Mainstage
Kendrick Lamar’s Microphone was Shut Down at Austin City Limits for Exceeding Time Limit
Recently, Kendrick Lamar discovered that even headline performers are not exempt from festival curfews. He was the last performer on a Friday night at Austin City Limits and was told about a curfew set for 10pm. A video shared by a fan at 10:02pm displayed Lamar continuing his performance, informing the audience, “They’re going to have to turn off my microphone because we’re not finished.” At 10:18pm, the festival officials did exactly that. Lamar responded with grace, bowing and sending the audience kisses before he left the stage a few minutes later.
Austin City Limits is one of Texas’s largest music festivals, featuring an impressive lineup of musical talent. The second day of the show includes performances from Rina Sawayama, Shania Twain, Alanis Morissette, and the Foo Fighters. Sunday’s lineup includes Hozier, GloRilla, and Mumford & Sons. Lamar is set to return for the second weekend of the festival. Other hip-hop artists performing at the festival include Lil (Friday) and Coi Leray (Saturday).
In other news, Lamar’s song “HUMBLE” received an unexpected cover by Italian rock band Måneskin, winners of Eurovision 2021. The band performed the cover during a show at Madison Square Garden in late September. Lead singer Damiano David told the crowd, “We cannot be the last rock band. But maybe we can be the first rap band,” before launching into their rendition of “HUMBLE”.
Nonetheless, not all accolades to Lamar have been met with approval. A televised karaoke contest in Poland stirred up controversy when a participant sang “HUMBLE” in blackface. The participant, Kuba Szmajkowski, was the winner of that episode of Your Face Sounds Familiar, which resulted in considerable online backlash.
Artist Spotlight
GOODTWIN shares reflection with indie-pop single, “Soak It Up”
The indie-pop project GOODTWIN offers a subtly stirring new single, “Soak It Up,” that’s sort of like taking a deep breath after drowning out the world for so long. The track combines avant-garde jazz elements with their indie-pop sensibilities. “Soak It Up” is more of a quiet rallying cry than a rousing proclamation.
The song gently explores the push-pull of life between external pressures and inner peace, the feeling of being pulled in multiple directions while seeking a soft place to land. GOODTWIN’s leading force and vocalist, Gus Alexander, wrote the song in response to that insidious, yet understated, influence on modern life, and the need for validation, doing something useful with your time today, and, at the same time, being attractive enough to get what you need gutted from someone else.
“Soak It Up” offers an encounter with the concepts by attending to how it was made, with a focus on presence rather than performance and on significance over distraction. The balance between warmth and precision in the production is immaculate. The track, produced and engineered by Carly Bond and Germaine Dunes of Sound and Hearing at Altamira Sound, has a refined yet raw feel that doesn’t seem polished but rather suggests a human element, which suits its introspective tones.
Jack Doutt’s mastering adds another layer of depth to a soulfully rich composition, leaving enough space for each element to shine without overwhelming the others. The result is a cohesive, immersive sound that feels intentional throughout. For fans of indie-pop with a sprinkle of jazz, introspective verses, and emotionally driven production, the track is an exciting addition to GOODTWIN’s blossoming discography. It’s a piece of music that invites a slower tempo, that forces attentive listening, and, with it, an experience more fully lived.
Artist Spotlight
Alex Krawczyk’s gentle maps for the long way through on latest release “When The Road Is Uneven”
Alex Krawczyk latest release, “When the Road Is Uneven,” which sounds like something less sung than a hand held out in understanding. The Toronto-based artist is known for her deeply personal, folk-inflected songwriting as she continues to carve a ground on honesty, spiritual contemplation, and gentle resilience. The track is third in line on her 13-song album “Wonders Await,” and here’s why it feels strategically placed. It comes early enough to establish the emotional stakes, a quiet invitation for the listener to embark on a shared journey rather than listen in solitary confession. Krawczyk, working in the alternative folk tradition, leans toward simplicity and sincerity that create space for reflection over display.
Her voice is the emotional keystone here, heartfelt, tender, and unguarded. And there’s a warmth in her voice that feels like lived experience, without ever making the album sound heavy or overwhelming. Instead, “When the Road Is Rough” focuses on healing and shared emotional spaces, reminding listeners that uncertainty and struggle are not traversed alone. The song doesn’t barrel toward a resolution, it patiently abides with the feeling, offering comfort through presence rather than solutions.
Robbie Roth is the producer, and the production reflects the emotion of Love This Love. Everything feels deliberate and weighted, allowing Krawczyk’s voice space to fill and resound. The net effect is an intimate, grounding track that feels as if it were written not just to be listened to but also to be felt. “When the Road Is Uneven” confirms Alex Krawczyk’s position as an artist who knows how to show alert empathy for the small but mighty. It’s a gentle nudge that healing can occur in moments, both small ones, and sometimes even just owning the bumpy road is enough to keep moving.
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