The annual psychedelic festival Levitation has taken a bold step forward with its latest edition, introducing a revamped format and a new location this weekend in Austin, marking a significant evolution for the event.
For its first outing in the spacious Palmer Events Center, Levitation embraced a transformation from previous years, inviting a larger audience to engage with its eclectic lineup amidst an immersive atmosphere.
Previously scattered across various venues in the Red River Cultural District, this year’s festival unified its offerings into one expansive location, featuring staggered performances on both indoor and outdoor stages.
The cavernous interior of the event center provided an ideal setting for headliners and their substantial followers, while vibrant psychedelic visuals created by TV Eye Media adorned the walls throughout each act.
This streamlined format, resembling that of the organizers’ spring event Austin Psych Fest, offered less individual choice for attendees but ensured a more centralized experience.
In this climate-controlled environment, Levitation has become one of the coolest festivals in Texas, allowing concertgoers to enjoy their favorite acts without battling the heat that typically pervades outdoor settings.
The festival occupied the entire grounds of the convention center, featuring an impressive astronaut sculpture as the event’s mascot and numerous interactive “happenings” and social spaces.
With food options averaging over $20 and drinks close behind, patrons found themselves with limited external dining choices unless they opted for a trek to a nearby BBQ joint.
However, with a carefully curated lineup, most fans opted to remain within the confines of the festival.
Night shows before the festival’s three-day run began on Wednesday, enriching the Levitation experience with a rich mosaic of performances.
These included a mesmerizing evening of world music featuring Mdou Moctar alongside The Point at Radio East, while Beach Fossils played at the well-known Mohawk venue.
In addition, the energy was palpable on Thursday as legendary synth-punk musician Martin Rev of Suicide performed followed by Boy Harsher at Stubb’s BBQ, delighting an enthusiastic crowd with dance-centric electro-pop.
The festival officially commenced on Friday, showcasing a range of artists that included Castle Rat, Blood Incantation, and Acid Bath, as well as Rickshaw Billie’s Burger Patrol, extending into the dark territory often associated with the festival.
Metal band The Sword celebrated a milestone by performing their album Warp Riders in full, reflecting on the challenges of revisiting their most technically demanding work, as lead guitarist Kyle Rush shared.
Rush, acknowledging the band’s Texas roots, expressed pride in their unique sound that honors both ZZ Top and Pantera.
This performance came in the wake of a triumphant return at last year’s Levitation, creating a circle back to where they began.
Headlining Friday night was Mastodon, who recently faced the loss of former guitarist Brent Hinds.
Canadian guitarist Nick Johnston stepped up, delivering intricate solos that paid tribute to Hinds’ legacy.
After a heavy evening filled with metal, the festival’s night shows lightened the mood with a spectacular performance by The Dandy Warhols at Mohawk, followed by the high-energy rock duo Duel and The Well at The 13th Floor.
As Levitation progressed into Saturday, the lineup shifted toward more psychedelic sounds with standout performances from artists like Blonde Redhead, La Femme, and the Brian Jonestown Massacre.
Blonde Redhead made waves by using their platform for political expression, wearing shirts bearing messages about Palestine and openly advocating for its freedom during their set.
This trend of political statements continued into Sunday as headliners Pavement modified lyrics in one of their songs to highlight the situation in Gaza.
Additional performances included Built to Spill, the Black Angels, Being Dead, A Place to Bury Strangers, and Frankie and the Witch Fingers, creating a diverse array of musical experiences throughout the weekend.
Though the festival navigated some growing pains—including sound issues and lighting challenges—these glitches improved remarkably by the final day.
Despite complications arising from limited access to the venue, which only opened at 6 a.m. the day prior, the event was executed with surprising efficiency.
Hosting a music festival within a convention center presented a unique juxtaposition, with festival-goers mingling through clinical hallways while dressed in eclectic festival attire.
Inside the festival’s venue, social interactions became challenging, causing many friends to miss connecting during the event weekend.
Adapting to this new format took some time, but attendees began to appreciate the festival’s evolution and the shift positive despite the nostalgia for previous models.
As Levitation embraced this new identity and format, the festival’s mascot—the astronaut—symbolized both growth and exploration into uncharted sonic territories.
image source from：sacurrent
