SXSW Recap: 12 hours of live music each day for 4 straight days

Austin is weird. The city’s growing tech sector has spawned these characterless, glass obelisks everywhere. SXSW has clearly embraced it too. There was so much weird and terrifying tech stuff at the 2025 edition of the fest. But if you avoid all that and focus your time criss-crossing the city going to as many concerts as possible, it is actually really nice. 

That’s how I spent my SXSW. If I wasn’t sleeping, eating, or doing a bit of radio about the fest (which you can listen to here, here, and here), I was either on my way to a show or at a show. That’s about 12 hours of live music each day for 4 straight days. Here’s what stood out:

French duo Kap Bambino have this driving, post-punk, electronic sound with some wild, hyper-pop vocals to boot that made for one of the danciest shows of the fest. PAL had Chess Club packed to the gills and moving. They sound like Devo if Devo was from Cleveland, Ohio instead of Akron, Ohio. Self-described Nickelback cover band, the OGBMs were amazing live. They also described themselves as a mosh-type band and didn’t disappoint on that front. 

As far as interesting sounds go, YHWH Nailgun and Her New Knife have to both be mentioned. YHWH Nailgun do this experimental rock that seems to push the limits of what it means to be something like a vocalist or a guitarist in a band, while Her New Knife has this interesting combination of a wall of shoegaze noise, but with piercing guitar tones to cut through it. 

Texas-based Shallowater was the only band I saw twice and if they ever come to Montreal, I’d go again. They play this alt-country and post-rock adjacent slowcore that makes their live performances very hypnotic and moving.

There’s a lot to look forward to for the Montreal-based music fan too. La Securité are in the process of bringing art-punk to new heights. Truck Violence put on a set with all new songs and they are making their combination of hardcore punk and Alberta back-country twang sing. Alix Fernz’s synth-driven post-punk was a great capstone for an amazing Pop Montreal and M for Montreal showcase. There were also a lot of other great sets from Canadian artists in general. Toronto noise-rockers Gloin were phenomenal and Dusted put on this extremely intimate show with their lofi indie folk.

Outside of the music, my favourite part about Austin was the venues themselves. Swan Dive, Chess Club, the 13th Floor, Cheer Up Charlie’s, Mohawk, Hotel Vegas, and the more improvised concert halls each have distinct personalities. The space that they provide makes it possible for musicians to put shows together on the spot and it gives the whole experience a DIY flair.

Things are changing in Austin though. I saw Sweeping Promises at Hotel Vegas. Near the end of their set, Austin-native Caufield Schnug took over the mic specifically to denounce how much tech has taken over the city. If you look around, it's impossible not to see too. Big money is moving into town, condos are everywhere, and the city is tearing down the biggest glass obelisk of them all (the Austin Convention Center) to make it twice as big. SXSW has also announced big changes to the music portion of the fest in 2026, so it’s unclear what the future holds. This year, at least, the music portion of SXSW was pretty good, and if you ever make it down to Austin, go see a show. You won’t regret it.

Cam McIntyre is CJLO’s program director. He is also the host of Shaking the Habitual, on air Tuesdays at 1 pm.