Gurriers were, for me, the band of the festival. After a superb but relatively tame BME show, I saw them a further three times - twice at Mohawk (at the first of which they blew the superb Sunflower Bean off the stage), and finally at a riotous early St Patrick’s Day celebration at Dead Rabbit. Each show was an improvement and by the end of the week the buzz around them was palpable. On numerous occasions I heard them compared to fellow Dublin punks (and previous SXSW breakouts) Fontaines DC, and it’s hard to disagree. I was there for that Fontaines show in Austin that appeared to set them on the road to the big leagues, and I have no doubt I’ll be saying the same about Gurriers in the very near future. 

Beth McCarthy might just have everything: sass, humour, sexiness, and a swathe of relentlessly catchy pop-punk tracks that it’s impossible not to get excited over. The former The Voice contestant also has an undeniable relatability and a humility which is rare, even at this level. There are obvious comparisons to be made with early P!nk tracks, but McCarthy’s style feels closer to a more polished Girli with more than a hint of Dream Wife, whose frontwoman Rakel Mjöll was spotted nodding approvingly, this week representing the Icelandic music industry, whilst her band takes a well deserved 12 month hiatus. 

Antony Szmierek is hardly a secret right now. His superb second album, The Service Station At The End Of The Universe, dropped just weeks before the festival, and his unique brand of spoken word electronica has been garnering radio play everywhere from the pop stations to the hard to please indie stalwarts. I caught him twice at the BME. The first being a hastily re-worked solo show at the start of the run due to his band’s kit not making it to Austin airport in time, and the second a full band show towards the end of the week which turned into a full on rave and conga party. Szmierek manages to smuggle immensely clever lyricism in under the cover of relentlessly danceable beats, all delivered with a warmth and humour that it’s impossible not to love. 

Himalayas last played SXSW in 2018, and were a force to be reckoned with even then. As with many acts, the pandemic robbed them of an opportunity to push on right when it felt like they had a chance, but they returned to Austin last week undeterred and with a apparent desire to right that wrong. Drawing favourable comparisons to early Muse, the band tore through a relentless half-hour inside a sweltering BME, and showed that there’s still a place for a new take on rock, even as the festival gives more and more space to pop and r&b artists. 

Venus Grrrls were one of the most talked about bands on the bill in the build up to SXSW 2025, and for good reason. Their stunning crossover of goth, grunge and riot-girl is undeniably on point, but with a fresh style that marks them out as ones to watch. They played to packed venues across the city, and I had more conversations about their shows than any other act, and everyone I spoke to was gushing in their praise. I couldn’t help but agree. Frontwoman Grace Kelly is an absolute force of nature, and looks like a rockstar already. Surely it can’t be long. 

Keep an eye on SO.CO for part two, coming soon! 

Words and photos by Thomas Jackson