ACL Festival 2026 - The 4411

 The 4411 (W1)

Austin’s own The 4411 arrive at ACL Festival with the kind of momentum that makes a hometown set feel especially well timed. Cogan McBride (vocals), Tomas Gerlach (drums), Alan Holmquist (guitar) and Nick Speer (bass) have built a growing audience around emotionally direct alternative rock, guitar-driven songs and a live show that feels bigger than the rooms where the band first developed its following. Their June 2026 EP, Haven’t Seen You In So Long, captures a band leaning into nostalgia without getting stuck there, pairing memories of friendship, summer and growing up with a sound that feels warm, immediate and made to be played loud. For ACL Weekend 1, The 4411 become one of the few Austin area talents that gained the privilege of joining the lineup. My only gripe for ACL Music Festival is that the percentage of Austin based bands vs the total line up is super small and their set times are always sooo early!

Friday October 2, 2026

Time: 12:45pm

Stage: Tito's

👂 First Impression
There is something familiar about The 4411 without the music feeling overly polished or calculated. The guitars are big enough to carry a festival field, but the songs still feel personal, like they were written from memories the band has not quite finished processing.

What pulled me in is the balance between movement and sentiment. Even when the songs feel carefree on the surface, there is usually a little ache underneath. That tension gives the band more staying power than a simple summer-rock label would suggest.

▶ Start Here: "Oak Trees"
“Oak Trees” is an ideal introduction to where The 4411 are in 2026. It begins with raw guitar and Cogan McBride’s vulnerable vocals before expanding into a full-band release that feels both reflective and restless. The song does not rush toward its payoff; it lets the emotion build, then gives the instruments room to finish the thought. It's one of my favorite tracks by the band that truly displays their full range.

🎧 What I Hear
RIYL: The Strokes • The Backseat Lovers • The Paper Kites

Overall Sound: Guitar-forward alternative rock with vulnerable vocals, melodic hooks and a warm, nostalgic streak that turns memories of friendships, relationships and growing up into songs that you won't soon forget.

💿 The Evolution
The 4411 began with friends writing and playing around Austin before growing into a regional touring act with an increasingly visible following. Their earlier material established the mix of indie rock and emotional songwriting, while the 2024/2025 We Killed the Sun era introduced songs such as “Austin,” “Straight North” and “King of Almost.” Haven’t Seen You In So Long feels more cohesive. The guitars remain central, but the new EP is less about proving how loud the band can be and more about capturing a specific feeling: wanting to hold onto a season, a friendship or a version of yourself even as life moves forward.

💜 WAALT Take
The local connection makes The 4411 an easy band to root for at ACL, but that would not matter much if the songs were not there. What stands out is how naturally they turn nostalgia into something active rather than purely wistful. “Sweet July” and “Sunset Calling” feel like memories already slipping away while you are still inside them. “Oak Trees” shows their full range all in one track. I hear some of The Strokes in the directness, The Backseat Lovers in the emotional build and The Paper Kites in the warmer, more reflective moments. The result is a band that should translate especially well to an early festival set, when people are still wandering between stages and willing to be won over by something they did not plan to see.

🔁 Listen Next
“Sweet July” A warmer, dreamier look at fleeting summer memories and the desire to make a moment last a little longer.

“Sunset Calling” More immediate and carefree on the surface, with the kind of chorus and guitar energy that will translate very well live.

“Her” A more openly romantic song that shows how effectively McBride can push a vulnerable lyric without overdoing it.

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