By Olivia Turner | Arts & Life Editor, Kalena Reynolds | Opinion Editor

Under the heat of the Texas sun and into the cool of the hazy, dusty evening, weekend two of Austin City Limits music festival made for a monumental listening and viewing experience, thick with artists of varying sounds and genres, from Latin to country and pop to experimental rock. With a lineup brimming with talent, it was difficult to choose whose sets to attend. Here is what we saw, heard and experienced during this unforgettable weekend.

Friday, Oct. 10

1. Girl Tones

This grungy sister duo was the very first set we visited. Kenzie Crowe, the vocalist and guitarist, walked out at Lady Bird Lake stage in a dark green suit and pants, bleach-blonde hair flying back and forth as she whipped her head to the tune of her light blue instrument. “Do you guys like heavy sh*t?” Kenzie screamed to the crowd, referring to the band’s edgy sound and heavy lyrics, which was met with cheers from the crowd.

On drums, Laila’s red curls flew in all directions, as did her drumsticks, becoming nothing more than a blur as she kept beat to her sister’s raw, electrifying voice. Together, the two churned out punk anthems, one after the other, including favorites like “Cherry Picker” and “Blame,” about the struggles of sisterhood.

Toward the end of the set, Girl Tones announced that their 2024 single, “Fade Away,” would make its cinematic debut in Prime Video’s “The Runarounds.” The tune featured clapping from the crowd, matching Laila’s beat, and intense screams of “Fade! Away!” from Kenzie.

2. Maggie Antone

As the UV rays began to reach peak, Maggie Antone stepped on stage with a straw cowboy hat, blue eyeshadow and a “mess with Texas” shirt — an homage to a song on her album “Rhinestoned.”

Notorious for her “rebellious western” artistry, Antone did not disappoint. Her set was infused with realness and emotion, and for every critic who says country music is generic, Antone shattered those narratives. The second song in her set was unreleased, titled “The Devil’s Not in Hell,” and encapsulated Antone’s uniqueness as an artist. Maggie Antone quickly established in her set that she is not for the sensitive or indecisive.

The way Antone sang, the way she moved across the stage in denim bell bottoms with red stars on the pockets, made the set unforgettable. Her third song was a heart-wrenching ballad titled “Everyone But You,” which she prefaced with “If you have a crush, I’d suggest telling them.” The song hit on the loneliness of loving someone in silence and the fear of rejection.

The sorrow continued to pour from her vocals as she transitioned into “Suburban Outlaws” and “I Don’t Wanna Hear About It.” Both of which were about breakups and feeling wronged, “I’m very in love now, so that’s sick,” Antone stated afterward. Following these ballads, Antone’s set quickly shifted with a cover of Jerry Reed’s “East Bound and Down.” The sorrow was replaced with electricity for her soaring vocals and glimmering stage presence.

3. King Princess

For the first time in six years, lesbian pop sensation King Princess graced ACL crowds with her husky, evocative voice, impressive electric guitar chops and intense instrumentals, campy as ever. Throughout the sunlit hour, T-Mobile stage screened an animated visual of bouncing breasts, covered by a tank top reading “Your Girlfriend Loves King Princess.” Crowd members hoisted poled signs into the air, featuring unserious images such as Lord of the Rings’ Gandalf with breasts and messages like “No weenies allowed.”

As she walked on, King Princess embodied a set of black chaps and a vest, with white shorts and a tank layered underneath, complemented by silver hardware and jewelry. Teal guitar in hand, King Princess belted out her set featuring several tracks off her latest album, “Girl Violence.” She began with “Cry Cry Cry” and transitioned into fellow soul-stirring songs like “Jaime” and “I Feel Pretty;” however, other older hits like her first song, “1950,” and “Fantastic” from the hit Netflix series, “Arcane,” also had their time to shine.

“It was honestly one of the best experiences of my life,” she said. “I have never seen fans like the Arcane fans.”

4. Empire of the Sun

As the sun set, Empire of the Sun stepped onto a stage of laser beams, giant faces and traditional Japanese attire. The band’s nostalgic dance discography quickly injected an upbeat energy into the crowd. With hits like “We Are The People” and “Walking on a Dream,” the group did not disappoint in the set list.

The lead singer, Luke Steele, began the set in a bright red kimono, which he traded for a white one and later for a black outfit with a sparkling silver jacket. For each outfit change, the set switched into a different era of the band. Going from an array of colorful lights to clouds of white smoke, Empire of the Sun truly had it all.

While the songs were familiar, the most surprising part was the set. Between a giant face-shaped boulder on the right side of the stage and dancers with eclectic costumes, the decor of the show proved to be straight from Steele’s wildest dreams.

5. Hozier

Tonight was somewhat of a grand finale for Hozier. The internationally-renowned Irish music mastermind made an appearance at the T-Mobile stage for his last show in the U.S. for the time being, and brought with him a stacked setlist. The singer crooned crowd favorites, like “Would That I,” “Like Real People Do,” “Angel of Small Death and the Codeine Scene,” “Work Song” and “Cherry Wine.” On several songs, a group of backup singers accompanied him with their harmonies, amplifying and enriching the overall sound of the set.

While pleasers were plentiful, Hozier also used his set as a means to evoke deeper thought and discomfort in viewers, screening statistics such as “Deaths due to armed conflict since 1969” and “Combined wealth of the five wealthiest individuals 2020-23” to the tune of his song, “Eat Your Young.”

Saturday, Oct. 11

1. Olivia Dean

As day two began, London native Olivia Dean took the stage with a smile as wide as the city itself. Her glowing skin and loose, brown, wind-teased curls immediately encapsulated the audience as she began her set with “Nice to Each Other” and “Ok Love You Bye.” Dean’s warm and sultry alto voice bathed the audience in her artistry, truly defining her skills as a singer. Her house rules for the show? Drink water and have fun.

As Dean progressed through her set, she transitioned to playing songs from her new album “The Art of Loving,” which featured an array of empathetic-feminist lyrics complemented by unique brass parts that enhanced Dean’s voice. The farther into Dean’s set we got, the more her music genius showed up with clever lyrics and amazing vocal riffs.

2. Spacey Jane

The synth-pop group brought an upbeat energy to the middle of the afternoon at ACL. Hailing from Australia, the band played a variety of songs from acoustic deep cuts to electric guitar-driven singles like “Booster Seat.”

Caleb Harper, the lead singer, came onto the stage with an “I heart TX” T-shirt on and a slim pair of black sunglasses. While the dreamy eighties guitar solos made the band appear much older than they are, one thing was for sure — we would never be cool enough to sit at their lunch table. Between the group’s collectively effortlessly wavy hair and aura-filled outfit choices, it was clear the band was put on this earth to make music. For Spacey Jane, the creative process has to be nothing short of divine.

As the set went on, the band played a song titled “Whateverrrr,” which led to an array of body movements from the band members. At one point, the bassist got on the ground and the guitarist jumped over her in a sort of leapfrog adjacent style. The group ended their set with a swarm of electric guitar riffs and unforgettable soaring vocals that are bound to be a highlight of the festival.

3. MARINA

Y2K pop legend MARINA made her appearance Saturday evening under the shade of a white parasol and Gucci glasses, but her melodious, opera-like vocals shone through no problem. The introductory screen visuals on American Express Stage pictured a video game-themed “select your character screen,” leading into songs like “BUTTERFLY” and “CUNTISSIMO” from her latest album, “PRINCESS OF POWER.”

As the sun beat down on the backs of crowd members, MARINA leaned into some of her older hits, like “Are You Satisfied?,” “Primadonna” and “Bubblegum B*tch,” which brought an essence of Tumblr-era nostalgia through the crowd.

4. Doechii

Golden hour set in as Doechii walked on American Express Stage, commanding the crowd’s attention with her voice and powerful presence. Her set kicked off with hits like “B*tch, I’m Nice” as she strutted around the stage in denim capris, a white cropped tank with criss-crossed lacing on the front and her western-esque medallion belt. Stage screens transitioned from black and white to color throughout the set, picturing the rapper as she moved around the platform in all her energetic glory, jumping and dancing during “Balloon” and even dropping into a drag-style slam splits during “GTFO.”

“Do y’all have boiled peanuts in Texas?” she asked the crowd as an introduction for her song of the same name. “That’s a Florida delicacy.”

While Doechii’s performance was very playful and entertaining, the bass drowned out her voice and the DJ’s for most of the set, especially when viewing the show from a distance.

5. Djo

Lady Bird Stage glowed red as Joe Keery walked on to a foggy stage, met by the cheers of long-time Stranger Things and Djo fans alike. Behind the band, boxy light boards strobed, creating the illusion of illuminated windows on buildings and skyscrapers, almost as if alluding to the singer’s hit song, “Chicago.”

Keery started on guitar and later switched over to the keys for fan favorite “Charlie’s Garden.” The band teased a new, unnamed song — a folksy, twangy tune that the crowd raised their phone flashlights and waved them back and forth.

More hits, “Delete Ya” and “Roddy,” followed, with a particularly moving performance of “Egg,” a song about self-perception and the desire to escape the insecurities of one’s own identity.

“Is that you? / Is that the child who’s afraid in you? / Stop, is that you?” Keery sang torturedly, sounding as if his voice might break.

“Chicago” closed out this monumental set. The crowd screamed every lyric, raising recording phones above their heads to capture the fleeting moment.

6. Sabrina Carpenter

Following Djo’s set, crowds of people began surging toward American Express Stage for the current princess of pop, Sabrina Carpenter. We waited in eagerness as her set started with a news cast introduction where she mentioned that she “loved Austin.” Following that, a group of backup dancers appeared on stage with a rolling cart full of clothes. As the dancers jumped around the stage playfully and pretended to get dressed, the iconic synth intro to “Busy Woman” began. Carpenter eventually appeared on stage in a black-and-white gingham vest with sparkly red fringe and a matching bandana – clearly an homage to the Lone Star State.

“At this show, you can sing very loud, you can dance very strange,” she said. “I accept all behaviors.”

Between her soaring soprano vocals and “Baywatch” like blond hair, she had the crowd fully engulfed by the end of her first song. “Good Graces” merged into “Slim Pickens,” and halfway through the song, a man in a white jumpsuit appeared on stage with two shot glasses. After passing one to Carpenter, the two cheered and took the shot. Carpenter continued to sing after a short cough followed by a laugh.

Next up was another mock video, an 80s-esque ad for man-away spray, that led into “Manchild.” After multiple other upbeat pop singles, Carpenter sat on the ground with her guitarist to play a stripped-down and intimate version of “Sharpest Tool.” In true Carpenter fashion, she quickly found her way back to her upbeat hits like “because i liked a boy,” in which couplets of fireworks went off in unison with the chorus.

Before long, it was time for another broadcast; this one was a spoof of a couple’s dating show. Shortly after, Carpenter lit up the stage in a new outfit consisting of flimsy rhinestone material in the shape of a fitted mini dress. Making her way into “Nonsense” and “Feather,” Carpenter lost no momentum and continued a series of choreographed dance routines and high note belts.

As Carpenter reached the home stretch of her set, the tone shifted. Suddenly, a sensuous array loomed around Carpenter and her dancers, with a bed appearing in the center of the stage. Making the jump into “Bed Chem” brought a refreshing energy to the crowd, intensities only heightened when a mashup of “Pony” by Ginuwine was mixed into the song, eventually making its way back to “Bed Chem.”

Olivia Dean made an appearance in front of the barricaded crowd, the two singers soaring off in witty, playful commentary as Carpenter pretended to arrest Dean for “being too beautiful.” Shortly after, Carpenter brought us back into her world of sparkles and sensuality with “Juno.”

As Carpenter finished the melodic, witty arrangement, she began to talk about her love of Austin. She said in the beginning, she played shows filled with 200 people in Austin and the city had always supported her through every album cycle.

Carpenter brought a sentimental wave through the audience, and the emotional response only continued when she announced she was bringing The Chicks on stage. The crowd roared as the group and Carpenter broke into “Wide Open Space” and “Please, Please, Please.” While the internet had its money on Taylor Swift, The Chicks were a sweet and unexpected surprise.

“Don’t Smile” was Carpenter’s last song (or so we thought), until another broadcast with espresso martinis played on the screens and Carpenter reappeared on stage with a glass full of espresso cocktail. “The longer I drink, the louder you have to be,” she said. As Carpenter made her way into the wavering scales of the “Espresso” chorus, another round of fireworks shot from the top of the stage, this time creating large flower-like imagery, leaving us with 90 minutes worth of rich soprano high notes, sensuality and infinite sparkles.

Sunday, Oct. 12

1. The Point.

This genre-blending experimental trio kicked off day three at ACL fest with a sensational set at Beatbox Stage. Jack Montesinos shredded vigorously on guitar in jeans and a plaid button-down shirt, with Joe Roddy ruling the keys in a kilt, shades and a beret. Behind them, Nico Leophonte kept the heartbeat of the band, making the drums roll like thunder in a floral bucket hat and 60s-esque square frame-patterned polo.

A playful, surf-rock tune kicked off the set, with vocals flitting in and out of the chorus. Latin, Middle Eastern and African-inspired melodies follow, showcasing the band’s range. Songs flowed one into the other with hardly a breath in between. Beads of sweat dripped down Montesinos’s chin as he played a particularly intense solo. It was a wonder the guitarist didn’t cut his fingers on his strings with the speed and intensity of his performance. Instead, it looked natural — even easy.

As a mainly instrumental band, The Point. really gave the guitar a voice throughout the entire set, with most vocals consisting of screams, “oohs” and “lalalas.” At times, it seemed the guitar was singing in place of the musicians — and when they did join in with adlibs, their voices became synonymous with the instrument’s cry.

2. The Dare

Precisely two minutes late, The Dare showed up to the Miller Lite Stage in his usual uniform: sunglasses, suit and sambas. The Dare, also known as Harrison Patrick Smith, immediately dazzled the crowd with his calculated flimsiness and unhinged mic-wielding to the beat of the resonating synth on the opening song. As he broke from vocals in the middle of his opening song to play a solo on a synth keyboard, one thing was made clear: this was about to be an hour of straight fun.

Smith started his charged set, pacing the stage as he spat lyrics into the mic, dragging the mic stand with him and spinning the mic in loop-de-loops by its cord. While Smith kicked his feet in the air in a sort of “Karate Kid“ meets heavy metal way, the crowd filled with an enthusiasm that had not yet been matched at the festival. After playing hits like “Good Time” and “Sex,” Smith chuckled, saying, “This is the second time in history I’m wearing sunglasses for their actual purpose.”

As the musical mania continued, Smith at one point grabbed a cymbal on a stand and a drumstick. As he once again threw himself around the stage, he began banging the cymbal while screaming.

At the end of the chaotic but unforgettable set, Smith sang “Girls” as black and white graphics lit up behind him, highlighting the words of the song. Once finished, he thanked the crowd, dropped the microphone on the ground, and walked off, leaving us equally overstimulated and wanting so much more.

3. CA7RIEL & Paco Amoroso

This experimental rap and EDM duo from Argentina drew in a large crowd of dedicated fans who each seemed to know the lyrics to every song they played. The duo walked on stage together, pausing for a beat before sitting down in chairs beside each other.

The singers initially gained popularity in the U.S. after a viral Tiny Desk Performance. Since then, CA7RIEL & Paco Amoroso have continued to build a loyal international fanbase through their exploration of diverse genres.

While both singers appeared on stage in eccentric western-themed attire, their band dressed in a variety of eccentric clothing, ranging from a red lacy bra over a button-down shirt to spoof sunglasses with double lenses on both sides. The first half of the duo’s set leaned into their jazz roots and included a variety of brass instruments with prominent, quick bass lines.

As the songs became more uptempo, the crowds began to jump and people screamed the chorus to almost every song. While the songs were predominantly in Spanish, an English translation was provided on the LED screen. As we reached the midpoint of the set, CA7RIEL & Paco Amoroso’s songs transformed to synth-driven EDM sounds. The majority of their band left the stage and the duo stood up from their chairs, each one dancing around while impressively maintaining their vocal chops.

4. Anderson East

As we landed in the home stretch of the last day, soul musician Anderson East brought sensuality and blues to the festival. Sonically, he carried an energy of nostalgia through every note and it was clear his sound was a representation of his inner emotions.

The music rang with a hint of blues and folk as the legato guitar tones and warm vocal belts collided together to create a harmony of emotion. East brought us to a place of intimacy and familiarity during his hour on stage, leaving us sad for the finish line at ACL.

5. Mk.gee

Fog machines flooded Lady Bird Stage with thick, white clouds in preparation for this experimental rock artist. The lights faded to black as three figures walked on, faces masked by the haze. Only their silhouettes distinguished them from one another and the crowd lost it when the figure with long, tousled hair stepped to the mic. It could only be Mk.gee.

Deep, bellowing notes sounded out and backlit white lights projected from center stage, creating the effect that the band had emerged from a smoky, bright catastrophe, while still keeping them faceless to the crowd. The raunching, growling guitar effects, paired with sporadic eagle and airhorn sound effects, led into the nostalgic sound of “Dream Police.”

Fan favorites “ROCKMAN,” “I Want” and “Candy” followed, the lights shifting from ethereal white to cherry red.

Strobing lights were heavily employed throughout the set, like the electricity was about to go out. Between the overactive fog machines onstage and the puffs of smoke floating up in bursts from cigarettes in the crowd, it was undoubtedly the smokiest set thus far.

Throughout the set, the crowd seemed restless, attendees flowing in and out and chattering among those who stayed, locking in when particularly intense and recognizable guitar riffs piped up. However, once Mk.gee played his supposed last song, the crowd chanted “one more song!” to which the band reemerged from the fog to play another round of their hit, “ROCKMAN.” Here, the crowd all seemed to unify, belting out each lyric with the singer and singing bits and pieces as the gaggle dissipated once the song ended.