The initial lineup for the 2013 South by Southwest music festival was announced today, and it ranges from buzzing UK experimental pop four-piece Alt-J to Memphis’ Star and Micey, guitar shredder Marnie Stern and reunited 60s pop purveyors The Zombies. The only band from Philadelphia proper on the lineup so far is Cheers Elephant, though Fredericksburg, VA acoustic guitar wizard Daniel Bachman is slated to perform, and he spent much of the past year living in Fishtown. Take a look at the entire lineup here.
For their final show in a long weekend making the SXSW rounds, Philly’s The War on Drugs gave a rousing performance on The A.V. Club Showcase at Club De Ville Saturday afternoon. The hour-long set drew largely from the band’s epic 2011 release Slave Ambient, dipping back to their 2008 debut Wagonwheel Blues for “Buenos Aires Beach” and “A Needle In Your Eye #16.” Among the highlights were bassist Dave Hartley playing a trumpet through his network of delay pedals; Adam Granduciel’s invigorating vocal performance on “Come to the City”; and a moment during “Your Love is Calling My Name” where the insistent rhythm and pounding bass made empty beer cans left along the P.A. system dance. At least that’s what it looked like in the afternoon heat. Take a look at a short video below and judge for yourselves.
If you haven’t caught Philly’s Bleeding Rainbow in concert or online over the past few months, here’s a mindblower for you: the minimal noisepop duo formerly known as Reading Rainbow (who last year expanded into a trio, then changed its name) is now a full-blown, epic-sounding indie punk foursome. In its Friday evening South by Southwest showcase at Austin’s The Iron Bear, Bleeding Rainbow delivered a raging half-hour long set of entirely new material that carried tones of Sonic Youth’s Goo and Yo La Tengo’s I Can Hear The Heart Beating As One. New drummer Greg Frantz kept a fierce backbeat while founding members Rob Garcia and Sara Everton alternated between guitar and bass, their trademark vocal harmonies floating nicely above the fray. Over on stage right, guitarist Al Creedon wailed on his guitar so intensely, part of its headstock splintered off by set’s end. I was already amped to hear the new record the band just finished working on, but this has sent it into overdrive – check out a slideshow above, read the setlist below, and experience the noise for yourselves when Bleeding Rainbow opens for Cloud Nothings at Johnny Brendas on March 30.
Yr Not Alone
Inside My Head
An unexpected addition on the final night of this year’s South by Southwest festival, 60s pop icon (and recent Rock ‘n Roll Hall of Fame inductee) Donovan played a surprise set at The Palm Door in downtown Austin on Saturday. Though he was not mentioned in the SXSW itinerary or on its website, an unceremonious listing of his name on the festival calendar in Friday’s Austin Chronicle drew a few hundred fans to the tiny venue: “I didn’t come to South by Southwest this year expecting to perform,” Donovan explained to the crowd. “But somebody dropped out, and they dropped me in.” His hour-long acoustic performance mixed more recent material with Donovan classics; the ecstatic audience sang along loudly to both, and Eric Burdon of The Animals joined Donovan onstage for “Season of the Witch.” Check out a photo gallery above, watch three videos from the performance below.
Last night at Austin’s Paramount Theater, an all-star cast of indie / alt-rock luminaries – from M. Ward, to The Replacements’ Tommy Stinson, to Wilco’s Pat Sansone and R.E.M.’s Peter Buck – gathered to pay tribute to Big Star‘s Third, arguably the best unfinished record in rock. This was the second time a Big Star tribute has taken place at South by Southwest in recent years; the legendary power-pop / art rock band was set to reunite for the 2010 festival, but band leader Alex Chilton died suddenly just days before, prompting a troupe of his fans in the music community to convene and pay their respects in song. While that performance was spontaneous and emotional – captured in “Big Star: Nothing Can Hurt Me,” a documentary that screened before the performance – this one was celebratory, punctuated by a dazzling orchestra and the elegant surroundings (and acoustics) of the Paramount. The performance of the album was followed by a dip into the Big Star back catalog, including songs from the solo career of Chilton (“Bangkok”) and founding singer-guitarist Chirs Bell (“I Am The Cosmos,” “You and Your Sister”). Check out a slideshow of the tribute above, and a video of “I Am The Cosmos” below.
One of the more hotly attended shows at South by Southwest last night was a midnight set from Scottish noise-pop cult favorites, The Jesus and Mary Chain. They played for just under 90 minutes at The Belmont, an outdoor club in the downtown of Austin, and clusters of fans could be spotted watching the show, guerrilla-style, from the roof of the building next door. The setlist, which touches on all the group’s full-length albums, is below, and you can check out a photo slideshow above.
Far Gone and Out
Blues From A Gun
All Things Must Pass
Some Candy Talking
Happy When It Rains
Halfway To Crazy
Just Like Honey
The Hardest Walk
Taste of Cindy
Oh, hi there. Greetings from Austin, Texas. The Key is here—along with about a million billion other music folks – for the annual South by Southwest conference. And, over the next few days, we’ll bring you dispatches from the madness, beginning with a photo recap of a set by our man Raj Halder, aka Lushlife. He traveled from South Philly for the festival last week—he’s been here since the “Interactive” tech component of SXSW kicked off—and on Thursday afternoon, he played a hip hop showcase at Victory Grille, a soul food eatery slightly off the downtown grid.
To set the scene: it was about 80 and beautiful out, and the crowd was beginning to question its decision to stay indoors. Thanking them for their patience, Haldar explained “I’ve got a lot of nerdy shit going on up here,” gesturing to his array of samplers and mixers. From the opening beat of “Magnolia,” he had the room hooked, and people moved in from the wings to rock to his psychedelic sonic tapestries and mic-rocking bravado.
In the gallery above you’ll also see photos of Sacramento’s C-Plus, who played before Lushlife, and The Cranberry Show from Milwaukee who, despite the absurd name, harnessed innovative sounds, beats and rhymes to create a heady hiphop potpourri on par with Lushlife’s own.
Listen to a Key Studio Sessions performance of “Magnolia” below.