From the opening moments, it was clear The Pretty Reckless had become a different live band since the last time I saw them. Taylor Momsen has always possessed an undeniable stage presence, but this version of the band understood something larger: how to entertain an audience even when the spotlight wasn't on the lead singer.
Three platforms stretched across the front of the stage, and each member of the band used them. Whether it was Momsen stepping forward to command the room, Ben Phillips leaning into a soaring guitar solo, or Mark Damon feeding off the audience, the performance rarely stood still. The entire production carried the confidence of a band accustomed to playing for tens of thousands rather than a theater crowd.
Although ACL Live holds just over 3,000 fans, the audience responded with the enthusiasm of an arena crowd. Cheers erupted at the opening of nearly every song, and fans willingly followed every request Momsen made to sing or clap along, creating an atmosphere where both the audience and band fed off each other in a way that completely outdid the size of the venue and crowd they were in.
One of the night's biggest surprises came with the live debut of "Dear God," the title track from the band's new album released earlier this month, giving the evening the feeling that The Pretty Reckless wasn't simply celebrating a new record, it was beginning its next chapter.
Dear God leans into a more vulnerable side of Momsen's songwriting than Death by Rock and Roll, and those songs translated beautifully on stage. One of the evening's most memorable moments came during "Devil in Disguise," when the performance stripped down to just Momsen and Phillips for much of the song. Without the weight of the full band behind her, Momsen demonstrated just how much her voice has grown. The signature grit remains, but it's now balanced with greater control and nuance, allowing quieter moments to carry just as much impact as the heavier ones.
What impressed me most, however, was that the band's evolution extended well beyond Momsen herself.
A pleasant surprise throughout the night was Ben Phillips' vocal harmonies, which added warmth and dimension to several of the newer songs (some of which I almost wish had made it onto the studio recordings). Coupled with the addition of guitarist Logan Nikolic, the band feels fuller, allowing Phillips to focus on more expressive lead work while maintaining rhythmic weight and creating a bigger live sound without sacrificing precision.
Earlier in the evening, Paris Jackson proved just how much she's grown as a live performer.
Backed by an entirely new band, Jackson carried herself with the confidence of someone who has found the right musical home. Playing a Gibson SG through a Vox amplifier layered with thick fuzz, she leaned into the heavier textures that have become central to her sound. It was in those moments, guitar in hand, that she appeared most relaxed, allowing both her musicianship and personality to shine.
Her cover of Blind Melon's "No Rain" offered the clearest point of comparison to the last time I saw her perform. Her vocals carried more confidence, better control, and a stronger emotional connection than I remembered.
Both artists arrived in Austin from very different places in their careers, but for one night they created a remarkably cohesive evening of modern rock.
Paris Jackson opened with a performance that balanced intimacy and intensity, while The Pretty Reckless delivered the kind of confident, arena-tested show that left little doubt why they've become such a sought-after touring partner for AC/DC.
By the time the house lights came up, the sold-out crowd had witnessed far more than a routine stop on a summer tour. Austin hosted the live debut of new material, watched two artists at pivotal moments in their careers, and saw a headlining band that has never looked more confident—or more complete.
