Concert Review: Oblivion Access Festival 2023

Openers Thor & Friends and Beak>, and headliners clipping. and Thou, performed packed shows on June 17.

Written by C.S. Harper

Formerly known as Austin Terror Fest, Oblivion Access Festival returned to Austin for its second yearly celebration of “progression, self-expression, and catharsis.” This time around, venues across the Red River Cultural District delivered a variety of much-anticipated shows from underground acts, from Faust’s 50-year anniversary performance to headliners like Tim Hecker and Duster. On its third day, Oblivion Access brought over 25 shows across multiple genres and venues. Here, we’re highlighting some of the night’s most memorable acts.

Thor & Friends — Empire Control Room & Garage

Soon after Empire opened its garage’s doors at 8 p.m., Thor & Friends kicked off the night with their breathtaking avant-garde compositions. Although the Austin-based group’s core membership consists of frontman Thor Harris and multi-instrumentalists Peggy Ghorbani and Sarah Gautier, the Friends included nine more musicians for the night. The lineup’s expansion proved necessary — the additional instruments produced an unforgettable, cinematic sound that rang throughout the venue.

Rather than performing onstage, the twelve-piece stood just a few feet before the crowd for an intimate set. Complex polyrhythms flooded the room as the alternating sounds of violins, marimbas, clarinets, and more came together for a triumphant epilogue to each song. Each track a double-digit minute epic, the band made it feel like the crowd had momentarily stepped into an otherworldly fantasy film. Clearly mesmerized by the moving soundscapes, the crowd swayed along in awe. With their powerful sonics, Thor & Friends served as the perfect introduction to the following act, the equally evocative Beak>.

Beak> — Empire Control Room & Garage

Shortly after Thor & Friends plucked their last guitar string and struck their final marimba bar, Beak> took Empire’s outdoor stage at 9:46 p.m. As an experimental supergroup, Beak> comprises drummer Geoff Barrow of Portishead fame, bassist Billy Fuller (who has performed with Massive Attack and Robert Plant), and keyboardist/guitarist Will Young of Moon Gangs. With its lineup of trip-hop legends, Beak> delivered pleasantly atmospheric-yet-danceable soundscapes, which refreshingly contrasted the heavier acts that dominated the festival.

The trio opened with a song off their latest album,”KOSMIK MUSIK (Part 2),” which was reminiscent of ‘70s Turkish funk. But the three-piece showcased their range with follow-up track and 2018 throwback “Brean Down,” an eerie cut with dissonant synths and murmured vocals. To top it all off, the group’s comedic banter made their set entertaining even between songs. “He’s from London so he’s a total prick,” Barrow teased Young as the crowd erupted in laughter. The sarcastic quips and enthralling music left fans invigorated while they waited for the night’s headliner, Faust.

clipping. — Mohawk

Roughly an hour after Beak< wrapped up their set, clipping. started their own a few blocks down at Mohawk. Producers William Hutson and Jonathan Snipes took the outdoor stage first to set the tone with ominous synths before the star of the show, rapper Daveed Diggs, made his much-anticipated appearance. Dressed head-to-toe in black — with a statement Maggot Brain album cover tee — Diggs broke into an arresting flow. “Nothing is safe / Nothing is sacred,” he rapped the chorus to the lead single off the trio’s fourth studio album, There Existed an Addiction to Blood. As soon as the instrumental ended, he grinned: “Let’s do some scary shit.”

Diggs went on to perform deep cut after deep cut without barely taking a break until the instrumentation suddenly switched to a goosebump-inducing, bass-heavy beat. “Candlesticks in the dark / Visions of bodies being burned,” an eerie, warped voice filled the air as the audience cheered emphatically. Having taken off his Funkadelic tee to cool himself off, Diggs delivered a theatrical performance — stumbling across the stage and making hand signals — elevating the Candyman ode into pure camp.

After this high point, the set was filled with many other memorable moments. From the crowd’s rhythmic clapping during an a cappella section in "Chain" to audience member’s enthusiastic dancing and repetition of the line “Get your ass down to the floor,” during “Enlacing,” the show’s energy never died down. After a surprise cover of J-Kwon’s 2004 hit “Tipsy,” Diggs closed the set with an explosive rendition of “Work Work.” After multiple beat switches and stage antics, the Oakland rapper hollered, “Bye, bitch!” and the synth dwindled away to the crowd’s applause.

Thou — Elysium

As clipping. were ending their set, Thou started unleashing their powerhouse sludge onto the audience at Elysium. The Louisiana six-piece wasted no time, promptly jumping into the setlist with a new song. As murky as the Bayou State’s swamps, thick riffs filled the air. Crouching as if to charge his energy, frontman Bryan Funck let out blood-curdling screams halfway through the song. The frontman’s hair-raising stage presence remained palpable in the next track, as he morosely headbanged and choked himself while crowd members made devil’s horns.

Next came “Lonely Vigil,” an unreleased song the band has performed live only 11 times. A wave of instrumental grime built up, booming under crowd members’ feet and reverberating through their throats. Halfway through the set, Thou performed a mashup of 2012’s “Get Me Out” and “Skinwalker.” The former’s ear-splitting feedback and morbid lyrics provided a grim opener to the latter track, which had a much more digestible sound with its power strums and instrumental breakdowns. Funck gave a hypnotic performance throughout, complete with headbanging and guttural growls.

Thou’s frontman wasn’t the only main character at Elysium; the venue featured quirky sights left and right. Tattoo enthusiasts and goths sprawled over sofas, an alt clown popping bubbles — the show was a safe haven for a variety of misfits. And with dense basslines, guitar fuzz, and spine-chilling shrieks, Thou’s earth-shattering performance gave them all a warm welcome to Austin.

These four artists are just the tip of the iceberg when it comes to the rich variety of musical perspectives that Oblivion Access has to offer. Be sure to check out the festival for its third iteration next year for more on its website.

Concert Reviews, Concert CoverageAfterglow ATXJuly 5, 2023C.S. Harper