We'll be on hiatus the week of 4 October to give our editor Mary a holiday.
We'll resume normal service here on TGTF on 13 October.
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As the rain came down in earnest outside BD Riley’s Irish Pub and throngs of people found their way inside for a pint at full Irish breakfast, I was faced with the difficulty of finding a quiet spot for an interview with Irish rock band Buffalo Sunn. We did eventually scout out a location and I had a quick chat with three of the band’s members, as you can hear in the interview streaming below.
I couldn’t resist asking the stereotypical interview question about the band’s rather unique moniker, and in the course of the response, I also picked up an interesting bit of trivia about Ireland. (Did anyone else know that there is a buffalo farm at Tayto Park in County Meath?) It turns out that Buffalo Sunn created their name out of an interest in Native American symbolism and 1970s-style Sunn amplifiers, which were known for the quality of their low-end sound.
Buffalo Sunn have been together as a band since late 2013, after two of their members moved on from a previous project called Sweet Jane. Their sunny melodicism and reverberant guitar sound might call to mind the West Coast style usually associated with Californian rock bands, but as we discussed in the interview, their lush three-part vocal harmonies are a trait often linked to Irish bands as well. Buffalo Sunn’s current album ‘By the Ocean, By the Sea’ was released in Ireland last October and saw releases in Germany, Austria and Switzerland earlier this year. Before SXSW 2015, they played live dates on the A+R Worldwide Passport Approved tour earlier this spring, including a notable show in Portland, Oregon. With wider release of the album planned for later this year, the band will follow their visit to Austin with planned appearances at the Musexpo industy event in Los Angeles and Canadian Music Week in Toronto.
Stay tuned to TGTF for my upcoming coverage of the full Irish breakfast showcase at BD Riley’s.
Many thanks to Elvera for her help with this interview.
I spent much of the morning at Friday’s full Irish breakfast fretting in the back of my mind about the pronunciation of violinist Colm Mac Con Iomaire’s name, even after hearing it enunciated aloud the previous day on the Lost In Austin boat ride by another Irish artist, The Lost Brothers‘ Oisin Leech. As it turned out, when I interviewed Mac Con Iomaire after his set at BD Riley’s, he put me at ease on the subject right away. In the interview streaming below, we discussed the difference in ambience between the Thursday and Friday venues before moving onto Mac Con Iomaire’s background experience as a solo artist as well as playing in Irish bands The Frames and The Swell Season.
Mac Con Iomaire was a last minute addition to the Irish SXSW 2015 contingent, making the trip in support of his new solo album ‘And Now the Weather’. The album, which is due for release on the 17th of April, includes a masterfully effective piece called ‘The Finnish Line’ composed in Helsinki at the end of a particularly long and disorienting tour cycle. In the interview, I refer to the music on the album as “songs”, but as the tracks are instrumental, it might be more appropriate to call them “pieces” of music as opposed to true songs with verbal lyrics. However, the fundamental lyricism of Mac Con Iomaire’s violin style, influenced by modern classical composers and traditional Irish music alike, is at the forefront of the compositions he played for us here.
Having played four solo gigs in 4 days over the course of his time in Austin, Mac Con Iomaire recounted a relatively relaxing experience in Austin compared to many of the other artists I talked with during the week. However, he was looking forward to heading home to begin the more complicated job of rehearsing with a 10-piece band for his upcoming live shows in Ireland.
Thanks to Aoife for her help in coordinating this interview.
In the midst of the madness at Friday’s full Irish breakfast, I was fortunate enough to catch Northern Irish singer/songwriter SOAK, known offstage as Bridie Monds-Watson, for a brief interview at the end of her week in Austin. As you can hear in the interview stream below, Monds-Watson was at this point quite exhausted from the hustle and bustle of her busy SXSW 2015 schedule, but her performance on the BD Riley’s stage had showed no sign of fatigue, and her delicate, soft-spoken personal demeanor perfectly matched the graceful beauty of her songs.
Our previous coverage of SOAK at SXSW 2015 includes her spellbinding performances at Monday night’s Creative Belfast showcase and Wednesday’s BBC barbecue. The somewhat rowdier atmosphere at BD Riley’s Irish Pub might not have been the ideal venue to display SOAK’s fragile, introspective vocal melodies, especially as she played this and all of her SXSW showcases in purely solo style, with only her acoustic guitar for accompaniment. Nevertheless, her set was enthusiastically received by those of us lucky enough to be in the front of the room.
As she discussed in our interview, SOAK’s upcoming debut album for Rough Trade, ‘Before We Forgot How to Dream’, features more expansive song arrangements than we heard here at SXSW, including a full rhythm section and some electronic sampling. After a stop at home for some much needed rest, the youthful Monds-Watson will take those more extensive orchestrations on tour worldwide, including a brief trip to the Southern Hemisphere for two shows in Australia and a one-off show in Dallas, TX among her already scheduled European dates. Her summer plans include headline shows in the UK as well as appearances at The Great Escape and Latitude festivals.
SOAK’s debut LP ‘Before We Forgot How To Dream’ is due for release on the 1st of June via Rough Trade Records. You can find a full listing of her upcoming live dates here.
Many thanks to Sonya for helping us arrange this interview.
The Thursday night of SXSW 2015 turned out to be a mixed bag for me, as it was one of those evenings when things didn’t exactly go according to plan. In the end, all was well that ended well, and I came away feeling satisfied with the way the night played out.
After my jaunt over to the Driskill Hotel where I saw the enchanting singer/songwriter Josh Savage and caught up with him for a brief chat, I hurried back to the British Music Embassy at Latitude 30, which was by now beginning to feel like a second home. I turned up there for the Ben Sherman / UKTI showcase just in time to see Dry the River begin their set, though the venue was so crowded that I had a hard time finding a good vantage point to watch them from.
Unlike their curtailed set at the Transgressive Records showcase on the Tuesday night, Dry the River played in their full band arrangement here, and their songs were well-received by the crowd. The plaintive tunes and delicate harmonies I had heard from the band at Buffalo Billiards were transformed here into dynamic, hard-edged rock anthems, though I was pleased to hear that their folk sensibilities weren’t entirely obliterated by the increased size of their sound. When the band reached the end of its allotted time, there were a few vain cries for more from the front of the stage, an outcome that brought a smile to my face and was surely more satisfactory for Dry the River as well.
Next on the set list at the British Music Embassy was a band who are of at least peripheral interest to us here at TGTF, namely Black Rivers. Principal Black Rivers members Jez and Andy Williams were (are?) part of Manchester trio Doves, whose track ‘There Goes the Fear’ gave this Web site its name. Appearing here with a full four-piece set up, Black Rivers appeared to have some problems in their brief soundcheck, in the end playing only four songs once their set actually started. Even so, we heard enough of their heavily rhythmic, guitar-laden sound to permanently distinguish the Williams’ new project from their former band.
At the end of Black Rivers’ set, I beelined out of Latitude 30 and made a mad dash to the Mohawk, hoping to catch American folk-soul singer Matthew E. White. I arrived at the venue with time to spare, but unfortunately for me, so had a long queue of other hopeful punters, and I was left to listen to the faraway strains of White’s recent single ‘Rock & Roll is Cold’ from the sidewalk outside.
At this point, I had a few backup options to consider. The Dodos at Cheer Up Charlie’s? Frank Turner at the Red 7 Patio? Both were tempting, but I’d just seen them the day before, and I was in the mood for something new. I consulted the handy SXSW GO app on my smartphone to see what else was going on around downtown and almost immediately hit on a winner. Natalie Prass, another American singer/songwriter and a Spacebomb Records labelmate of Matthew E. White, was playing in the cozy downstairs venue at Maggie Mae’s. As luck would have it, I had time for a leisurely walk to Maggie Mae’s before Prass was scheduled to begin at midnight, and I happened to walk past Cheer Up Charlie’s while The Dodos were playing ‘Competition’, sounding as fresh as when I’d heard them on Wednesday’s Dine Alone Records showcase.
I arrived early at Maggie Mae’s and found the downstairs venue nearly empty, though it filled in quickly after I had positioned myself in front of the stage. Starting her set from a seated position at the keyboard, Prass slowly drew in her audience with a sultry mix of torch-song romanticism and blues-rock grit. She kept her short set lively throughout, alternately flirting with her admiring crowd and showing off her admirable guitar chops. But I was most impressed with the clear tone and finely-tuned inflections of her singing voice, which reminded me very much of alt-country singer Caitlin Rose. I would also be remiss if I didn’t mention Prass’ left-handed bass player, pictured below, who plays his instrument upside down in the style of Jimi Hendrix. After my impromptu stop at Maggie Mae’s, I’ll be certain to arrive early to another gig later this month at the Rialto Theatre in Tucson, where Prass is scheduled to open for Ryan Adams.
I said a quick hello to Prass as she packed up her gear from the stage, then I headed down 6th Street to Esther’s Follies, a familiar venue from last year where I’d caught Gabby Young and Cocos Lovers. This year I aimed to see an equally lively band that I’ve always liked on recording but had never seen live, Washington, DC trio Jukebox the Ghost. Their latest self-titled album is rife with the band’s signature upbeat melodious pop and simple lyrics that are by turns quirky and thought-provoking. Their set at Esther’s Follies was equally ebullient and idiosyncratic, featuring new songs ‘Sound of a Broken Heart and ‘The Great Unknown’ among older crowd favourites like ‘Oh, Emily’ from 2012 LP ‘Safe Travels’.
The enthusiastic crowd gathered at Esther’s Follies on the night were clearly fans of the band, engaging them with shouted requests and one-liners and laughing at a few inside jokes that I must admit I didn’t understand. But the punters around me didn’t seem to mind my unfamiliarity; in fact, they encouraged me to put down my camera and dance. I happily obliged and was soon grinning from ear-to-ear at Jukebox the Ghost’s zany stage antics and their infectiously peppy performance. Unfortunately they ended their set without playing my personal favourite of their tracks, ‘Adulthood’, because co-lead singer Ben Thornewill was losing his voice. But fear not, I won’t disappoint my readers the same way; you can stream the audio for ‘Adulthood’ just below.
The festivities at Friday’s full Irish breakfast began with pop songstress Orla Gartland, whose sunny and energetic tunes gave a jumpstart to the grey and dreary morning outside. Gartland agreed to sit down for a chat with me after her set, and we took advantage of a dry moment before the rain begain in earnest to step outside BD Riley’s Irish pub for the interview streaming below.
Gartland was warm and enthusiastic throughout our interview, and it quickly became clear to me that the infectious charm of her music is part of her natural personality as well. Her genuine charisma and her self-professed “love (of) a good pop song” have already taken her a long way from the singularly millennial beginning of her music career. Gartland started out as a teenager by playing pop covers and posting her videos on YouTube, and she discussed with me how the very public evolution of her musicianship naturally and spontaneously grew into the collaborative nature of her current songwriting and music making.
Having stopped in Austin in the middle of her American tour, Gartland also talked about her plans for after SXSW 2015, which include live dates in California and a stopover in the sunny climate of Los Angeles for songwriting work on a potential new EP. When I asked about the possibility of a full album, Gartland deferred, saying that while the shorter EP medium is a safer way for her to experiment with her songwriting style at this point in time, an LP might be on the distant horizon. Either way, we at TGTF will look forward to hearing the outcome of her endeavours. In the meantime, you can find Gartland’s current self-released EP ‘Lonely People’ on iTunes or Spotify, or you can check out her YouTube channel right here.
Keep an eye on TGTF in the coming days for my recap of the full Irish breakfast, which will of course include coverage of Orla Gartland’s opening set.
Thanks especially to Regina for helping us organize this interview.
After the delightful Lost in Austin brunch on Thursday morning, I made my way back across the Colorado River and into downtown Austin. I had just enough time to grab a cup of coffee and jot down my thoughts before I received a text message from editor Mary, who wanted me to stop in and join her at the Old School Bar and Grill for the BBC barbecue. Mary has already covered the event in full, but I was lucky enough during my brief stop to catch a set by Laura Marling, including songs from her newest album release ‘Short Movie’, which TGTF previewed back in December.
While Marling did her preliminary soundcheck on the Old School Bar and Grill stage, I took the opportunity to scout out the room for good photo angles. I was testing the settings on my camera when another photographer made a comment to me about how beautiful Marling’s guitar collection was. I agreed, and thus found myself in an informative conversation with SXSW 2015 staff photographer Ziv Kruger about shooting effective photos at SXSW shows. Kruger took a quick look at my camera and gave me a few useful tips, which I immediately put to use in photographing Marling and her band. (If you’re interested in seeing more of my photos of the set, check them out on my Flickr.)
After Marling played, the BBC barbecue started to wind down, and I headed over to the British Music Embassy at Latitude 30 to catch The Twilight Sad, with whom I’d had a nice chat earlier in the week. I arrived at Latitude 30 in time to hear the end of a set by fellow Scottish band Roddy Hart and the Lonesome Fire, whose six-piece band set up was a tight fit for the British Music Embassy stage.
Despite the close quarters, Roddy Hart and the Lonesome Fire impressed me with the size of their anthemic rock melodies, and I made a mental note to listen to them again after returning home from my trip to Austin. Their single ‘Bright Light Fever’ earned the band a week-long residency on Craig Ferguson’s Late Late Show in America early last year, and it was a hit at the British Music Embassy in Austin as well.
The Twilight Sad were the final act on the afternoon’s British Music at SXSW showcase, and as frontman James Graham had promised in our earlier interview, their set was heavy on tracks from the band’s latest LP ‘Nobody Wants to Be Here and Nobody Wants to Leave’. They opened with two tracks featured previously here on TGTF, ‘There’s a Girl in the Corner’ and ‘Last January’ before touching on ‘I Became a Prostitute’ from 2009 album ‘Forget the Night Ahead’ and closing their set with the epic sound of ‘And She Would Darken the Memory’ from their 2007 debut ‘Fourteen Autumns and Fifteen Winters’. Though their set here was effective, it did feel quite short and left me wishing for more. Fans of The Twilight Sad will no doubt relish the opportunity to hear longer and more expansive set lists on the band’s upcoming UK tour; find those live dates here.
The British Music Embassy cleared out after The Twilight Sad finished playing, and I had enough time between engagements to meet Mary for a quick dinner before I headed to the historic Driskill Hotel to see singer/songwriter Josh Savage. Mary had recommended Savage to me after seeing him herself at a Sofar Sounds show in Manchester last year, and I’d had his latest EP ‘Spaces’ on repeat in my car during the long road trip to Austin, so I was especially excited to see his only official SXSW showcase on this night.
The Victorian Room at the Driskill was a perfect venue to showcase Savage’s elegant and refined songwriting. While the space might have been intended for standing room only, we in the audience chose to seat ourselves either in the few available chairs or on the floor in front of the stage. The room was very comfortable with good viewpoints all around, and Savage took advantage of the intimate space by telling a few sentimental stories to go along with his tunes and even stepping down off the stage to be closer to his audience.
He further drew us under his spell by asking for our harmonic participation in the chorus of his enchanting ballad ‘Lost in Paris’, and by the end of the set I found myself completely smitten by his graceful songcraft. I was able to sit down with Savage for a brief interview outside the Victorian Room after his show; you can listen to his soft-spoken commentary right here.
I had to cut my conversation with Savage shorter than I would have liked so that I could rush back to Latitude 30 to follow up on Dry the River, with whom I had become become acquainted earlier in the week. Stay tuned to TGTF for more coverage of my Thursday night adventures, including Dry the River’s showcase at the British Music Embassy.