Although those two topics, of course, couldn’t compete
with the most uttered phrases of the week: “What’s the wi-fi password?” and,
“is there somewhere I can charge my phone?”. In fact, the ludicrous lengths
people would go to get their phone out of the red became quite an amusing spot
all over town.
In the
end, Kanye was a no-show. But that’s not necessarily a bad thing. When the
festival started in 1987 it was intended as a showcase for unsigned bands and
artists hoping to meet the right sorts of people. Gradually it grew into
somewhere for a new act to gain exposure and consolidate their profile. Then
the megastars came in and took the whole thing over, ruining it for everyone.
Who’s gonna want to cover Sunflower Bean when Yeezy’s just rocked up to town?
(Actually, plenty. Check them out.)
During
SXSW, Austin becomes a curious mix of industry professionals racing around to
find the next big thing (they are often the busiest-looking folk, and most in
need of a plug socket) and the thousands of people who just head there for a
good time. What’s especially pleasing is the easygoing merging of pop, hip-hop
and rock fans. The diverse line-up attracts everyone in equal measure – much
more than traditional British festivals which tend to cater for a specific
genre – and they all just get along.
Bands generally
play until about 1 or 2am but anyone looking to continue the party after that
will need to befriend a local for a house-party. Everything shuts down in
Austin after that time. And don’t be shy; the Texan hospitality is legendary. I
had hosts hugging me when I turned up at their home despite them not knowing me
from Adam. Maybe they’d just smoked enough of the weed that permeates the air
downtown.
So how best to
deal with such an overwhelming event? Silicon Valley guru Tim Ferriss gave a
speech at SXSW and included his three rules to approach the festival with:
don’t dismiss people; don’t be a dick; don’t rush. He might have been talking
at the “interactive” conference at SXSW, but his advice applies just as well to
the music proceedings.
Anyhow, this
year seemed a decent mix of the new and old (and some really were ancient; the
Zombies brought their 50-plus years of experience to play at a car-park
barbecue on South Congress). But apart from the numerous street buskers that
line the chaotic streets downtown, it’s hard to believe that anyone without
some sort of representation bothers to turn up anymore.
An increasing
trend appears to be quite established, but by no means huge, artists who don’t
really need the exposure (and won’t benefit from the headlines that a
stadium-sized act casually dropping by will) turning up to play some shows
anyway. So the likes of Future Islands, The War on Drugs, Laura Marling, TV on
the Radio and The Cribs were all there doing their thing. I caught a set by
Edward Sharpe and the Magnetic Zeros under the stained glass windows of the
Central Presbyterian Church.
But that all seems a bit of a
waste when you can catch acts like that at any old festival. Everyone knows
SXSW is really all about showcasing new artists. Usually playing at least one
show a day, if artists impress enough, they can come away hotter than a Texan
chilli sauce.
But what’s it
like for new acts to perform at when they’re competing for attention with so
many other artists in just a three-mile radius? Walking on Cars are a
five-piece that scored a huge deal with Virgin Records recently and are under
pressure to impress at SXSW before they release their debut album later this
year. “I knew it was going to be crazy but it’s a lot bigger and busier and
mental than I ever thought it would be,” keyboardist Sorcha Durham tells me. It’s
hardly surprising considering there are more artists playing this year at SXSW
than the population of their entire home town of Dingle, Ireland.
When they played their stirring
indie-rock set (that they usually fill stadiums with in Ireland) out of the back
of a dive bar called Holy Mountain, they attracted a decent-sized crowd. But
with so much on offer it’s never a given that you’ll even have an audience.
“It’s a constant
worry that no one will turn up,” says singer Patrick Sheehy. “But we’ve been
pretty lucky so far.” Sure enough, if you peer inside a few bars while walking
around Austin you’re bound to be greeted with the heart-breaking sight of a
band giving it their all to a crowd of three.
Other new acts
that had everyone talking were singer-songwriter and rapper Raury, whose
boundless charisma had the whole of the Hype Hotel going wild for the
18-year-old. “You’re in for a hell of a show, I promise you,” he told the amped
crowd. He wasn’t wrong.
Leon Bridges, a
new soul singer, played an intense eight gigs and came away as one of the
buzziest new acts. Philadelphian singer-songwriter Alex G was also packing out
his various shows. It might not have been Australian Courtney Barnett’s first
time at SXSW but she still managed to be one of the most discussed, presumably
because of the confidence she has in her new, first official record, Sometimes
I Sit and Think, and Sometimes I Just Sit. Dublin rockers Girl Band also made
plenty of noise, in every sense. PC Music’s bizarre showcase at the Empire
ensured the pop and dance label will continue to shock, engage and bemuse in
equal measure.
But the presence
of fancy “clandestine” outposts of places such as Soho House and Los Angeles’s
No Name Bar meant there was an increasing vibe of exclusivity cropping up.
Fortunately it’s subtle enough to not affect the joyful, disorderly spirit of
downtown. But perhaps the standout star of the week was Bill Murray, who took
in an eclectic mix of acts including Girlpool, Best Coast, Ghostface Killah and
BadBadNotGood, creating frenzied excitement wherever he went and battling a
blinding number of selfie requests. Who needed Kanye when there was Bill?
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