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Thursday 3/17
I woke up with three plans for the day: to check out Flatstock, the annual poster convention hosted by SXSW, catch a couple of international acts and get my face melted at a punk show. So I donned the backpack I acquired the night before and headed to downtown. As I was wandering the streets in the early afternoon, I was handed a flyer by a representative of Café Bustelo with directions to a site serving free Cuban coffee to festival attendees! I was simultaneously excited and dismayed at the prospect, as I was foregoing coffee (specifically espresso) for Lent. My temperance was quickly rewarded, however, as I turned a few corners and found myself at a booth giving away free Chick-fil-A sandwiches! God is good! After downing a pair of lightly breaded deliciousness, I would later visit the cafecito just to have a peek. I may not have been able to enjoy any at the time, but at least I could bring back some souvenirs for the other members of the office coffee break crew.
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| Outside the cafecito |
I headed south and entered the Austin Convention Center. I could see from the open doors of the main hall that Flatstock was bustling with sellers and buyers of art, and I looked forward to being one of the latter. As I approached the doors I saw that they were designated "EXIT", but not wanting to walk all the way around and wait in a long line I tried my hand at flashing my SXSW Guestpass and seeing how far it would get me. The volunteers graciously let me in and I was instantly flooded with a mass of creative activity and visual overload. I spent a good amount of time perusing quality commissions for albums, gigs, portraits and the like. I left with $50 worth of art for myself and friends, but I could have easily spent over $500 had I exhibited less restraint.
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| View inside Flatstock |
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| A gig poster for Chelsea Wolfe and Wovenhand that I bought for myself |
Having crossed off one item from the goal list, I made my way up to Valhalla to accomplish another. I had seen a poster outside this club the day before with a list of Japanese artists who would be performing. I thought this was the famous Japan Nite but that wouldn't be till Friday. Instead, this was a preview showcase featuring many of the same artists. I flashed my ID and made it just in time to catch the last two songs by the all-female metal band Jungles!!!.
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| Jungles!!! |
"Danger" by Jungles!!!
Afterwards, the next artist constructed a setup consisting of a tablet, a laptop and some speakers. Seeing that he was doing this all on his own I figured that it would just be an uninspiring DJ show, but I decided to stick around because I had no where else to be. I was quickly proven wrong as Reatmo proceeded to loop his beatboxing vocals into the mic and add effects to each layer to build intricate pieces that left everyone on the floor floored. The following cover he did of the 80's new wave hit "Get Wild" by J-pop pioneers TM Network got pleasantly stuck in my head for a good while afterwards.
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| Reatmo |
"Get Wild (TM Network Cover)" by Reatmo
After this set I went upstairs to a small loft to charge my phone. I felt the recent electronic fix could hold me over for a while so I didn't pay much attention to the next artist, Emufuka. As I sat and conversed with a group of fellow engineers and music lovers I received two sets of news, one good and one bad. The good news was that one of the bands I was hoping to see but couldn't find performance times for, Wagakki Band, would be playing their sole SXSW show Friday at midnight! The bad news was that the closing Japanese act at the current showcase, KAO=S, which featured a frontwoman who incorporated sword dancing in their shows, would be a no-show. I would learn the following week that the band members where held up in customs at Denver (possibly due to having a sword in their luggage).
Shortly thereafter I left Valhalla (I can't help but give a plug for "American Valhalla") but not after hearing another pair of good/bad news. The good news was that Pitchfork had a two-day showcase for Thursday and Friday at a nearby club. The bad news was that they were both in the afternoon and I missed seeing Dilly Dally, White Lung, Car Seat Headrest, Beach Slang (again), Porches and Empress Of! As I walked down Red River Drive I tried to convince myself that the experiences of the day were sufficient to offset the lack of such great indie music in my life. When I made it to the Des Monies Embassy, a venue I attended the day before, I entered as the next act finished their setup. The band Scarecrow hails from France and touts a mashup of American Deep South blues and disc-scratching turntable hip-hop that makes for an incredible live performance.
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| Scarecrow |
"All, Now" by Scarecrow
With some time to kill before the punk shows on my schedule. I wandered to see what else was around. 6th Street was getting increasingly congested so I sought refuge in a bar called Thirsty Nickle. A local band, Here's to You, was playing but their presence was so weak compared to Scarecrow that I could only stomach two songs. I suppose hunger had something to do with it too since my next stop was a small food stand serving overpriced American-style Asian cuisine. Looking for something good to wander into, I reached the British Music Embassy which I had passed by several times throughout the week. The crowd had all made it inside for the next performance and I figured I'd join them. Being an official SXSW event they required attendees without credentials to pay an $8 cover via credit card, so I complied as it was the first cover I paid for all the live shows I'd seen. Inside the Manchester grunge-pop PINS played a stellar set.
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| PINS |
"Young Girls" by PINS
With the strum of the last chord, I reentered the outside world and made my way up to Swan Dive (next to Barbaella, where I was the night before) and again had to pay a cover fee. I waited patiently for the members of NY punk band Big Ups, a band I favorited while listening to the Austin 100, to get their instruments ready. I noticed that the t-shirt the bassist was wearing had the portrait of Milo (a motif on artwork by the Descendents) and the words Washer above it (referring to the band they did a 9-minute split EP with) and knew that I was in for a good show. They took the loud-quiet dynamics of underground alternative to their extremes as the pace of their songs would shift from apathetic nonchalantness to commanding ferocity with little warning. It was the musical equivalent to a roller coaster ride and a jolt I was very much intrigued by.
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| Big Ups |
"Goes Black" by Big Ups
I was planning on skipping on the next act in order to catch another Austin 100 find, slack rockers toyGuitar, at a different spot but Big Ups were giving such constant positive accolades for the band that would follow that I stuck around. From the first note to the last clash, the Toronto-based Greys delivered an impenetrable wall of cathartic distortion that made the notion of second-guessing my decision to stay an impossibility.
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| Greys |
"Use Your Delusion" by Greys
It was a little past 11pm when Greys ended and I entertained the idea of catching the second half of toyGuitar's set. When I entered the mob that was 6th Street and saw that there were still people waiting to get in to the club where I was headed, I knew that the last bus home was where I needed to be.
(Also, Happy St. Patrick's Day!)
Friday 3/18
Before I attended the daily noon Mass for the last time in Austin I realized that not only was St. Mary's a cathedral but that I was unknowingly fulfilling all the requirements for receiving a plenary indulgence in the Year of Mercy! I offered formal thanks to the Lord for an amazing vacation and (being aware this time) attributed the day's indulgence to a soul in purgatory.
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| Door of Mercy at St. Mary's Cathedral |
I had two musical prospects for the day, one feasible and one long-shot. The former was to catch the second Pitchfork showcase at Barracuda, which was free. The latter was to catch a band that had been escaping me all week, the Spanish lo-fi group Hinds, who was headlining an official SXSW showcase in the convention center. When I arrived at Barracuda, I passed by the indoor stage, where the quiet indie styles of Frankie Cosmos could be heard, and entered the outside venue. I wasn't prepared for enduring a gruelingly awful set by the washed-up honky-tonk group Lavender Country, but I (almost) forgot all about that when I snagged a second-row spot in anticipation of Protomartyr. The Detroit post-punk quartet delivered an intense performance which fortunately included a single that they neglected to include in their latest LP. A poignant and rattling moment occurred during the last song (I can't recall the name, maybe "The Feast of Stephen") when the guitarist intensely pummeled the bridge of his guitar as the tempo gradually slowed to a halt to the point where his guitar strap came off and he gripped the neck, holding the instrument inverted until the applause drowned out all the reverb.
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| Protomartyr |
"Cowards Starve" by Protomartyr
I went inside to cool down and slow down as I caught the last few songs by the folk artist Waxahatchee. As Kevin Morby took the stage next I moved near the entrance of the club where there were a slew of phone charging stations. I seized one and made plans for the rest of the afternoon: I could catch one more show where I was at and then make my way to the convention center to see Hinds (if I could). I would then catch a bus home and meet up with friends driving from Houston to see me, and we'd figure out plans from there.
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| Waxahatchee |
"I Think I Love You" by Waxahatchee
While I was waiting a couple, Denise and Alex, struck up conversation with me seeing what musician(s) I was waiting for. I replied that I'd heard a lot about the hip-hop artist Anderson .Paak and thought I shouldn't waste a chance to see him since he would be performing in a couple of minutes. Being Texas locals they clued me in on some homegrown bands, Migrant Kids and Neon Indian. The former would play at midnight and the latter would play at 5pm, and they invited me to check them out. I said I'd consider it (since the night was up in the air and the other show conflicted with Hinds). We decided to see Anderson .Paak together and when we made it outside Alex got some beers as Denise went for some food. I was handed a Lone Star, which I was appreciative of, and felt I'd return the favor by staying to watch Neon Indian. When Denise finished her Frito Lay Chili, she fretted as she realized she had accidentally eaten meat on a Friday in Lent! I assured her that it wasn't a true offense since she legitimately forgot but that from then on she'd have to follow the practice for the remainder of the day. Relieved, the three of us proceeded to enjoy some funky tunes.
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| Anderson .Paak & The Free Nationals |
"The Season/Carry Me" by Anderson .Paak & The Free Nationals
As Anderson .Paak left the building so too did a lot of his fans, so the three of us easily made our way to the front to claim our spot. The next act on the bill for the outdoor stage would have been the synthpop duo Chairlift but they were moved inside given the last-minute cancellation of rapper Stormzy. Alex, Denise and I had high hopes that this would mean an early start for Neon Indian, but alas, the band stuck to the schedule. That gave me some time to chat with the pair, where I learned that Alex worked in the aero industry like me and that Denise had a young daughter from a previous relationship who was going to receive the Sacraments of Baptism and First Communion that upcoming Easter Vigil, just a novena-length of time away! Before long, the members of Neon Indian began setting up their eclectic set of equipment and when frontman Alan Palomo took the stage everyone lost their marbles. The group proceeded to play what one avid fan dubbed "yacht rock" which made me feel like I cruising the streets of GTA: Vice City with the radio on while simultaneously on a boat with the cast of Ballers.
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| Neon Indian |
"Annie" by Neon Indian
I may have missed Hinds, but what I got in return was an unbelievable music discovery experience! I thanked the couple for persuading me to stay to the end. The invited me to join them for a quick bite, but I told them I had to be on my way to catch friends coming in from Houston. I jetted through the inside of the club where D∆WN was serenading the crowd with her brand of electrodance. I sieved through the crowds and made it to the bus stop before the weather took a turn for the wetter. Though this would ultimately lead to the cancellation of an outdoor show with Tijuana Panthers, Beach Slang (again!!!), Wolfmother and Coheed and Cambria, I wasn't riled up at the least since I had other plans. My friends JV and Reg met me at my lodging and we drove up to Tuk Tuk, a local Thai restaurant, to catch up on life. As I was recounting my experiences of the week, it was not difficult to convince them to join me on one last pass through downtown. With the goal of starting with a quieter and more intimate show, we headed for Central Presbyterian and ended up in St. David's Episcopal. Inside we made our way to the sanctuary and caught the last few songs by heartland singer-songwriter Jay Nash.
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| Jay Nash |
"Blame It All on the Wind" by Jay Nash
After the show, the three of us visited the makeshift biergarten in the upstairs lobby for some local beer sponsored by Strange Land Brewery. I enjoyed a Compline (not to be confused with Compline), which had a "rich maltiness accentuated by hints of plum and a cloistered hoppiness." After having sipped our drinks, we reentered the sanctuary for a performance by local Michael Fracasso and his bluegrass band.
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| Michael Fracasso |
"Elizabeth Lee" by Michael Fracasso
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| Wagakki Band |
"Senbonzakura" by Wagakki Band
With hearts full and ears ringing, the three of us made our way through crowded 6th Street to the car and made one more pit stop at Gourdough's, a local gourmet donut shop. Fearing a sugar shock and only making it halfway through the Fat Elvis, a donut topped with grilled bananas, bacon, peanut butter icing and honey, I nevertheless had no regrets. Before dropping me off, we made plans to grab brunch/lunch before I left the Lone Star State.
Saturday 3/19
I woke up with mixed feelings of elation and melancholy as my amazing week in Texas was drawing to a close. After freshening up and trying to find a way to fit all the free gear I got into my luggage, JV and Reg picked me up and we drove around for some grub. We settled at Torchy's Tacos, an awesome taco joint with class and heat. We then walked around the neighboring streets and took some profile-worthy pics alongside colorful murals. Our next stop was Caffe Medici where we enjoyed some hot beverages in the brisk afternoon air.
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| JV showcasing his mad selfie skills in front of the Greetings from Austin mural |
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| You can also thank JV for my new blog profile picture |
I made it back to where I was staying with about 30 minutes to spare before my Airbnb host Sam became free to shuttle me to the airport. His rate of $1/mile was very reasonable and when he dropped me off I thanked him for all his hospitality. As I awaited boarding, I was thankful for booking a late flight but disappointed that real world responsibilities had beckoned so soon, especially since my #1 pick for SXSW, Israeli alt-pop sensation Ninet Tayeb, would be performing her only official show that same evening. While killing time and listening to my backlog of podcasts, I tuned in to the most recent dispatch from NPR Music and to my chagrin I discovered that members of the NPR team had "stumbled upon" Ninet Tayeb at Cheer Up Charlie's on Friday afternoon! And what's more, she was performing during that horrible honky-tonk band that I sat through at the Pitchfork showcase! It was a hard pill to swallow, but I didn't let that unfortunate discovery cloud my view of the week. No, I couldn't have orchestrated a better turn of events for my first SXSW.
Until next time, Austin. It's been weird.
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| "So long, farewell..." |
I wish someone would write a song about me for a change,
Kelvin
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