Royel Otis (I just discovered my favorite artist): ACL 2024

By Joaquin Lewis

Music Journalist

Like many, I first discovered Royel Otis through their breakout cover of Sophie Ellis-Bextor’s “Murder on the Dancefloor” on Triple J’s Like A Version this past January. Despite this cover becoming a staple on my playlists, I hesitated to dive deeper into their discography and become an invested fan. That all changed in April when I stumbled upon their cover of The Cranberries’ “Linger.” I realized, like many, that Royel Otis was far from a flash in the pan. These covers struck a chord with audiences at large, with their monthly Spotify listeners more than tripled following both releases. Audiences discovered that the duo’s range extended well beyond covers of classic Top 40 hits, with original indie anthems from their debut album, Pratt’s & Pain, resonating just as deeply. 

The beauty of the ACL Music Festival lies in its ability to let attendees wander from stage to stage, discovering new artists and leaving as fans. Standing at the barricade for Royel Otis, a sea of curious and excited faces began to gather behind me as their set time drew closer. We were all filled with quiet anticipation, and the tension broke when the duo walked on stage—singer Otis Pavlovic sporting an Austin FC jersey, while guitarist Royel Maddell wearing his signature white Fender Jazzmaster. They wasted no time, jumping straight into their song “Heading for the Door” with its unmistakable guitar riff. Those of us familiar with Royel Otis beyond their covers sang every lyric out loud—me included. 

As they followed up with songs like “Claw Foot” and “Sofa King,” the anthemic choruses brought back memories of classic 2010s indie anthems like Grouplove’s “Tongue Tied” or Arcade Fire’s “Wake Up,” making me feel nostalgic for a time I hadn’t even experienced. Hoping to capture that feeling, I joined the energy on stage, jumping with the crowd in unison as the duo did the same. That moment made me realize what sets Royel Otis apart—they rebrand feelings of anthemic 2010s choruses with modern pop sensibilities, allowing the beauty of that sound to shine through. 

Coming into this set at ACL, I had a surface-level familiarity with Royel Otis’s discography—just enough to pass plausibly as a more-than-dedicated fan. However, seeing both the crowd’s reaction and my own during their performance of “Oysters in My Pocket” revealed something deeper. Over the course of an hour, as they played songs spanning all four of their projects, I found myself leaving the show as a much bigger fan than when I arrived. With more than seven new songs added to my playlist, all of which I played on repeat on the way home, Royel Otis had quickly become one of my favorite artists after just one set. 

To say that this experience was a glowing representation of the essence of the ACL Music Festival would be an understatement. It was a reminder of how live music can transform casual listeners into true fans in a matter of moments, like it had that day with Royel Otis.