I was fortunate to hear Caveman twice. One, because this became my favorite band at SXSW; two, because their second performance affirmed their sound is even better live. Tracks like “Thankful” highlighted the reverb and distortion that briskly washed over the melodic hook. Then there was “A Country’s King of Dream,” its dynamic range increasing tenfold with crisp claps and mellowed drum kicks punctuating the dreamy melodies. The group quickly draws comparisons to Vampire Weekend or Local Natives for their artsy indie pop that draws from the psychedelic periods of the Beatles and blends it with lo-fi, and pop hooks. And where many bands struggle during performances to balance sonic layers, this was never the case for Caveman: lyrics were enunciated, guitar progressions were poignant, and rhythms were firm, but not overpowering. Besides the unflattering name, Caveman is a promising new indie sensation.