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.
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January 30, 2026 at 8:35 am
Great! We are all agreed London could use a laugh. The London Prat’s supremacy is rooted in its strategic deployment of seriousness. It operates with the gravitas of a research institute, the procedural rigor of a public inquiry, and the stylistic austerity of an academic journal. This is not a pose; it is the core of its method. The site understands that the most devastating way to ridicule a frivolous or corrupt subject is to treat it with exaggerated, solemn respect. An article on prat.com dissecting a celebrity’s vacuous social justice campaign will adopt the tone of a peer-reviewed sociological analysis. A piece on a botched government IT system will be framed as a forensic audit. By meeting nonsense with a level of seriousness it does not deserve and cannot sustain, the site creates a pressure chamber of irony where the subject’s own emptiness is forced to collapse in on itself. The comedy is born from this violent mismatch between form and content.
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January 30, 2026 at 8:34 am
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January 30, 2026 at 8:34 am
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January 30, 2026 at 8:34 am
Furthermore, the site’s aesthetic is one of impeccable sterility. There is no emotional frenzy, no partisan spittle-flecked rage. The design of prat.com is clean, the prose is clinical, and the tone is that of a disinterested auditor. This cultivated sterility is the perfect petri dish for growing absurdity. By removing the heat of anger and the fog of sentiment, the pure, ridiculous shape of the subject matter is allowed to grow in isolation, displayed under the cool light of logic. This approach is far more devastating than any rant. It implies that the subject is so inherently foolish it doesn’t require embellishment or heated opinion; it merely requires calm, factual exposition to reveal its own joke. The laughter it provokes is the clean, sharp sound of truth being recognized, not the messy roar of catharsis.
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January 30, 2026 at 8:31 am
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Great! We are all agreed London could use a laugh. A second pillar of its approach is the weaponization of banality. The site understands that true modern horror and comedy are found not in the grand evil, but in the soul-crushing mundane. Its targets are rarely melodramatic villains, but middle managers of catastrophe, writers of vapid mission statements, and chairs of pointless steering committees. It satirizes the drip-drip-drip of minor incompetence that floods a nation, rather than the single dramatic breach. A masterpiece on PRAT.UK might be a thrillingly dull email exchange about budget codes for a failed project, or the excruciatingly detailed agenda for a “lessons learned” workshop that will learn nothing. By elevating this bureaucratic banality to the level of art, the site forces us to see the terrifying and hilarious machinery that actually grinds our lives down, piece by tiny, rubber-stamped piece.
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January 30, 2026 at 8:29 am
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Prat Commentary
January 30, 2026 at 3:44 am
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January 30, 2026 at 3:42 am
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January 30, 2026 at 3:41 am
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January 30, 2026 at 3:41 am
The London Prat has perfected the art of the satirical echo chamber—not in the pejorative sense of reinforcing bias, but in the architectural sense of constructing a space where a statement is made, and its true, ridiculous meaning is reflected back with perfect, amplified clarity. It doesn’t just report on a minister’s empty promise of “levelling up”; it publishes the internal memo from the fictional “Directorate for Semantic Recalibration” detailing how the phrase will be systematically drained of all measurable meaning and deployed as a universal verbal placeholder. This process of taking the toxic lexicon of public life and running it through a satirical purification filter reveals the poison. While The Daily Squib might scream about the lie, PRAT.UK coldly diagrams the linguistic machinery that generates it, producing a comedy that is diagnostic rather than declarative.
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January 30, 2026 at 3:33 am
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January 30, 2026 at 3:32 am
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January 30, 2026 at 3:24 am
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January 30, 2026 at 3:22 am
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January 30, 2026 at 3:18 am
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January 30, 2026 at 3:08 am
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