Photo by: Amanda DeCadenet

Rarely is an audience this divisive. Though many concertgoers share a look straight out of early 1990s Seattle—multicolor mohawks, dark flannel shirts, wallet chains—a clear line between pop and populist indie rock separates the two camps. A dozen Sonic  Youth enthusiasts gather at the bar stage left. As a college-aged hipster wearing a blue Nevermind T-shirt walks past, the rowdy bunch pointedly hollers—passionate as World Cup fanatics—this two-word chorus: “Nirvana what? Nirvana what?”

Locals expect such fervor at Stubb’s. After all, creative tides have shifted in Austin. Long heralded for its fertile singer/songwriter community, today a vibrant indie-rock movement largely defines the city’s music scene. This venerable venue—at the heart of the bustling, youthful Red River district—is at its epicenter. Sonic Youth lead singer Thurston Moore’s excitement is palpable. “We’ve been looking forward to this for a long time,” he gushes right off the bat. “Summer never ends in Texas!”

It’s true. But while some bands flag from the stifling heat—it was over 90 degrees on this night—the outdoor sauna only appears to fuel Moore and seemingly ageless bassist Kim Gordon, who bounces pogo-like throughout the ebullient, otherworldly “Incinerate” and  “Shoot.” As expected, a host of material from the recently reissued classic Daydream Nation—set opener “The Sprawl” and “Teen Age Riot” stand out—prove unquestionable high watermarks.

The singular moment, though, comes as Sonic Youth launches full-throttle into “Bull in the Heather,” then immediately derails. Moore and Gordon duck away from their microphones, as if to literally avoid being struck by the shrapnel of their miscues. A silent breath passes. “We did that on purpose,” Moore says sheepishly. “Maybe we  should go offstage and tip-toe back on.” No need. They nail a second attempt with welterweight fury.