Despite a new, condensed format, SXSW ’26 still managed to showcase a number of performances that stood out amidst its usual chaos.

Yet another year of SXSW has held the city of Austin, Texas hostage.

But the lack of a convention center paired with an entirely new format made this year’s festivities feel differently. Most notably, each track of the festival (music, film & tv, innovation) ran simultaneously over a single week instead of being spread out around the usual 9-10 days. Who doesn’t love some extra scrambling and chaos amid an already hectic week?

This shift cut the second weekend of SXSW that normally leans towards showcasing its music festival. Instead, the final days took place Monday-Wednesday, not exactly the most popular nights to stay out late – even in the Live Music Capital. With the week dwindling, out-of-town attendees began thinning. Venues suddenly felt less cramped and you were more likely to find yourself singing alongside a local in search of some weeknight tunes.

Despite adjusting to the new format, there were still plenty of great acts from across the globe that made their way down to Austin. I’ve compiled a list of my favorite performances of the week – the ones that had me dancing nonstop, completely enthralled, and looking into international flights.

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Congratulations all around!

A color-coded crew leaps, twirls, and playfully teases their growing audience as passerbys peer in and headbang along from the outside – everyone wants their share of congratulations. The eccentric Brighton 4-piece easily transforms a 40-minute set into a full-on dance party. The tightly-packed crowd takes pleasure in mimicking the on-stage moves – just a step to the left, then the right, and finally throw in a little “woo!” and you’re set to hop onto the makeshift dancefloor. Synth-pop hooks shift to post-punk shouts as layered guitar and drums build into controlled chaos with soundwaves bouncing from wall-to-wall as the playful performers do the very same. With only two tracks left, the chants for “10 more songs” grow amongst laughs and cheers.

Diles que me encanta Diles que no me maten

Swaying with an increasing force from side to side with wired earbuds tucked into his white shirt, Jonás Derbéz narrates over the built-up layers of guitar and crashing drums. Jazz, psychedelic-rock, spoken-word, or whichever labels you desire, Diles que no maten defies genres with their sonic improvisation and avant-garde edge. Call it a heat-induced hypnotization if you must but every strum, shout, and soundwave from the Mexico City 5-piece feels truly transformative. With their metamorphic nature, no two sets bring quite the same experience. After one song you’ll be left shouting ¡Otro! ¡Otro!

I <3 FEET

Bathed in pink lighting and donning a wolf t-shirt, George Haverson lets out a light howl as strums get heavier, drumming picks up speed, and bass gets even more wriggly. With a tambourine seemingly glued into his left hand, Haverson jumps around and punchily pleads “What’s it gonna be?” The London 5-piece’s dance-inducing tunes travel through the cool air and straight into your bloodstream. Britpop has never tasted so sweet. Thank you, FEET!

I know Swapmeet, do you?

Falling to her knees, eyes shut, Venus O’Broin softly sings as the onlooking crowd holds their breath. Soon enough bass and drums kick in, returning the electricity radiating off the Australian indie-rockers. Repeated cries of “I know, I know, I know” navigate out from under noisy, layered guitar and heavier hits of toms. Once again, as she has after each song, O’Broin grins as she fights off laughter, and playfully reminds the audience of just who exactly is bouncing around on stage, “We’re Swapmeet.”