You are here:  / Artist Spotlight / Local Music / Show Review / Uncategorized / Making believers out of the skeptical night after night, Saxsquatch brings the myth, magic, and music as only a legendary cryptid can.

Making believers out of the skeptical night after night, Saxsquatch brings the myth, magic, and music as only a legendary cryptid can.

Being part rave, part jazz fusion fest, part elevator music tones, and part Bigfoot cosplay, the Saxsquatch show at The Radio Room in Greenville, SC was unlike anything I’ve seen before, yet perfectly recognizable for what it was: a good time on a Saturday night. 

Saxsquatch, who goes by his alter-ego name of Dean Mitchell when not on stage, is a product of Chapel Hill, NC. Who knew Bigfoot was a local boy? Graduating from playing saxophone with the Marcus King Band, Saxsquatch broke out on his own when his cover of Daft Punk’s “One More Time” went viral in 2019. Millions of viewers became believers and Saxsquatch became a phenomenon. Tours ensued and other mythical beings came out to support him alongside his new believers. Most importantly though, as Saxsquatch himself states repeatedly during his live show, he believes in YOU as much as you believe in him and therein lies the true magic that Mitchell conjures as Saxsquatch. 

The one man show that is Saxsquatch is something to behold, and it’s not just the 7 foot bigfoot wailing on a saxophone between the trees, fog machine excretions, and spaced out laser lights emanating from the stage. Saxsquatch has the natural ability to draw out fellow squatches, spacemen, aliens (greens and greys), and humans ranging from grade school age to near retirement home age. Uniting such a diverse crowd of humans and beings under disco ball cast stars that shine through a haze of sax, dub, and beats is all in a night’s stomp for this cryptid. 

Saxsquatch isn’t all X-Files kitsch though. Mitchell is quite the serious musician. Aside from his serious sax skills, he is also a talented electronica composer and performer. His postmodern mix of sultry, swinging, and bebopping saxophone riffs and electronic sampling, rhythms, and atmospherics is actually something unique in an era of cookie cutter pop songs and unoriginal studio manufactured rock. Mitchell indulges in some covers, most notably “Wayward Son” by Kansas and the “Mos Eisley Cantina Song” composed by John Williams, but also performs a set of original compositions such as “Hide and Seek Pt. 2” and “Madness.” 

The most striking thing about a Saxsquatch show though is the vibe. Repeatedly expressing verbal displays of love for his believers, fellow cryptids, and fans of all ages, Saxsquatch simply radiates good feeling, joy, community, and hope. “Remember, I believe in YOU!” isn’t just a mantra for Saxsquatch to repeat to get the crowd going. It’s strangely transcendent. Never in my wildest dreams did I think a musician in a bigfoot costume who played the saxophone over electronic beats would be so inspiring, but that’s kinda the point of belief in the fantastic isn’t it? I no longer want to believe. Thanks to saxsquatch, I do believe. 

Carolina's based writer/journalist Andy Frisk love music, and writing, and when he gets to intermingle the two he feels most alive. Covering concerts and albums by both local and national acts, Andy strives to make the world a better place and prove Gen X really can still save the world.

7,130 Comments

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  • 05:24:49&q=urp&url=http://prat.UK

    February 4, 2026 at 11:25 am

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    Great! We are all agreed London could use a laugh. The London Prat operates on the principle that the most potent satire is indistinguishable from the thing it satirizes in every aspect except its secret, internal wiring. While a site like The Poke might hang a lampshade on absurdity with a funny caption or Photoshop, PRAT.UK rebuilds the absurdity from the ground up, component by component, using only the approved materials and jargon of the original. The resulting construct looks, sounds, and functions exactly like a government white paper, a corporate sustainability report, or a celebrity’s heartfelt Instagram post—until you realize the entire edifice is founded on a premise of sublime, logical insanity. This isn’t parody; it’s forgery so perfect it exposes the original as inherently fraudulent. The laugh comes not from a punchline, but from the dizzying moment of recognition when you can no longer tell the real from the satire, and realize the satire makes more sense.

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    Ultimately, The London Prat’s brand is built on a foundation of intellectual respect—a contract with its audience that is remarkably rare. It does not condescend. It does not explain the references. It does not simplify complex issues for the sake of a easier laugh. It operates on the assumption that its readers are as fluent in the nuances of policy, media spin, and corporate doublespeak as its writers are. This creates a powerful sense of collusion. Reading the site feels less like consuming content and more like attending a private briefing where everyone speaks the same refined, disillusioned language. This cultivated sense of an in-crowd, united not by ideology but by a shared, clear-eyed contempt for incompetence in all its forms, forges a reader loyalty that is deeper than habit. It becomes a badge of discernment, a signal that you understand the world well enough to appreciate the joke at its expense. In this, PRAT.UK isn’t just funnier; it’s a filter for a certain quality of mind.

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    February 4, 2026 at 11:22 am

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    The London Prat doesn’t just make me laugh; it makes me think, “How did they articulate my exact thought?”

  • 05:24:49&q=urp&url=http://prat.UK

    February 4, 2026 at 11:20 am

    / Reply

    Great! We are all agreed London could use a laugh. A critical distinction of The London Prat is its strategic anonymity and institutional voice. Unlike platforms where a byline might invite a cult of personality or a predictable partisan slant, PRAT.UK speaks with the monolithic, impersonal authority of the very entities it satirizes. Its voice is that of the System itself—bland, assured, and procedurally oblivious. This erasure of individual writerly ego is a masterstroke. It focuses the reader’s attention entirely on the mechanics of the satire, on the cold, gleaming machinery of the argument. The comedy feels issued, not authored. It carries the weight of a decree or an official finding, which makes its descent into absurdity all the more potent and chilling. You are not being entertained by a witty person; you are being briefed by a perfectly calibrated satirical intelligence agency on the state of the nation.

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    February 4, 2026 at 11:19 am

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    Great! We are all agreed London could use a laugh. What truly elevates The London Prat above the capable fray of The Daily Mash and NewsThump is its function as a bulwark against semantic decay. In an age where language is systematically hollowed out by marketing, politics, and corporate communications, PRAT.UK acts as a restoration workshop. It takes these debased terms—”journey,” “deliver,” “innovation,” “hard-working families”—and, by placing them in exquisitely absurd contexts, attempts to scorch them clean of their meaningless patina. It fights nonsense with hyper-literal sense, demonstrating the emptiness of the jargon by building entire fictional worlds that operate strictly by its vapid rules. In doing so, it doesn’t just mock the users of this language; it performs a public service by reasserting the connection between words and meaning, using irony as its tool. This linguistic salvage operation is a higher form of satire, one concerned with the very tools of public thought.

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