November 6, 2026, marked the inaugural concert of Sioux Falls’ newest venue, the Sweetman Atrium at Levitt at the Falls. While most people are familiar with the almost overwhelming number of concerts the outdoor stage at The Levitt brings each summer, this new addition continues what The Levitt does during those warmer months, only now indoors to battle the winters we get here in South Dakota. There’s one other notable difference that we can’t overlook. While the summer shows on the lawn are free to the public, these indoor performances come with the purchase of a ticket. But that didn’t stop Levitt regulars and fans of the artists from coming out to support the new venue, the bands performing, and the excitement surrounding this new space.
With a maximum capacity of just 230 people, the venue is designed to make concerts considerably more intimate than the outdoor performances. Fittingly, The Levitt has named the series Levitt UpClose. The idea is simple but exciting. To bring audiences closer to the musicians while continuing to provide the live music Sioux Falls has come to expect from this organization throughout the year. Better yet, ticket purchases help support the free summer concert series, keeping that tradition alive when the warmer weather returns.
To kick things off, Nancy brought out the infamous green flag from the outdoor shows, the one that signifies the status of the weather. Only this time, she made light of the fact that it would always be green in this new space. A fitting little nod to the traditions that have made The Levitt what it is, while welcoming something entirely new.
And with that, the first music ever performed in this new concert space was ready to begin.
Fairy Blue and Inkwell Echo: A Local Introduction Worth Remembering
The first artists to take the stage were local indie pop Americana duo Fairy Blue, Elizabeth Trygstad, and Inkwell Echo, Scott Jibben. Their collaboration came about through a connection at Augustana University, where Elizabeth had been a student of Scott’s. Throughout the performance, Elizabeth’s twin sister, Jessica, also joined them on stage, providing harmonies and violin accompaniment. Elizabeth was quick to praise her sister, especially considering she’d only recently been given the music.
There was another fun connection to The Levitt that made this opening performance even more fitting. Elizabeth actually works on the sound crew during the summer concert season. So, for someone who spends part of the year helping make other people’s performances happen, getting the opportunity to take the stage herself in this brand new space was a particularly nice full circle moment.
But enough rambling. Let’s get to the music.
And oh my. Elizabeth is an absolutely astounding vocal talent.
The range of her singing, combined with the ability to hold notes without her pitch wavering, was something I honestly wasn’t expecting. You can sometimes anticipate nerves or inexperience affecting a performance, particularly when an artist is playing in front of a crowd for a special occasion. None of that was evident here. Her voice was remarkably controlled, confident, and expressive, and she made it look considerably easier than I imagine it actually was.
One of the standout moments came with “Call Me By My Name,” the first song Elizabeth wrote and produced herself. It was already an important song for her personally, but the story behind it gave the performance another layer. She shared that a friend of hers in Germany had told her the song had been played at a couple of local funerals there. That’s quite the unexpected destination for a song written by a local artist in Sioux Falls. I love a good fun fact like that, but there’s also something pretty incredible about knowing your music has traveled far enough to become part of meaningful moments in other people’s lives.
Scott and Jessica also deserve credit for what they brought to the performance. The instrumental arrangements rounded out the set beautifully, with the violin adding another dimension to the sound and the harmonies complementing Elizabeth’s vocals. It was a wonderful introduction to a duo that I hope gets considerably more opportunities to share its music with audiences.
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Behind the Scenes: Production That Complements the Talent
There was one other thing I immediately noticed during this opening set, and it had just as much to do with what was happening behind the scenes as what was happening on stage: the production.
For such a small room, and for the first concert in the space, the sound, acoustics, and lighting were already on point. I can’t move forward without giving the crew behind the production their props. You can have amazing talent on stage, but poor production can absolutely crush a performance. When you have just as much talent working in the shadows, though, it elevates the entire experience. That’s exactly what happened tonight.
Fairy Blue and Inkwell Echo cut the ribbon on the first musical performance in this new venue in spectacular fashion. I pray for big things from this duo, and I certainly hope to see them back on stage again soon.
Wyoming Roots in an Intimate Setting
During a short intermission, the audience had some time to use the restrooms, grab drinks and snacks, and settle back in for the headliner. Oh yeah, the venue also has a small bar area provided by JJ’s, just as the outdoor shows do. JJ’s and The Levitt have always been synonymous with one another, so it was nice to see that partnership extend into this new space. With everyone refreshed and ready for more music, it was time for the headliners of the inaugural show at the Sweetman Atrium to take the stage.
Straight out of the mountains of Wyoming, The Two Tracks arrived celebrating their 10th anniversary as a band, alongside the release of their fifth studio album, Seasons Unknown, which dropped in June of this year. And let me tell you, those mountain vibes ooze out of this band in abundance.
The quartet consists of husband and wife duo Dave and Julie Huebner, alongside Taylor Phillips and Fernando Serna. Dave handles guitar and cello amongst other things, Julie contributes guitar, Taylor plays bass, and Fernando is behind the drums. The group also shares vocal duties, creating the kind of layered harmonies that fit naturally into its Americana sound.
When any band brings out a cello, I’m immediately hooked. It’s an instrument that can add such a distinctive character to a song, especially when paired with acoustic guitars and talented songwriting. But then to add a harmonica later in the set? The Two Tracks had my attention right from the start, and they never really let it go.
One of the things I appreciated throughout the performance was how naturally the band moved between different instrumental arrangements. Dave frequently transitioned between instruments depending on what each song called for, giving the set a variety of textures without ever making the changes feel forced. The cello, in particular, was a highlight for me. Dave’s classical cello training is part of what gives the band’s arrangements their distinctive character, blending traditional string influences with bluegrass and rock elements. It’s a combination that works exceptionally well live.
The lighting crew also continued to impress during the headliner’s set. There were moments when images of roses appeared and disappeared throughout a song, adding another visual element without distracting from the musicians. Again, I can’t give enough props to the production team for what they accomplished in this room. It’s easy to overlook lighting and sound when everything is working as it should, but when you have a band performing at this level and a crew complementing it with equally thoughtful production, the result is something special.
Stories Behind the Songs and a Memorable Sendoff
Of course, the stories behind the songs were another highlight. One that particularly stuck with me came when Dave talked about one of his favorite poets, Gary Snyder. Snyder, a Pulitzer Prize winning poet whose collection Turtle Island received the award in 1975, was an inspiration for The Two Tracks’ song “Dragonfly.”
What made that story even better was learning that the band had actually gotten the opportunity to play the song for Snyder himself. Think about that for a second. You write a song inspired by someone’s work, and eventually you get to perform that song for the very person who helped inspire it. I can’t imagine what that experience must have felt like. There are plenty of milestones musicians can celebrate throughout their careers, but getting to share something that personal with the person who helped spark its creation has to be near the top of the list, if not the ultimate summit.
The stories continued with a song inspired by the Grateful Dead, bringing another unexpected element to the performance. Not that the band needed any help keeping things interesting, but I appreciated seeing the different influences that find their way into its songwriting. The Two Tracks have a sound that feels rooted in Americana and traditional folk, yet there’s enough room for other musical influences to make their way into the arrangements without losing the band’s identity.
They even dug into the archives for a deep cut, playing “Into the Grey,” the first song from their debut album, The Two Tracks, released in 2016. For longtime fans, I imagine hearing a song from the very beginning of the band’s recording career was a welcome surprise. For someone like me, who was getting to experience the band in this setting for the first time ever, it was another opportunity to hear where the group started and appreciate how far it’s come over the past decade.
And just when I thought the evening had reached its conclusion, the band had one more surprise.
An Unexpected Goodbye
As the group finished what I thought was their final song, the members looked at one another and exchanged silent nods of approval. They then stepped away from the stage setup and delivered a completely a cappella performance, with their hands and bodies serving as the only instruments. No guitars, no cello, no drums. Just four musicians using their voices and physical rhythms to bring the evening to a close.
It was such an unexpected way to finish the show, and one of my favorite moments of the entire night. There was a sense that the band was rewarding the audience for the enthusiasm and support it had shown throughout the performance. Whether this was always part of the plan or an extra moment inspired by the crowd, it was an excellent way to close out the inaugural concert.
There’s a certain beauty in watching musicians strip everything back and let their voices do the work. After an evening filled with layered instrumentation, beautiful harmonies, and thoughtful arrangements, ending with something so simple felt entirely appropriate.
For a band celebrating ten years together, it was also a reminder that sometimes the strongest connection between musicians and an audience doesn’t require much equipment at all.
Afterglow
I genuinely don’t know if I could have imagined a better opening for the Levitt’s new Sweetman Atrium. From the local talent that introduced the space to the Wyoming quartet that closed out the evening, this inaugural concert delivered on just about everything I could have hoped for.
The musicianship was outstanding, the production exceeded expectations, and the intimate setting gave the audience an opportunity to experience these artists in a way that simply isn’t possible when you’re sitting out on the lawn during the summer. That’s not to say one experience is better than the other. They’re simply different, and having both available in Sioux Falls is something worth celebrating.
I’ve always loved what The Levitt brings to our community. The free summer concerts have become such an important part of the Sioux Falls music scene, and now there’s an opportunity to keep that music going when the temperatures drop and the outdoor stage goes quiet. Even better, these ticketed performances help support the free concerts that so many of us look forward to every year.
And we won’t have to wait long for another opportunity to experience this new space. The next Levitt UpClose performance is scheduled for December 19, 2026, with A Very Jazzy Christmas, featuring the Fellowship Jazz Center Orchestra and vocalist Andrea Ross. It should be another extraordinary evening of live music, and with seating limited in this intimate venue, it’s worth checking out tickets sooner rather than later.
Here’s to new stages, local musicians getting opportunities to shine, and another way for Sioux Falls to enjoy live music throughout the year. If this inaugural evening is any indication of what’s ahead, the Sweetman Atrium is going to be a welcome addition to the local music scene.
And I, for one, can’t wait to see what comes next.
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