Live music is the best. In 2025 I indulged in this treat a few times. So many times I hit a new personal best in amount of live shows, artists seen, artists seen for the first time, etc. I felt the impulse to buy tickets to nearly every concert that struck me in a certain way, and it just felt like every artist I enjoyed in the last year was on tour.

Below you’ll find my Top 10 favorite live shows of 2025, listed alphabetically, but it also so happens that the first concert listed was also my favorite. Funny how that works out. Below you’ll find fuller stats about the concerts I attended in 2025, along with a full list. It’s some real nerdy, number-counting business, but I know someone out there cares… right? Yes! Live music is the life blood of society! We must support artists wherever we can! huzzah!

Warm Visions’ Top 10 Favorite Concerts of 2025, listed alphabetically:

Autechre @ Brooklyn Steel

A complete and total assault. An alien brain scan that entered through the crown of the skull and exited through the bottoms of your feet. I mean what can I say at this point? I bought a well-priced resale ticket on a whim after seeing the rave reviews from friends who’d caught them earlier in the tour. If you’re unfamiliar, Autechre are an English electronic duo that have been pushing the boundaries of the genre since the 90s, being lumped in the same “intelligent dance music” bunch with Aphex Twin, Squarepusher and Boards of Canada. Their music ranges from generally glitchy yet melodic to punishing, obtuse psychological torture experiments. I’m not a heavy Autechre head like many other people on this run, but I gotta pay my respects. Plus seeing how much Sophie loved them too and saw them every time they played Scotland or England… that was a big push.

The show itself though: Autechre made it a point to perform in rooms as pitch black as possible. They’d have all the lights in the venue off, save for the ones where if the venue didn’t have them on they’d likely get sued, ie dim guiding lights on stairs and illuminated exit signs, which I heard Autechre also wanted to have shut off. This lead to more or less an experience at a venue I’m very familiar with being completely alien to me, as I staked out a spot before everything plunged into darkness.

Once the show stared, it went hard for an hour and a half. It was dark, and the bass buffeted my body, making me feel at points like my clothes were vibrating. And I was relatively in the back! Alien formations of sound bubbling out of strange geography, futuristic machines execute their physics-defying tasks. Squiggles of melody squirming out of the most abstract patterns, suddenly sounding like the backbone of a throbbing electro-pop song, only for it to mutate further and fall apart right before our eyes.

Speaking of eyes – the one complaint I have about this show was that despite the duo’s directive of “no phones in the dark,” that didn’t prevent people from A) taking their phones out to take a picture of a PITCH BLACK ROOM with the FLASH ON, but also B) goof off on their phones the whole show. I had a guy in front of / next to me that was the most “on his phone cause he’s bored” guy of all time, switching from app to app with no real purpose, just giving his mind something to fiddle with, polluting the space with shifting phone light, as he’s bearing witness to one of the most incredible feats of sound we’ve ever seen. God forbid you’re alone with your thoughts for an hour and a half. And of course, like the memes fortold, there were people farting around me, like others reported throughout the tour. Why people need to act like they do is beyond me. All in all though, it was a total mind-blowing experience and the best $40 spent all year.

Cameron Winter @ Carnegie Hall

Geese’s lead singer, hot off the brilliant press and attention around both the Geese and solo record he put out at the end of the year, became one of the youngest solo performers to play at Carnegie Hall in its history, joining the ranks with Joan Baez and Bob Dylan. Not too shabby! This though felt like an antidote to bullshit. He walked out to thunderous applause and performed his strange, warbly American folktunes with just a piano as his backing. It was WEIRD. Cameron’s music is strange. And he didn’t hold back. Director Paul Thomas Anderson was on hand to film the entire thing. I saw celebrities like Alia Shawkat, R.E.M.’s Michael Stipe and Phish’s Trey Anastasio. The people came OUT to the city to support their New Americana sorcerer. Makes me think about how in the 1970s, Miles Davis regularly performed his wild and shaggy jazz funk to thoroughly perplexed audiences, a far cry from his Kind of Blue days. Sure it was likely a hot ticket because it’s Miles Davis, but you’re getting treated to a somewhat outsider, inspiring, out of the box performance. Thank goodness we had this.

Chanel Beads, Safe Mind, Huerco S., Oli XL & Eve Alpert @ 99 Scott

On some of these Top 10 listings I featured just the headliner, or whichever artist blew me out of the water most. In this case, I included the whole lineup just to help give context to the batshit nature of this show and concert series that was thrown at objectively bad-for-shows venue 99 Scott.

This was the final show in a series of three, where the producers billed it as an “exploration of sound and light.” Previous headliners were Julia Holter and L’Rain – two great artists I was so excited to catch and sure enough put on fabulous shows. The catch is that the attendance for these first two nights (which took place on three consecutive Fridays in April), was woeful at best. This all changed on the night hometown heroes Chanel Beads headlined.

The night started off with an Eve Alpert (of Palm, Kassie Krut) DJ set that was as challenging as expected. Next was criminally-slept on, drain-adjacent producer Oli XL, who has been in production / label hell delaying his follow-up album to 2019’s Rogue Intruder, Soul Enhancer. He spun a DJ set with a lot of his own edits, along with a few of his own songs, further getting the crowd warmed up. Next up was ambient experimentalist Huerco S., who I’d seen prior opening for Midori Takada in 2018 or so. It was a deeply bass-heavy set, and was giving the sound team fits, with Huerco’s sound repeatedly cutting out, or the bass getting completely cut out of the mix. Sound issues were a theme throughout the series, with Discovery Zone getting heckled about turning down her bass, to Armand Hammer sounding truly terrible despite live production from DJ Haram. At a certain point though Huerco had enough, and after one too many cut-outs, he slammed his laptop shut and stormed off stage. I don’t blame the guy!

Moving onto the final two acts of the night, which is where it really picked up. I wasn’t familiar with Safe Mind by name at that point, but realized immediately it was prolific songwriter LUCY aka Cooper B Handy and Augustus Muller of Boy Harsher. Despite only having one song out officially, there was a cadre of Bushwick girls at the front of the crowd singing along to every song. It helped the crowd get rowdy, which is how we get to the insane energy spiraling around headliner Chanel Beads. At this point, the venue that had been maybe a third full for Julia Holter and L’Rain, was now seemingly splitting at the seams, its long, chasm-like design providing the least amount of visibility to those unfortunately stuck in the back (testimony from people I talked to after the fact). I had soldiered to maintain my position near the front, and my perseverance paid off. Chanel Beads’ opener was an extended instrumental piece, building momentum with violin and pedal steel courtesy of More Eaze, while the bass boomed oppressively overhead. Once vocals came in though, it was game over. The whole front of the crowd were singing along to each song. There was a guy in the front row that was recording the whole show. There was a fan that kept asking Chanel Beads’ singer what the name of each song was. There was moshing, there was hugging and singing along, it was beautiful.

Then we add in elements of 99 Scott being a venue full of, let’s say, surprises. There were obvious tech issues in their setup immediately as Chanel Beads started, much like every other artist in this series. That’s simple enough. What didn’t happen in the other shows was the lights going completely out (Autechre, is that you?) and then ALL the lights coming back on. Every light in the building on, at its most white and fluorescent. The show persisted. There was a moment during the blackout where the bass was so intense I caught on camera a guy next to me going “ohhh my goddd” his voice distorted as it was squashed into the clown car speaker of my phone along with the bass. Eventually the lights return back to normal, and the show continued, with songs like “Police Scanner” and “Embarrassed Dog” eliciting major reactions. With all the technical errors, and the crowd’s electric energy, this was a show I had to have in my Top 10, despite this night being my least favorite of mine in the series, lineup-wise. It was a special night for NYC, that’s for sure.

Gelli Haha @ Night Club 101

I mentioned it in the blurb about my favorite albums of 2025, but when have we seen an artist come out so fully-formed with an aesthetic and sound like Gelli Haha? Well maybe something has to do with her cultivating a great scene around her in Los Angeles, performing this show for years now. But what a show it is: props! choreography! trampolines! matching outfits! What a beautiful thing to witness and truly be a part of, and kudos to Gelli and the other Haha’s in her group for putting on this theatrical, inspiring show at nights across the country.

Holy Fuck @ 13th Floor

The final act I saw at SXSW this year. Holy Fuck are a long-running indie electro rock group from Toronto who I’d been a casual fan of since I started getting into indie music in around 2010 or 2011. Their 2016 album Congrats is one that I promoted to radio in my day job back in the day, so I had experience with the band. I hadn’t seen them billed on any shows for a good while, so I thought why not catch them and see what the show was like. VERY glad I did, as the guys brought out loads of vintage tech and gear, coming together for hit after hit of classic, 00s DFA Records-inspired electro-funk and rock. Deeply psychedelic, heavy grooves with distorted, yelpy vocals brought me right back to 2006, where I was NOT seeing bands like this, but kind of absorbed the knowledge from the time period as I was getting into the music. Perfect capper for a wild week, and an alarm call to see Holy Fuck if you ever see them coming to town.

Jamie xx, Carl Craig, Carlos Souffrant & Marie Davidson @ Under the K Bridge Park

Very grateful to have bit the bullet and got a ticket to one of Jamie xx’s nights at Under the K Bridge Park, where the night I went had the psycho majesty of Marie Davidson, but also pure Detroit house / techno royalty in Carl Craig and vaunted newcomer Carlos Souffrant. I had a blast dancing to the groovin techno those two laid down after getting my hair blown off by Marie Davidson. Then the headliner, Jamie xx, was as euphoric as I’d hoped. Blending in his own tracks with elite selections, combined with the fact I ran into a group of buds who LOVED Jamie xx, I can’t remember the last time I had that much fun at a show. In a crowd of people, it was all pleasure and feeling.

Justice & Kaytranada @ Barclays Center

By far the biggest show I went to this year (runner up being Nine Inch Nails, also at Barclays), Justice and Kaytranada was a night of partying that felt like could go on forever. Kaytranada brought all the hits along with groovier cuts off his new, instrumental record, all from a suspended platform in the middle of the arena that raised and lowered depending on the song, and was hooked up with cameras that fed into a projection screen where the main stage was. It was a goofy, feel-good, fun time and Kaytra was obviously feeling himself. As were the groups of people around me, all dancing – vibes were good.

Justice on the other hand was a hulking, titanic performance of sheer volume, both sonically and visually. Their light show was unmatched, with a modular rig that moved between songs or as songs morphed into others. There were cameras attached to the light rigs that showed the two guys on massive screens flanking their setup. Music-wise, I mean how can you complain? They brought their early hits into the maximalist new setup that suits the sound from 2024’s Hyperdrama, an album that undoubtedly revived their career. It was thrilling to say the least, an unreal Sunday night of volume.

Silvana Estrada & Bedouine @ Webster Hall

I knew Silvana Estrada had a special voice, but I didn’t realize it was going to be like THAT. One of the few concerts I got to go to with my wife this year, and she picked a good night to be free. Bedouine is one of her favorite singer/songwriters from the last decade and had never seen her before, so this was special for her. She decided to stay for the headliner despite not having listened to any Silvana ahead of time, a choice that paid off greatly. There was a buzz in the air before she even stepped on stage, as Webster Hall looked as crowded as I’d ever seen it, with fans waving Mexican flags with pride. Then Silvana came out with her band and it was pure magic from there. Her voice is one that could have sold out clubs and theaters decades in the past, and yet here we are being lucky enough to hear it now. The band was electric, Silvana’s overall performance was just beautiful (and I spotted that quick Portishead cover!) along with an incredible cover of Solo Le Pido A Dios, a powerful protest song. Totally floored.

Underworld @ Kings Theatre

For a while this was reigning as my show of the year, but that title is likely ceded to Autechre. That’s not to dampen the intense euphoria I felt during and afterward this show, though, because wow. I was invited by my friend in music Kara, who graciously gave me her +1. The show had also just been moved from the much-maligned (by me) outdoor EDM venue Brooklyn Mirage to the legacy theater Kings Theatre after the Mirage encountered many issues clearing safety inspections, and ultimately had to shut down later this year.

Underworld though: brilliant. Four to five decades in the game and they still have all the energy, all the lights to command an audience of fans going ballistic. I have a video clip of “Two Months Off” saved on my phone that saw not only everyone on the ground floor dancing like maniacs, but I pan my camera up to the balcony and see everyone up there standing up, jumping around, waving their arms in the air, and generally freaking out. It was electrifying music, and of course “Born Slippy (Nuxx)” popped off too. Duh.

Yasuaki Shimizu @ National Sawdust

File this under “artists I thought I’d never get to see live.” Japanese experimental music legend Yasuaki Shimizu played his first-ever “real” shows in the United States this spring, much to the delight of hopeless music nerds like myself and as many people can cram into National Sawdust for two nights. Shimizu performed a heady, mind-blowing set of saxophone skronking, glitchy electronics, goofy spoken word, and more, and just generally seemed like a jolly, grateful guy to have gotten to perform shows in the States in the first place.

MORE MEMORABLE LIVE MUSIC MOMENTS of 2025, listed alphabetically:

• Air performing all of Moon Safari was a major highlight, definitely teared up a few times during that. Also was there with some cute friends and we all geeked out over it after.
• Alex G and Nilüfer Yanya performing at Radio City Music Hall and getting engulfed in it. They filled the space the best they could but holy cow. Also all the teens that were wigging out about Alex G’s old, OLD stuff. Funny how that works out.
• Anamanaguchi covering “Hopes & Dreams” from Undertale and watching the crowd absolutely lose their minds.
• Shout out to Automatic’s deflated, lumpy kick drum.
• I somehow scored a ticket to see Beck perform at Bowery Ballroom while he was in town for SNL’s 50th anniversary. He played an acoustic set with songs mostly coming from Sea Change, Mellow Gold, Mutations and Morning Phase. Even though I don’t listen to him much anymore, he’ll still have a huge cushion of grace in my taste, and maybe being the first artist to introduce me to “sad” music with Sea Change.
• Beth Gibbons for plainly being Beth Gibbons, and playing one Portishead song, “Roads.” I remember the lights being excellent at the show as well.
• Bitchin’ Bajas projecting live, psychedelic visuals across the whole room at Union Pool, making it look way bigger than it actually is.
• Cindy Lee was by far the most surreal show I’d experienced all year. I’d been looking forward to it for years at that point since she had cancelled her tour dates in 2024. She flipped two dates at Union Pool to two at Brooklyn Paramount, which is absolutely insane. I had to wonder how many people were there because they really loved Cindy Lee’s music, or if it was simply due to it being a hot ticket show. The best reviewed record of 2024, not on streaming, cancelled tour dates, enigmatic persona… it all added up to being a perfect storm of weird circumstances. Case in point I got stuck behind some likely CEO type dude and the family members he had brought, along with his 20-something assistant-turned-girlfriend, who once the concert began, started to flail about like she was at Coachella in the middle of a field, not in a sardine-packed concert hall. Plus with Cindy’s act being better fit for smaller clubs, it gave the whole show an eerie glow; like the ghost of a dead performer who had a residency at the theater reanimating for two more shows before she drifted back into the beyond. If I didn’t have this wholly obnoxious group of people in front of me at this show and I could actually see, I bet I would have enjoyed it a lot more. “Burning Candle” at the end is still a major highlight.
• Outfit changes and dance moves at Confidence Man, and y’know, the unrelenting euphoria that comes with listening to their music.
• Cut Copy brought me RIGHT BACK to 2011 and it was beautiful. “Hearts On Fire” forever.
• A dude during Discovery Zone at 99 Scott yelling to “turn down the fucking bass,” which admittedly the sound at 99 Scott is absolutely turbo-ass.
• Hadn’t listened to Elori Saxl before but seeing “The Blue of Distance” made me tear up.
• My Freak Heat Waves‘ “Music Has An Interesting Power” bumper sticker, also watching the crowd at Cindy Lee totally befuddled by Freak Heat Waves’ incomprehensible groove.
• The whole Geese show at Brooklyn Paramount was incredible, but there was a moment that I told a few friends that made them as incredulous as I was when it happened. During the last song of the set, “Long Island City Here I Come,” a huge portion of the crowd was moshing, as they were most of the show. Some person standing in front of me in the VIP balcony with I’m assuming her coworkers, turns to one and shouts “look at all those kids moshing, that’s cute. They’re just moshing so they can say they moshed to Geese. This is all performative, it’s performative moshing.” This was said by someone who was talking through the entire show in the VIP balcony. Thinking about a band one would mosh to… let’s say Metallica, I guess. I could picture them viewing the show from a box suite rather than moshing. Certain music industry stooges like that really curdle my enjoyment, but people like that are everywhere. The show was amazing regardless. Shout out to Geese fans, not the stooges gawking and judging a hot ticket.
• Seeing Grizzly Bear for the first time in 16 years. First time was 2009 at the Michigan Theater in Ann Arbor, MI. Had to reconnect with my white heritage and see them again, and it was oh so sweet. Being with a crew of folks that likewise were losing their mind over Veckatimest and Shields tracks was also nice.
• Visiting the Public Records Upstairs room for the first time, for an Ichiko Aoba set no less, was a formative experience. Been thinking about it since. It basically looked like a room I’ve described in “Warm Visions” descriptions for the last few years: skylights, huge tropical plants in corresponding sized planters, luxurious fragrances, wood-accented speaker systems, glass tables, modern design booths. Most spaces slathered in white. What a dreamy place.
• Japanese Breakfast telling on herself that the only other time she’d seen a show at El Museo del Barrio was for Joanna Newsom in 2019, which was the only other time I’d been there. Cool to see an artist: 1) also love Joanna Newsom and 2) perform at a specific venue just because of her.
• Tearing up to Kelly Moran covering “Merry Christmas Mr. Lawrence.”
• L’Rain. That’s the whole thing. If they play NYC I will see them. You should too.
• Lunar Vacation unexpectedly being the last artist to perform in the venue Brooklyn Made, which abruptly shut down later that week due to money disputes between the two owners.
• It’s funny when you see an artist that’s massively popular so you’d initially brushed them off, until it turns out they’re popular for a very good reason. That was Maren Morris for me. She played at a radio conference I attended and not only was her performance excellent, but she could HANG with the banter as well. Tipping my cap to you, Maren!
• Moin being the loudest show I attended all year.
• Went to Nine Inch Nails at Barclays Center on a whim when I saw resale tickets that were the right price and did not regret my decision one bit, despite being a casual-at-best NIN fan. An insane light show and production value. I’ll also note on both sides of me were two, as I’d like to call them, wet sandwiches. They did not move during the show and left before the encore. They didn’t even clap. Why are you at a concert?
• Ora the Molecule‘s disco ball helmet and futuristic / retro getup. Elite!
• Guy standing in front of me at SML with his girlfriend and completely wigging out at every track. He was having the time of his life, it was awesome.
• Hearing vintage Waxahatchee and Swearin’ tracks at the Snocaps show – ones I thought I’d never see performed live. The show as a whole was fairly low-energy, though. To me it maybe felt like they were just doing this tour to satisfy a need and not out of pure desire. But how many bands tour with pure desire anymore anyhow?
• Seeing the “Sparks dance moment” during Sparks at Non-Comm. Shout out Eric.
• SUSS at midnight on the second night of SXSW, making the crowd at Elysium feel like they were on a ship floating in deep space.
• TOPS show with my wife and both of us flipping out when Marci performed her solo song “Immaterial Girl.”
• Union Pool Summer Thunder shows (in this case, Frankie Cosmos, Juan Wauters, Gunn-Truscinski Duo & Real Young, Lazy Horse) are always a good time. I inevitably run into someone I know there, and despite the oppressive summer heat, seeing an artist for free and outside is essential for my wellbeing.
• Had my first Nowadays experience at the STROOM showcase with Voice Actor, Merope & Milan W, among others I didn’t stay for. I got there for Merope, a duo that plays Eastern European-inspired ambient folk, and had Laraaji sitting in with them. Everyone was sitting on mats on the floor, some splayed out like starfish in a not-so-big room. I tried to step over people to find an open spot, and one person hissed at me “NO SHOES ON THE MAT,” and generally the live concert etiquette there was pretty terrible, despite each group of people let into the venue being held in a vestibule before entering and being made to verbally agree to the rules and conduct policies. A bizarre night for sure! Then it took me an hour and a half to get home!
• Finally got to see Wednesday‘s “Bull Believer” performed live. Hits like a truck.
• Yo La Tengo Hanukkah was of course a major highlight on the year. Not my favorite set I’ve seen of theirs, with a few tracks I’ve seen multiple times now, but no less thrilling when they turn up the volume and carnage. Opener was This Is Lorelei, who I’d seen earlier this year open for Grizzly Bear. The comedians were Clare O’Kane and Patti Harrison, who I was pretty excited about and neither disappointed. Then the special encore guest was Norah Jones, which I somehow called when I caught a glimpse of her sidestage. She got very famous for a reason! What a voice!

FULL LIST OF SHOWS + STATS:

• 104 shows (new personal best)
• 181 different artists/bands seen live
• 196 total performances
• 138 artists/bands seen for the first time
• 14 artists seen more than once in 2025
• 37 + 12 different artists seen at SXSW and NON-COMM, respectively
• Venue leaderboard:
  • Brooklyn Steel – 9 shows
  • Bowery Ballroom – 6 shows
  • Brooklyn Paramount – 6 shows
  • Warsaw – 6 shows
  • Baby’s All Right – 5 shows
  • Public Records – 5 shows
  • Union Pool – 5 shows
• # of shows by month:
  • January – 1 show
  • February – 4 shows
  • March – 11 shows
  • April – 6 shows
  • May – 16 shows
  • June – 4 shows
  • July – 1 show
  • August – 6 shows
  • September – 15 shows
  • October – 18 shows
  • November – 12 shows
  • December – 9 shows

+++

Full list of shows + artists seen, sorted alphabetically:

• Adrian Quesada @ Lena Horne Bandshell / Prospect Park
• Air & Hayes Bradley @ Brooklyn Paramount
• Alex G & Nilufer Yanya @ Radio City Music Hall
• Amy Millan @ Mercury Lounge
• Anamanaguchi & Ovlov @ Brooklyn Steel
• Anand Wilder @ Rough Trade In-Store
• Arc de Soleil @ Brooklyn Steel
• Autechre @ Brooklyn Steel
• Avalon Emerson (DJ Set) @ 169 Bowery
• Beck @ Bowery Ballroom
• Beth Gibbons @ Beacon Theatre
• Bitchin Bajas @ Union Pool
• Black Country, New Road, @ (at) @ Bowery Ballroom
• Blue Lake, Ezra Feinberg @ Public Records
• Cameron Winter @ Carnegie Hall
• Chanel Beads, Safe Mind, Huerco S., Oli XL, Eve Alpert (DJ Set) @ 99 Scott
• Cindy Lee & Freak Heat Waves @ Brooklyn Paramount
• claire rousay & Kelly Moran @ Powerhouse Arts
• Cole Pulice @ Public Records
• Confidence Man @ Webster Hall
• Cut Copy & Ora the Molecule @ Brooklyn Steel
• Danny Brown @ Warsaw
• Disiniblud & Elori Saxl @ National Sawdust
• Erika de Casier & Smerz @ Knockdown Center
• Esther Rose @ Baby’s All Right
• Fcukers @ Brooklyn Steel
• Fcukers & Voyeur @ Warsaw
• Florist & Allegra Krieger @ Bowery Ballroom
• Frankie Cosmos & Juan Wauters @ Union Pool
• Freak Heat Waves & Jack J @ Baby’s All Right
• Fusilier @ Public Records
• Geese @ Brooklyn Paramount
• Gelli Haha & Shallowhalo @ Night Club 101
• Grizzly Bear & This is Lorelei @ Brooklyn Steel
• Gunn-Truscinski Duo & Real Young, Lazy Horse @ Union Pool
• Hannah Jadagu @ Paulie Gee’s (for Wild Honey Pie)
• Hayden Pedigo @ Night Club 101
• Ichiko Aoba @ Public Records Upstairs
• Jamie xx, Carl Craig, Carlos Souffront, Marie Davidson @ Under the K Bridge
• Japanese Breakfast @ El Museo del Barrio
• Japanese Breakfast & Ginger Root @ Brooklyn Paramount
• Jens Lekman @ Music Hall of Williamsburg
• Julia Holter, Discovery Zone & Niecy Blues @ 99 Scott
• Just Mustard & Miss Grit @ National Sawdust
• Justice & Kaytranada @ Barclays Center
• keiyaA @ Night Club 101
• Kelly Lee Owens @ Warsaw
• Kelly Moran @ Lincoln Center Underpass
• Kerala Dust @ Music Hall of Williamsburg
• Kokoroko @ Brooklyn Steel
• Kokoroko @ World Cafe Live
• L’eclair @ TV EYE
• L’Imperatrice @ Terminal 5
• L’Rain, Armand Hammer @ 99 Scott
• Lunar Vacation @ Brooklyn Made
• Maral @ Elsewhere Zone One
• Maribou State @ Union Transfer
• Mary Lattimore & Thunderwerld @ Union Pool
• Mereba @ Webster Hall
• Moin & Dagmar Zuniga @ Baby’s All Right
• Molchat Doma @ Knockdown Center
• Nine Inch Nails @ Barclays Center
• NON-COMMvention Day 1 – Jensen McRae, The Head and the Heart
• NON-COMMvention Day 2 – Tune-Yards, Orla Gartland, Personal Trainer, Bartees Strange, Counting Crows
• NON-COMMvention Day 3 – Margo Price, Maren Morris, Tunde Adebimpe, Sparks
• NON-COMMvention Day 4 – Sunday (1994)
• NoSo @ Baby’s All Right
• NxWorries & Rae Khalil @ Brooklyn Paramount
• Obongjayar & chlothegod @ Music Hall Of Williamsburg
• Oklou @ Knockdown Center
• Ora Cogan & Tasha @ Elsewhere Rooftop
• Ora the Molecule @ Nightmoves
• Oracle Sisters @ Elsewhere
• Pearl & The Oysters @ The Sultan Room
• Purity Ring @ Brooklyn Steel
• Quadeca @ Irving Plaza
• Sam Prekop @ Public Records
• Sextile, Automatic & Discovery Zone @ Warsaw
• Silvana Estrada & Bedouine @ Webster Hall
• SML @ The Sultan Room
• Snocaps & Ryan Davis & The Roadhouse Band @ Bowery Ballroom
• SPELLLING @ Music Hall of Williamsburg
• spill tab @ Baby’s All Right
• Spirit of the Beehive @ Warsaw
• SXSW Day 1 – Yoshika Colwell, Cloth, Gurriers, tamanaramen, Chrysalis
• SXSW Day 2 – Volcán, LP Giobbi, Maruja, youbet, Cashier, untitled (halo), Cloth x2, Daniela Pes, Lara’, billy woods, SUSS, corto.alto
• SXSW Day 3 – Sofie Royer, Case Oats, Betty Taylor, Dutch Interior, SHISHI, Delivery, dogs on shady lane, Sweeping Promises, Sly5thAve, Sofie Royer x2
• SXSW Day 4 – Ali, Mobley, Confidence Man, Her New Knife, Sofie Royer x3, YHWH Nailgun, billy woods x2, Quiet Light, Tagua Tagua, La Securité, Living Hour, Maruja x2, Water Damage, Holy Fuck
• Tara Clerkin Trio & Wendy Eisenberg @ Night Club 101
• Thundercat @ Brooklyn Paramount
• TOPS @ Webster Hall
• Tortoise, Bill Orcutt @ Bowery Ballroom
• TSHA @ The Concourse Project
• TV On the Radio, Flying Lotus, Sudan Archives, Moor Mother & SPELLLING @ Under the K Bridge
• Underworld @ Kings Theatre
• Voice Actor, Milan W, Merope @ Nowadays
• Wednesday & Daffo @ Brooklyn Steel
• Westerman @ Ki Smith Gallery
• Wet & Julie Byrne @ 99 Scott
• Winged Wheel & Gift Horse @ Union Pool
• Yasuaki Shimizu @ National Sawdust
• yeule @ Warsaw
• Yo La Tengo & This Is Lorelei (+Clare O’Kane, Patti Harrison & Norah Jones) @ Bowery Ballroom
• Zsela & Pachyman @ 30 Rock (Indieplaza)