Since I worked for the now defunct WOXY during Music By the Slice, I will not be posting an official review since it is a conflict of interest. I will, however, be posting pictures from both days that I worked there. Long Live The Future of Rock and Roll!
Let’s Wrestle:
Woodhands:
Phantogram:
Generationals:
Jukebox the Ghost:
Wye Oak:
The Lonely Forest:
Miles Kurosky:
The Cave Singers:
Lou Barlow:
Since I worked for the now defunct WOXY during Music By the Slice, I will not be posting an official review since it is a conflict of interest. I will, however, be posting pictures from both days that I worked there. Long Live The Future of Rock and Roll!
Pattern Is Movement:
Surf City:
The Love Language:
The Radar Bros.:
Shilpa Ray & Her Happy Hookers:
Lost In The Trees:
These United States:
Dinosaur Feathers:
Oh No Ono:
The Bright Light Social Hour:
Look for more SXSW coverage throughout the week. I will post more photos from this showcase, pictures from both days of Music by the Slice, and a review of the MOG Party.
With such a heavy bill, I was utterly surprised when I showed up to Emo’s for the Brooklyn Vegan Day Party two hours early and found that I was the first in line. Five of the seven groups are some of the most well respected bands in the indie community, and two of them have held prominence on the local Austin circuit for a few years. To see them for free without the badge/wristband hierarchy should have had people lined up at least by 9 am. Despite my confusion, I prepared myself for a day’s worth of great music and, by the time I made my decent back into the cluster that is downtown Austin during SXSW, I left with a smile wide across my face.
YellowFever
If there was any lull in quality throughout the day, it came from opening group YellowFever. While the Austin group did not play a bad set by any means, they failed to grab my attention. The duo combined guitars, keys, and drums, along with lead singer Jennifer Moore’s somewhat monotone vocals to make for songs that didn’t have any real staying power to them. The group does possess a decent amount of musical talent, as the songs were catchy in the moment and the band seemed to know what they were doing. However, there was not enough there for the group to be particularly memorable, especially against a line up full of heavy hitters.
The Rural Alberta Advantage
The Rural Alberta Advantage quickly made up for the shaky start by demonstrating why they have been riding a wave of praise over the last year. I will admit that I was originally just lukewarm about the group’s debut, “Hometowns,” when I first heard it this past summer. I found some of the songs to be kind of boring, and that there was nothing truly unique about the group. However, these reservations were immediately thrown out the window by the group’s live show. The band had an energy about them that was only hinted on their album, as they played with such finesse and effortlessness that it was almost jaw dropping. Not only was Nils Edenloff’s voice sound more controlled than I had remembered, the music itself sounded incredible. This was largely in part to Paul Banwatt’s drumming, as he played with such force that the drums threatened to overtake the rest of the instrumentation. Amy Cole contributed her lovely voice to compliment Edenloff’s Jeff Mangum-esque delivery, and played several different instruments to add to the diverstity of the music. As a result of their set, I am more than willing to give The Rural Alberta Advantage another chance.
The Morning Benders
Next up was rising San Fransisco group The Morning Benders. The band had released their new album “Big Echo” only one week prior to this, their first SXSW performance. Although they only got to perform four songs because of the time constraints that come with these kinds of showcases, the band undeniably left their mark. The easiest way to describe the morning benders would be to call them a West Coast version of Grizzly Bear, which is not too far off considering that Chris Taylor of said band helped produce “Big Echo.” Not only are the bands songs grand in scope and instrumentation, they contain enough hooks to make them stand out. This was evident throughout their set, especially in the group’s last song, lead single “Excuses.” Lead singer Chris Chu has such a natural and pleasant voice that to hear it amidst thundering percussion and surf-rock guitar makes for a real treat. When the band broke down into a vocal harmony that built until the music kicked back in, I knew I was witnessing something special. If this band does not blow up within the next few months, I will lose faith in the general listening public.
Japandroids
At this point, the showcase changed gears from grandiose indie pop to the fuzzed out, albeit brilliant, music of Vancouver’s Japandroids. Their debut, last year’s “Post-Nothing” was proof that a band doesn’t need four of five members to rock hard and make catchy anthems about youth and girls. I saw them play in October at the inside stage of Emo’s and was completely blown away by how much energy the group had and the way they interacted with the crowd. This set was no different, as they brought that exuberance to the forefront with guitarist Brian King and drummer David Prowse playing with reckless abandon and shouting their lyrics as if it were their last show. Not only were staples “The Boys Are Leaving Town” and “Young Hearts Spark Fire” present, the group performed what is arguably their best song, “Wet Hair” for only the second time in the United States, according to King. Although King and Prowse didn’t talk much (King’s spastic banter and Prowse’s asides are a key component of a full Japandroids show experience), the songs spoke loudly enough on their own for me to safely say that the group totally wrecked shop.
Titus Andronicus
If there’s one band that is a perfect match for the energy and talent of Japandroids, it would be Titus Andronicus, one of America’s best rock bands. The New Jersey group, now back to a quintet after being a brief stint as a four piece, came to play in support of their new album, “The Monitor,” and they handily justified the rave reviews it has been getting by playing an entire set of cuts from it. The band plowed through cathartic anthems such as “A More Perfect Union” and live staple “Titus Andronicus Forever,” with Patrick Stickles beer-drenched yell backed up by he and his bands uplifting and driving brand of hard rock. If there was any criticism to be levied at their set, it’s the fact that the band didn’t have time to perform any songs from their equally stunning debut “The Airing of Grievances.” However, this makes for an excuse to see them when they come back into town, and this set should solidify that their next show here will garner a large enthusiastic crowd the band deserves.
The Black Angels
Austin’s own Black Angels took the stage next, and their blend of psychedelic rock was an interesting choice in terms of the progression of the showcase. However, this did not take away from the quality of the group’s set, as they played with a great sense of urgency and purpose. The bass was particularly heavy in the mix for this performance, but it was for the better as it provided a catchy foundation on which to layer their reverbed guitars and vocals. The band performed several tracks off their last record “Directions To See A Ghost,” as well as hinting at a new album coming out sometime this year. I had never heard of the Black Angels prior to their set, but I am now happy to have discovered another very talented Austin band.
Fucked Up
Originally, the next slot in the lineup was designated for Wu-Tang Clan member GZA. However, since he had to cancel at the last minute, headliners Fucked Up took the stage early. The Toronto hardcore outfit has garnered a reputation as one of the genre’s few true pioneers, and they have proven it both on record and in concert. They play with a manic ferocity that gets any crowd fired up, and the first few rows of Emo’s outdoor stage turned into a giant mosh pit from their first note. Frontman Damien “Pink Eyes” Abraham growled his heady lyrics with aplomb, while the band fired on all cylinders with no signs of slowing down. Abraham was quite the showman, going into the crowd during songs, letting people smack his bare stomach after taking off his shirt, and telling the crowd that Emo’s was the first place he took off his shirt on stage. It all made for an extremely enjoyable set, and a great way to cap off my first SXSW experience of 2010.
England’s The Clientele have an almost uncanny ability to create mood through their music, and they have been doing it successfully for over a decade. Whether it’s the autumnal tones of their latest album, “Bonfires On The Heath” or the cold winter backdrops of 2005′s “Strange Geometry,” listening to the band’s music is an organic experience. They are truly a unique band, and the sheer beauty of their music was felt in their Mohawk performance.
First opening act Michael Kingcaid and the Broken Bottle Casualties was surprisingly good, as they played a pleasant set of country tinged folk songs. Kingcaid, who also plays in the Austin band What Made Milwaukee Famous, demonstrated very good vocal control, and the band played solid arrangements. San Fransisco’s Vetiver shortly followed, and it was apparent that much of the crowd was there to see them. They have a sizable following, and rightly so, as their brand of 70′s inspired folk made for some great songs. Fan favorites such as “Rolling Sea” showed that the band was comfortable with their sound, and the set had a very uplifting vibe to it. They perfectly set the stage for the Clientele.
From the first note of their classic song “Since K Got Over Me,” it was evident The Clientele were going to put on a magnificent show. Lead singer/guitarist Alasdair MacLean is one of the most underrated guitarists in rock, as his pick-less playing method allowed him to hit every note perfectly, all with a healthy dose of reverb to give the notes an echoing quality. His voice recalls all the pleasantries of late 60′s English folk, and is at once soothing and mystifying. Multi-instrumentalist Mel Draisy gave the songs an added depth by incorporating violin, keyboard, and the occasional glockenspiel, while bassist James Hornsey and drummer Mark Keen kept a steady rhythm.
The band’s set list beautifully surveyed their career. In addition to “Since K Got Over Me,” there was the haunting “My Own Face Inside The Trees” to represent “Strange Geometry,” arguably the group’s finest album. There were also several cuts from “The Violet Hour,” “God Save the Clientele,” and debut singles collection “Suburban Light.”
However, “Bonfires On The Heath” was most on display, with tracks such as “I Wonder Who We Are” and “I Know I Will See Your Face” being among the songs from that album in the set. To top things off, the band invited Vetiver on stage to play an original homage to Texas called “San Antonio.” It was truly a beautiful moment, and The Clientele are no strangers to those.
Michael Kingcaid and the Broken Bottle Casualties:
Vetiver:
The Clientele:
The people of Waterloo Records could not have made a better selection for their inaugural outdoor installment of their in-store sessions on Jan. 25 than Spoon. One of the biggest bands to come out of Austin, they played a set that effortlessly demonstrated why they have continued to release quality work for almost 15 years.
The most satisfying thing about Spoon’s Waterloo outing was how good they sounded on stage. The band went through their set without a hitch, and the majority of the songs sounded like they do on their respective albums. Britt Daniel’s unique vocal style lost none of its luster, sounding just as raw and organic as it’s always been. Additionally, each instrument was played with an equal amount of skill and finesse, giving each of the songs their edge, perfectly exemplified on songs like “Don’t Make Me A Target” and “Is Love Forever?” Their performance was a testament to how good Spoon is as a group, and to hear a band sound this tight at an in store session was a real treat.
Playing in support of their latest album, the very good “Transference,” the set list consisted mostly of songs from it and 2007’s “Ga Ga Ga Ga Ga.” These albums contain some of the bands best songs, such as “Don’t You Evah,” “Rhythm and Soul,” and “Written In Reverse,” all which were present.
If there is any criticism that can be levied at the overall show, it’s that the band’s earlier albums were severely under represented. Of course, when you are a band with as deep of a back catalog as Spoon, and when your last two albums are what most people know you by, choosing songs for a 45 minute set is an arduous task. Omissions were bound to occur.
In the end though, this did nothing to dampen the sheer quality of the set. You can expect nothing less from Spoon. They are a band who thrives on doing one thing and doing it right, and that is making top-notch music while making it all seem easy.
(Image Credit: Jonathan Schwarzbach)
Very few bands can claim to have the same lineup for more than fifteen years, make consistently good (oftentimes great) albums, and still find it in themselves to put everything they have into their live performances. It is all too common for groups to either run out of steam after a few albums or become complacent in their work. However, this is not the case for Old 97′s, one of the alt-country movements few remaining relevant survivors. Their blend of country and rock, combined with their pop sensibilities have allowed them to endure since they first came along in 1994. They ably proved why they are still one of the most important bands to hail from the Lone Star State on the second night of their four night “An Evening With Old 97′s” stand at the historic Sons of Hermann Hall in Dallas.
Perhaps the biggest factor that has contributed to Old 97′s longevity and consistency is the fact that the group is made up of four distinct and important personalities. Lead singer/guitarist Rhett Miller and bassist/vocalist Murry Hammond are exceedingly gifted song writers, and they both have unique voices that either compliment each other or stand on their own. Lead guitarist Ken Bethea possess an immense amount of skill on his instrument, and drummer Philip Peeples’ tight rhythms tie everything together. As a result of playing with each other for over 15 years, the group has continued to grow while releasing high quality work. The power of their music and their tightness as a band have given them a reputation as one of the best live acts around, and all their strengths were on full display as they performed. The groups’s fans could not have been happier.
Hammond and Miller started the night off by each performing solo sets. Hammond was first up, treating the audience to a quieter, more subdued set of original songs and covers from his 2008 release “I Don’t Know Where I’m Going But I’m On My Way.” From the opening notes of George Washington Phillips cover “What Are They Doing In Heaven Today?,” Hammond’s country tinged voice and simple guitar work took the forefront, with yodels and train metaphors rounding everything out. However, it was Hammond’s a Capella performance of “Other, Younger Days” that stood above everything else in his set. A song written shortly after the death of his parents, the lyrics were amplified by being sung without the accompaniment of instruments. The result was both heart-wrenching and beautiful, and a testament to Hammond’s talents.
Miller took the stage next. While the majority of his solo work finds him with a full backing band, it was only him and his guitar as he performed. With four solo albums of material under his belt, there was no shortage of choice for Miller’s set. As opposed to Hammond, he utilized his acoustic guitar to create a more energetic, poppy sound by playing with more energy and speed. Songs such as “Four Eyed Girl,” and “Caroline,” and “This Is What I Do” sounded great on their own, but the real treat of the set was “Fireflies.” Without original collaborator Rachel Yamagata in attendance, Miller was forced to sing both male and female parts, turning one way towards the audience to represent himself and the other way to represent Yamagata’s part. Despite the slightly absurd concept, in practice it worked out splendidly. As Miller left the stage, he had left his mark, and both he and Hammond had pepped up the audience for Old 97′s.
The main attraction to Old 97′s four night stand at Sons of Hermann Hall was that, save the group’s calling card “Timebomb,” each night’s set list would be different. This gave the band an opportunity to play songs that they normally wouldn’t play live, while spreading their hits across each show, making every night’s performance unique.
“Niteclub,” off of 1997′s “Too Far to Care,” started things off with it’s insanely catchy chorus and Miller’s personal but extremely relateable lyrics. From then on, the band ripped through over an hour and a half of hits and deep album cuts that expanded their entire discography.
Right out of the starting gate, Old 97′s were right at home in their sound, each member playing to their musical strengths. Bethea’s guitar parts sounded just as good as they did on record, Miller and Hammond’s vocals gave songs such as “Here’s To the Halcyon,” off 2008′s “Blame It On Gravity” and “Can’t Get A Line,” from 2001′s “Satellite Rides” their lyrical punch, and Peeples drumming was tight and pulsing. More importantly, it was visible that the band was putting all their energy into their set, and were having fun while doing it. This was especially evident in songs such as “St. Ignatius,” the first song they played together as a group, and “Big Brown Eyes,” one of the groups most beloved songs and the closer to their initial part of their set.
During the encore, the audience was treated to two songs by the Ranchero Brothers, a side project of Miller and Hammond that has yet to release a proper album. When the the rest of the band came back on, the group gave David Bowie’s “Five Years” an alt-country face lift before capping off the night with three more of their own songs. “Dressing Room Walls” and the excellent “Nineteen” paved the way for the one constant to their set lists. Played with the same manic energy and technical skill that had been demonstrated throughout, “Timebomb” capped off the evening by putting an exclamation point on a night that saw the Old 97′s doing what they do best. Here’s hoping that the group will still be making music this good and putting on amazing live shows for many more years to come.
Murry Hammond:
Rhett Miller:
Old 97′s:
This is installment #3 in “My Year in Lists.” Check back every day for a new list!
I feel extremely fortunate to be going to school in Austin. I have access to one of the most fertile music scenes in the United States, and the overall atmosphere is something I have found in few other places. 2009 saw me go to a lot of shows, and every one of them was a blast. I hope to continue going to this many shows every year for a long time to come. Here is a photo recap of every show I went to this year. (Please Note: For some of the shows, I was unaware of the venues camera policies or I simply my camera. Therefore, I have used some promotional photos for these instances.)
Titus Andronicus: January 30, 2009; The Parish Room, Austin
Los Campesinos!: January 30, 2009; The Parish Room, Austin
Broken Social Scene: January 31, 2009; Bass Concert Hall (UT Campus), Austin
DeVotchKa: February 8, 2009; La Zona Rosa, Austin
Andrew Bird: February 11, 2009; Waterloo Records, Austin
Okkervil River: March 2, 2009; St. Edward’s University, Austin
Cut Copy: March 6, 2009; Stubb’s, Austin
I Love You But I’ve Chosen Darkness: April 23, 2009; Mohawk, Austin
Franz Ferdinand: April 25, 2009; La Zona Rosa, Austin
Girls: August 16, 2009; Warehouse Live, Houston
Los Campesinos!: August 16, 2009; Warehouse Live, Houston
Titus Andronicus: September 30, 2009; Mohawk (Indoor), Ausitn
Blitzen Trapper: October 1, 2009; Emo’s (Outside), Austin
The Walkmen: October 1, 2009; Emo’s (Outside), Austin
Broken Social Scene: October 2, 2009; Seaholm Power Plant, Austin
Japandroids: October 14, 2009; Emo’s (Indoor), Austin
Princeton: October 25, 2009; Mohawk, Austin
Art Brut: October 25, 2009; Mohawk, Austin
Dirty Projectors: October 26, 2009; Antone’s, Austin
Islands: October 27, 2009; Mohawk (Outside), Austin
Fun Fun Fun Fest: November 7-8, 2009; Waterloo Park, Austin
Thao w/The Get Down Stay Down: November 12, 2009; Mohawk (Outside), Austin
Final Fantasy: November 18, 2009; Antone’s, Austin
The Mountain Goats: November 18, 2009; Antone’s, Austin
Friendly Fires: November 19, 2009; Mohawk (Outside), Austin
The xx: November 19, 2009; Mohawk (Outside), Austin
It has now been a week since Fun Fun Fun Fest took Austin by storm, metaphorically and literally. There were a number of great bands that I saw, and even more that I wish I would have had the chance to catch. Here are some of the pictures from what I did see:
Growing:
New Movement Comedy:
MC Chris:
Street Dogs:
Foot Patrol:
James Husband (Members of Of Montreal):
Death:
Mission of Burma:
HEALTH:
The Black and White Years:
Crystal Antlers:
Royal Bangs:
Alaska In Winter:
Atlas Sound:
Destroyer:
Fucked Up:
Of Montreal:
The first time that I heard Islands, I knew that I was listening to something unique. The Montreal groups’ blend of electronics, guitars, and violins made for catchy, intricate songs on their debut, “Return to the Sea,” that had an instant appeal. Their subsequent albums, 2008′s “Arm’s Way” and this year’s “Vapours”, saw the band continue to expand their sound, and even though the results weren’t as vital or consistently good as “Return to the Sea,” they were great albums in their own right. The band proved with their performance at Mohawk that they put on a stellar live show, despite a few key missing elements to their sound.
After a nice set of sample heavy bedroom pop from Columbia, South Carolina’s Toro y Moi (Who, for some reason, was listed on the bill as Tot y Moi), former Be Your Own Pet vocalist Jemina Pearl took the stage with her new band in support of her first solo effort “Break It Up.” Her on stage presence is one of a woman possessed. The ways she moved exhibited pure energy, and it perfectly complemented the music. The band played fast and played loud, and the songs were full of hooks and a punk like intensity. Rest assured, Pearl’s live show and knack for writing memorable songs will ensure that she will do just fine post-Be Your Own Pet.
About thirty minutes after Pearl finished her set, three of the members of Islands appeared on stage, including guitarist Jamie Thompson, who left the band on good terms after “Return to the Sea” but returned this year for “Vapours.” About five minutes later, lead singer/guitarist Nick Thorburn made his appearance. Known for his showmanship, he didn’t fail to live up to his reputation, wearing a faux-diamond studded cape and wraparound sunglasses as he came on stage. Notably missing from the band’s lineup were violinists Sebastian and Alexander Chow.
Their absence was perhaps the biggest disappointment about Islands’ set. Part of what made many of the bands songs stand out were the Chow brothers violin arrangements. I missed them greatly as the band performed “The Arm,” which has some of the best use of violins I’ve ever heard from a rock band, and many of the little nuances in other songs were soring lacking as a result of their absence. The band simply didn’t sound as full as they could have.
That being said, however, Islands still sounded very good. The guitar playing was tight, and their use of no less than four keyboards provided many of the songs with their backbones, as processed drum beats and electronic sounds complimented Thorburn’s voice.
Perhaps the most noteworthy aspect of Islands’ set came from Thorburn’s on stage antics. He walked around the stage with his microphone, take pictures of himself with an audience member’s camera, and at one point he swang from the rafters on stage. If nothing else, it was entertaining to watch him do all these things while still singing every song note for note. He is a front man in every sense of the term.
The night was filled with many of the band’s greatest songs, such as “The Arm,” “Rough Gem,” and “Swans (Life After Death).” There was a lot of new material from “Vapours,” which marks Islands return to the sounds of “Return to the Sea” after their flirtations with grandeur on “Arm’s Way.” Many people in the audience were singing along, and the band played off of it well.
Despite the lineup omissions, Islands still managed to put on a very good show. It was entertaining, the songs were well executed, and the audience seemed to have a good time. Their unique sound was front and center, and the amount of care put into their show is a testament to how special of a band they are.
Toro y Moi:
Jemina Pearl:
Islands:
