Posted by on Jul 24, 2020

We’re a little more than halfway through a very rough year, and we can all be thankful for that. Despite a complete shutdown of live music and touring, many artists have gone ahead with their plans to release new music. It’s been a blessing at a time when few others have surfaced. It’s hard to think of the words “best” and “2020” in the same sentence, but here are some highlights that have stuck with us here at KUTX, in this year like no other.

–Jeff McCord

Amy Chambless – Cactus Cafe, Assistant Manager

Khruangbin & Leon Bridges – “Texas Sun”
This mash-up isn’t something I saw coming, but it really works! You can feel the Texas sun beating off the road. Khruangbin takes you on a wandering, psychedelic road trip while Bridges’ soulful vocals ground you firmly in the Lone Star state.

US Girls – “4 American Dollars”
Using disco and pop to address the financial disparity in the US, musician Meghan Remy nails it, saying “we’re on the same boat but different seats.” The song was released just prior to the current financial crisis caused by COVID, and resonates even more so now.

Israel Nash – “Canyonheart”
Nash captures the sound of the surrounding Texas Hill Country where he resides and records. This could as easily be a love song to his environment as it could be to a person. Either way, it is wonderful to hear his continuing flow up uplifting music.

Art Levy – Producer, Host

Nick Hakim – “Qadir”
“Qadir” is an ode to Nick Hakim’s late friend, and in the personal you can find the universal. Hakim tries to sing Qadir back to life, hanging all over the beat as if he’s unwilling to let him go. The music swirls without resolution, showing how pain and death are psychedelic, life-altering experiences.

Little Simz – “one life, might live”
Little Simz barely needs any music around her to grab your attention. On ‘one life, might live,’ the British rapper focuses her flow like she’s sharpening a knife. The beat finally kicks in nearly halfway through, kicking off the parade of the chorus: “I got one life and I might just live it.”

Ultraísta – “Tin King”
There are definite Radiohead fingerprints here, thanks to band members Nigel Godrich (Radiohead’s longtime producer) and Joey Waronker (Atoms For Peace). Laura Bettinson is the catalyst, bringing a weird freshness from her time in the experimental pop group Micachu & the Shapes. This is the kind of electronic song where the human touch is indispensable, with Bettinson’s voice sounding like a hall of mirrors while Godrich and Waronker goad her on.

Deidre Gott – Live Music Producer

Drint – “Make Your Body Say”
One of the last Studio 1A sessions we had in the before times, as R&B/Pop artist Drint released his debut EP Don’t Save Me in late February. The 24-year-old Austin artist has this rich, deep voice that you can feel resonating in your chest. The whole EP sounds fresh and nostalgic at the same time.

Christelle Bofale – “Miles”

Released in February from the Austin singer/songwriter, “Miles” is part Mazzy Star, part Tracey Chapman, and part Alana Davis (note to self: dig out Blame it On Me). Starting with a simple voice and guitar combo, the chorus winds around a subtle sprinkle of harmonies, bass, and keys. Do yourself a favor and don’t just listen once, as this is a grower and you’ll find yourself humming parts weeks later.

Jay Wile – “Walzem”
A standout at The Breaks’ annual Love Lockdown, Jay Wile brought the crowd. Some drove in from Waco to see him play. It was my first time, and I was already low key pissed at myself for missing his two EPs from the previous year (check out “Who’s Loving’ U?”) In early June, the San Antonio native dropped this surprise single to raise money for the family of a young man severely injured by APD during the protests. Expect the six song EP Better Times on July 24 (and listen to it gosh darn it.)

Jack Anderson – Song of the Day Producer

Young T & Bugsey – “Don’t Rush” (feat. Headie One)
Since the mid-twenty-teens, this Nottingham duo’s been perking my ears up with their Caribbean-inspired beats and lackadaisically gritty rhymes. They dropped their debut LP Plead The 5th back in March, an appropriate quarantine soundtrack with their fusion of UK grime, R&B, dancehall, and reggaeton. “Rush” has been in my personal rotation since its release, and has merited more than a few revisits thanks to remixes featuring Busta Rhymes and DaBaby.

Run The Jewels – “yankee and the brave (ep. 4)”
I remember being disappointed when “Ooh La La” came out ahead of RTJ4. DJ Premier is my favorite hip-hop producer, thanks to his outstanding work with Gang Starr and his knack for sampling vocal bits from tracks he’s produced in the past. But dang was I let down when I instantly recognized Greg Nice’s less-than-stellar (okay, let’s just say “corny”) verse from 1994’s “DWYCK” repeated over one of Primo’s least impressive beats. When “yankee” came out as the follow-up, all was forgiven; I was in love with Run the Jewels’ sound all over again. This track recalls the more menacing, nightmarish film score samples employed by predecessors like N.W.A. and Public Enemy, while toeing the line between socially conscious and just plain abrasive (as per usual).

Anderson .Paak – “Lockdown”
It almost seems unfair to label Anderson as…well…anything. His quick climb to fame has been far from unwarranted, with an aura encapsulating his ever-improving skills as a singer, rapper, drummer, guitarist, producer, and lyricist. This new one provided a much-needed commentary amidst quarantine and unrest, and I hope to hear more from Paak soon.

Jay Trachtenberg – Host

Anderson.Paak – “Lockdown”
Up-to-the-minute lyrics and commentary that couldn’t be more relevant, riding an understated beat that at first seems to belie, but ultimately compliments the urgency of the message.  Be sure to check out the powerful video.

Stephen Malkmus – “Xain Man”
I almost had an acid flashback the first time I heard this tripped-out tune that captures the lysergic vibes of ‘60s San Francisco. Malkmus has always seemed to embrace this aspect of his home state’s musical legacy. And he even name checks Miles Davis.

Brownout – “Brownie”
Austin’s champions of Latin funk lay down a heavy, mostly instrumental, horn-driven groove that urges you to get up and dance.  It’s a good way to shake off those stay-at-home COVID blues.

Jeff McCord – Music Editor, Host

Gabriel Garzon-Montano – “Someone”
He’s only recorded a handful of songs over the years, but this Brooklyn-born son of French-Columbian parents has a knack for bare, stop/start funk that stutter-steps its way into your subconscious. In “Someone”, the narrator’s lover has moved on. He hasn’t. In halting fashion, Garzon-Montano pleads.

“I needed you.”
“I don’t know what to do.”

Anderson.Paak – “Lockdown”
With jazz-like phrasing, Paak captures the Zeitgeist. Like Donald Glover’s “This Is America”, you need the bleak video imagery to fully complement this slow-burn on bigotry, strife, and the sad malaise of the pandemic. Plus, the video includes a great mid-song acapella breakdown from Jay Rock, strangely absent from the streaming version.

Little Simz – “one life, might live”
This actress/rapper is the best of the new breed of UK talent; her poetic flow is a rhythm section all to itself. Drop 6 is one of the best releases of the year, and this is the standout track. (They’re plenty of runners-up, though. Check “you should call mum”) Despite, or maybe because of being made in lockdown isolation, “one life” brims with optimism and braggadocio. Accompanied by little more than a jumpy bassline and some metallic plate percussion, Simz sounds out. “Damn sure innit, every ting vivid.”

Jody Denberg – Host

Bob Dylan – “I Contain Multitudes”
The master returns, with Austin’s Charlie Sexton in tow once again.
It’s the combination of the lyrics AND the music that make this the stand out on Rough And Rowdy Ways.
Shadows and light abound here…

Nick Hakim – “Qadir”
This NY-based singer/songwriter’s second album, “Will This Make Me Good,” contains this elegy to a fallen friend that is gorgeous and haunting. Its sense of loss resonates even deeper during our current times.

X – “Strange Life”
It’s great to have the band’s classic line-up (John Doe, Exene, Billy Zoom, DJ Bonebrake) back on record after 35 years; their new “Alphabetland” stands with their best. It was also great to talk with Austinite Doe on the day of the album’s release for “KUTX At Home” to get insight into the project. Strange days indeed.

Laurie Gallardo – Host

Brendan Benson – “Good To Be Alive”
From one of my favorite albums of the year, just on the heels of fantastic work done as a vocalist/songwriter for another fave, The Raconteurs. Brendan Benson’s seventh solo studio album Dear Life was unleashed into the universe after a very gradual birth, slowly making its way into the world when Benson penned one of his LP’s first tracks “Half A Boy (And Half A Man)” in 2017. Though busy working as a producer or collaborator on other artists’ projects, Benson’s own songs just kept coming out. There was no stopping that genuine melodic rock/pop joy rising to the surface, and “Good To Be Alive” encapsulates the album’s entire mood so well.

Chicano Batman – “Color My Life”
East L.A. outfit Chicano Batman is all about the American experience. And for this El Paso lady, “Color My Life” feels like that summer groove you’re playing as you cruise behind the wheel – or cruise on your skateboard, or…on that damn lowrider bike (check the band’s video for this song – which also nails the mood, bathed in Southern California twilight). It is, indeed, the “lucid dream” vocalist Bardo Martinez references in this hazy-daisy funk/soul jam soaked in gold rays. Another winner on the band’s fourth LP, Invisible People.

Lianne La Havas – “Bittersweet”
UK-based artist Lianne La Havas’ third LP, is her first since 2015’s Blood and also her first self-produced. And from this album, one she considers to be her most “pure expression” to date, is its first single “Bittersweet.” Not exactly sure what it is about the track – perhaps it’s the low-key, sultry beginning, building into a rising vocal fire – but La Havas has her finger on the pulse of something distinctly Marvin Gaye-esque on this gorgeous piece. The lyrics are inspired by a real-life conversation, in which La Havas was at her wits’ end, expressing a desire for distance and time to think – to identify what needs to happen. Swoon-inducing and heart-melting.

Matt Munoz – Cactus Cafe, Manager

Anderson.Paak- “Lockdown”
A great song meeting a very important moment in time, powerfully well-crafted.

Evan Felker & Carrie Rodriguez – “Whiskey in your Water”
Effortless songwriting and performance. Great hooks galore.

Chicano Batman- “color my life”
Funky funky funky and funky!! Did I mention they put the fun in Funky?

The Allure Of Ambient Music In Stressful Times


The Allure Of Ambient Music In Stressful Times

Posted by on Jul 20, 2020

Photo by Art Levy

While the coronavirus has led to mass shutdowns of institutions and economies, the irony is that it hasn’t helped many of us to slow down. It’s left a lot of people anxious and frustrated without recourse for meaningful action. There’s no panacea for all of the issues we face in 2020. But there is a musical salve to provide your lockdown experience with a feeling of calm.

Many of us are spending a lot of time at home, and like a clean apartment, made bed, or house plants, ambient music can augment your personal environment with an anti-anxiety aesthetic. The genre’s goal is to establish and maintain a single pervasive atmosphere. We’re all trained to listen to music in a linear way. Through the lyrics’ evolving story or the dynamic interplay between instruments, we often expect some sense of a destination. Ambient music works in the opposite way, spreading out horizontally, with no plan other than to impart a mood and provide a sonic space for subjective drift. It’s the musical equivalent of abstract expressionist painting.

While ambient music can be unstructured, it’s still deeply musical. Its roots can be found in classical compositions by Debussy and Erik Satie, the rock and roll drone of the Velvet Underground, Miles Davis’ jazz explorations, and the rise of electronic music. Brian Eno, one of ambient’s leading figures, thought ambient music “should be as ignorable as it is interesting.” Below are some of our favorite examples of this idea, worthy of close attention or just something to have on in the background for company.

Emily A. Sprague – Water Memory/Mount Vision (2019)

The modular synth world has historically been a boys’ club, but that’s changing, thanks to the pioneering work of Laurie Spiegel, and contemporary artists like Kaitlyn Aurelia Smith and Emily A. Sprague. Modular synths look more like NASA control systems than musical instruments, and there’s a nerdy joy to figuring out their truly endless technological possibilities. But there’s also a deep spiritual aspect. When playing one, the musician is more of a collaborator than a composer, sculpting the sound and toggling between surrender and control. It’s more like gardening than it is musical performance.

The natural world figures heavily in Sprague’s modular synth work, from song titles to her soothing videos. She’s part of an online community of ambient artists that showcase their synths with houseplants, in simple home environments, or even on remote hiking trails. Technology is often portrayed as dark or cold, but Sprague teases out the homemade, cozy aspects of electronics. On Water Memory/Mount Vision, her songs gently unfold, unassuming but deeply felt. Modular synths only require patience and sincere attention to play effectively. Sprague’s music seeks to bring out those same qualities in a listener. -Art Levy

Botany – Deepak Verbera (2016)

Austin-based electronic producer and hip hop beat maker Botany sets aside his signature heavy-slapping kicks and snares for a psychedelic sound journey. Although entirely instrumental and absent of any traditional beat structure, the album manages to find it’s own unique identity with a wide variety of instrument textures. Some tracks carry heavy free-jazz vibes reminiscent of the great Alice Coltrane, while others feel more influenced by 60s psych-rock. While many ambient records tend to feel at home as background music, Deepak Verbera rewards the patient listener with enough movement and change to create a deeply engaging listening experience. – Andrew Brown (Soundfounder)

Yasuaki Shimizu – “Umi No Ue Kara” (1982)

Like most of my picks, this is not a traditional ambient recording. In fact, the album it comes from, Kakashi, doesn’t feature many ambient aesthetics or sensibilities. It’s more jazz fusion than anything else, mixing together traditional Japanese folk music, electronic, and American jazz. If Albert Ayler and Ryuchi Sakamoto were asked to collaborate on a score for a Hayao Miyazaki film, it might have sounded something like this. While I recommend listening to the whole album, one song in particular represents everything I love about and want from ambient music.

When I was introduced to “Umi No Ue Kara,” it was a similar experience to hearing Air’s “La Femme d’argent” for the first time. It’s a compulsively calming listening experience that dissolves reality into pure aural bliss; simple enough to not call attention to itself, but with the depth to find new sounds if you choose to actively listen. – Ryan Wen

Taylor Deupree & Marcus Fischer – Twine (2015)

Taylor Deupree’s ambient label 12k was founded on a personal manifesto that’s quietly more radical than most punks. The principles include: “Don’t tell listeners what they want to hear, let them discover that for themselves…Evolve constantly, but slowly…Never try to be perfect. Beauty is imperfection…Everything will change.” And since 1997, 12k has been living these principles, through Deupree’s own work and the dedicated community he’s fostered.

Deupree’s music often explores wabi-sabi, a Japanese Buddhist concept that favors impermanence and imperfection. On Twine, he teams up with label mate Marcus Fischer for an album that moves like a foggy dreamworld. The pair highlight the texture of sound above all else: the quietly whirring tape machine, soft static, clicks, hisses, bell-like tones that dissolve into one another or loop in unpredictable ways. There’s a definite ASMR-like appeal to Twine. When it’s playing, it turns any space into an earthy, blanketed, subdued environment. But I think it offers more than escapism. Deupree, Fischer, and the rest of the 12k roster point out how any sound can be an entire world if you listen closely enough. – Art Levy

Aphex Twin- Selected Ambient Works Volume 2 (1994)

In the early 90s, Richard D. James (aka Aphex Twin) took a detour from the drum machine-driven works that had defined his career to release two extensive albums of ambient music. With his 1994 LP Selected Ambient Works Volume 2, he solidified his importance as an ambient music producer by reaching no. 11 on the UK Albums Chart, an unusual feat for a record with almost no traditional songwriting or even rhythm structures to speak of.

James claims to have written the vast majority of the album within lucid dreams which he would then translate into real-world recordings when he awoke. While the album does have many anxious, foreboding songs, the track titled “#3” (alternately referred to as “Rhubarb”) is a calming, introspective and emotional journey that stands as one of Aphex Twin’s most beloved tracks, and as one of the most celebrated ambient tracks of the 90s. – Andrew Brown (Soundfounder)

Mr. Fingers (Larry Heard) – Sceneries Not Songs (1994)

Electronic music, particularly ambient music, is often perceived as white, academic, and pretentious. However, the history and development of electronic music cannot be told without the massive contributions from African Americans working with new music-making technology. The electronic subgenres electro, techno, and house came from black (and oftentimes queer) communities throughout America, from the Bronx to Detroit and Chicago.

These subgenres soon evolved into completely new sounds. Deep house, developed by Chicago DJ Larry Heard, is like house music’s gentle introspective child, often laid back and hypnotic featuring long ambient tones. Heard’s 1994 album, Sceneries Not Songs, moves his sound even further away from its dance floor roots towards music more appropriate for headphones in a quiet room. As the title suggests, the tracks within are not so much songs as they are sonic environments for your mind. – Ryan Wen

Milieu – Phosphene Weather (2009)

Since 2003, Brian Grainger has released over 600 recordings under a half-dozen aliases. He’s part of an internet niche that is redefining the creative economy: he relies on a small, passionate fanbase rather than the large, impersonal model that so many streaming services and record labels steer artists towards, to increasingly diminishing returns. Phosphene Weather—recorded with guitar, organ, and analog tape and released under Grainger’s Milieu moniker—is a blissful highlight in his sprawling discography. In the liner notes, he writes about his recording “seasons,” bouncing from project to project depending on the time of year. Phosphene Weather was mostly captured in spring and summer, and it favors this natural cycle over a human-made one.

C.S. Lewis once wrote, “Isn’t it funny that day by day nothing changes, but when you look back, everything is different.” Likewise, these songs can shift your perception of time, seemingly staying in place and arriving at a completely new point, depending on your attention. “Aboir” is the eeriest example of this: it sounds like Grainger sped up the tape speed very, very gradually so that you start in a darkened, bass-saturated environment and after seventeen minutes, the sun is up and you’re airborne. Phosphene Weather refers to the geometric patterns you see when you press on your closed eyelids. It’s a commonplace psychedelic experience, accessible to anyone, anywhere. Grainger shows how these kinds of small experiences can be invitations to infinity. – Art Levy

Matthewdavid’s Mindflight – Trust The Guide And Glide (2016)

Matthewdavid is a uniquely influential figure among the many creatives in Los Angeles. He made a name for himself as an abstract beat maker in the L.A. scene of the late 2000s,  alongside blossoming artists like Flying Lotus, Daedelus, and Ras G. In 2008 he started the Leaving Records label, which has since become a jumping-off point for many artists like Mndsgn, Black Taffy, and most notably Knxwledge, who went on to work with Anderson.Paak and Kendrick Lamar.

Like many electronic producers and music industry visionaries, Matthewdavid seems to use ambient music as a respite from the intensity of bass, beats, and heavy loud sounds that generally come with being a successful musician. His 2016 album Trust The Guide And Glide is a dense, beautiful, and immersive listening experience that flows seamlessly from track to track. It’s a reverb-soaked bath of sound, perfect for meditation, yoga, background music while you work, or just general peaceful, positive listening. – Andrew Brown (Soundfounder)

Erik Satie – Vexations (1893) and Furniture Music (1917)

Erik Satie created his work during a zeitgeist when humanity was learning how to make sense of a technologically saturated world. In his time, the introduction of trains fundamentally changed people’s concept of distance and speed, similar to how telecommunication technology would in the 20th century. Like some of his Dada contemporaries, Satie reacted to the increasing speed of everyday life with absurdity. His piece Vexations was less than half a page long but instructed the performer to repeat the short passage 840 times. It’s likely he never intended for anyone to perform the piece, but John Cage, along with a rotating troupe of pianists including John Cale of the Velvet Underground, took on the ridiculous task a half-century later. The performance clocked in at 18 hours and 40 minutes.

In Satie’s era, more people were moving into cities, and living with and among technology created an alienating environment. The first World War devastated Europe, and the pandemic that followed would eventually kill fifty million people. It was a time of fear, uncertainty, and rapid technological development. Amidst this upheaval, Satie wrote Furniture Music in 1917, which he suggested was meant “to be heard but not listened to.” Satie was eccentric, and his art was deliberately preposterous, but his intentions as an artist were very serious. While the world was falling apart, Furniture Music asked its listener to slow down and turn their attention back towards their immediate environment. – Ryan Wen
Election 2020


Election 2020

Posted by on Jun 29, 2020

KUTX wants to help you get out and vote! Below are some resources to help get you ready.

Early voting for primary runoffs runs from June 29 to July 10, with election day scheduled for July 14. Here is what you need to know, including COVID-19 safety precautions.

If you plan on voting early, now is a great time to get your voting plan together!

Make Sure You Are Registered to Vote

You can check your voter registration information here.

Make Sure You Have the Proper ID

Here are the forms of ID accepted at Texas polling places

  • Texas Driver License issued by the Texas Department of Public Safety (DPS)
  • Texas Election Identification Certificate issued by DPS
  • Texas Personal Identification Card issued by DPS
  • Texas Handgun License issued by DPS
  • United States Military Identification Card containing the person’s photograph
  • United States Citizenship Certificate containing the person’s photograph
  • United States Passport (book or card)


If you are between the age of 18 and 69, you can use an acceptable form of ID, even if it is expired, as long as it hasn’t been expired for more than 4 years before the date you present it at the polling place. The only exception is the U.S. Citizenship Certificate, which does not expire.

If you are 70 or older, your acceptable form of photo identification may be expired for any length of time if the identification is otherwise valid.

You can obtain an Election Identification Certificate from DPS driver license offices during regular business hours. Find mobile station locations here.

If you don’t have one of the forms of acceptable photo ID and cannot reasonably obtain one, then you can present one of the following supporting forms of ID at the polling place. You’ll also need to sign a Reasonable Impediment Declaration at the polling place.

  • copy or original of a government document that shows the voter’s name and an address, including the voter’s voter registration certificate;
  • copy of or original current utility bill;
  • copy of or original bank statement;
  • copy of or original government check;
  • copy of or original paycheck; or
  • copy of or original of (a) a certified domestic (from a U.S. state or territory) birth certificate or (b) a document confirming birth admissible in a court of law which establishes the voter’s identity (which may include a foreign birth document).

Find more detailed information about Voter ID Requirements

Make Sure You Know Where to Vote

If you are registered to vote  in Travis or Williamson County, you can vote at any polling location in the county in which you are registered

Check out this list of Election Day Polling Locations in Travis County.

Current wait times for polling locations in Travis County.

Check out this list of Election Day Polling Locations in Williamson County

Current wait times for polling locations in Williamson County.

If you live in another county you should check with your local county’s election office about where you can vote.

You can find your polling location using this locator from the Texas Secretary of State

Find a full list of elections offices here


What About Students Who Want to Vote by Mail?

If you are attending college or university away from home, but claim residency where your parent or guardian lives, you can vote early by mail.

You can request an early voting ballot be sent to where you will physically be at election time (i.e school) by filling out this application: and following these instructions.

Your county clerk must receive your application at least 11 days before Election Day. This means they must receive your request by July 2.

Your early voting ballot must be received by your county clerk by the time polls close on Election Day, July 14.

Check out this link for a full list of County Clerk’s offices in Texas.

You may also be eligible to vote early by mail if you are

  • 65 years or older;
  • disabled;
  • out of the county on election day and during the period for early voting by personal appearance; or
  • confined in jail, but otherwise eligible.

Find out more information here.

Check Out These Voting Resources

To learn about what you’ll find on your ballot, check out this Voting Guide from the League of Women Voters!

Find out information about Voting with Special Needs

Review your Voting Rights

Find more information about Voting in Texas at VoteTexas.gov

Keep up with debates and election information via KUT News, online or on the FM dial at 90.5 in Austin.

Juneteenth in Austin


Juneteenth in Austin

Posted by on Jun 18, 2020
“Black Austin Matters” mural spans Sixth Street to Ninth Street in downtown Austin. CREDIT JORGE SANHUEZA-LYON / KUT


KUT/KUTX host Miles Bloxson shares the history of Juneteenth with several ways you can celebrate and learn more about this important holiday.

While President Lincoln’s Emancipation Proclamation in 1863 is recognized as the declaration that freed U.S. slaves, Confederate states didn’t recognize the Union decree. So, even after the war ended at Appomattox in April of 1865, Texan slaves weren’t freed until June 19, 1865, when Maj. Gen. Gordon Granger read aloud a Union proclamation that officially ended slavery in Texas. Learn more about this historic event and the 150-year history of Juneteenth celebrations in Texas HERE.



Friday, June 19th  – Stay Black And Live: A Virtual Juneteenth 2020 Festival

The Austin Parks and Recreation Department’s George Washington Carver Museum, Cultural and Genealogy Center in collaboration with Six Square, Greater East Austin Youth Association, Jump On it, District 1 City Council Member Natasha Harper-Madison, and the Austin Public Library will host Stay Black and Live: A Virtual Juneteenth Celebration on Friday, June 19, 2020 from 6:00 pm -10:00 pm.

District 1 City Council Member, Natasha Harper-Madison, will kick off the event with a special message to the Austin community. This year’s festival will be hosted by NOOK Turner, founder of Jump On It, an organization dedicated to uniting youth and their families through live entertainment since 1997. Performances from an array of musicians and poets including Riders Against the Storm, Alesia Lani, Queen Deelah, EimaraL Sol, and more will be streamed “tiny desk style”. Check the full lineup HERE and join the raffle benefiting Greater East Austin Youth Association (G.E.Y.A) HERE.

Saturday, June 20th – Black Voices: A Listening Party @ The Far Out Lounge

Purchase Tickets HERE.

Tune in for conversations and performances with Austin artists Magna Carda, Kalu and The Electric Joint, Torre Blake, Blackillac, Zai Sadler, Christopher Michael, and more at The Far Out Lounge located on 8504 South Congress.

The event will take place live on The Far Out Lounge outdoor stage. Capacity is limited, and masks are encouraged. Table seating only. Guests are asked to remain at their table unless using the restroom or ordering at the outdoor bar.

Doors at 8:00 PM

Benefitting the Austin Justice Coalition


Friday, June 19th @ 4 p.m. – Old School Happy Feet Dance Party with Jon E. Dee

Three hours of the best funk, soul, and R&B with longtime KUT host John L. Hanson Jr. Tune in for this one of kind music mix from a one of kind Austin DJ every Friday 4 p.m. – 7 p.m.

Friday, June 19th @ 7 p.m. – Special Edition of The Breaks: “No Justice, No Peace” recorded 6/8/20 & “Say Their Names” recorded 6/1/20

As part of our Juneteeth programming this Friday we’ll be airing our hip-hop show The Breaks in place of Left of the Dial from 7pm-11pm. From 7pm—10pm we’ll re-air their show from last week. In addition to playing a mix of local and national hip-hop and R&B in the program, hosts Confucius and Fresh share their hopes that sustained protests following George Floyd’s murder will finally generate the public pressure needed to tackle systemic racism in America. They also discuss recent closings of music venues in Austin due to the coronavirus pandemic and what it means for the Austin music scene at large and the hip hop and R&B scenes in particular.

Then from 10pm-11pm we’ll re-air their standalone podcast episode from June 1, 2020 “Say Their Names” where they talk in-depth about the police killings of George Floyd in Minneapolis, Mike Ramos in Austin and the resulting protests. Plus, they share their experiences as black men in America, their frustration with systemic racism, and the need for sustained solidarity from society at large, not just during times of tragedy.

Listen to The Breaks Podcast on  The Apple Podcasts AppSpotify or Stitcher

Austin’s 2019 Juneteenth Parade

Austin’s 2012 Juneteenth Parade

Juneteenth Historical Parade from Austin Music Map on Vimeo.

Austin’s 2019 Juneteenth Parade in Photos

Juneteenth Parade 2019






Posted by on Jun 1, 2020

Today KUTX joins the music industry for #BlackoutTuesday, a day of solidarity, reflection, and action against systemic racism.

Two black female executives in the recording industry, Brianna Agyemang (Atlantic Records) and Jamila Thomas (Platoon), launched the Blackout Tuesday campaign as a challenge to an industry that “has profited predominantly from Black art.”

“Tuesday, June 2nd is meant to intentionally disrupt the work week,” they wrote in a statement. “The music industry is a multi-billion dollar industry. An industry that has profited predominantly from Black art. Our mission is to hold the industry at large, including major corporations + their partners who benefit from the efforts, struggles and successes of Black people accountable.”

You can follow #blackouttuesday #theshowmustbepaused on social media, and find resources to educate, inform, and enact change in the links below.