Austin City Limits 26 played out like a three-act movie featuring the world’s best soundtrack. It began—as all great films do—with a looming tragedy: two Atlantic hurricanes and a cold front threatened torrential rain, flooding, and the festival’s cancellation. The organizers stood firm and decided to press on. We didn’t back down either, arriving at the park right on time, undeterred by the rain—both meteorological and sonic—that imbued Zilker Park with a unique charm. We bought rain hats and ponchos, ready to brave the mud and the downpour.
A Shower of Stars at Austin City Limits
A stormy morning greeted us at the park. Yet, the heavens took pity on the red-headed queen of Euro-Country, CMAT; warm rays of sunshine descended to listen to her powerful, torrential voice. Her cross-dressing band was a match for such a whirlwind performer; amidst storm clouds and existential gloom, “Where a Good Man Cries” rang out, and everyone knew it was a truly celestial moment.
After being lifted to the clouds by CMAT, we were swept up—like a perfect storm—in the radiant, militant feminism of Paris Paloma, whose anthem “Labour” thundered through these dark times, casting a ray of light. The afternoon cleared up with the powerful punk sound of Amyl and the Sniffers and their vital, defiant messages.
Mosh pits churned up the clods of mud beneath our feet, and the party exploded just in time for us to lose ourselves in Labrinth’s generational anthems. Beyond the *Euphoria* soundtrack, Labrinth is a style, an icon, and a unique brand seeking to transcend the very series that turned him into a legend for a generation. And then, the ultimate star appeared before us: Charli XCX. Her show is a film that fuses cinema, fashion, runway aesthetics, dance, and trends in a truly unique way. Every moment was precision-engineered to be iconic. Troye Sivan’s appearance capped off a truly stellar night, played out atop a layer of mud that made walking a challenge.
A Saturday Among Stars
The weather cost us the chance to see those great bands usually tucked away in the fine print of major festival lineups. Festival gates opened two hours later than scheduled. The saddest consequence was that many bands had their sets cut short or were rescheduled for the second weekend. After the grounds were drained and prepped, Suki Waterhouse appeared—radiant amidst roses and pierced hearts—exuding the aura of the most brilliant, sophisticated underground artist. Her elegant discography revealed an artist who is as magnetic as she is fascinating.
After encountering Suki’s dazzling talent, we visited the coolest side of Puerto Rico—embodied by Young Miko, whose *perreo* style breaks away from reggaeton conventions and elevates her above the rest. After a frenzied dance session, we headed to see the British pop princess. Lola Young took the stage with a tight, finely tuned band capable of playing with pop music and twisting it to explore soul and late-night R&B vibes. It was a delight that made it clear: one day, the princess will be queen.
The night led us into unique, untamed territory, far removed from the conventional. It brought us into the presence of Lorde, who—almost without us noticing—has evolved into a fabulous avant-garde artist. Her music, always bold and daring, makes perfect sense in a live setting. Her set embraces social and personal statements, intimacy, and vulnerability, while a series of impressive elevated screens and visuals immerse us in the future of pop. Mind-blowing.
The Sky Weeps for the End of Austin City Limits
The sky seemed to anticipate the farewell to a unique festival. A heavy downpour accompanied us as we uncovered the secret behind Stella Lefty, the artist currently sitting at number two on the Billboard charts. The Boston´s creator arrived amidst controversy regarding potential nepotism—given that her father is a co-owner of Groupon—but the truth is she exuded charisma, and the experience was thoroughly enjoyable. After leaving Stella and the rain behind, we headed to the most intimate stage—one that felt like a cozy dive bar—sponsored by Tito’s Vodka, to surrender to the wild rhythms of Rio Kosta. Latin percussion, a Santana-esque flair, Jungle vibes, and a Khruangbin-style sound that captivated us. Their stage presence evoked the spirit of Woodstock and a long-forgotten sense of rebellion.
After dancing so wildly we practically lost feeling in our hips, we gave in to one of our ultimate guilty pleasures. Saint Motel returned to ACL after a decade-long hiatus, immersing us in “My Type” and that signature sound that imprints itself on your soul. Carrying the magical feeling that great bands leave behind when you see them live for the first time, we moved on to another extraordinary experience.
The band of the moment, Geese, took the stage. A sense of cool detachment. Cameron Winter’s icy demeanor and a stage presence that seemed to fuse Richard Ashcroft, the Gallagher brothers, and Jim Morrison seeps into your very bones through sheer charisma. At first, you start moving sporadically. Then, you begin to jump. And before you know it, you’re pogoing like crazy alongside strangers. That’s the mark of the chosen few. No goodbye. He didn’t need one; it simply doesn’t exist. Geese have taken up permanent residence in our minds.
ACL still had one last marvel in store for us. The XX reunited after nearly a decade to prove they are far more than just a distant echo of the 2010s. Their hit tracks sound even fresher today than they did back then, demonstrating astonishing enduring relevance. The “X” that crowned and defined their stage design left us awestruck; beneath its soft glow, we reconnected with sounds that form a vital soundtrack—one as unique as it is universal. The way they connect with you—with the same intimacy they share with the person standing right next to you—reveals a timeless talent. And with this perfect finale, a new ACL—the 25th, the most special one, the edition defined by mud and rain—left us dreaming of the next festival and cherishing a trail of unforgettable memories. Long live ACL!
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