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SXSW 2015: Paradigm Agency showcase at the Parish and Ben Sherman / UKTI showcase at Latitude 30 (Thursday night part 2) – 19th March 2015

 
By on Tuesday, 31st March 2015 at 4:00 pm
 

My Thursday evening review was getting too long, so I broke it up into two parts. To read part 1 of my Thursday evening, go here.

Then it was on to underground DJ / musician haven on Red River, Plush. It is the electronic music fan’s dream: an unpretentious room where you can be as close and practically personal near the guy (or gal) on the decks in the back if you want, but it’s small enough that the thudding beats and the smooth grooves ooze into every nook and cranny of the place, there’s no bad spot in the house. You couldn’t have asked for a better place for my first time to see Rival Consoles (Ryan L. West) perform. Dressed appropriately in a Moog t-shirt, West was ready to knock some socks off and blow some minds.

I would be hard pressed to adequately describe West’s set. Through bleeps, blips, thuds and buzzes (bleeps, blips and/or thuds stretched), Rival Consoles an immersive experience and one you have to be there to experience, and it changes every night because West wants it to be a dynamic experience and not one that is limited by what you hear on his records. I also want to point out that his music, at least what I witnessed at his two shows in Austin at Plush and at the British Music Embassy the next night, weren’t solely about building crescendos and big drops.

Rival Consoles at Plush, SXSW 2015

Certainly there were those moments. But the overall feeling I got was like being before a master craftsman making his art for us, fresh. This isn’t in your face electronica ala deadmau5 or Tiesto, nor is it electronica that is so smooth, you can pretty much guess what is coming next, or just be lulled into a sense of tedium. That’s what I liked about seeing Rival Consoles the most: I was excited about the unpredictable. (Listen to my great conversation with Ryan in Austin here.)

So it was with great disappointment I had to leave early to make my way to the Parish ahead of Pennsylvania lo-fi rockers The Districts‘ set at the Paradigm Agency showcase. I wasn’t taking any chances, knowing this place was going to be completely rammed later for them and the Vaccines who followed. Perth, Australia’s San Cisco, already a household name here in America, had no trouble assembling a packed room, with plenty of punters either going wild for the young indie pop band’s music or at least bopping their heads approvingly from side to side. ‘Fred Astaire’, whose video was nominated for a 2013 ARIA (the Aussie equivalent to a BRIT award), ended their set on a schmaltzy note.

San Cisco at SXSW 2015

Most American bands I know of dress exactly like this – t-shirts, denim jeans, trainers – regardless of the style of their music, but in the case of the Districts, they’re the kind of band where the dress actually makes sense, because with the growly, fuzzy rock they make, you expect they must have just rolled out of a parent’s garage earlier in the day. While ‘Suburban Smell’ is a stripped back, not completely fond ode to the cookie cutter town from where they grew up, it still bears the scuzz of their sound that’s as unkempt as frontman Rob Grote’s hair. This is the appeal of their album released last month on Fat Possum Records, ‘A Flourish and a Spoil’: unpretentious, rough around the edges rock ‘n’ roll.

The Districts at SXSW 2015

The irreverence of ‘Peaches’ “in the Vatican / and oh I don’t want to hear about the bird on the hill” with its droney guitars, the oozy, woozy rhythm of ‘Young Blood’ the “need for a little romance”; the desperation of Grote’s yelps in ‘Chlorine’, with its punishing drums and oddly comforting, homey guitar bridge: it was all better than I ever could have expected. They came to DC a week later but I dared not see them again, since I’ll have this snapshot in my mind of seeing them in Austin, down the front at the Parish, as they bashed away at their kit with reckless abandon. I’ll always remember this night.

From that high, I suppose there was nowhere to go but down. Already excited about having seen the Districts, I was keen to get an equally awesome dose of the Vaccines. The Districts finished roughly at 11:40 PM, which should have given the Vaccines an ample 20 minutes to set up their gear, which included what seemed like overly lengthy guitar and drum kit soundchecks. As I waited, real estate down the front became more precious, as I felt the air being squeezed out of my lungs. For a small girl as myself, it’s not a comfortable situation to be wedged in between two larger, taller people, even if they are girls.

I gave the Vaccines another 11 minutes to sort themselves out before I was over them, extricating myself from the Parish crowd before sprinting down 6th and rounding the corner back to Latitude 30. If I wasn’t going to get my fill of ‘Handsome’ tonight, I was going to get the next best thing, seeing one of my guitar gods Carl Barat with his band The Jackals, who I assumed I’d miss entirely in Austin and this year, as it had been announced the previous week that their American tour had been cancelled. That was probably one of the best split-second decisions I made all week.

I got down the front of Latitude 30 right in the midst of the band playing a song whose words floated down my tongue with ease (“monkey asked the mouse before / if she could love anybody more than he…”); it wasn’t until I came to the next morning talking to Carrie, who had seen them Wednesday afternoon at the Floodfest showcase at Cedar Street Courtyard, that I realised it was the Libertines’ classic ‘Death on the Stairs’. It was such a long time ago…yet it’s still so great.

Carl Barat and the Jackals at British Music Embassy, Ben Sherman UKTI showcase at SXSW 2015

Though I must have arrived after they played most recent single ‘A Storm is Coming’, Carl and co. treated us to several songs from their debut album on Cooking Vinyl, ‘Let It Reign’, such as ‘War of the Roses’, the jaunty ‘Glory Days’ (to which the whole crowd seemed to be snarling the words back at Barat) and more melancholy LP closer ‘Let It Rain’. Ben Sherman and UKTI, you did good booking this band and the next.

So then it was left to the next band to end my night on a high note. Although I’ve caught them live in Newcastle (May 2013), DC (March 2014), and the night previous in Austin, this would be the first time for me to see Public Service Broadcasting at the British Music Embassy and in their wide screen, multimedia splendour. For anyone who hasn’t been to SXSW before, I really must explain that seeing a band at Latitude 30 is a treat: the sound system is usually (99%) on point and the lighting is usually fantastic too(read: you can see everyone on stage!), which means you have pretty much the optimal environment to see your favourite British band.

Public Service Broadcasting at British Music Embassy, Ben Sherman UKTI showcase at SXSW 2015

And you can’t get anymore British than Public Service Broadcasting, can you? After witnessing cuts from the new ‘The Race for Space’ album the night before, tonight I could take a couple of snaps, then just get into their music for the fun of it. With its doom and gloom sounds of air raid sirens and Churchill samples, ‘London Can Take It’ shouldn’t be such a joyous occasion, should it? It probably sounds strange coming from a Yank, but I think given the emotional context, understanding that Britain is still standing how many decades after the Blitz, we (meaning the human race, not just Britons) can look back on those times with respect and admiration because we’re still here generations later.

It’s not that PSB is necessarily glorifying war; they’re giving praise where praise is due, to the people who came before who allow us to be who we are today or, in the case of ‘Everest’ for one, showed us that we as humans could go beyond what we had thought were our mortal limitations. In that regard, ‘The Race for Space’ is similar. This is music for the thinking person. And if we can funk out to ‘Gagarin’ while celebrating the first man in space too, why not? Oh SXSW 2015, you were wonderful. Absolutely wonderful.

 

SXSW 2015: visiting bands around the world before returning to Britannia (Thursday night part 1) – 19th March 2015

 
By on Tuesday, 31st March 2015 at 2:00 pm
 

The first must-see act on Thursday night of my dogeared and beaten up paper schedule for SXSW 2015 didn’t go on until 9:30 PM, which let Carrie and me have an actual sit-down dinner at one of our favourites, Crave, before going back out to see bands again. In a span of an hour, I had tasters (some good, some so-so) from Canada, Brazil, America and France before going forward with my previous plan. Something else funny: on my way to my first band of the night, I spied a famous quiff-cum-mohawk that couldn’t belong to anyone but Daniel Heptinstall of Skinny Lister. “Skinny Lister!”, I shouted. That’s the sort of thing that happens at SXSW: you’ll be walking down the street, minding your own business, and then you’ll run smack dab into someone (or several someones) famous. But I had to run. I’ll have to drink from their flagon of rum another time.

Canada: friends during our time in Austin and on Facebook had recommended a Montreal girl duo named Milk & Bone, which I decided to give a shot at the M for Montreal show at Sledge Hammer. They were running terribly behind schedule and it was unclear if it was an issue with the sound system, the duo’s own equipment or even a delay from the first band having trouble getting started, but a famous friend with me that night said this sort of thing never happens at Reading and Leeds because the stage manager makes sure bands start on time.

Milk & Bone at SXSW 2015

Finally, the ladies were ready to roll. I think when you’re doing pop, especially with the ever ubiquitious synth, you need to set yourself apart from everyone else, and that’s especially true in female vocal-led dream pop, an already crowded field with fellow Canadians Purity Ring, The Hundred and the Hands, Beach House and acts of similar ilk. My impression? Milk & Bone are a downbeat CHVRCHES in monochrome. Not my thing, thank you. Next!

Brazil: The Autoramas from Rio de Janeiro have been going since 1997, so we’re talking nearly 2 decades in the business with no signs of slowing down. The way they were working the crowd at B.D. Riley’s, punters stood up and cheering, I’d say they make a good living from their keep. They blend no nonsense punk and garage rock into a winning formula. In the moment, I kind of wished I knew Portuguese. One wonders though how much bigger they might be if they had a couple of songs in English?

[youtube]https://www.youtube.com/watch?v=Gr0_QsgR1Nc[/youtube]

America: When in doubt in Austin (well, if you like electronic music like me), follow the big beats into a grimy basement, and you can’t go wrong. If I didn’t have a full evening lined up already, I might have been quite happy staying at Barcelona all night, giving myself to the beats and scratches of the DJs for the evening. I only stayed long enough to hear San Francisco DJ Landau do his thing. (I can’t find anything on this guy, and at the moment I’m assuming he’s one of the head honchos of Surefire Agency, who put on this night. ) I noticed nothing exemplary about his style but there were plenty of punters cutting a rug, drink in hand, having a good time and being good to one another, and we need more of that in Austin. Good stuff.

France: Opening your SXSW 2015 band pocket guide and choosing a showcase to visit without any sort of idea of what you want to see is pretty much like throwing a dart on a map. So I went with the most ridiculous sounding venue on the list: the Vulcan Gas Company. According to Wikipedia, it was once the place to see psychedelic bands in Austin back in the ’60s, which is pretty cool to begin with. But as I walked through its doors, you could immediately tell the place had gotten a major facelift, as it’s now a handsome dance club, complete with a sign welcoming you in that’s literally in flames. What a different vibe than Barcelona. You’re beautiful, Vulcan Gas Company. Live long and prosper.

Dream Koala at SXSW 2015

I stopped in just in time for Dream Koala, French teenager Yndi Ferreira and his dreads, who was playing the Kitsune party there. Up to that point, despite my support of many Kitsune compilation albums and Kitsune-related artists (Delphic, Is Tropical, Juveniles, Owlle, Two Door Cinema Club) who have gone on to bigger things, I’d never been to an actual Maison Kitsune-sponsored show, so it was nice to have things come round full circle. As you might expect from his act name, Dream Koala’s music is sleepy, atmospheric pop, yet with some interesting things on guitar and dreamy falsetto vocals to give an overall feeling of cool. This isn’t normally the kind of thing I like, but even to a small crowd, it was evident Ferreira was killing it, consumed by the music and letting it take him where he needed to go. I’ve read he showcased at last year’s CMJ but I’m wondering why we hadn’t heard of him! You’d think this is exactly the kind of man fans of the xx would be eating up.

[youtube]https://www.youtube.com/watch?v=CPf1jAgxTBo[/youtube]

 

SXSW 2015 Interview: Avid Dancer

 
By on Tuesday, 31st March 2015 at 1:00 pm
 

The Wednesday of SXSW 2015 week marked the opening of the inaugural FLOODfest at SXSW showcase at Cedar Street Courtyard in downtown Austin. Although I previewed the 4-day, 3-night set of events, I was only able to attend the Wednesday afternoon show, which opened with percussionist-turned-singer/songwriter Avid Dancer, known offstage as Jacob Dillan Summers.

Summers has an unusual and interesting history leading to the fairly recent start of his music career, including a strict religious upbringing, a stint in the United States Marines and a period of time spent in Alaska before he decamped to Los Angeles to complete the collection of songs that would become his debut LP ‘1st Bath’, due out on the 14th of April on record label Grand Jury. (In case you missed it, we at TGTF recently featured the video for album track ‘All Your Words Are Gone’.)

I sat down with Summers on a sunny street corner outside the FLOODfest venue for an interview before Avid Dancer’s opening set to chat about his plans for the week in Austin, his tour dates with fellow SXSW showcasing artists Delta Spirit, and the upcoming album release. Summers’ colorful personality certainly came through in the interview, particularly when a minor injury prompted him to recount the tale of a dramatic childhood trauma. Despite the potential distractions surrounding him in Austin, Summers seemed squarely focused on his current task of touring and promoting his album, even revealing that one of the best songs he’s ever written isn’t on it. The song did, however, appear in his FLOODfest set, and I will agree that it was the best track I heard him play. Stay tuned to TGTF for my full review of Wednesday afternoon’s FLOODfest show, including details of Avid Dancer’s performance.

(Note: in the interview streaming below, Summers mentions wanting to see one of his Grand Jury label mates who played first on the Thursday afternoon FLOODfest lineup. That band was Minnesota four-piece Hippo Campus.)

Many thanks to Erin and Jeremy for arranging this interview.

 

SXSW 2015 Interview: Only Real

 
By on Tuesday, 31st March 2015 at 11:00 am
 

You know that chestnut of supposed wisdom, “youth is wasted on the young”? The casual observer might think that’s exactly the kind of life 20-something Niall Galvin, aka Only Real, is living if that person was watching him down a sugar free Red Bull while I was interviewing him on the Saturday afternoon of SXSW 2015. But you’d be mistaken. Yes, Galvin’s music seems lightweight on the outside – and certainly, his modus operandi since the early days when ‘Cadillac Girl’ first made the kids swoon was to provide some light-hearted escapist fare, which he fully admits to – there is a quite talented fellow underneath that seemingly overly carefree exterior who seems surprised a bit by his success about “making people feel good if I can” through his music and grateful for the reception his music has received.

First off, name me a real live slacker who’s signed a record deal with a major label like Virgin / EMI? (Check. See my review of his debum album ‘Jerk at the End of the Line’, which was released just yesterday.) As an editor, Niall’s modesty Friday night with his fans was so nice to see; after he played as part of the Blackjack London / Association for Independent Music (AIM) showcase, he happily greeted new fans as they asked for autographs from and photos with their new musical hero. Secondly, name me someone who actually has big aspirations beyond said record deal and essentially could take over the world with all his talents, but he’d only do it under his own terms and while keeping things real and on the level?

Although he’s young, the extra year he allowed to ready himself for his first appearance SXSW and the release of his debut seems to have been all worth it, and he’s ready for the next stage of fame. Listen to the whole interview below.

 

SXSW 2015: Wednesday afternoon at FLOODfest, Cedar Street Courtyard – 18th March 2015

 
By on Tuesday, 31st March 2015 at 10:00 am
 

The weather in Austin during most of the SXSW 2015 week was smattered with clouds and occasional rain showers, which had us keeping our jackets and umbrellas constantly at the ready. But the Wednesday morning and afternoon turned out to be bright and sunny with a slight cool breeze, perfect conditions for attending the inaugural FLOODfest event in the open air Cedar Street Courtyard. I arrived to the venue early for an interview before the show started, and I got settled inside just in time to catch the end of the Dutch Impact showcase preceding the afternoon’s official activities.

Taymir at FLOODfest 18th March 2015

Bright guitar pop band Taymir rounded off the Dutch delegation with a lively and upbeat set including their catchy singles ‘Aaaaah’ and ‘What Would You Say’, both taken from their debut album ‘Phosphene’. The group of fans filtering into the courtyard for the afternoon showcase soon found their toes tapping and hips shaking to Taymir’s sharply energetic pop tunes, which were a perfect preliminary to set the mood for the stellar lineup ahead.

Avid Dancer at FLOODfest 18th March 2015

First on the set proper for FLOODfest was Los Angeles songwriter Jacob Dillan Summers, known here by the stage name Avid Dancer, with whom I’d had a nice interview outside the venue before the show began (if you missed it, you can stream the interview here ADD LINK). As he mentioned in our chat, Summers played in Austin with two bandmates, and his set at FLOODfest highlighted tracks from Avid Dancer’s upcoming debut album ‘1st Bath’. Both Summers’ singing voice and his songwriting are tenderly melodic, but his songs have a very definite lo-fi grit that gives them traction in the ears and the hearts of their listeners. Outside the confines of ‘1st Bath’ tracks, the real gem of Avid Dancer’s set was a recently written track that didn’t make the album, which I believe he called ‘Gazing’.

Skinny Lister at FLOODfest 18th March 2015

In the 2:00 PM time slot was English folk punk collective Skinny Lister, who really got the party started with their exuberant set, which included a delightful blend of pub rock sing-alongs, rollicking sea shanties, and old style dance tunes. When you see a band whose instrumentation includes both an accordion and a stand-up bass, you don’t necessarily expect crowd-surfing as part of the festivities, but at one point bassist Michael Camino dove right into the audience, trusting himself and his double bass to our enthusiastic hands-on support.

Singer, multi-instrumentalist and self-described “show-off” Lorna Thomas stole the show with her high-spirited dance moves, even closing the set with an interactive waltz in the middle of the crowd. If you didn’t catch it previously, we featured Skinny Lister’s video for ‘Trouble on Oxford Street’, which shows off exactly the kind of hair-on-fire shenanigans they put on display at FLOODfest, along with their signature brand of over-the-top, rock-infused folk music. Skinny Lister’s new album, ‘Down on Deptford Broadway’ is due out on the 20th of April via Xtra Mile Records; watch TGTF for more coverage of the band, including my interview with them on the Thursday of SXSW 2015, in the coming days.

Geographer at FLOODfest 18th March 2015

After Skinny Lister, the mood at FLOODfest took a slightly more mellow turn with San Francisco-based Geographer, whose sensual synth pop sound recently took the form of a new album called ‘Ghost Modern’, released on Roll Call Records. I was taken off guard by frontman Michael Deni’s smooth falsetto and cool vocal delivery as his singing blended seamlessly with the silvery legato of the keyboard, cello and guitar lines. Geographer’s set list included the broadly expansive, airy texture of older track ‘Kites’ as well as the more percussive recent single release ‘I’m Ready’.

Carl Barat at FLOODfest 18th March 2015

The audience in the Cedar Street Courtyard had begun to fill in during Geographer’s entrancing set, and by the time Carl Barat and The Jackals took the stage, we were rammed tight into the open air venue. There were clearly a few long-time fans in attendance, excited to see the former Libertines frontman with his new band. Barat took the stage in true punk rock fashion, dressed in a black leather jacket that he eventually had to remove in the heat of the afternoon. His drummer, Jay Bone, played the set entire set shirtless and was still drenched in sweat by the end, which is a testament to the frenetic energy of the new songs on ‘Let It Reign’ (reviewed here back in February by editor Mary). Barat did manage to squeeze in a couple of back catalogue tunes on his FLOODfest set list, most notably Libertines track ‘Death on the Stairs’, but the band’s heavy emphasis on ‘Let It Reign’ was thunderously well-received, especially the ominously prescient track ‘A Storm Is Coming’, played as clouds started to build up over the courtyard’s outdoor stage.

Frank Turner at FLOODfest 18th March 2015

After Carl Barat and The Jackals’ hard-edged set, our appetites were whet for FLOODfest’s final performer of the afternoon, Frank Turner. Appearing in a solo capacity with only his acoustic guitar for accompaniment, and admittedly still recovering from a slight hangover (he actually described himself at one point as “sweating booze”), Turner eased into his set with a few old favourite tracks before launching into a pair of brand new songs, which he said would feature on a new album expected for release later this year.

One of the new tracks, titled ‘Silent Key’, is a stark yet transfixing recollection of the 1986 Space Shuttle Challenger disaster, which, though exquisitely written and performed, was a difficult listen, and I found myself gritting my teeth through its turbulent emotionality. The other new track, a rebellious four-to-the-floor belter called ‘Get Better’ was released on YouTube the following Friday, coincidentally just as I was finishing up a quick chat with Turner; watch the new video just below, and stay tuned to TGTF for the audio of my interview with Turner in the coming days. ‘Get Better’ seems a perfect follow-up to Turner’s recent hits ‘The Way I Tend To Be’ and ‘Recovery’, which were both vivid highlights of the afternoon’s final performance, as was set closer ‘Photosynthesis’.

[youtube]https://www.youtube.com/watch?v=tB4Avdlz3lk[/youtube]

 

SXSW 2015: BBC barbecue with friends, with no fear of missing out – 19th March 2015

 
By on Monday, 30th March 2015 at 2:00 pm
 

One thing everyone learns at SXSW – and hopefully sooner than later – is to not sweat it when plan A doesn’t work out and you have to go to plan B, or even plan C or D. It is an inevitable fact of a city festival and the size of their smaller hole in the wall type venues (whether you’re in Austin or Brighton for the Great Escape) that if where you want to go is one of the hottest tickets in town, you’ll likely be disappointed. But during SXSW, there is always tonnes more things to do and bands to see, and the beauty of such a large event is that you might just happen upon something brilliant you’d otherwise never have crossed your mind.

The announcement that Danish band Mew were going to play only three shows in Austin seemed to be broadcast on all the music Web sites and blogs ahead of SXSW 2015, and I can’t say that I really was bothered about seeing them. However, as a music editor, it’s sometimes your duty to seek out what the people want to read about, so I had them scribbled down on my Thursday afternoon schedule as part of the Under the Radar magazine showcase at Flamingo Cantina. Wednesday afternoon I chatted with Will Doyle (East India Youth) about the Under the Radar show, as he was playing directly before Mew and headliner Of Montreal; he was quite pleased to be playing the showcase, as it meant he had an automatic in to the event. Curious, we looked up the capacity of the place on my phone, staring at the number with a mixture of marvel and horror: 299. Eep.

Considering how massively hyped the elusive Mew had been even before anyone made it out to Austin, I figured I’d probably be queueing outside all afternoon with no joy, so I decided to give it a pass. Later that night, I ran into a close Glaswegian industry friend (a much bigger, taller person who can hold his own more than I can, I might add) who said he’d made it into the showcase but stayed only for 5 minutes because there were too many people inside the club and he had struggled to breathe. I understand event organisers want to hype things up and purposely cause queues to form via FOMO, but it sounds like this particular event may have been violating safety codes, and I count my lucky stars I didn’t even try to get into it. Our friend Larry Heath, Editor-in-Chief of The AU Review, got into Mew’s third show on Saturday afternoon as part of the Brooklyn Vegan day party, and you can read his thoughts on them here.

But no tears were shed by this editor. I’d been blessed with an invite to the BBC barbecue that afternoon at Old School Bar and Grill, which had some lovely surprise live and acoustic special guests. Due to a mishap with the #17 bus, I arrived too late to catch first act James Vincent McMorrow, who appeared Wednesday night at the Music from Ireland showcase at Maggie Mae’s Gibson Room (I reviewed that showcase here). Apparently Catfish and the Bottlemen were also due to appear on the afternoon’s bill, but they were nowhere to be seen. Another surprise for me was the sense James ‘Chaos and the Calm’ Bay was following me around, as the man and his now famous hat were seen going back and forth across the floor. I think he liked the food?

Frank Turner at BBC Barbecue, SXSW 2015

Between dining on the complimentary barbecue from venerated Texas meat institution the Salt Lick (which was delicious, thank you BBC and Salt Lick!), I watched amazing sets from now hugely popular singer/songwriter Frank Turner and the soft-spoken young Derry talent SOAK (Bridie Monds-Watson). Turner, who was bouncing from venue to venue all week and seemed to be in his element in this town, explained he was road-testing new material at SXSW and was playing different sets at every show in Austin; I’m sure this revelation delighted fans I met who were following him around all week. From the new song that he introduced with “this is about losing at tennis…again” (‘Love Forty Down’) to his raucous, yet loving tribute to his nan (‘Peggy Sang the Blues’), Turner proved why he’s become such a popular live draw both here in America and in Europe. Carrie interviewed Frank Friday morning in Austin, and her interview will be posted soon here on TGTF.

SOAK, the surprise guest at Monday night’s Creative Belfast showcase at Latitude 30, also captivated punters this afternoon with her gentle yet emotional voice, framed by her acoustic guitar playing. You wouldn’t expect something as placid coming from someone dressed like a skater, but somehow…it works. She now has a deal with Rough Trade, so I know Beggars will certainly help spread her music far and wide.

SOAK at BBC Barbecue, SXSW 2015

I met the lovely Bridie briefly late one night at the British Music Embassy, just as she was thanking Steve Lamacq for all his and BBC Introducing’s support. It was a sweet yet important reminder of how vital these mutualistic relationships and respect are key to our promoting deserving young artists and giving them the help and attention they deserve. Later on, I also helped facilitate the recording of a live BBC 6music session by my friends the Lost Brothers, who appeared on Steve’s radio programme. I take great personal pride in my part of the process, and I think everyone who is anyone in the industry who comes out to a massive event like this at SXSW with the purpose to help support bands should pat themselves on the back!

 
 
 

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There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF is edited by Mary Chang, who is based in Washington, DC. She is joined by writers in England, America and Ireland. It began as a UK music blog by Phil Singer in 2005.

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