Another weekend at the Austin City Limits Music Festival is in the books as of October 6. Halfway in, 2024 feels different, in a very good way.

For a few years, CultureMap hasn’t indulged the big-stage headliners in our highlight reels, even if we absolutely loved them. We’d rather spend our words on folks still working their way up, and there’s only so many ways to cover the same show every other outlet is talking about. But this year, one non-headliner stole the show so hard, we almost rethought our approach.

Chappell Roan threw a wrench in our plans by playing such a popular show, it felt like a headliner, and even overshadowed everything else at the fest. But it’s not up to us to decide Roan’s set was too exciting or too talked-about to count — she wasn’t a headliner, so she’s on our list. Those breakout sets are exactly the beauty of festivals.

Beyond that superstar debut, this year’s lineup was relatively well-varied; showcased some niche and emerging acts; and trusted that festival-goers could handle a multitude of long jams and largely instrumental sets. The initial announcement left some would-be attendees feeling old, but others embraced the opportunity to catch up.

More on all that will likely be coming in next week’s highlights; until then, here are our favorite moments from Weekend 1 of 2024, organized by starting set time. We recommend using this list to plan for next week or to go down a YouTube rabbit hole.

More photos from our favorite photographer, Daniel Cavazos, are on display here.

Friday

Hittin’ the note with Eggy
I was suspicious of Eggy when someone in the press lounge wrote the name on the “Favorite ACL Moments” chalkboard before the set even happened. What kind of band — with such a goofy name — would inspire fans to undermine the sanctity of this public forum? It turns out: an extremely likable one. This laid-back, Southern-sounding jam band from Connecticut got people grooving very early on in the fest. And with such strong credentials as a 2024 album co-produced by James Petralli of the formerly Austin-based jam band White Denim, it was a safe bet that they would deliver. ACL Fest could use more jam bands; the levity and the high relief of truly live moments against the studio versions fans are used to are what festivals should be all about. — Brianna Caleri, CultureMap Austin editor

Swooning for Stephen Sanchez
Walking up to Stephen Sanchez's set was really exciting. It wasn't just the music, but the feeling emanating from the stage: a vintage vibe that seemed to bend time itself. Sanchez, a captivating performer with a voice like melted butter and the moves of a seasoned showman, transported the crowd to a bygone era. He channeled the spirit of classic crooners (think Roy Orbison) with a charm that had the audience eating out of the palm of his hand. Every wink drew delighted screams, confirming that swooning isn't a lost art. His band, dressed to the nines, matched his energy, creating a scene straight out of a classic Hollywood film. In a festival landscape of modern sounds, Sanchez offered a refreshing dose of timeless cool. — Lex Stewart, CultureMap contributor

Stephen Sanchez looks the part.Photo by Daniel Cavazos

An unexpected delight from Connor Price
I stumbled upon Connor Price’s set at the IHG stage while seeking refuge from a swelling crowd, initially skeptical of this young internet-famous Canadian rapper. But Price’s infectious energy, coupled with surprisingly engaging visuals (music videos, yes, but cleverly used), quickly won me over. He had the whole crowd — from dancing teens to nodding parents — grooving along to his rhymes. One standout moment: Price invited a young fan named Grant onstage to perform “Buddy,” his collaboration with rapper Hoodie Allen. This 10-year-old, brimming with confidence and stage presence, absolutely nailed the song, rapping along with Price and even hyping up the crowd himself. It was a heartwarming moment that exemplified Price’s ability to connect with audiences of all ages. I walked away a new fan, a testament to Price's unexpected charm and undeniable talent. — LS

The smooth sounds of Leon Bridges
If anyone needed a reminder that the Fort Worth-raised Leon Bridges can do it all, they got it on Friday — coincidentally the day of his latest release, the LP Leon. Against a very tight band, Bridges could be cool and breathy without losing any of the necessary punchiness it takes not to get lost on the huge American Express stage. Since his most popular songs seem to be the nostalgic ballads and gentle croonings, it felt a bit surprising to see him getting funky on older tracks like “Bad Bad News” and “Smooth Sailin’.” Still, the biggest fan response was to those smooth love songs like “River,” when about half the audience pulled out phones to record the ethereal harmonies; plus set closer “Beyond,” when someone next to me snapped a photo of a couple having a romantic moment, wandering over to offer a copy of the sneaky artwork as the final notes rung out. — BC

Saturday

The disco alien vibes of Say She She and Jungle
It’s hard to narrow down highlights from Saturday, because its lineup was my favorite since at least 2019. All that goodness was bookended by two similarly sleek and groovy disco groups, so let’s start there. Say She She came out swinging with a trio of semi-choreographed singers in stratospheric three-part harmony. They say they've come to make festival-goers dance, and with their retro-futuristic sound, it does feel like disco aliens have landed to enact this plan. Then all the day’s ultra-danceable, meandering sets led up to Jungle, the incredibly slick group that went viral in late 2023 thanks to the bold and gorgeous dance video for “Back On 74.” Cooly austere and stylish, this tight band ushered a constantly moving audience through one hit after another; ACL audiences sometimes have a bit of an attention span issue, but this one was locked in for the whole set. Only one dancer was onstage, but the music spoke for itself. — BC

Sunshine and sass with The Beaches
Under the blazing afternoon sun, The Beaches brought the heat in more ways than one. As lead singer Jordan Miller quipped, "ACL put the hottest girls at the hottest time slot," and she wasn't wrong. This all-female quartet delivered a scorching set of infectious rock and roll, radiating energy and confidence. Each member commanded the stage, their individual talents shining through as they locked into a captivating groove. The crowd, despite the sweltering temperatures, couldn't help but move along, caught up in the band's enthusiasm and Miller's playful banter. — LS

The Beaches lean into their niche.Photo by Daniel Cavazos

Still Woozy’s chaotic whimsy
In spite of the heat — and perhaps bolstered by an extremely dense crowd — Still Woozy put on one of the highest energy sets of the weekend, thrash dancing, swinging guitars like sports equipment, and jumping into the crowd for a victory lap. One wonders how the conversation went in which multi-instrumentalist Tani Kahn, in a puffy pink dress, decided to ride Still Woozy originator Sven Gamsky like a horse; or if there was one at all. Although Still Woozy is technically a solo project, the band chemistry was there in droves. With such a chill, jazzy sound, none of these theatrics were necessary, but that made it all the more entertaining to watch them physically sell it. — BC

Smooth grooves from Wave to Earth
Tucked away on a side stage, this South Korean group on their second visit to the US exuded a quiet charm as they launched into a set of infectious indie pop. Their performance wasn't about high-energy theatrics, but rather a palpable joy in playing together. This energy is also evident in their newly released record, play with earth. The smooth and polished easy-listening grooves resonated with a relaxed vibe that felt both familiar and fresh. The band’s polite demeanor and evident passion for their craft created a warm connection with the audience, a reminder that sometimes the most memorable sets are built on genuine musical connection rather than spectacle. — LS

Reneé Rapp is a star in every sense
Reneé Rapp didn't just perform on the T-Mobile stage; she owned it. With the charisma of a seasoned performer and the playful charm of someone genuinely enjoying herself, Rapp delivered a captivating set that transcended the typical concert experience. Her stage presence, honed by her acting background (you may recognize her as Regina George in Mean Girls, both on Broadway and in the 2024 movie), was undeniable. She flirted with the cameras, engaged the drones, and connected with the audience in a way that felt both intimate and electrifying. Clad in a stylishly loose outfit, she danced and sang with an infectious energy, drawing the crowd into her world. When she launched into her hit “Talk Too Much”, the audience erupted, singing along to every word. — LS

Reneé Rapp always knows where the cameras are.Photo by Daniel Cavazos

Sunday

A burst of pure joy from MisterWives
"Everything for the next 45 minutes is yours – have fun," announced MisterWives’ lead singer Mandy Lee, and the crowd eagerly obliged. From the opening notes, MisterWives delivered a set brimming with energy and vibrant visuals. Lee, a whirlwind of bouncy enthusiasm, commanded the stage with an openhearted performance that radiated pure joy. The crowd, fully invested, sang along to every word of hits like "Superbloom”. What made their set truly special was the seamless blend of seemingly disparate energies. Songs of resilience and optimism flowed effortlessly into anthems of righteous anger and systemic critique, creating a cohesive and surprisingly energizing experience. MisterWives proved that music can be both fun and thought-provoking, a potent combination that left the audience buzzing. — LS

Utter Chappell-mania
Surprising no one (except perhaps a few obligatory haters), Chappell Roan lived up to the hype. “No one is here for anyone other than Chappell,” said one festival-goer in line for an Aperol Spritz. Mike., playing the opposite stage in the same time slot, bore the brunt of that. (“It’s David vs. Goliath out there,” he wrote in an Instagram story.) For a while it was looking like the new star — only a year after the release of her debut album, The Rise and Fall of a Midwest Princess — would cancel the appearance. First, festival organizers moved it, and then Roan canceled other festival performances. But in a beautiful, studded, red-and-white Western look, Roan exuded warmth and professionalism. She clacked her “Trans Rights” hand fan. She taught an incomprehensibly large sea of people the dance to her hit single “Hot To Go.” She even covered Heart’s “Barracuda,” somehow putting her signature uplifting twist on it. (Hey, it’s a bit hard to hear tens of thousands of people back.) What more could you want — other than a long and successful career? — BC

Chappell Roan wears it all on her face.Photo by Daniel Cavazos

Kehlani brings it home
Mike. wasn’t the only one who had to manage expectations around Roan’s set. R&B singer Kehlani (she/they) had to start their set while the crowds were preoccupied on the other side of the park — but by the time she finished, she’d amassed a healthy audience. This was good news for fans, who easily got close to the Miller Lite stage as long as they were on time for the show. The seasoned performer recalled their last set at ACL Fest in 2015 and returned with an extremely elevated show, bringing six dancers and matching both their skill and energy. She was also constantly in touch with the band — playing stadium-ready arrangements — sometimes involving them in the choreography. And their awesome guitarist Matty Spatola deserves props for his headbanging moments at center stage. I’d say he stole the spotlight, but Kehlani seemed all too proud to set him up and step aside. — BC

Kehlani's got the moves.Photo by Daniel Cavazos

Check back in with CultureMap next week to see our highlights from the rest of 2024’s festivities.