“Drain is not responsible for anything you do in the next 30 minutes,” the backdrop reads. A lighthearted quip meant to encourage moshing, but perhaps also a warning to those who are unfamiliar with the energy at a Drain show, which is palpable.

Men, women, and children crowdsurf their way over the barricade. An inflatable lounge float emerges from the pit, carrying its rider up to the stage. Palm trees and life preservers flank towers of amps. The packed house at times moves as one, with vocalist Sammy Ciaramitaro at the helm.

This is Drain. The hardcore outfit from Santa Cruz blazing a trail through the punk and metal scene, a party boat in a sea of black t-shirts and jeans, Drain wants to be your friend. In fact, given the title of their most recent album (and this tour), Drain is your friend. 

Playing to a sold-out crowd at Houston’s Bad Astronaut Brewing Company, a relatively new venue to the Houston music scene that has quickly become a staple, Drain thrashes through a blistering setlist including songs off all three of their albums. 

“Feel the Pressure,” the first track off of their debut record California Cursed, instantly sends the room into a frenzy. Crowdsurfers immediately begin emerging from the throng, while the band moves about the stage as if possessed. Less than a minute into the show, Ciaramitaro hurls himself into the fervent crowd, passing around the mic to anyone in the vicinity to belt out the words.

The band (Ciaramitaro, guitarist Cody Chavez, and drummer Tim Flegal, joined by Greg Cerwonka on bass) is joined on stage throughout the show by their iconic kewpie mascot, a playful foil to the moshing crowd below. Towards the end of the set, during a cover of the Descendents “Good Good Things,” Ciaramitaro rides a massive surf board across the venue to the sound booth and back, carried by eagerly awaiting fans.

The band wraps up the show with “California Cursed,” a two-and-a-half-minute long thrasher. Before the song begins, Ciaramitaro addresses the venue security (who have been working overtime catching all the moshers) saying “you should call for backup,” before telling the crowd that he wants 100 people to surf over the barricade before the last note is played. How many made it over is anyone’s guess, there were too many to count.

ALL PHOTOS BY MORGAN ROSENBAUM FOR OFF RECORD MEDIA

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The Toyota Center felt like stepping into a different world on Wednesday, March 11th, as Conan Gray brought his Wishbone World Tour to Houston. Fans showed up in pajamas and sailor costumes, a clear sign of how connected they feel to the Texas-born singer-songwriter. The night unfolded in four parts, each one exploring heartbreak, longing, and growth through Gray’s mix of personal storytelling and theatrical performance.

Opening act Esha Tewari started things off with “bad decision!” setting a tone of honesty right from the beginning. After playing “In Twos,” someone in the crowd shouted, “I love you!” and Tewari took a moment to respond. “I love you, Texas! I was in Fort Worth yesterday, and you guys are awesome, and I played here last year on my first-ever tour in the U.S., and Texas filled out very quickly. I love you, Texas!”

What made Tewari’s set work was how simple it felt. The stage stayed mostly bare, and she moved between guitar and solo vocals throughout. During “About Me,” she had the crowd sing along on the chorus. She closed with “Muse,” leaving the impression of an artist who knows exactly who she is. Her performance relied on personal lyrics and straightforward delivery, proof that you don’t need flashy production to connect with people.

During the break between sets, fans tested their Conan Gray knowledge through an interactive quiz on the side screens. Questions ranged from “Where did Conan grow up?” (Georgetown, Texas) to lighter moments like “Who was Conan’s first ex?” (Vecna). These small touches hinted at what became clear as the night went on: Gray’s fans know his story inside and out.

The crowd itself told part of the story. People filled the venue in pajamas, nodding to Gray’s previous North American tour, The Wishbone Pajama Show, while others wore sailor outfits inspired by his album covers. That level of investment doesn’t happen by accident. Gray has built something closer to a community than a typical fan base.

As people sang along to Olivia Rodrigo‘s “bad idea right?” playing over the speakers, the lights suddenly went down. Act I’s title appeared on screen: “a wishbone never breaks even.” Behind the band, who were already dressed as sailors, rolling hills and blue skies stretched across the massive display. Then Gray rode out on a bicycle, wearing his own sailor outfit, immediately pulling everyone into the world of Wishbone.

His performance of “My World” carried real warmth as he moved across the stage with visible joy, singing “it’s my world and it’s my life.” The mood shifted into “Never Ending Song” from his 2024 album Found Heaven, its ’80s new wave energy filling the arena. Gray stopped to greet the crowd directly: “Houston! How are we doing tonight! My name is Conan. And welcome to The Wishbone World Tour!”

With a wide smile, he moved into a heartfelt version of “Care” followed by an energetic take on “Wish You Were Sober” from his debut album Kid Krow. Midway through, he added, “Thank you so much for coming out tonight! I’m so happy to be back in Texas, oh my god! Have a great time, I love you, Texas!”

Act II, called “i got the short end of the stick,” brought a change in tone. Gray came back in sparkly blue pajamas and climbed into a bed on stage, visually calling back to the space where he wrote much of the album. This section focused on his more vulnerable songs, dealing with rejection and loneliness through “Class Clown,” “People Watching,” “The Cut That Always Bleeds,” “Eleven Eleven,” and “Nauseous.”

A fan-led moment made “Nauseous” feel special. Before the show, someone had passed out red pieces of paper with instructions to hold them up to phone flashlights during the song. The result was a wave of red light across Toyota Center, giving Gray’s wistful performance an almost dreamlike quality. Small gestures like that show how much thought fans put into these shows.

The middle of the concert brought something truly unique. Sitting in front of a fake fire pit with an acoustic guitar, Gray introduced “Conan’s Campfire,” a segment inspired by Taylor Swift’s tradition of playing surprise songs at each stop. For Houston, he chose “The Other Side,” a track he hadn’t performed in years that held deep meaning as the song that got him signed to a label.

“Howdy y’all! How are y’all doing? Good, good? Me too. Welcome to Conan’s campfire!” he began warmly. “Now there are so many songs that I’ve written, so many songs, and maybe too many. And it always breaks my heart that there are so many songs that I’ve never gotten to sing to you guys here on tour. So I thought that for The Wishbone World Tour, I would take a moment and sing some of these songs that I don’t normally get to sing with you guys here in Houston.”

He continued: “This song that I’m going to sing today is one that I just selfishly wanted to sing myself here in Texas. It’s a song that I wrote many, many, many, many years ago, and it means the world to me. I think this song asks the question, and tonight I feel like I kinda know the answer to the question. So if you know the words, please sing along.” The moment felt less like a performance and more like letting the audience in on something private.

Act III, “i took the long way to realization,” began with a short film about romantic complications while Gray changed into his third outfit: a navy vest and pants with a white shirt and flowing fabric over one leg. The style fit his performance of “Romeo” perfectly.

He then played an unreleased song called “The Best,” putting the lyrics on screen so everyone could sing along. Letting the crowd in on new material before it’s officially out says something about how Gray sees his relationship with fans.

One of the night’s most creative moments came when Gray picked an audience member named Olivia to break a wishbone with him. Whoever got the bigger piece would choose between two songs, “The Exit” and “Yours.” Olivia won and picked “The Exit,” sending the crowd into a singing, dancing frenzy. Turning a simple prop into an interactive moment made it feel like everyone shared in the choice.

The emotional high point of Act III arrived with “Heather,” Gray’s most famous song, thanks to its time on TikTok. He played the “lost verse” version from the five-year anniversary album Kid Krow, Decomposed, its sadness deepened by ocean images on screen and a black and white video of Gray performing. The mix of visuals and honest emotion hit hard.

The final act, “i wished for love, and i found it,” wrapped up both the story and the show. Gray tore through “Maniac” with clear excitement, the crowd shouting every word. He closed the main set with “Vodka Cranberry,” the lead single from Wishbone, a song about taking control and walking away from a messy relationship.

Of course, there was an encore. Gray came back in a glittery marching band uniform with a wishbone on the back to play “Memories” and “Caramel,” leaving the audience with what he called a “sweet taste in their mouth.”

Throughout the night, Gray showed he knows how to work a crowd, getting thousands of people to jump and sing without much effort. But beneath the production and costume changes, something else came through. Here was an artist completely comfortable in his own skin, playing for fans who have grown up alongside him.

The Wishbone World Tour does more than promote a new album. It shows what happens when an artist stays true to themselves instead of watering things down for a wider audience. Gray’s music blends indie pop sensitivity with theatrical touches, and that mix works because it doesn’t try to fit neatly into any category. At a time when so much feels manufactured, he offers something real.

Houston got to host this stop on the tour. And everyone who filled Toyota Center, dressed in pajamas and sailor suits, singing along to every song, got something genuine in return.

The post Conan Gray Brings ‘The Wishbone World Tour’ to Toyota Center first appeared on Off Record Media.

Cult-followed artist LIGHTS brought the Come Get Your Girl Tour to Houston’s White Oak Music Hall on February 28th, delivering a high-energy performance alongside brooding and cutting opener, Softcult.

On the night of February 28th, 2026, Houston’s White Oak Music Hall was brimming with excitement as fans of Canadian indie-pop act LIGHTS awaited her arrival. To start the night, fellow Canadian shoegaze band Softcult shook the crowd with their heavy but ethereal sound. Erupting basslines and booming drums laid the foundation for lead singer Mercedes Arn-Horn’s light vocal delivery to float above; an early highlight was their performance of “Not Sorry” from their 2026 debut, When A Flower Doesn’t Grow. With every repeating line of the chorus, Arn-Horn’s cutting sincerity sent the crowd into a head-bobbing trance. It was a perfect storm of droning yet punchy songs to prime the crowd for what was yet to come.

The crowd was swallowed by darkness as a glossy synth rang out across White Oak’s intimate stage. LIGHTS had arrived, opening her set with the tour’s namesake track, “COME GET YOUR GIRL.” Brandishing a bright blue electric guitar, she commanded the room with a natural electricity as her presence elevated the venue from the very first note.

The crowd, full of devoted fans, mirrored her energy beat for beat, singing every word back to her with the kind of conviction that only comes from years of loyalty. During the last chorus, their voices unified with LIGHTS as the show turned into something more like a reunion than a concert. Little did they know, that beaming energy wouldn’t dissipate for a single moment throughout the rest of the night.

LIGHTS energetically blasted through her most recent tracks from the 2025 album A6, turning White Oak Music Hall into a dance club guided by gorgeous synths and hypnotizing drum machine offerings. The energy was halted for a moment as her band walked off stage and she collected a trading card from the crowd, then graciously moved into a solo performance of “February Air.” After the song, she addressed the crowd and their fandom as she listed off her previous albums; the earlier the era, the louder the cheers got. She finally asked if the fans were there during the “PEP era” before performing the songs “Prodigal Daughter” and “Okay Okay” from her 2022 release.

Continuing the show, LIGHTS seamlessly wove together the eras of her career, even tossing in a cover of Blink-182’s “All the Small Things,” until she concluded with the existentially charged track “Alive Again.” With each chant of “This might be the night that I die and I don’t want to die alone, so come a little closer,” the crowd jumped in sync with every vocal delivery. Any other crowd would’ve been worn from the hour of unrelenting energy, but this was no regular group of fans.

LIGHTS returned after a moment, performing fan favorites “Up We Go” and the recently released track “EDUCATION.” Her voice shone flawlessly throughout the final song, cutting through the mix with clarity regardless of her high-energy, performance-driven movement across the stage.

This night at White Oak Music Hall proved once again why LIGHTS commands such a loyal cult following, as she doesn’t just perform but instead reunites with fans, turning years of shared history into something electric and intimate. In a city like Houston, known for a diverse and glowing energy, this crowd matched her every step, leaving no doubt that when LIGHTS calls, Houston comes running.

The post Come Get Your Girl, Houston! LIGHTS at White Oak Music Hall first appeared on Off Record Media.

Banda MS performed a sold-out show at Houston’s Smart Financial Center – people danced to their fave regional Mexican tracks by the Sinaloa band.

Around since 2004, Banda MS are a regional mexican music staple who have achieved legend status in the scene. With over 20 albums in their discography, it was no surprise they sold out their Houston show way ahead of time. The room was full of sombreros sinaloa, pointed boots and jeans as Houston welcomed the group with open arms.

Check out photos from the show here:

The post Photo Gallery: BANDA MS Brings Regional Mexican Music to Houston first appeared on Off Record Media.

Mexican Trio Camila takes over Houston’s Smart Financial Center for a night full of nostalgia amongst all the Houston latinos.

Camila is a legendary band well known for their ballad pop style and Latin pop rock sound, as well as their touching lyrics. The group is made up of founder Mario Domm, guitarist Pablo Hurtado, and vocalist Samuel Parra. They have been active since 2005 and are now back on tour together as a complete trio, something that we have not seen since 2013.

Camila stopped by the Smart Financial Centre in Sugar Land, where generations of fans filled the seats. From young children to grandparents, families gathered together to hear the songs they grew up with performed live.

The show began with guitarist Pablo Hurtado stepping onto the stage to showcase his incredible skills. Soon after, his bandmates joined him, and they serenaded the crowd with songs like “Incendio,” “Fugitivos,” and “Mientes.”

During intermissions for outfit and set changes, documentary-style videos played on the screens, showing clips of the band throughout the years and telling their story. I really enjoyed learning about their history through these videos, especially as each member had the chance to speak individually to the audience. Another highlight was when a mariachi band joined them onstage to perform. This was a beautiful touch that honored their Mexican roots.

The band wrapped up the show with Latino classics like “Aléjate de Mí,” “De Qué Me Sirve la Vida,” and “Todo Cambió.” It was truly special to see this legendary Mexican act perform with renewed passion and gratitude for the long career they have had.

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On Wednesday night, February 25th, Del Water Gap brought the Chasing the Chimera tour to White Oak Music Hall in Houston, Texas, and from the first note, it was clear the sold-out room was ready to feel everything.

Frontman S. Holden Jaffe (known by fans as Holden) has a way of turning a venue into something much smaller, much softer… that intimacy defined the entire night.

Del Water Gap opened with “Small Town Joan of Arc” and “Sorry I Am,” easing the crowd in before launching into “Better Than I Know Myself,” which instantly became one of the loudest moments of the night. Everyone was singing along and it  wasn’t just a chorus. That song has always been a crowd pleaser, but hearing it live gave it a new feel.

“Please Follow” and “Dollhouse” kept that momentum going before he slipped into “New Personality,” “Ghost in the Uniform,” “NFU,” “Marigolds,” and “Beach House.” Each song carried its own emotional temperature, and the crowd moved with him, swaying, shouting lyrics back, holding onto every word, even shedding tears. 

One of the most tender stretches of the night came when Holden sat on a stool to perform “High Tops” and “East Side Girls.” Stripped back and grounded, that performance felt especially vulnerable, it made the moment feel personal. The room quieted in that rare, respectful way that only happens when everyone knows they’re witnessing something as special as that. 

“Glitter & Honey,” “How to Live,” “Coping on Unemployment,” and “All We Ever Do Is Talk” brought the energy back up in waves. And then there was “Damn”, a moment that felt uniquely Houston. Holden embroidered a city-specific piece and tossed it into the crowd, gifting it to a fan. It was small, personal, and just showed how much Holden values connection with his fans. 

If there was a defining image of the night, it might’ve been during “Perfume,” when Holden stepped off the stage and into the middle of the crowd. Suddenly there was no barrier, just him, dancing and singing alongside fans who were equally ecstatic. The room erupted in shared joy.

And then came “Ode to a Conversation,” one of the most anticipated songs of the night. Watching people of all ages sing every word was powerful. There were fans wiping away tears, arms wrapped around friends, eyes closed as if trying to hold onto the moment a little longer.

There’s a term for that feeling, collective effervescence. That surge of shared emotion when a group of people becomes one, connected by something bigger than themselves. You could feel it pulsing through WOMH all night. Shows like this remind you why live music matters. Seeing your favorite artist in person moves you in a way that’s hard to explain. In the end, it’s joy, nostalgia, heartbreak, hope, all tangled together.

For those of us who are usually the emotional ones, it was especially sweet to step back and witness it happening all around us. Strangers singing in unison. Friends clutching each other during their favorite bridge. A room breathing together.

In Houston, Chasing the Chimera wasn’t just a tour stop. It was a shared experience,  intimate, electric, and deeply human.

The post Del Water Gap Chases the Chimera in Houston first appeared on Off Record Media.

While on the Essex Honey world tour, Blood Orange is stopping at Houston’s Bayou Music Center on March 6th, 2026.

For years, Dev Hynes, most commonly known as Blood Orange, has been taking over the music scene with his blend of synth, R&B and funk. Whether it’s from producing for A$AP Rocky, Solange, or Sky Ferreira, to making his own hits such as “Jesus Freak Lighter” or “Champagne Coast,” the artist has created a signature sound that millions across the globe know and love.

After the release of his newest album, Essex Honey, Hynes announced a highly-anticipated tour that has nearly completely sold out. Starting in early March, the second leg of the tour will start in Washington, go through Texas, stop in Atlanta, and continue in other countries through late August.

To Houston’s luck, the musician is coming back to the city after a seven-year wait, with his last performance being in 2019 when on tour for Negro Swan. If you are in the city on March 6th, you do not want to miss out on Blood Orange’s performance at Bayou Music Center.

Get tickets to the Essex Honey tour here.

The post Blood Orange is Coming Back to Houston for the First Time in Seven Years first appeared on Off Record Media.

Los Angeles heavy gaze band, Blackwater Holylight, makes a stop at Houston’s White Oak Music Hall as they tour for their new album, Not Here Not Gone, with support from Glassing and Lavi Bly.

It’s Wednesday night as fans line up outside in anticipation for the Houston stop of Blackwater Holylight’s tour. As the doors open and audience members head upstairs there’s a noticeable buzz, everyone excited to hear the bands latest release live. The show starts with Houston locals, Lavi Bly. Despite being new to the scene Lavi Bly sounds well seasoned, her delicate vocals intoxicating to listen to while cutting through the wall of sound her backing band wraps around the audience. 

Soon it’s time for Austin’s Glassing to take the stage. Glassing is unlike nearly any band you’ve seen. Big, loud, and in your face, Glassing’s opening song roars to life while they keep their foot on the throttle the entire set. The audience rocks back and forth to the deeply groovy doom riffs, just until the band switches it up, introducing hardcore and post-rock influence that keeps the audience engaged wondering where they’re being taken next. 

Finally, the audience cheers as Blackwater Holylight step into their positions on stage. They begin to work their way through their latest release, Not Here Not Gone, a lyrically introspective juggernaut in their discography that subverts the listener’s idea of what a heavy band should sound like. Their set is full of nods to doom legends like Black Sabbath, pulls inspiration from shoegaze staples like Hum, all while having a uniquely feminine tone to their sound. 

Eventually, the show comes to its end. Blackwater Holylight finishes their last song, the venue that just moments before was full of dense sound falls quiet. Except for the whispers among the audience, who lean over to someone nearby to say how much they enjoyed the show, all before heading to the merch table, already anticipating the next time Blackwater Holylight is in town.

The post Blackwater Holylight Comes To Houston’s White Oak Music Hall first appeared on Off Record Media.

Legendary alternative singer Cat Power opened her 2026 tour at White Oak Music Hall with a performance that traded polish for raw intimacy, as Chan Marshall delivered an emotionally stirring set including reflective banter and moments of gorgeous vulnerability.

Blue light washed over the faces packed into White Oak Music Hall, people stood waiting for Cat Power to take the stage for the opening night of her tour celebrating the 20th anniversary of her landmark 2006 album, The Greatest. With the recent news reports of the Trump Administration announcing the pullback of ICE from Minnesota, a tension hung over the fans from the venue’s wood-panelled ceiling. How would Cat Power, real name Chan Marshall, address the moment?

At 8:30pm, her band walked onto the stage, and the answer soon followed. Dressed in a fully white suit and with hair colored a bleach blonde, Cat Power appeared quietly as the fans erupted in applause. She calmly placed herself in the center of the stage behind her stand that held two vocal mics. As the opening chords of “The Greatest” rang throughout the venue she delivered a reserved yet intimate rendition which stayed faithful to the studio version. Halfway through the song the crowd was in full sway with her voice. As the swaggering drum opening of “Living Proof” kicked in, a collective reassurance fell over the crowd, she had finally arrived. 

Before launching into her heart-shattering breakup song “Empty Shell”, Cat Power shared her inner reflections with the crowd about the song. Noting the importance of “Taking care of ourselves and getting through it to have a beautiful adulthood.” The sentiment was met with more loving remarks from the crowd.  

Working with two mics in one hand, she followed with an even more stripped back version of “Where Is My Love.” Every line delivery from her sent a swirling question around the heads in the crowd, her voice lingering, searching, until the last note where her usually airy voice transformed into a distant wail, almost knowing that the song’s question won’t be answered. Contrasting the intimacy that was created in the room, the audience was soon transported to some place not of earth. Marshall delivered an ethereal rendition of “The Moon,” her voice coated in a sweet layer of autotune as she bent over her mic to sing the lines.

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Ending her album, Chan began to address the audience about the tension every fan carried into the venue. “I know everything is harder this year than it was last year,” she said, but followed with, “All the bad shit is getting squeezed out.” Cat Power, not only an artist but activist for social causes such as immigration and the genocide occurring in Palestine, understands the weight of these issues.

No singular sentence could heal the systemic pain, she knows this, weighing in on her upbringing in church, “go help your neighbor, but I learned from moving around the world that life was not all like that.” Between softly dabbing herself with a white towel, several audience members wrapped their arms over each other’s shoulders. “It’s crazy how a hug can neutralize so much anxiety,” she said. Cat Power had turned the venue into her own church. 

Chan shared her praises for post-punk band IDLES, saying, “It seems every 20 years I get a new favorite live-band,” before covering their song “The Beachland Ballroom”. The cover resulted in an open-mouthed gaze from the audience as Chan’s voice ached across the triumphant verses, transforming it into something of her own. She continued sharing her gratitude for what music has given her while introducing the closing song. “The gold record for this song hangs next to my toilet,” the audience laughed in response to her humbly downplaying the next song.

“Sea Of Love” closed out the night as Marshall’s voice delivered each line sweetly and unhurried. Then in an instant the final chords had rung and fizzled out of the venue, and all that was left was Marshall and the band on stage. Marshall took a step back from her mic stand and raised her arm to her brow in a salute to the crowd. There would be no encore – there was no need. Within two hours she had delivered what her audience needed: kindness and a soft honesty. Marshall had answered the question posed at the beginning of the night, not with a grand statement but with a simple truth: Love thy neighbor.  

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Catch CAT POWER on tour this Spring, as she celebrates 20 years of her critically-acclaimed album THE GREATEST. Get your tickets here!

The post Love Thy Neighbor: Cat Power Begins ‘The Greatest’ Tour at White Oak Music Hall first appeared on Off Record Media.

Electronic duo Snow Strippers returns to a sold-out crowd in Houston, Texas, at White Oak Music Hall on Friday, February 6th. 

Kicking off February, Snow Strippers came back to Houston after previously playing the smaller, intimate upstairs room this time performing for a packed downstairs crowd. The Detroit-based duo has been breaking new heights with the rise of trending sounds used on TikTok. With the growth of acts like 2hollis and Lil Uzi Vert, Snow Strippers are an act that continues to rise.

The night kicked off with electronic artist EERA, who delivered a DJ set full of trap-based beats and house samples. The crowd enjoyed the switch-ups from popular songs to hyperpop and trap-inspired tracks. Looking into the crowd, you could spot kids in Y2K outfits, silver jewelry, baggy jeans, and alternative styles, everyone expressing themselves freely.

After EERA, underground rap artist Slimesito hit the stage. Slimesito’s posse opened up the crowd with songs from XXXTentacion and Playboi Carti to get everyone hyped. Once Slimesito arrived, the crowd erupted into mosh pits, bouncing and moving nonstop. Slimesito erupted into the crowd and sent the crowd to another mosh pit.  Playing tracks like 9L and Slime, Slimesito delivered the energy the crowd needed to dance the night away in preparation for Snow Strippers.

Snow Strippers arrived opening with“Just Your Doll,” making an immediate impact as booming bass and electronic beats blasted through the speakers. The walls and the people were practically shaking from how loud and electrifying the duo’s performance was. Flashing lights beamed through the crowd, perfectly matching the bass drops of each track. Snow Strippers’ crowds are known for their high energy, and Houston was no different.

Fans jumped, danced, and moved all night. From the moment the duo took the stage, it felt like stepping into a nightclub as they played hits from their April Mixtapes, including the chart-topping “Under Your Spell.” Phones were pulled out as fans screamed lyrics at the top of their lungs. They also performed the trap-influenced “Fire Alarm,” their collaboration with Lil Uzi Vert, sending fans raging.

Snow Strippers continue to spark a renaissance in electronic music, blending genres and delivering an unforgettable night for fans.

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