Bathed in smoky red lighting, Djo, known as actor Joe Keery, murmured into the microphone, kicking off his set as the skyline faded and became bathed in darkness. He began with an elusive soundscape as he played “Awake.”
It’s clear he intended to bring emotion to Austin City Limits Festival on the Lady Bird stage Saturday night. His iconic Stranger Things mullet perched atop his head as he sang intimately into the microphone. His powerful and interesting vocals rang through the cool night air, a sound that’s even better live.
He emphasized his punchier lyrics with flashing white lights, otherwise immersed in a dark background. Djo transitioned from the soft murmuring to a bass-heavy EDM style, engaging the crowd with a resounding “Oh yeah?!” while the stage flashed pink and blue. He proved himself a musician of many calibers, hopping behind the keyboard to play “Charlie’s Garden.” Fully immersed in the set, he nodded along with the crowd, bathed once again in mysterious red lighting.
He brought a fast-paced, benevolent energy while playing “Change,” a stark contrast to his typical soft-rock sound. He stopped to engage the crowd several times.
“Thanks so much for having us!” Djo said to the crowd. “It’s been a dream for us to play this festival — can’t believe we’re doing it!”
He continued the dark, rocking vibe, eyes closed as he sang into the microphone, the only visuals the blue lighting. He performed tracks like “Potion” and “Charlie’s Garden” with a familiar rasp and intonation, grasping the microphone with full force before fading back into black lighting with each new song.
Djo then took on a new, funky sound as the stage split into orange and white. He began with an experimental vibe, his band barely visible between the lights and smoke. The blaring electric guitar becomes a central theme — a remix — as Djo took his place behind the keyboard once again. He remained somewhat faceless as he played, remixing his own vocals with guitar riffs and synths, his hair a nodding centerpiece.
Bathed in red lighting once more, his face became the epitome of concentration. He played “Egg” with a steely look of determination, his vocals ringing out with rasp and passion. He closed his set with a murky, sonically decomposed version of “End of Beginning.” The red, smoky lighting returned to the stage as he crooned for Chicago — a roundabout way to end his mysterious set.
