Mannequin P***y at ACL

By Ashlee Harcar

Local Music Journalist

Weekend One of Austin City Limits proved to be an awakening experience, and kicking off my first set with Mannequin P***y was just the beginning. As a die-hard fan of the band, seeing Mannequin P***y for the second time within a span of just four months felt like a lucid dream. My first encounter with the Philadelphia-based, punk-tinged alternative band was at Primavera Sound Music Festival in Barcelona, Spain, where their raw energy and emotionally charged performance left a lasting impression. At ACL, I was eager to see how they would translate that same intensity to a different setting, especially with the Texan crowd. This was a performance that became personal to myself and everyone in the audience and one that I was excited to dive into. 

Mannequin P***y’s set was a whirlwind of raw screams and inspirational speeches, solidifying their place as one of the most exciting, up and coming alternative bands today. Marisa “Missy” Dabice, dressed in a white archive fashion torn dress, exuded a hypnotic vivacity with her compelling vocals from the moment the stage filled with visuals.  From the very first notes of the track “Sometimes,” the band had the crowd in the palm of their hand, weaving through their set with a ferociousness that matched the blazing heat of the Texas afternoon.  

“Patience: and “Control” brought a sense of simmering tension, with Dabice’s gritty vocals taking center stage, delivering a perfect mix of vulnerability and feminine rage. The driving guitar riffs in “Softly” and the chaotic beauty of “Loud Bark” gave the audience moments to lose themselves both physically and mentally. Multiple mosh pits erupted throughout the crowd as each track hit harder than the last. The highlight for many came with the cleansing in “I Got Heaven,” where Dabice’s presence was commanding, yet intimate, drawing fans closer even in a massive festival setting.  

Mid-set, the hauntingly emotional “Of Her” and “Aching” showcased the band’s ability to seamlessly shift between genres of alternative and indie. If you have attended a Mannequin P***y show before, you are well aware of Dabice’s striking monologues. Following the one-two combination of songs “Anything” and “Everything,” Dabice called on the existing aura of feminine rage within the crowd. Dabice said, “You can tell a lot about a person from their reaction to the word p***y. Oh, it makes you feel embarrassed? Oh, it makes you feel ashamed? Are you afraid of things that are so feminine and commanding?” From the two speeches I experienced, Mannequin P***y advocates towards equality and fights for representation of femininity that are rejected by modern society. The band’s utilization of their growing platform as a voice for the unheard is what makes their music so special, and their performances so admirable.  

The closing trio of songs “Emotional High,” “Romantic,” and “OK? OK! OK? OK!” felt like the perfect culmination of the band’s emotional rollercoaster of a set. “Romantic,” one of their most well-known tracks, was delivered with the kind of heart-wrenching intensity that defines Mannequin P***y’s sound. By the time “OK? OK! OK? OK!” rang out, I was fully immersed in the band’s fiery presence;, exhausted but exhilarated.  

Mannequin P***y’s performance at ACL Weekend 1 was a masterclass in balancing grit and melody, with the band’s fierce energy captivating both diehard fans and newcomers alike. Their set was a reminder of why they’re a standout on the festival circuit, and why Austin City Limits is a must-attend festival for all central Texans. Their capability of commanding any stage with relentless passion and authenticity not only started my festival experience off with a bang, but also left me yearning for more alternative music in festival headlines.