RE-IMAGINE FEST ft. The Black Angels @ Stable Hall - 11-28-26

San Antonio’s legendary local music festival is making its long-awaited comeback—RE:Imagined, recharged, and bringing the city's finest talent back to two killer stages at the historic Stable Hall.

Saturday, November 28, 2026. - Doors: 3 PM | Show: 4 PM

PURCHASE TICKETS HERE!

San Antonio’s music community will gather at Stable Hall for the revival of one of the city’s most beloved grassroots events: Imagine Fest. RE:Imagine Fest revives the spirit of the original "Imagine Fest," an iconic annual festival held between 2015 and 2019 at Imagine Books & Records. Known affectionately as the “Loudest Bookstore in Texas,” Imagine served as a cornerstone DIY venue, community hub, and launching pad for young musicians before its closure during the pandemic in 2021. The multi-stage festival will showcase more than 10 local bands alongside Austin rock legends The Black Angels. 

Organizers Ezra Hurd, Noah Slavin, and Ezra Rodriguez have reunited to bring the festival back on an expanded scale. 

“RE:Imagine Fest is coming to Stable Hall to reminisce on our music scene’s love and appreciation for our time with Imagine Books & Records,” said the festival’s founder Ezra Hurd. “Noah, Ezra R., and I are working together to share the spirit we had at Imagine with the next generation of musicians. This is about supporting the local music scene and giving our talented artists a platform to share their work with new audiences across San Antonio and beyond.” 

Originally launched as a week-long festival on the city's northwest side to coincide with South By Southwest touring routes, Imagine Fest built a tight-knit artistic community by pairing local acts with regional and international performers. 

“I’m especially looking forward to connecting back with the music scene after a few years away,” Hurd added. “It feels like coming back to your hometown and seeing old friends. I love San Antonio! Reconnecting with Ezra Rodriguez and Noah Slavin this year showed me how all our connections from Imagine have flourished across the city into new beginnings. I’m really happy to bring this dream back on a larger scale.”

FESTIVAL LINEUP & STAGE DIRECTORY 

RE:Imagine Fest will feature non-stop live music across two stages at Stable Hall, highlighting the city's genre-spanning talent alongside local vendor pop-ups, limited-edition merch, and a special custom art installation by TV Eye Media. 

Stable Hall Courtyard Stage 

● Any Color You Like 

● Shut Up Cicada 

● Roshii 

● Hydra Melody 

● Lonely Horse 

● Piñata Protest 

Stable Hall Main Stage 

● Killer Cats (from outerspace) 

● Xenocten 

● Postal 

● Buffalo Farm 

● Euphonia 

● The Black Angels (Headliner) 

Concert Review: Gibby Haynes + Melt-Banana @ Levitation 2026

By Keira Cahill

Butthole Surfers Mania Gibby Haynes stepped onto the Levitation mainstage to the raucous applause of fans. The crowd was diverse; 16 year old boys in Butthole Surfer’s merch stood shoulder to shoulder with old-head Austinites, loudly boasting about having seen the band when they were in college. The energy was palpable; people were excited to see the legendary group in person. From the start, Gibby Haynes and Butthole Surfer Mania were completely authentic. Butthole Surfer Mania has all the workings of a rock band, but sounds unlike any other. Haynes is the frontman, leading with distorted vocals and obscene references to his early career. Using a synthesizer, Haynes altered his already gritty voice, interspersing the lyrics with rhythmic sound effects. Haynes was flanked by the other members of Butthole Surfers, with King Coffey on drums and original guitarist Paul Leary joining for the final two songs. Hayne’s teenage son, Henry, also made an on stage appearance, supporting the band on guitar. Though rain started falling early in the set, none of the crowd seemed to notice or mind. Watching Haynes was entrancing. He grinned cheekily through his gap toothed smile, and danced like there was no other music in the world. The band played a mix of new and old; with a dirty joke about flashing paparazzi, Hayne introduced a new song called, “I Know a Girl.” The peak of the performance was towards the end of the set, when the band played their iconic hit, “Pepper.” The lyrics were second nature to most of the crowd, and Butthole Surfer’s Mania played into the popularity, swapping the original tempo for a polka beat. As Haynes jigged around on stage, it did not feel like watching a tired reunion tour. The excitement from the band was palpable; the members of Butthole Surfer Mania just wanted to perform for the crowd. Long after their set ended, Haynes could be seen signing shirts and talking to fans. Gibby Haynes and Butthole Surfer Mania brought humor, energy and strangeness to the stage, and their performance at Levitation was a testament to the beauty and weirdness of human creativity

Gibby Haynes - Butthole Surfers Mania

Melt-Banana was a surprising fan-favorite at Levitation 2026. Though relatively unknown, the band, made of two members, Yasuko Onuki and Ichiro Agata, quickly captured audience attention with their loud synth rock and screaming vocals. The small band filled the stage with their presence. Onuki altered her vocals with a synthesizer, turning her voice into a futuristic robot scream, backed by electric beats. Agata’s harsh electric guitar complemented and matched her with its instrumental drone. The two members seamlessly shared the stage; Onuki would lead the stage for a moment, then pass the baton to Agata, who eagerly took the forefront. Although Melt-Banana was relatively unknown at Levitation 2026, they entranced the audience with an unmatched eclecticism and excitement. The duo grabbed the attention of the restless crowd, and brought hard, electric rock to the Levitation stag

Melt Banana

Concert Review: Thee Sacred Souls + La Lom + The Womack Sisters

by Gaby Nieraeth

9/10/2026, Freeman Coliseum, San Antonio, Texas

Don’t let TikTok fool you; Thee Sacred Souls (@theesacredsouls) are so much more than their viral song, “Can I Call You Rose?” While the single may have initially garnered them widespread attention online, their recent show at the Freeman Coliseum proved they are more than deserving of it.

Before Thee Sacred Souls took the stage, the Womack Sisters (@thewomacksisters) immediately commanded the crowd’s attention with their powerful vocals and tightly choreographed performance. As granddaughters of the legendary Sam Cooke and nieces of Rock and Roll Hall of Famer Bobby Womack, they proved that talent certainly runs in the family. To be honest, I wasn’t familiar with their music beforehand, but I was instantly captivated by their groovy retro sound (and fabulously coordinated outfits). 

Following the Womack Sisters, La Lom (@the_lalom) turned up the energy with a Chicano-influenced, psychedelic cumbia set. I was blown away by their drummer, Nicholas Baker, who managed to simultaneously play the drums with one hand and Latin percussion congas with the other. As a native Southern Californian, it struck me how well they captured the spirit of Los Angeles and transported it roughly 1,300 miles away. Their sound reminded me of what I miss most about home: the rich cultural history and music traditions created, blended, and remixed time and time again by Angelenos. You can hear it in the waves crashing on the beach, the loud backyard parties that go on late into the night, and even the 50’s and 60’s oldies spun on K-EARTH 101 (a station that feels synonymous with growing up in SoCal). Hearing these familiar sounds fill a San Antonio venue felt like a piece of home had followed me to Texas. 

Next, Thee Sacred Souls came out to an excited crowd, who greeted them warmly with cheers. Their setlist spanned several years, combining recent releases like “We Don’t Have to Be Alone” with older tunes like “Weak for Your Love.” I was impressed by how intentional lead vocalist Josh Lane was about creating memorable moments for everyone in the audience, whether they were standing at the barricade or seated at the back of the lower bowl. In the midst of their set, Lane jumped into the surprised crowd and asked the audience to dance alongside him. A few minutes later, he began running around the lower area of the coliseum, which seemed fitting for their song, “Running Away.”

While I was impressed by the musicians, I particularly enjoyed seeing how the crowd responded to the music. Watching lovers slow-dance together as the world around them seemingly disappeared, friends sing their hearts out to each other, and feeling my own excitement continue to build made this concert a truly enjoyable experience. All three retro-inspired groups transported us to another time while creating a welcoming space where dancing and singing became a language we could all easily speak. For a few hours, being part of this shared experience made me, as I’m sure it did many other attendees, forget about all my other troubles or fears. As I (sadly) continue my life beyond the concert, I’m grateful to take away a “love so good that it overflows.” 

William Beckmann Concert Review

by Gaby Nieraeth

KRTU Student Intern & Host of the Indie Rodeo Club

8/29/2026, John T. Floore’s Country Store

If you’re like me, then you may have a bit of an internal struggle when supporting rising artists. On one hand, you want them to succeed and receive all the recognition you know they deserve. Yet on the other hand, you might selfishly enjoy seeing them in smaller venues for a price that doesn’t break the bank. That’s how I would describe my feelings for Texas country singer William Beckmann, who is in the midst of a busy year. Between opening for George Strait, releasing a new album, and joining Kacey Musgraves for her Middle of Nowhere tour, Beckmann seems well on his way to making it big. As a fan, I’m so glad to finally watch him receive the acclaim he’s long overdue for.  

On Saturday, August 29th at the legendary John T. Floore’s Country Store in Helotes, Beckmann kept the crowd dancing for his entire two-hour set. He switched effortlessly between high-energy singles like “She Can’t Be Found” and power ballads like “Not That Strong”. His musical influences were clear in both his original songs, which blend blues, honky-tonk, and even tejano, and his covers. His setlist featured songs by Elvis Presley, Bruce Springsteen, and Pepe Aguilar. 

Although originally from Del Rio, Beckmann now calls San Antonio home, and his love for the city is evident in the surprises he plans for local performances. During last year’s performance at Floore’s, he brought out a mariachi band for a highly receptive crowd. As the lights went down and he took the stage this past Saturday, I was curious to see what surprise he’d have in store this time. I thought to myself, “There’s no way he could top mariachis,” but to my delight, I was dead wrong. 

Instead of bringing out another large group to accompany him, Beckmann’s band stepped back to make room for his eighty-nine-year-old grandfather, Santiago. Together, they performed a touching rendition of “El Rey” by Vicente Fernández. The audience’s reaction was immediate, with someone at the back of the crowd letting out an impassioned grito.

This is a show that’s going to stay with me. Between the nods to his Texas-Mexico roots, his bilingual setlist, and his smooth-as-butter voice, I know I’ll be buzzing about this performance for a long while. 

If you missed him at Floore’s, you still have the chance to catch him in Austin opening for Kacey Musgraves in October. Just don’t be surprised if he’s deservedly playing on a much larger stage. 

Tune-in Mondays at 10pm to INDIE RODEO CLUB to hear artists like William Beckmann plus various country subgenres; from Tejano to Southern rock, INDIE RODEO CLUB is not your average country radio show. Blending country, indie, and all things y’allternative!

KRTU Honors Community Hosts

KRTU held its annual Community Host Appreciation and Awards Ceremony to honor volunteer hosts who bring their passion for jazz and indie music each week to the KRTU listeners at 91.7 FM in San Antonio, Texas, and worldwide through the KRTU APP,  and web stream at  KRTU.ORG.  The event was held on Thursday, May 21, 2026 at Tinto Y. Tapas. A restaurant and live jazz music lounge owned and operated by KRTU community hosts, Judi Deleon host of Smooth Sunday Jazz, and Henry Brun host of the Latin Jazz Sunday Brunch.   

The event also included an awards ceremony recognizing volunteer hosts who have reached milestone anniversaries with KRTU for their specialty shows on jazz and indie programming. The awards were presented by KRTU’s General Manager, JJ Lopez.

David Snyder, host of the New Orleans Roots Music Show, heard Mondays at 8pm, received recognition for 5 years of community volunteer service to KRTU.

Justin Boyd, host of DubJangle Bumpn'Drone, heard Sundays at 10pm, received recognition for 20 years of dedicated community volunteer service to KRTU and the indie community.  

Michael Thomas, host of Music For Listeners, heard Saturdays at 12am, received recognition for 35 years of dedicated commitment to indie programming on-air and in the community.

A posthumous Lifetime Achievement award was presented to Daisy Canavati, the wife of community volunteer host Jorge Canavati, in grateful appreciation for Jorge’s 16 years of dedication and commitment to KRTU and his international radio show Jazz de Mexico.

KRTU Station Manager, Monica Reina, said, “KRTU is fortunate to have dedicated volunteer community hosts who graciously share their time, passion, and music knowledge with our listeners and supporters. Their specialty shows set KRTU apart from other commercial and non-commercial radio stations by providing  insight and appreciation for the music every time they crack the mic. We are truly grateful for all of our volunteer hosts who brighten and inspire our community of jazz and indie listeners in San Antonio and around the world.”

Photos courtesy of KRTU summer intern, Carmen Coulon

Buttercup Interview & Concert Review

Buttercup

Interview on Live and Local

Thursday, March 5th, 2026

Hosted by KRTU intern: Keira Cahill

Buttercup presents Send More Yellow, a double album packed with dynamic new songs that reveal the full spectrum of the band’s creative fire. KRTU student intern Keira Cahill had the opportunity to interview founding member, Erik Sanden, to discuss the creative process behind making the album and the longevity of the band.

Listen to a playback of the interview HERE.

Buttercup Concert Review

By Keira Cahill

March 6, 2026 @ The Empire Theatre

Walking into the Buttercup concert at the Empire Theater, I was hit by a sea of indie middle-aged patrons, strolling and chatting as they waited for the act. On the path to locate my seat, I was approached by a faceless sheet ghost costume, the kind you put on when your mom forgets it’s Halloween. The figure skipped between the rows, handing out small paper slips that read, “You are beautiful.” 

The air in the theater was positive and laid back; I was immediately distracted from the fight I had with my boyfriend earlier that day and the mountain of homework waiting for me back home. Climbing the steep stairs to the balcony, my excitement for the coming performance grew. 

The curtains opened on a theatrical camping setup: a small red tent, assorted plastic pine trees (likely pulled from Christmas attic storage), and a strobe-light campfire. Notably missing from the stage were the Buttercup band members, but this confusion was soon answered as they exited the tent dressed to the nines in lumberjack costumes.

The room was high with energy and brimming with indie rock twang. The setlist was diverse; it pulled from old hits and the newest album, Send More Yellow. As the music built, lumberjack flannels and cowboy hats were ripped off to reveal skin-tight sequin shirts and black skinny jeans. The audience roared in approval. The climax of the concert came during Henry B. Gonzalez, off their 2017 album Battle of Flowers, a rocking song with heavy electric guitar and crashing cymbals. The energy from the stage shot through the audience; a group of women, unified by long grey hair and flowy linen dresses, moved towards the stage, swaying and dancing together. It was impossible not to enjoy.

The Buttercup concert got the crowd up and on their feet. The quirky set design, costuming, and heavy guitar combined to make a show that was both comfortable and exciting. Rather than feeling like a concert venue, the energy in the Empire Theater brought me back to dancing at high school garage shows: casual, sweaty, and fun. The patrons came to the Empire for a good time, and Buttercup fulfilled that promise.

Rainbow Kitten Surprise Concert Review

By Caroline Landdeck

Rainbow Kitten Surprise’s (RKS) completely distinct tone and artistry is almost as diverse as the crowd that was gathered on October 13th, 2025 in downtown San Antonio. From the bearded old men and parents with small ear-protected kids in the balcony, to the teenagers, 20-somethings, and middle-aged millennials scattered between them and filling the floor below, everyone was collectively entranced by what was going on in front of them. As RKS entered the Aztec Theatre, the audience was completely enthralled by their captivating sound and visual effects that set an intimate and dynamic atmosphere, immersing fans almost as much as the band’s performance. 

 The opener, Jelani Aryeh, got the crowd pumped up with his lively stage presence and charisma that charmed and excited the audience for more to come. Similar to RKS’s multi-genre inspiration, the Gen-Z artist incorporates a modern alternative/indie pop sound with rock and R&B influences, leaning into experimental, upbeat sounds and passionate lyricism. The atmosphere Aryeh brought to the venue led perfectly into the RKS set and only heightened the already intense anticipation built up in the crowd. 

After a short break that only stirred more excitement as roadies (stage/band technical crew) reset the stage, RKS finally made their entrance with their first song, “Hide.” The set that followed incorporated a diverse blend of their discography, with hits off their newest album, along with deep cuts and fan favorites off of even their oldest releases. The songs also varied drastically in style and sound with the band somehow seamlessly transitioning between each. As RKS has evolved in style, genre, and as individuals throughout the past 12 years of performing, their sound and energy still retains their indie-rock and indie-folk soul, with their newer music leaning into more synth and electronic elements. They have also perfected a way of incorporating their music and performance with visual effects that allow more opportunity for artist intention, therefore delivering a heightened experience of the music for the audience. The lead singer, Ela Melo, is the major contributor to this effect as she danced around the stage and interacted with the audience and other band members, using her body movements as its own visual effect. She ran to the red light emanating from the corner of the stage, reaching out toward it at the end of “Devil Like Me” as she finished singing “What do you want from a devil like me? Am I like you?” She depicts other visual representations of lyrics throughout the show such as her dramatically collapsing like a doll and even more generally just matching the tone of the songs by jumping up and down with the crowd during energetic moments, and sitting on the stage stairs for slower, more intimate songs. Although the rest of the band remains more stationary, they feed into her performance by playing back to back with each other and getting into the music as she does, especially as she comes around to sing with each of them. 

The musical elements within each song contribute to this meaningful atmosphere as well, with big breaks of empty space and complex chord progressions that enable big drops and goosebump-inducing resolutions and refrains. Moments of isolated harmonies allow for a deep, more personal tone that touches the audience, while the stark transitions between built up repetition in lyrics with a quick high hat and big releases of simple back beats and large vocals, provides a more all-consuming effect as you are overwhelmed with the impact of the music. 

The band felt very open and the tone of their performance and deep, personal lyrics seemed to create an all-inclusive community within the crowd. After sharing their intense gratitude to fans and supporters of RKS, the night wrapped up perfectly with the crowd singing along to “Freefall” under the glow of the Aztec Theatre lights. 

Durand Jones & The Indications Concert Review

By Gaby Nieraeth, KRTU Student Intern

As retro-inspired R&B groups seem to continually gain popularity, Durand Jones & The Indications (DJI) continue to carve out their distinct place within the genre. Rhythmic bass lines along with soaring falsettos from drummer Aaron Frazer, paired with the deeply-soulful vocals of Durand Jones transported the San Antonio audience at the Aztec Theater on September 15th. The sound didn’t quite throw back entirely to the 1970s nor exist fully in 2025, but instead lived in a unique in-between space. 

Before DJI took the stage, The Psycodelics (Instagram: @thepsycodelics) had the crowd mesmerized by their high-energy funk infused set. As I looked out amongst the crowd, I saw a sea of heads bobbing along to the rhythm. Cheers rang out as bassist and lead vocalist Cameron ‘Caminator’ Wescott led the group into song after song. While you may be able to hear the heavy influence of the 1970s in their sound, in a 2023 article for the Charleston City Paper, Wescott noted that they pull influence from “...sounds and ideas musically from back in the ‘60s, ‘70s, ‘80s, ‘90s, and 2000s - everything up until now - and put it all together. There’s no certain time period.” 

After a short break, DJI (Instagram: @durandjonesandtheindications) took the stage to the rapturous cheers of an excited San Antonio crowd. Frazer proudly called the performance a “hometown show.” San Antonio was a key stop in the group’s early days, as Jones explained in a 2021 interview with Indianapolis Monthly that their first show in San Antonio marked the beginning of realizing the legacy they had tasked themselves with upholding and pushing forward. The show was transformative not only as a group for DJI, but for Jones, who now calls San Antonio home; “I immediately fell in love with San Antonio after that.”

That love was definitely reciprocated by the crowd at the Aztec Theater. The energy was absolutely electric, as lovers clung to each other, friends sang along, and strangers exchanged smiles. The setlist spanned their entire discography, from the 2016 debut album track “Is It Any Wonder?” to “Really Wanna Be With You” off their 2025 release Flowers. I was blown away by Frazer’s airy vocals, which created a dreamlike atmosphere. Jones’ voice was a powerhouse, and his stage presence was enchanting. He high-fived fans on the barricade and danced like no one was watching. One of the most moving moments came during “Love Will Work It Out”, with its promise that “joy will set us free if you so believe” and “don’t you ever doubt that love will work it out.” The song felt like a seed of hope and a reminder of love’s power in a deeply divided time. 

From The Psycodelics’ high-energy funk to DJI’s smooth neo-soul, the night was a celebration of love, hope, and the timeless power of music. 

Flood Relief Benefit Concert @ The Hoppy Monk

Flood Relief Benefit Concert
Saturday, September 6, 2025
6:00 PM - 10:00 PM
The Hoppy Monk
Free Admission

Join KRTU for an evening of drinks, food, a silent auction and music by DJ JJ Lopez, Dylan Lee, Humiliation Ritual, and Collective Dreams. This event will raise awareness and support for Kerrville Pets Alive! and their efforts to help the animals affected by the Texas Hill Country floods.

Let's come together as a community and make a difference in the lives of these animals! Friendly pets on leash. are welcome to join their human companions on the patio. 

Thank you to all who came out to support this event. Read a recap published in Trinity University’s news paper, Trinitonian.
KRTU lends a paw to Kerrville Pets Alive!