Credit: Photo by Kate Blaising

BRUCE

Friday 27, Radio/East

At Walker Lukens’ The Last Walt on Dec. 6, Carrie Fussell, wearing a glamorous black ball gown, belted “I Will Always Love You.” Usually, covers of this song – especially when sung like Whitney, not Dolly, as Fussell did – elicit in me only dread and secondhand embarrassment, as few people can pull off such an infamously difficult vocal performance. Fussell, apparently masking a powerful set of pipes during her time in Calliope Musicals, killed it. New project BRUCE reveals even more of her talents. “Cherry” offers insight into the artist’s neglected childhood, and preview tracks from upcoming projects signal art-pop experimentation. Knife Channel and Big Bill round out Friday’s bill.   – Carys Anderson


Credit: Courtesy of Restos

RestFest

Friday 27 – Saturday 28, C-Boy’s Heart & Soul

Before they head out to Spain in January, the boys of Restos throw down their second annual RestFest at home base C-Boy’s. Joining the roots-rocking quintet for Friday’s set are S.L. Houser’s intoxicating, synth-layered indie-pop and the heavy psych roar of Billy King & the Bad Bad Bad, riding 2024’s sophomore LP, Introspective Resolute. Saturday brings Austin native Ricky Stein back to town with his easy-picking, smooth-twanging country and the driving power beats and edgy dance floor anxiety of Dossey’s disco-pop. Restos sets up Slomo Drags to close with their biting, twisting, Of Montreal-eque grooves.   – Doug Freeman


Night Ritualz

Friday 27, Hotel Vegas

Though he sings tracks like “Cuando Andas” and “Vida” in Spanish, San Antonio darkwaver Night Ritualz leads his other electronic-tinged post-punk with an English groan. Both singable and club ready, cuts like 2023 single “Cross My Heart” and January’s “Try Means Fail” play like goth lullabies, while latest release “Turn N Burn” opts instead for a hammering house beat. Fellow SA “sludge pop” duo Gillian Dream opens with similar woodpecker rhythms and ghostly vocals.   – Carys Anderson


A Tribute to Alex Chilton and Big Star

Saturday 28, Hotel Vegas

Eccentric Memphis rock & roll legend Alex Chilton’s career traversed blue-eyed soul stardom with the Box Tops – scoring a global smash with “The Letter” as a teen – to Big Star’s definitive Seventies power pop. Gorgeous classics like “September Gurls” contrast with his later experimental turns into Memphis roots and avant-rock chaos. East Austin hipster/garage haven Hotel Vegas hosts this tribute night, featuring Broken Gold (Riverboat Gamblers guitarist Ian MacDougall’s superb post-punk outfit), the eccentric brilliance of John Wesley Coleman, and the Stayres, a power pop trio heavier than Big Star. Austin’s take on Chilton’s mercurial genius should be intriguing.   – Tim Stegall


Credit: Courtesy of Shelley Carrol

Shelley Carrol Quartet

Saturday 28, Monks Jazz

Though a longtime member of the Duke Ellington Orchestra, saxophonist Shelley Carrol has deep Texas roots. Part of a family of players and gospel singers from Houston, he attended the city’s famed High School for the Performing and Visual Arts and was part of the renowned One O’Clock Lab Band while attending University of North Texas. Now based in the Dallas area, he teaches jazz to young folks at West Mesquite High School and the South Dallas Cultural Center when he’s not on the road with the Ellington band, the Count Basie Band, or Sheryl Crow. Two shows land at 8 and 10pm.   – Michael Toland


One Ounce Opera & LOLA Present: The Jing-a-ling Super Sing

Monday 30, Batch Craft Beer and Kolaches

I’m a certified Christmas Grinch. There’s too much traffic, too much gift-giving pressure, and too many people yelling at you to feel joyful. No thank you. But even my small, grinchy heart holds a special place for beautiful Christmas music. I’m not talking Rudolph here. I’m talking about holy nights and tiny babes, sung with spine-chillingly soaring voices. Local talents from One Ounce Opera and LOLA (Local Opera, Local Artists) offer the best of Austin talent singing sacred songs for as cheap as free. Besides, nothing pairs better than classically sung arias and craft beer. That’s just science.   – Cat McCarrey


Credit: Photo by Lyza Renee

Charley Crockett

Tuesday 31, ACL Live at the Moody Theater

A line stretched in both directions around Waterloo Records before Charley Crockett’s in-store performance this past April. Don’t call the Texas country buck grassroots anymore, because at least here at home, he’s gone as mainstream as Yeti. Inside the store, warming up before Lone Stars of every stripe packed in, he stood solo onstage with his guitar, his low and soulful croon still spellbinding. “Whaddya got,” I cracked. “More than you can handle,” he snapped back, edge-sharp. $10 Cowboy proved that in 2024, and now Live From the Ryman encores. Willie Nelson used to own this Moody NYE slot, so take the hint: Crockett’s his replacement.   – Raoul Hernandez


Credit: Photo by Micah E. Wood

Feeble Little Horse

Tuesday 31, Parish

Feedback freaks and DIY enthusiasts need look no further for NYE plans than Feeble Little Horse’s year-end Austin stop. The Pittsburgh fourpiece’s 2021 debut EP modern tourism announced the group as prominent noise-pop newcomers, melting heads with fuzz-filled guitar work and sardonic lyricism. Last year’s tour de force Girl With Fish saw the band expand their musical palette, combining chirpy electronic touches without sacrificing their signature grit. Tourmates Sword II ride into Austin on the success of a sludgy recent collaboration with They Are Gutting a Body of Water.   – Genevieve Wood


Credit: Photo by Brent Goldsmith

TR/ST

Tuesday 31, Mohawk

In the mood to dance yourself clean of the tire fire that was 2024 with the darkest music you can find? Throw on leather, eyeliner, and possibly a coat and head off to mope and vibrate to this Los Angeles-via-Canada moody electronic outfit. On this year’s Performance, Robert Alfons’ void-gazing synth project acquires a cool driftiness to go with its beat science. On NYE he plays with the indestructible synth-punk band Adult., the similarly goth San Antonio outfit Haunt Me, and Holy Water, the latter of whom has likely forgotten more about Depeche Mode than you will ever know.   – Joe Gross


Third Eye Blind

Tuesday 31, Auditorium Shores

Why not ring in the new year with a free show by one of the most famous party bands of the Nineties? (You knew “Semi-Charmed Life” was about drugs, right?) Whether or not you plan to bump again on Dec. 31, you might as well admit that Third Eye Blind’s 1997 self-titled album is full of bangers. “How’s It Going To Be”? Iconic breakup song. “Jumper”? A masterclass in suicide prevention. “Graduate”? A commencement soundtrack for a generation. Before you move forward, look back with some undeniable power pop.   – Carys Anderson


DJ Paul

Tuesday 31, Antone’s

DJ Paul of legendary Memphis rap group Three 6 Mafia fame kicks out the jam and headlines Antone’s monster New Year’s Eve bash. Also on the bill, Jake Lloyd and Deezie Brown’s Geto Gala run continues following the release of the fantastic full-length Major League. Mississippi-raised LOS KEMET makes nuanced hip-hop he calls “Southern Gangsta Musik.” Blakchyl, alongside Vintage Jay, put out one of the year’s best extended plays in Process of Shinnin. YOSO brings a potent blend of Southern rap, Afrobeats, and dub Belizean reggae. DJ Mahealani provides support with a delectable vinyl set.   – Kahron Spearman


Music Notes

by Derek Udensi

Alejandro Escovedo

Friday 27 – Saturday 28, Saxon Pub

These two shows were originally scheduled for earlier this month, but Escovedo had to undergo surgery to resolve a case of appendicitis. The Austin Music Awards Hall of Famer released his latest LP, Echo Dancing, back in March.

Real World Hotel Vegas

Tuesday 31, Hotel Vegas

The rarely dull East Sixth locale once again hosts a massive, end-of-year blowout that’ll pay homage to legends of yesteryear. This go around, members of 20 local acts celebrate the Nineties in a manner that’d make the creators of VH1’s Aughts television miniseries I Love the ’90s beam with glee. Artists set to be covered include the Breeders (performed by Farmer’s Wife), Green Day (Another Scorcher), Pavement (members of John Wesley Coleman Band), and Weezer (Gus Baldwin & the Sketch).

Golden Dawn Arkestra Credit: Photo by Jana Birchum

Interstellar New Year’s Eve

Tuesday 31, Radio/East

Funky. Otherworldly. A piss-ton of members. Those are some succinct ways to describe the large, luxurious nature of galaxial bands Golden Dawn Arkestra and Grandmaster. The latter act released its self-titled debut on Spaceflight Records earlier this year. Andrew Cashen & the Disciples of Creation open Radio/East’s farewell to 2024.

Want to see all of our listings broken down by day? Go to austinchronicle.com/calendar and see what’s happening now or in the coming week.

This article appears in December 27 • 2024.

A note to readers: Bold and uncensored, The Austin Chronicle has been Austin’s independent news source for over 40 years, expressing the community’s political and environmental concerns and supporting its active cultural scene. Now more than ever, we need your support to continue supplying Austin with independent, free press. If real news is important to you, please consider making a donation of $5, $10 or whatever you can afford, to help keep our journalism on stands.

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Carys Anderson moved from Nowhere, DFW to Austin in 2017 to study journalism at the University of Texas. She began writing for The Austin Chronicle in 2021 and joined its full-time staff in 2023, where she covers music and culture.

As the Chronicle's Club Listings Editor, Derek compiles a weekly list of music events occurring across town. The University of Texas alum also writes about hip-hop as a contributor to the Music section.

San Francisco native Raoul Hernandez crossed the border into Texas on July 2, 1992, and began writing about music for the Chronicle that fall, debuting with an album review of Keith Richards’ Main Offender. By virtue of local show previews – first “Recommendeds,” now calendar picks – his writing’s appeared in almost every issue since 1993.

Kahron Spearman is a journalist and writer with bylines including The Austin Chronicle, Austin Monthly, Consequence of Sound, Texas Highways, and the London-based journal The Break-Down. He currently serves as Senior Editor at Atmosphere TV.

Tim Stegall contributed to The Austin Chronicle 1991-1995, and was a staff writer 1995-1997. He returned as a contributor in 2013. He has also freelanced for publications ranging from Flipside to Alternative Press to Guitar World. He plays punk rock guitar and sings in the Hormones.