If you’re a time-tested Live Music Capital pro, the Austin Music Awards mean watching your favorite acts celebrate each other and collaborate onstage in one-night-only fashion. If you’re new to the city and found yourself in the crowd: Congratulations, you just cut straight to the heart of Austin’s intergenerational, genre-spanning music scene.
This year’s show fell at a difficult moment for Austinites old and new, commencing less than 24 hours after a mass shooting shook West Sixth and the rest of the city. Parker Woodland’s Erin Walter opened the show with a speech of thoughtful solidarity with the victims and their families and a plea for elected leaders to enact legislative change.
Following a reverent Walter-led sing-along, art-rock stalwarts Big Bill kicked off the music with their norm-rejecting anthem “Poverty of Wires” and a swift set of the socially conscious songwriting that earned them Best Rock and Album of the Year noms this awards season. Best New Act-nominated indie rock trio Gummy Fang were up next, followed by a stylishly raucous performance from Best Rock winners Gus Baldwin & the Sketch.
In between sets, punk’s it girls, Die Spitz, stepped onstage to celebrate their four-award sweep, taking home one plaque per member for Band, Album, Song, and Music Video of the Year following their Third Man Records debut Something to Consume. Later, BRUCE’s Carrie Fussell accepted her award for Best Vocalist dressed in a bodycon concoction of caution tape reading “BRUCE Is Loose.”
“My imposter syndrome is losing today,” Fussell told the crowd triumphantly, earning a round of applause and knowing laughter from many musicians in the audience.
As in years past, proceeds from this year’s festivities benefited the SIMS Foundation, supporting their work bringing mental health and addiction services to musicians, music industry professionals, and their families. CEO Derrick Lesnau welcomed family members of the late Dick Chalmers to accept an Industry Hall of Fame induction on behalf of the longtime Red River Cultural District employee. Chalmers helped launch an industry worker-specific fund with the nonprofit shortly before his passing.
The memorial atmosphere continued when Chris Gage’s wife, Christine Albert, and other members of the adored songwriter’s family accepted his Music Hall of Fame induction, presented by Gage’s mentee and friend Ben Jones.
The aptly titled Antone’s Allstars then settled in for a star-studded set, including appearances from Steve Wertheimer, whose venue Continental Club was crowned Best Venue this year, Best Guitarist Eve Monsees, and Best Residency winner Soul Man Sam, characteristically jovial despite – as he reminded the crowd – joining the collaborative performance with no rehearsal. West Texas Exiles’ Colin Gilmore then led a tribute to recently departed Hall of Famer Joe Ely, featuring Ely’s longtime lead guitarist David Grissom.
Ben Kweller has become an awards night staple since 2024, presenting the Zev Award to promising young Austin musicians in honor of his late son Dorian Zev Kweller. Before awarding this year’s $2,000 grant to multi-instrumentalist songwriter Ben Shaw, Kweller accepted a trophy of his own: Musician of the Year. The seasoned indie rocker treated the crowd to a four-track sampler platter of songs old and new, presented with equal punk-favoring zeal, aided by Best Guitarist nominee Jim Campo.
Any feet growing weary in the crowd were in for an immediate energy boost when Tomar and the FCs stepped up for a final showcase of hip-swaying grooves featuring nominees, winners, and local legends galore. R&B duo Uncle Roy and Spice started the party with powerful vocals and compelling charisma, carried forth by Alesia Lani’s soulful voice. Best Pop winner Mobley serenaded the audience with his suave, Seventies-inspired love song, “Yesterday’s Another Day,” instructing listeners to two-step along to the track’s infectious beat.
“Y’all know how to two-step? It’s the least number of steps!” he joked.
Hall of Fame nominee and local hip-hop legend Tee-Double proved he still has rhythm after 43 years rhyming and producing, and revered songwriter James McMurtry brought his poignantly political perspective to the event with a rendition of “Sons of the Second Sons.” Before Tomar himself closed the night out, Nakia kept the crowd grooving, joined by up-and-coming rapper Evita.
True to the name and the event’s legacy, awards were sprinkled all throughout the evening at the Austin Music Awards. The real action of the night, however, was the rapid-fire rewind through a year in the city’s bustling music scene. Across three and a half hours, genres were blended, generations intertwined, and the true winners, arguably, were the audience members.
Check out more photos from the Music Awards here.
The Austin Music Awards
Antone’s Nightclub
March 1
This article appears in March 6 • 2026.