Last week was a whirl of wind. This week is whipping up quite a gust of air as well. But I don’t want any more days to pass without referring you all to a post I wrote for In Media Res. Wrapping up the site’s excellent week on hip-hop cinema, I curated a post on Lizzie Borden’s film Born in Flames in relation to Invincible, Jean Grae, and Tamar-kali’s tour of same name. Do check it out.
So I just got off the phone with a colleague’s student who’s doing a ‘zine project on feminism and music. I can’t tell you how exciting it is to start your day talking about riot grrrl with a teenage girl.
I teach music history workshops with Girls Rock Camp out of an investment with creating a space for girls to recognize that they are entering into an ongoing history of women and girls coming together to make music. In addition, there’s some important historical moments happening right now. So I thought I’d acknowledge this in song form with a quick post.
First, a few videos from Wild Flag, EMA, and Cher Horowitz, a few acts that I think represent riot grrrl’s legacy.
Next, a tip of the tiara to my Queerbomb brothers and sisters, who took to the streets this past weekend. I recently made a mix CD for our discussion of Judith Halberstam’s In a Queer Time and Place for my cultural theory seminar, and a number of the selections were the influence of Queerbomb participants, along with Homoground and Expatriarch‘s stellar efforts. Let’s shine a light on Katastrophe, Girl in a Coma, and Miz Korona.
Looking toward the future, I’ll honor some girls in my life. Some of my friends are moms, which is tremendously important work. A lot of them are moms to boys, which is very important, since men who love, respect, and honor women usually have women who taught them that (along with the men who love, respect, honor women–some of my best friends are dads too). All of my love goes out to Sylvan, Will, Declan, Max, and Noah and the parents who are raising them to be good people. But a few girls in my life were recently brought into the world or had a birthday. So let’s honor that with some songs by Kate Bush, Norah Jones, Rosie Flores, and Little Eva–women who share their names.
And finally, tomorrow is Wisconsin’s recall election. This is serious business. I’ll be casting my vote and holding hope for a better future. YACHT, Lady Kier, and Invincible will keep me cautiously optimistic.
Last night, I got my nose out of the book I was reading (Ien Ang’s Desperately Seeking the Audience, for curious parties) and went out to shake a tail feather. The Majestic, a local venue in Madison, hosted a hip hop-themed 80s vs. 90s dance party.
Obviously, I don’t need to defend the merits of hip hop’s golden era. OutKast’s ATLiens, Tribe’s Midnight Marauders, Queen Latifah’s All Hail the Queen, Wu-Tang’s Enter the Wu-Tang (36 Chambers), Nas’ Illmatic, Biggie’s Ready to Die, Jay-Z’s Reasonable Doubt, Dr. Dre’s The Chronic, De La Soul’s Stakes Is High, Missy Elliott’s Supa Dupa Fly, Pharcyde’s Bizarre Ride, Goodie Mob’s Soul Food, Salt ‘N’ Pepa’s Very Necessary, Ice Cube’s Amerikkka’s Most Wanted, Public Enemy’s Fear of a Black Planet, MC Lyte’s Lyte as a Rock, and The Fugees’ The Score all belong in the history books as much as they do in my car. Since this music scored my adolescence and many bedroom dance parties, I was happy to raise a glass and toast myself on the floor.
As this was the music of my youth, it was also the music of my feminist awakening. While I recognize that many female MCs don’t associate with the term “feminism,” their commanding presence and demand for self-respect and sexual autonomy was hugely influential on how I came to understand the world and my place in it as a teenage girl and later as an adult woman. Later I’d acquire a copy of Tricia Rose’s definitive Black Noise, a tremendously influential piece of hip hop scholarship that I believe has only been surpassed by her more recent effort, The Hip Hop Wars.
Lest we encase this era of mainstream hip hop in amber, there are a number of contemporary female MCs whose careers and artistic contributions warrant attention, including Psalm One, Dessa, Las Krudas, Nicki Minaj, Invincible, Miz Korona, MicahTron, Georgia Anne Muldrow, Lady Sovereign, JNaturaL, Rita J, and Jean Grae, among so many others. Let’s also not forget the veteran female artists who rose to prominence during this point in popular musical history and are still in the game. Missy forever.
Last night, the deejay represented Ladybug Mecca from Digable Planets, Lauryn Hill in Nas’ “If I Ruled the World,” along with Janet Jackson, Salt ‘N’ Pepa, Queen Latifah, and (after I checked in with one of the deejays) TLC. But c’mon–this was a monumental time for women in hip hop, as well as female R&B groups who were influenced by hip hop and hip hop culture. A handful of songs hardly suffice when you could devote an entire night to women’s contributions to hip hop during this period.
To be fair, I didn’t hear Positive K’s “I Got a Man,” Bone Thugs’ “First of the Month,” or the Bad Boy remix of Craig Mac’s “Flava in Your Ear” either. But as fine a time as I had last night, there were a number of voices I’d like to have heard from folks like Amil, Erykah Badu, Eve, Lil Kim, Rah Digga, Foxy Brown, maybe even dig deep into the crates for some Sparky D. Some of them may have gotten their due after I left. But all of them necessitate future dance parties. Maybe some clips can help get one started. Feel free to make requests.
SXSW 2011 kicks off today. I’ll be diving into the music portion of the festival with abandon next week and reporting on it for Bitch. For those interested looking for suggestions on what to check out, here’s my rundown.
But before we get started, let’s check some things off our list.
1. Are you wearing comfortable, close-toed shoes that can weather days of walking and standing?
2. Do you have earplugs? Some shows are really loud. You don’t want to be yelling at people during polite conversation days later.
3. Are you staying hydrated? Sure, Lone Star flows freely (and is marked up, though Brooklynites don’t notice), but make sure you’re drinking lots of water.
4. Have you checked the weather before going out?
5. If you’re especially susceptible to cedar fever and the like, did you take any allergy medication?
6. Do you have a schedule? More importantly, do you have several options for each time slot? A lot of us want to see Raphael Saadiq, which means many of us won’t. It’s nice to have contingency plans.
7. Do you have a little bit of sunscreen handy for the day shows? Remember what Darlene Conner learned from her grandmother. Skin is a gift!
Also, some industrious folks can pull a Hilah and make potables to nosh on and barter. I will not be one of them, though, as I’ll most likely be macking on Kebabalicious. For a guide to vegan-friendly fare, check in with Vegan Smurf.
Oh, and musicians. Please don’t spend your set futzing with tunings. You aren’t playing an evening at the Paramount. Yes, I realize that SXSW is a bit of a grind and no doubt showcases feel dehumanizing come Saturday. But if you’re really great, we’ll see you again in an actual concert where you can dazzle us for two hours. For now, you have maybe 50 minutes. Make it count.
Okay. So here is who I’m excited to see.
First, there are the acts that I already know I like. Folks like Thao Nguyen, Jean Grae, Invincible, TOKiMONSTA, Dessa, Glasser, Screaming Females, Julianna Barwick, Grass Widow, tUnE-yArDs, Nite Jewel, Smoosh, Andreya Triana, Indian Jewelry, Sharon Van Etten, and Schmillion.
Then there are legendary types. Did you see that Hazel Dickens is playing? What? Yes, I’ll try to see her. Thanks, “Hot Topic,” for nudging me toward all kinds of important women and/or queer artists.
For better or worse, hype is a big part of what drives SXSW. Hell, it’s what drives the music industry writ large. In addition to all the people lining up to see James Blake, Gold Panda, Weekend, Dum Dum Girls, Tennis, and maybe Fang Island, I’m sure folks are going to try and catch Cults, Yuck, the Joy Formidable, and Ear Pwr. I hope Butts catches some of that buzz. At first, I firmly classified this duo as a novelty act. But their 20-second songs about things like running out of toilet paper are pretty catchy and basically the kind of music I’d want to make with my friend Curran. Also, this band came together after some drinking. The B-52s formed while getting drunk at a Chinese restaurant, and if you call their first two albums “novel,” I’ll fight you.
I’m not sure where Big Freedia and Esben and the Witch are in their careers at this point. I feel like they might be waning a bit. I thought Freedia’s performance at the Kool Keith show was underwhelming and Esben’s debut record was poorly received. Yet I’m still interested in seeing if Freedia will pull out a great show. Also, I heard that Esben gave a great performance at the Matador anniversary weekend in Las Vegas, so I’m still interested.
There are also acts I’d like to see get more attention. Big Freedia’s celebrity has somewhat eclipsed Katey Red, another artist associated with bounce who I actually like more. Wye Oak is a longtime favorite and have steadily built a sizeable following. Their new record is also making me itch to do a comparative analysis between them and Beach House. White Mystery have gotten some good reviews and were a festival highlight for me last year, so I’m going to check in with them again. I haven’t seen the Shondes, but I’m so excited to see them that I encouraged readers to donate money to replace their van so they could play here.
I also like to find a few acts I think have a shot at universal appeal. Folks like Thao Nguyen make accessible, interesting music that I think most everyone I know would like. Maybe you can think of it as “the NPR vote.” Some contenders this year are Carla Morrison, Quadron, Wonfu, Gold Motel, Zoe Muth and the Lost High Rollers, Khaïra Arby, and Frazey Ford. I’m also interested in seeing Japanese funk group Zukunasisters.
Supergroups are important too. It’s nice to see awesome musicians come together on a new project. Wild Flag is getting much attention, and “Glass Tambourine” is a rad song. However, please note that Cibo Matto’s Yuka Honda, that dog.’s Petra Haden, and Shimmy Shimizu of Cornelius have a promising act called If By Yes. Their songs are breezy and refreshing, like a glass of lemonade with a shot of Tabasco.
Alongside Glasser and Barwick, some ladies are tending toward the dreamy and the mystical. I’ll refrain from comparing any of them to Kate Bush because that’s lazy. However, I’m planning to check out Braids, Grimes, Phantogram, Tamaryn, and Austra. I’m especially interested in artists who do interesting, unsettling things with atmosphere. Lookin’ at you, EMA, Lower Dens, Las Robertas, Blank Realm, No Joy, Christian Mistress, and the White Eyes.
SXSW is a festival that prioritizes rock music. Unfortunately, dance acts and hip hop artists tend to get the shaft. There’s a shocking dearth of hip hop this year beyond what I already listed, though I strongly recommend you follow Scratched Vinyl‘s coverage (founder/editor/personal friend Chi Chi Thalken will be giving a rundown on KOOP’s “Hip Hop Hooray” this Sunday at 2 p.m., so tune in). However, while I don’t want rock to be the festival’s default genre, I do upon occasion enjoy a cold beer and an electric guitar. For folks looking to rock out, might I suggest Heavy Cream, Fever Fever, Puffyshoes, Those Darlins, and Le Butcherettes?
Austin is a thriving music community in its own right, so check out some of our local talent. Christeene‘s an international superstar, but she’s ours. Schmillion are opening for the Bangles, so they’re due to break huge any day now. Agent Ribbons and Soft Healer spin a moody, beautiful tune that befits our vast landscape. Most everyone can get down to Akina Adderley and the Vintage Playboys‘ retro soul.
Likewise, there are some great showcases being put on by locals. I already mentioned GayBiGayGay, which will nurse you through your Sunday hangover. Mess With Texas has become a big-tent tradition. Girls Rock Camp Austin is partnering with Bitch for their day show and is holding a benefit where attendees can receive a guitar signed by Susanna Hoffs. Veronica Ortuño is holding her third annual Night of Rage. KVRX and Party Ends are putting on some good shows as well. And even though Terrorbird Media isn’t a local promotion company, it’s run by some very nice people with good taste. Also, apparently the good people at Karaoke Underground are doing their thing at Dive on Saturday, the 19th. Belt your favorite indie rock tunes, regardless of whether you have a voice left.
I attempted to be comprehensive here, but I’m sure I forgot some important people. Feel free to leave endorsements in the comments section and I’ll see you on the fairground.
On Monday, BET premiered My Mic Sounds Nice: A Truth about Women in Hip-hop, which was posted in full on Miss Info’s Web site. Unfortunately, the first two segments have since been taken down, but you can see clips on the BET Web site.
In truth, I’m waiting for Rachel Raimist to drop some science on it for The Crunk Feminist Collective next Monday, as she promised on Kristen at Dear Black Woman‘s Facebook page. I’m pretty sure the director of the fantastic Nobody Knows My Name, the forebear of BET’s inquiry on gender and hip hop, has some exquisite criticism plotted out. I’ll read, re-tweet, and provide a link in this entry when the blog post goes live.
Also, if you aren’t following The Crunk Feminist Collective, consider this your call to action. rboylorn’s piece this week about black women and depression was one of the best things I read in recent memory.
But I did see My Mic Sounds Nice and, as a feminist hip hop fan who is also a big fan of Nirit Peled’s Say My Name, feel I should use this space to comment and start a dialogue about it. Overall, I liked it.
1. I’m happy BET felt the need to address this subject matter at all. As far as I know, this was the first documentary made for the network and, not unlike Mad Men‘s Birth of the Independent Woman documentary included in the DVD set for season two, the network’s larger programming context was incorporated into the documentary’s narrative. They could’ve done this quite a bit more — say, launch into a discussion of BET: Uncut — but I’m happy a discussion’s starting.
2. Ava DuVernay directed My Mic Sounds Nice. If that name is familiar, you might have seen her documentary This Is the Life: How the West Was One, which I recommended in a previous post.
3. There’s a good mix of mainstream and independent female MCs. I like seeing Salt-N-Pepa, MC Lyte, Lil Mama, and Jean Grae share screen time.
4. In general, the documentary is a good primer for the development of women in hip hop. And early in the documentary, there’s lots of great context for nascent female involvement through battle rapping and emphasis placed on now-obscured female acts like the Sequence.
5. The overall approach to talking about women in hip hop is refreshingly discursive. DuVernay frames each voice and opinion as distinct and weaves differing or contradictory viewpoints from each subject. For example, it puts Yo-Yo’s intimations that she felt pressure to project a hyper-sexual image in the wake of Foxy Brown and Lil Kim’s mainstream success in the mid-90s in sharp relief to Trina and Nicki Minaj’s lucrative construction of their personae.
There are some things I felt a little strange about, though. These issues don’t speak to the documentary, but rather internal struggles from within a music industry conditioned toward conventional business practices, which hinge on patriarchal thinking.
1. Many mainstream artists — particularly EVE, who came up through the Ruff Ryders crew — have no problem with male mentorship and don’t feel any need to challenge or question it. Conversely, some male recording execs frame certain female MCs’ success as inherently positive, regardless of their views on gender and sexuality.
2. Likewise, there’s some strange pathology around mainstream female rappers being more of a financial drain on the music industry because of conventional beauty ideals. I don’t want to pathologize women of color any further by making essentializing claims about the upkeep of black hair and will instead refer you to Dear Black Woman’s rules. However, I find Missy Elliott, EVE, and Trina’s unchallenged claims that female hip hop artists have to be glamorous and therefore financially burdensome against the idea that male MCs just have to throw on jeans and a t-shirt in need of greater complication. How might fashion-forward MCs like André 3000 and Kanye West challenge this? And why do female MCs have to be conventionally attractive in order to be successful? While the latter is a rhetorical question, I’ll continue to keep asking it.
3. I love Lauryn Hill and Missy Elliott. Also, I know how Hill’s absence from the music industry speaks to a profound loss within the genre, but I would’ve liked a) less time devoted exclusively to them, b) more conflicting opinions about them beyond universal praise, and c) a larger context of what other female rappers were doing — particularly in the underground — during their commercial reign.
4. A key idea that is both perpetuated and challenged is that female MCs don’t sell. I would have appreciated more nuance about the state of the music industry in general. Hip hop’s boom crested into pop music’s record-breaking commercial success in the late-90s. However, the 2000s have largely been defined by the ubiquity of digital music culture and a bankrupt music industry. Surely this speaks more to low sales than the cost of hiring and maintaining a glam squad for a female MC.
Best of all, though, the documentary ends with a look toward the future. The interview subjects plug female MCs they think will continue the legacy. Refreshingly, and with not a little business savvy, much consideration is given to underground artists. Jean Grae name-checks Iris and Psalm One. Fembassy editor-in-chief Glennisha Morgan recommends Invincible. A genre with all of them working in continuum with Nicki Minaj is one I’ll continue to follow.
More like SXSWTFit’s cold! Remember how I mentioned earlier that you should opt for comfort over fashion during the festival? I really ate my words on Saturday. It was in the 40s and windy, but I thought I could brave the weather wearing a peasant skirt I converted into a sundress paired with a cardigan, pleather jacket, and tights. I was very wrong.
Wye Oak – My partner and I checked out their show at the Galaxy Room’s outside stage. This is the third time I’ve seen the Baltimore-based duo and they get better and louder and more sonically interesting each time I see them.
Dum Dum Girls – They played inside and were fine. Much in the vein of Vivian Girls.
Demolished Thoughts – This is a supergroup with Thurston Moore and J. Mascis (Andrew WK was billed, but absent). Awww, dad’s got a punk band. Because he is in Sonic Youth and his band mate led Dinosaur Jr., he gets to play outside at the Mohawk. He sings songs about adolescent disaffection that he scrawled in a notebook, with his tongue planted firmly in his cheek. Kim is bemused. Coco is embarrassed.
Rye Rye – She takes it back to block parties and Roxanne Shanté 45s. And I was a mere few feet away from Ms. Ryeisha Berrain, who was flanked by two male back-up dancers who sported leather jackets and tank tops that said “Rye.” It’s always nice to see cocky, bubbly girls having fun and I’ve been having fun with her since my neighbor Rosa-María brought “Shake It to the Ground” into my life.
Broken Bells – Obviously the Danger Mouse/James Mercer collaboration drew a lot of attention. They played several shows to maximum capacity crowds. And good for them. But it’s only okay to me — give me Brian Burton’s collaborations with Cee-Lo Green and Damon Albarn over pleasant 60s power pop that basically sounds exactly like The Shins (and a little like The Dandy Warhols) any day.
After that, I kind of hit a wall because I was cold and therefore cranky. Kinda paid attention to Real Estate’s set inside.
The Black Keys – They got a late start and it was effin’ cold outside but still well worth it. I’ve never seen the Akron duo and they were killer.
From there I had to change clothes. On the way downtown, we ran into our friend Jessalyn, who was feeling the chill too. When Canadians think it’s cold, I feel quite validated. We headed back over to Frank where we saw Hector, a fellow KVRX alum, and those nice folks we met from KALX yesterday. Glad they got to find out the magic that is Austin’s artisan sausage haven. We also saw Irene from The Real World: Seattle, who I think walked past me right as I was explaining her “celebrity” to my partner. A similar incident happened with Emily Mortimer in New Orleans last spring. Both ladies gave me a bit of a stink eye.
YellowFever – Back at the Mohawk. I’ve actually never seen this Austin duo before, but have liked them for quite a while. Lovely sound, warmed my bones a bit.
Total Abuse – Noise band that played over at Barbarella. Something tells me they’ve listened to The Jesus Lizard. Especially the lead singer, who was working quite a crazy eye.
Kings Go Forth – Back at Galaxy. Ten-piece Midwestern funk ensemble who have clearly spent time listening to Curtis Mayfield and Earth Wind and Fire. Pretty fun, though looser than, say, Sharon Jones and The Dap-Kings. Also, I wonder how they will be marketed. Because I saw lots of cool kids at the show, but the band is itself pretty uncool. You know, they’re mainly paunchy older dudes in tunics. I don’t have a problem with it — as a matter of fact, it’s kind of nice that some older musicians are getting attention from younger people. I’m just curious as to how their image will be spun. That said, there were a lot of older people there too. If ever there was a band I saw that I could recommend to just about anyone, this’d be the group.
Oooh, and speaking of older people, this one grandpa in a sport coat and cap got me real mad! As I noticed with several acts at SXSW, Kings Go Forth played their best-known hit, “One Day,” at the end of their set so as to avoid a mass exodus of dabblers. When the band said they had one last song, Pappy rushed the stage and yelled “ONE DAY!” which of course they played. But this jackass started gyrating and trying to get people to dance with him like he didn’t just order the band to play a song. Ugh. They aren’t your monkeys, old man.
Tried to see Best Coast back at Barbarella, but had a feeling we should return to Mohawk in anticipation of a big turnout for Death at 1 a.m. Sure enough, the venue was at capacity . . . for Surfer Blood. Ya’ll, I know they’re a big buzz band and I was pleasantly surprised that anyone could form a band in West Palm Beach, but I was unimpressed. One minute they sounded like The Smiths, then the The Shins, and their hit sounds like The Offspring covering Big Country. Ho hum. Lots of people came only for their set, including MTV VJ/walking exoskeleton John Norris.
Once Surfer Blood wrapped up, we got in to see Dâm-Funk, which was totally worth it. His voice was great, the band was tight and, as the kid next to me texted to a friend, “the mother fucker had a keytar.” I’m sure a lot of folks got pregnant after his set.
And then . . .
Death – I was stoked that they played Fun Fun Fun Fest, and I’m still excited. These guys were making this music in Detroit in the mid-70s before punk officially happened and long before it merged with funk. And they’re still killing it and keeping it positive and politically conscious at the same time. Just sayin’.
On Sunday, we met up with our friends Karin and Jacob to see Jacob’s friends’ band RICE at Beerland for Panache‘s post-SXSW showcase. Good screamy fun from the West Coast by way of the East Coast. We also saw Screens, who I liked a lot. Then we ended the night at Emo’s to see the way ruling Paradise Titty play another rousing show.
Unfortunately, there were plenty of shows I missed. However, I’m excited that I saw so many female artists and yet missed these acts: YACHT, The Coathangers, Grass Widow, Talk Normal, The xx, Psalm One, and Invincible. And while I wish that damn highway didn’t divide the town, I think I got to see a lot of great shows. Please feel free to share your thoughts on SXSW 2k10 and we’ll do it again next spring.
Wristbands for SXSW went on sale today. Perhaps it comes as no surprise that the music festival is my favorite time of the year. I get no sleep, somehow go to work during the day, my feet hurt real bad, I smell like garbage soup come Sunday morning, and I usually end my nights with deliciously greasy food to soak up the beer. Absolute best. But since I know the proceedings can be a little overwhelming, I thought I’d offer some tips.
First, some petty bullshit.
-Calling it “South By” sounds like you’re trying to break into the industry. If you keep going, you’ll find that “South West” rolls right off the tongue. Okay, you can call it “South By.” Especially if we’re friends. I won’t correct you or make a face. But I will call it “South By South West.”
Now, some practical information regarding comfort.
-Relaxed dress code, ya’ll. Many follow the impulse to get styled out. And hey, power to you if you’re young and like playing with clothes. And if you decide that leather jodhpurs look great with your aunt’s vintage blue sequined tube top and later discover that you’re horribly wrong, Vice or Look At This Fucking Hipster might still take your picture and you can tell/text/Tweet your friends. I’m more casual, however. Hence why you haven’t seen me. The best you could hope for from me is being the brown-haired girl in a red hooded sweatshirt standing almost out of frame smirking at the girl wearing a tube top and jodhpurs.
-Keep in mind that you’ll be on your feet 98% of the time. You’ll be standing in lines or in front of bands or walking to places where you’ll be standing in lines or in front of bands. Some of these places will be outdoors where you’ll kick up dirt. It could rain. Some asshole might drop a full beer bottle or step on your toes. This is not the time to break out those pointy flats, gladiator sandals, platform pumps, peep-toe booties, jellies, or whatever fashionable shoe begs an audience. Think sneakers or, if you must be cool, flat-heeled boots. Also, since the 90s are back, maybe you still have a pair of floral print Doc Martens. If you have them in a size 5 and don’t want them anymore, give them to me.
-Free beer is great. If candy be dandy, then liquor be quicker. But you’re gonna need to drink lots of water. Dehydration is not the move.
-Remember that deliciously greasy late-night food I was talking about? Might I recommend Star Seeds or the vegan-friendly Kebabalicious for your cravings? Can’t go wrong with a treat from Mrs. Johnson’s either, especially since you can get a fresh glazed donut for free. I haven’t been to the 24 Diner yet, but it might be worth pursuing. If you wanna go the drive-thru route, What-A-Burger is Texas’s gift to tourists. I’m not so into Kerbey Lane or Magnolia Café, but they get it done. These are just some after-hours options. Entertaining the idea of what restaurant to eat at in Austin is a decision to step into a larger world. We’ve got good food locked down. If you’re looking for vegan fare, Lazy Smurf was good enough to provide a comprehensive list of restaurants. Happy eating!
-Sunscreen is a buddy. Earplugs are buddies too. But I always forget to bring them.
And now, the music.
-If you wanna gadabout and maybe see some shows, there’s lots of options. The festival offers tons of free, all-ages stuff put together by good people like Todd P. They’re even nice enough to offer those listings in neat little indexes you can fold in your back pocket. But if you want to see specific acts, particularly buzz artists covered by The Onion, Pitchfork, NPR, or others, you’re most likely gonna need a wristband. This is an international festival. Venues fill to capacity. If you can’t make this happen but you’re a student on spring break or can take off work, day shows and after-hours parties are your buddies. You can see a lot of up-and-coming acts that will be playing in the evening for little to no cover.
-Even if you can make it happen, take some time to enjoy the day shows. KVRX always delivers. TerrorbirdMedia put together great showcases. Yard Dog is for sweethearts. NPR is a buddy. GRCA is putting together a great day show.
-If you are coming in from out of town, please make sure you check out our local talent. Austin’s touted as the live music capital for a reason, as the city is lousy with awesome bands. One only needs to check out Matador’s Casual Victim Pile compilation for recent evidence (note: the title is an anagram for “live music capital” — har har). As a local, I tend not to see so many local bands during the evening because they’re around and I have to prioritize. But if I didn’t, I’d see as many Austin bands as I could. You should too.
-If you like an act, check to see what label they’re on. Chances are you might like another band on the roster. If you do, it’s probably worth checking out the label’s showcase. Some record labels I follow: Merge, DFA/Astralwerks, Warp, Kill Rock Stars, K, Stones Throw, anticon., XL, 4AD, Carpark, Kranky, and Sub Pop. They usually put on day shows as well, sometimes with other labels.
-If you feel like exploring new sounds or are intrigued by an act because of its name, do a little investigating. Might I suggest checking in with that thing called MySpace as a starting point? It has to be good for something.
-Don’t be afraid of bands you don’t know. Trust your friends and their tastes if you have evidence of compatibility, because you might discover something really special. In 2005, I remember going to the Church of the Friendly Ghost (RIP) to see a band because someone I knew thought I’d really like them. They were a British dance band and I don’t believe they had a deal in the states yet. They were a polite, brainy bunch who put on a great show and had lots of energy. They even did a charming cover of Fleetwood Mac’s “Miracles.” Their name is Hot Chip and I haven’t been able to catch them since.
-Build a schedule. You can do it through SXSW’s Web site. Print it out or plug it into your phone. You’ll want it with you at all times.
-Stay connected. I posted this today, but acts will be added up to the last possible minute. Check SXSW’s Web site, Twitter, Facebook, listservs, various e-mags, etc. I will also update this post as more acts I like are announced.
-Finally, I’ll offer up lists of bands I’m planning to see so that setting a schedule can be a bit more manageable. This is by no means a comprehensive list, but rather my list. I’m not interested in being a tastemaker. I’ve taken the liberty of putting my selections in tiers. Tier 1 are acts you can only see during SXSW (last year’s example was Flower Travellin’ Band, a 60s-era Japanese psych-noise band). Tier 2 are the acts I’m really hoping to see. Tier 3 are the acts that have a lot of hype around them or staying power to them and are worth seeing. The Texas section is self-explanatory, and is all-killer, no filler. It’s a hierarchy, but it keeps things tidy. Also, I provided links to every artist so you can check ’em out.
Aa, Julianna Barwick, The Besnard Lakes, Best Coast, Black Dynamite Sound Orchestra, Black Milk, Bomba Estéreo, Breakestra, Califone, Carolina Chocolate Drops, Exene Cervenka, Daedelus, Kimya Dawson, Dengue Fever, Dosh, Damaged Good$, Dam Funk, The Entrance Band, Explode Into Colors, Fashawn, Flying Lotus, GZA, Invincible, Jean Grae, Sharon Jones and the Dap-Kings, Les Savy Fav, Liars, Lyrics Born, Madlib, Major Lazer (their debut album didn’t meet my lofty expectations, but they should be fun in a live setting), Mayer Hawthorne and the County, Memory Tapes, MEN, Mountain Man, Murs, 9th Wonder, Peanut Butter Wolf, Jemina Pearl, People Under the Stairs, Phantogram, Pharoahe Monch, Psalm One, Smoosh, Themselves, Tobacco, Toro Y Moi, Total Abuse, Viv Albertine, The Walkmen, Wye Oak, The xx, YACHT.
Matias Aguayo, Andrew WK, Blue Scholars, BO-PEEP, Sarah Borges and the Broken Singles, Bowerbirds, Kría Brekkan, Broken Bells, Broken Social Scene, Buckshot, !!!, Class Actress, Cocktail Slippers, Crystal Antlers, Drawlings, The Ettes, 4th Pyramid, The Fresh & Onlys, General Elektriks, Golden Triangle, Ha Ha Tonka, Hole (if it happens), Horse Feathers, Hunx and his Punx, jj, Kid Sister, KIT, Solange Knowles, Sondre Lerche, Thurston Moore, Neon Indian, Nappy Roots, No Age, Denitia Odigie, Peelander-Z, Pocahaunted, Pomegranates, Ra Ra Riot, The Raveonettes, Rhymefest, The Ruby Suns, Rye Rye, School Of Seven Bells, She & Him, Slum Village, Surfer Blood, Thee Oh Sees, Titus Andronicus, Tyvek, Uffie, The Very Best, Visqueen, Washed Out, Wale, Warpaint, The Watson Twins, Yip-Yip, Jonneine Zapata, Zs.
Balmorhea, Best Fwends, Scott H. Biram, The Carrots, Dikes of Holland, Daniel Francis Doyle, Follow That Bird, Girl in a Coma, Paradise Titty, Pink Nasty, RATKING, Spoon (sorta local, though a big-tent act; they get a pass because Transference is my favorite album of 2010 thus far), The Strange Boys, T Bird and the Breaks, Ume, When Dinosaurs Ruled The Earth, Wine and Revolution, Woven Bones, White Ghost Shivers, YellowFever.
Have fun! See you around town!