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AUSTIN, TX- At first glance, Stubb’s might seem like just another unassuming bar on Red River. But this hybrid BBQ joint and music venue (yes, like the BBQ sauce) is often home to one of the longest lines at SXSW. Folks will wait for hours to catch whatever headliner is packing the place. With its deceptively divey exterior, it’s hard to imagine that the line wrapping around multiple blocks could even fit inside. But once you enter, the space opens up like a mini Bonnaroo. The outdoor venue boasts four or five bustling bars, a giant professional stage complete with barricades and lighting rigs, and clusters of picnic tables for catching up with friends.
I arrived during Yoke Lore’s set, completely unfamiliar with their music. As I wandered through the expansive outdoor space, their plucky, folksy indie rock served as a pleasant backdrop. The C3 Management showcase was setting the tone: this was going to be a nostalgic journey back to the early 2000s—a millennial indie time machine. Yoke Lore set the mood, Jack’s Mannequin stoked the nostalgia, and Band of Horses brought it all home.
I made my way to the front of the barricade during Yoke Lore’s final song to get the best possible view for Jack’s Mannequin. SXSW is usually a place where I discover new music, so it’s rare that I’m already a massive fan—but this was the exception. Like many millennials, I hopped on the Jack’s Mannequin train thanks to their prominent placement in the teen drama One Tree Hill, even making a live appearance in the show’s third season. Judging by the crowd at the front, I wasn’t the only OTH fan staking out my spot. Fans sang the loudest during the two tracks most featured in the series: “The Mixtape” and “Dark Blue.”
For those unfamiliar, Jack’s Mannequin is fronted by Andrew McMahon, the former lead singer of early-2000s emo band Something Corporate. His transition from emo-punk to piano-driven indie rock helped define a subgenre. And the piano isn’t just part of the music—it’s part of the show. McMahon flows effortlessly between playing with grace and leaping onto the instrument like it’s a stage of its own.
Jack’s Mannequin’s set was flawlessly executed, with songs sounding almost identical to their recorded versions. It fulfilled every fan’s hopes and likely piqued the curiosity of anyone just waiting around for Band of Horses. Between deeper cuts, Andrew shared stories about the creation of their seminal album Everything in Transit and its rise in popularity. He kept things grounded, often returning to the band’s roots with a sense of humble appreciation.
While many nostalgia-fueled acts can seem jaded, McMahon’s performance radiated gratitude. As a cancer survivor, he never misses a chance to acknowledge his journey, and it adds profound weight to even the simplest lyrics. When he sings, “Have you ever been alone?”, it hits differently—it’s no longer just a lyric, but a personal question steeped in lived experience.
The setlist was a thoughtful homage to the band’s history. Yes, the hits were there, but so were deep cuts for longtime fans, carefully alternated to keep the energy flowing. Though Something Corporate may always linger in the band’s legacy, the crowd didn’t feel like they were waiting for an emo throwback. I was standing alone, but I didn’t feel alone. All around me were people who had discovered Jack’s Mannequin at the same time I did, all of us waist-deep in our teenage memories.
Even during lesser-known songs from later albums like People and Things, there was no sense of restlessness. The crowd was fully present, caught up in the moment. That’s the power of a band that knows how to put on a great show for anyone, no matter how they found their way in.
Andrew’s vocals remained flawless even as he sprinted across the stage, and the band was incredibly tight, clearly enjoying their roles. I was especially impressed by the drummer, who laid down solid grooves that gave McMahon’s piano the perfect runway.
When people think of Jack’s Mannequin, they usually think of Andrew McMahon’s enduring presence in the indie scene. But what stood out most that night was a shared understanding between the band and the fans: however you find your favorite song, whatever gets you through the door—that’s enough. At Stubb’s, there was no hierarchy of fandom. Just a perfect breezy night in Austin, songs that made us all feel like teenagers again, and the shimmer of Andrew’s eternal piano.
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