who’s dedicated much of his life to honing his craft as a musician, would side with artists over artificial intelligence. He would continue on with his old school, semi-Luddite stage banter later in the set when introducing the song “Resolve.”

Noting that they haven’t played the song since their first tour back in 2021 (“We were so young then”), he explained that they added it back into the set after lots of online demand from people wanting to hear it live. And though he dismissed the medium through which he received these requests as “whatever garbage social media of your choice,” it’s clear that one beneficial effect of all this technology is that it enables a much more direct connection between bands and fans.

The theme of human connection continued with the next song, “Distance,” a tribute to Van Halen’s famous father Eddie. With the imagery on screen switching over from computer animation to home video footage of father and son together over the years, the song’s themes of connection to those we’ve lost and how they stay with us long after they’re gone were made explicit.

The link between father and son was also obvious while watching Van Halen and his bandmates show off their musical prowess, with tunes like “One of a Kind”, “Another Celebration at the End of the World” and the title track off their latest, The End, standing out as highlights. While Mammoth is clearly it’s own thing and inspired at least as much by ’90s/2000s alt-rock and metal as it is by the type of classic rock his father made, one obvious connection to Wolfgang’s heritage was made clear – he clearly must have picked up a thing or two from his father. Dude can shred, that’s for sure.

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