A promotional band photograph of the music group feeble little horse inside an unfinished room with exposed horizontal wooden lath walls. The four band members are casually positioned around various pieces of musical equipment. On the left, an individual with long dark hair, wearing a camouflage jacket, stands adjusting the knobs on a stack of Roland amplifiers. Towards the top right, a member with shaggy brown hair and a brown overshirt stands with a lit cigarette in their mouth. Seated on the floor in the center-left, a third member in a grey hoodie, grey pants, and black over-ear headphones looks down toward a laptop and a tangle of cables. On the bottom right, a fourth member with long blonde hair sits on the floor wearing a light-colored graphic t-shirt, plaid leggings, and over-ear headphones, looking directly at the camera. A drum kit is partially visible in the background, a small framed rainbow picture hangs on the wall, and a black speaker covered in audio brand stickers sits on the far right. The scene is lit with a direct flash, casting hard shadows on the textured wall behind them.
Feeble Little Horse Credit: Eve Alpert / GrandstandHQ

Three years after its breakout sophomore LP, Girl With Fish, brought the band to the Coachella stage, Feeble Little Horse (stylized in all-lowercase) is back with a follow up.

Online since late-May and available in real life via Saddle Creek just ahead of a tour that kicked off this week, the 11 tracks on Bitknot (stylized all-lowercase) are rooted in pop, but noisy as hell (“DMT”) and catchy enough for radio (“Dior”)—with none clocking in at more than three-and-a-half-minutes.

From what sound like field recordings on “Rewind” and “Paris” to the computer and guitar interplay on “Upside Down,” the Pittsburgh quartet has turned in one of 2026’s first near-perfect front-to-back albums which serves as a refreshing reminder that it’s more-than-fine for a band to take its time between releases.

Grimes-inspired art-pop songwriter Addie Warncke brings her Computerwife project to open the show.

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This article appears in July 09 – 15, 2026.

Read his 2016 intro letter and disclosures from 2022 and 2021. Ray Roa started freelancing for Creative Loafing Tampa in January 2011 and was hired as music editor in August 2016. He became Editor-In-Chief...