Sunny skies, loud sets, and big moments!
If Day One of ACL 2026 Weekend Two was about getting back into the festival rhythm, Day Two felt like the moment everyone settled in and made the most of it. Zilker Park had another sunny day, with warm temperatures and a cool breeze coming through at times. After last weekend’s rain and mud, the weather was a welcome change, and the crowd seemed ready to enjoy every minute of it.
The field was full of different sounds and different kinds of fans. Some came ready to sing every word, others were there to discover their next favorite artist, and plenty moved between stages depending on where the music pulled them. That variety is part of what makes ACL fun. You can go from indie rock to trap, then trade guitars for electronic beats without leaving the park.
Our second day of coverage brought eight very different performances, from Finn Wolfhard’s lo-fi indie rock to Young Miko’s confident Latin trap, Lola Young’s emotional honesty, and the laser-filled party from Levity. There were intimate moments, packed crowds, big vocals, and plenty of dancing. No two sets felt quite alike, which made moving around the festival feel less like following a schedule and more like flipping through different sides of the same music scene.
FINN WOLFHARD
Last year, we caught DJO, the musical project of Finn Wolfhard’s Stranger Things colleague Joe Keery. This time, it was Finn’s turn to step into the ACL spotlight with his own band and a sound that lives far away from the world of Hawkins. On the American Express Stage, Wolfhard leaned into lo-fi indie rock and jangle-pop, giving the crowd a look at the musician behind the familiar face.
Songs like “I’ll Let You Finish,” “Common Side Effects,” “Crater,” and “Maggie” showed off his taste for guitar-driven melodies and a slightly rough-around-the-edges indie sound. “Nice To Meet You Again,” “Crown,” and “Trailers After Dark” kept the set moving without trying to turn it into something bigger than it needed to be.
There’s something refreshing about seeing an actor build a musical identity on its own terms. Wolfhard didn’t need to lean on his television fame to make the set work. The focus stayed on the songs, the guitars, and the band’s chemistry. It was a solid start to our day, and a reminder that ACL can be a good place to catch a different side of someone you thought you already knew.
ŁASZEWO
The Miller Lite Stage turned into a full-on dance party when ŁASZEWO brought its electronic sound to ACL Weekend Two, Day Two. The trio of producers Matt Ehrlich, Justin De La Fuente, and Keeva Bouley kept the crowd moving with a set packed with heavy drops, fast rhythms, and remixes that gave familiar sounds a fresh punch.
Mixing original anthems with fan favorites, including music from their In Color project, ŁASZEWO built a performance around big beats and constant movement. Custom edits and high-octane drum and bass remixes added extra speed to the set, shifting the mood from melodic electronic moments to bass-heavy bursts that made it hard to stand still. The crowd came ready to dance, and the trio gave them plenty of reasons to keep going.
What made the performance work was its sense of momentum. Rather than feeling like a playlist playing in the background, the set had the pace and punch of a live party, with each drop bringing another reaction from the audience. After a day filled with indie rock, pop, and alternative sounds, ŁASZEWO offered a different kind of release at Zilker Park. The Miller Lite Stage became a place to let loose, move with the beat, and enjoy the electronic side of ACL.
COMMON PEOPLE
Common People brought a fresh dose of alternative indie rock to the BMI Stage during ACL Weekend Two, Day Two. The Los Angeles band delivered a set that balanced catchy melodies with a rock sound that felt right at home in the middle of a busy festival afternoon. Songs like “Dear Worry,” “Heaven,” “Shapeshift,” “Thank You,” and “Portis”gave the crowd a taste of the band’s style and its ability to keep things moving without losing the personality behind the music.
But the biggest surprise came when Matt Shultz, lead singer of Cage The Elephant, joined the band onstage. Together, they performed “Gouge Away” by Pixies, giving fans an unexpected moment that connected generations of alternative rock. It was the kind of guest appearance that can turn a good festival set into something people keep talking about after leaving the stage.
Common People already had a solid set of songs to share, but that collaboration gave the performance an extra spark. For fans of alternative rock, hearing Shultz join the band for a Pixies classic was a real treat. The BMI Stage delivered one of Day Two’s memorable surprises, and Common People made sure their ACL appearance had a moment all its own.
YOUNG MIKO
Young Miko brought one of the strongest performances of our day to the American Express Stage, with a set built around confidence, movement, and a sharp blend of trap and reggaeton. The Puerto Rican rapper and singer had the presence to command a big festival crowd, but the show was never just about standing at the center of the stage. A dynamic live band and a crew of dancers gave the performance a full, constantly moving feel.
Tracks like “En El Ritz,” “Lisa,” “Meiomi,” “Likey Likey,” and “Bnb” kept the crowd engaged, while “FINA,” “Classy 101,” and “WASSUP” added to the set’s run of familiar favorites. Young Miko carried herself with a playful, seductive edge, switching between laid-back swagger and bursts of intensity without losing control of the room.
What made the performance stand out was how naturally all the pieces fit together. The band gave the tracks extra punch, the dancers brought movement to the stage, and Young Miko remained the center of attention without making the show feel stiff or overly planned. It was bold, fun, and full of personality, the kind of set that made a strong case for her place among Latin music’s most exciting current names.
ARCY DRIVE
The Miller Lite Stage turned into a home for guitar fans when Arcy Drive brought its raw, high-energy indie rock to ACL. The New York four-piece, made up of Nick Mateyunas, Austin Jones, Patrick Helrigel, and Brooke Tuozzo, has a sound that reaches back toward the alternative rock of the 1990s and early 2000s without feeling like a copy of that era.
Songs such as “Time Shrinks,” “Superbloomer,” “Wicked Styley,” “Thrift Store,” and “Louie” gave the set a rough-edged, guitar-first feel. The band leaned into the live side of its music, letting the drums and guitars carry the momentum instead of dressing everything up with extra production. That direct approach suited the Miller Lite crowd, especially for anyone looking for a break from the more polished pop and electronic sounds elsewhere in the park.
There was a looseness to the performance that worked in the band’s favor. Arcy Drive sounded like a group built to play in front of people, with enough grit to keep the songs from feeling too neat. Their set was a reminder that a festival doesn’t need every performance to be huge or complicated. Sometimes, a few good guitars, a tight rhythm section, and songs with character are plenty.
IT’S MURPH
After the guitars of Arcy Drive, It’s Murph changed the mood with a set rooted in house, tech house, and the chopped-up rhythms of stutter house. The project of Garrett Murphy brought a different kind of movement to ACL, trading live-band arrangements for a steady flow of beats, drops, and bright melodies.
The crowd was especially fun to watch. Rather than standing around with phones raised for the whole set, people seemed locked into the music itself. Heads bobbed, bodies moved, and groups of friends danced together as the tracks shifted between heavier bass and more euphoric passages. It felt less like watching a performance and more like finding a temporary escape from the busy festival schedule.
Murph’s sound works best when its details have room to build, and the set gave the audience plenty to follow without making the music feel overcomplicated. The mix of club rhythms and playful production created a natural bridge between the indie and rock performances earlier in the day and the bigger electronic sets still to come. It was a reminder that some of the best festival moments happen when
LOLA YOUNG
Thousands of fans were waiting for Lola Young at the American Express Stage, and the crowd had plenty of reasons to be there. The English singer-songwriter has a way of making messy feelings sound direct rather than carefully packaged. Her performance carried that same mix of vulnerability and force, with powerhouse vocals sitting alongside candid conversations that made the space between songs feel just as personal as the music.
She moved through “Wish You Were Dead,” “Big Brown Eyes,” “One Thing,” and “From Down Here,” bringing a raw edge to songs that can be funny, painful, or both at once. “Who F**king Cares?” added another dose of her unfiltered attitude. There was no need to make every moment polished. The appeal was in hearing an artist who lets the rough edges stay visible.
The crowd responded to that honesty, especially as the set built toward “Messy,” her international hit and a natural closing point. By then, the song felt bigger than a streaming favorite. It was a shared release, with fans singing along to words that clearly meant something to them. Young’s set had both the scale of a major festival appearance and the uncomfortable, funny, human details that make her music connect in the first place.
LEVITY
If anyone still had energy to burn, Levity gave them a reason to use it at the Miller Lite Stage. The trio of John Hauldren, PJ Carberry, and Josh Tarum brought a full-on rave atmosphere to ACL, combining dubstep, trap, future bass, funky wubs, and hip-hop-inspired beats into a set designed for movement.
The production added plenty to the experience. Lasers and pyrotechnics cut through the stage setup, while the music kept the crowd jumping from one drop to the next. But without doubt, their impressive rainbow flames were out of this world. Fans cheered, sang, and threw themselves into the rhythms, turning the area in front of the stage into a constant motion. Even from the edges, it was hard to miss how much the crowd was feeding off the music.
Levity’s sound moves between heavy bass and more melodic sections, which helped the performance avoid becoming one long blast of the same beat. There was room for the crowd to catch its breath before the next surge hit. The trio knew how to use the visual production without letting it swallow the music. For electronic fans, this was one of the day’s clearest invitations to stop watching from a distance and become part of the party.
LYKKE LI
As the day continued, Lykke Li offered a striking change of mood. The Swedish singer-songwriter brought an atmospheric mix of indie pop, dream pop, and electronic music that drew people into a quieter, more inward space. At her set, the crowd’s reaction was different from the jumping and shouting happening at other stages. A few fans danced, but many seemed completely absorbed, watching her as if they didn’t want to miss a single movement.
Songs like “I Never Learn,” “No Rest For The Wicked,” “Lucky Again,” and “Sadness Is A Blessing” carried that feeling of emotional tension that runs through her music. “Get Some” shifted the mood with a sharper pulse, while “I Follow Rivers” brought a familiar favorite into the set. Her performance held together through atmosphere rather than constant movement, with her presence giving the songs a strong center.
There was something almost hypnotic about the way the audience stayed with her. It wasn’t a lack of enthusiasm; it was a different kind of attention. Instead of singing and jumping through every track, fans seemed content to let the music wash over them. Lykke Li gave ACL a moment of stillness in the middle of a busy festival day, and that contrast made the set all the more memorable.
Day Two showed just how much ground ACL Weekend Two can cover in a single afternoon. Finn Wolfhard brought guitar-driven indie rock, Young Miko took over with Latin trap and reggaeton, Lola Young gave the crowd songs full of messy honesty, and Levity turned the Miller Lite Stage into a rave. Then there was Lykke Li, whose set seemed to slow the whole field down without asking anyone to leave the music behind.
The weather made it easier to enjoy the day, too. Another sunny forecast, warm temperatures, and a cool breeze in parts of the afternoon gave fans a welcome break from last weekend’s rain and mud. Everywhere we went, people were finding their own way through the festival, whether that meant singing along with thousands of others or standing still and taking in a song.
That mix is what stayed with us. ACL doesn’t ask everyone to enjoy music in the same way, and Day Two made room for loud crowds, quiet attention, dancing, and discovery. Eight artists gave us eight different reasons to keep moving around Zilker Park. One more day remains, and after two days like these, there’s plenty left to look forward to.
