Looking for previews and reviews of SXSW 2019? Right this way.

SXSW 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | Live at Leeds 2016 | 2015 | 2014
Sound City 2015 | 2014 | 2013 | 2012 | Great Escape 2018 | 2015 | 2013 | 2012

Don't forget to like There Goes the Fear on Facebook and follow us on Twitter!

Video of the Moment #2095: Beyond the Wizard’s Sleeve

 
By on Sunday, 22nd May 2016 at 10:00 am
 

Beyond the Wizard’s Sleeve, comprising electronic artists Erol Alkan and Richard Norris, have just released the video for their latest track. ‘Creation’ is the second single from their new album ‘The Soft Bounce’ and features the vocal talents of Jane Weaver and Hannah Peel. Its accompanying video was created by director Kieran Evans and choreographer Alexandra Green. Evans explains the video as follows:

The track has a great twisted psych/calypso feel to it topped off with wonderful vocals from Jane Weaver, and I immediately started thinking about some kind of weird dream dance sequences that could fit the rhythm and tempo of the song. Drawing on strange music and dance numbers that appeared in a few French New Wave films from the 60s and the photography of Arthur Tress, we came up with the idea of seeing characters in an unusual space moving in a peculiar way whether it be a reversed movement or choreographed gesture.

If you’re as inspired by Jane Weaver’s magical vocals as Evans was, you can read our previous coverage of her right back here. ‘The Soft Bounce’, the new album from Beyond the Wizard’s Sleeve, is due for release on the 1st of July via Phantasy.

[youtube]https://youtu.be/Xtev3N2HQc0[/youtube]

 

SXSW 2016: early bits of FLOODfest and the British Music Embassy Wednesday afternoon (part 1) – 16th March 2016

 
By on Wednesday, 30th March 2016 at 2:00 pm
 

Wednesday at SXSW 2016 was an unusual day for us in Austin, so let me (Mary) explain the reason for the tag-teaming of Wednesday afternoon’s coverage. With First Lady Michelle Obama throwing Music conference panel schedules off at the convention center and not knowing when the panels I had penciled in for the afternoon would actually start, I cut my losses and met Carrie for the start of the afternoon at FLOODfest at Cedar Street Courtyard. I hung around to interview Alex Robertshaw of Everything Everything after they played there and also managed to catch a bit of the next act, but Carrie had already left to see The People The Poet at the British Music Embassy at Latitude 30 for the first time, as she’d missed them last year. Interview done and dusted, I turned up to rejoin Carrie and cover the rest of the British Music Embassy showcase, as well as wait for some additional interviews, and she went off to meet Roo Panes south of the river for an interview of her own. ::heavy breaths, cough, wheeze:: Our individual contributions to this piece are marked below.

Everything Everything FLOODfest Cedar Street Courtyard WednesdayCarrie: Mary and I missed opening act Deap Vally but we arrived at FLOODfest in plenty of time to see a band we were both interested in, Manchester’s Everything Everything. Having never seen the band play live myself, I wasn’t sure what to expect from their performance. They turned out to be a great choice for our first band of the day, upbeat and energetic despite the pesky technical issues that would plague them for the rest of the week. The Austin heat didn’t deter the Mancunian art-rockers from wearing their flambuoyant matching jackets, but the bright Texas sun did force them to perform in what might be called “accidentally stylish” sunglasses through most of the set. They leaned hard on their current album ‘Get to Heaven’, sandwiching old favourites ‘Kemosabe’ and ‘Don’t Try’ in between the newer numbers.

Mary: If seeing Everything Everything in the blinding sun and blistering heat felt incongruous, can you imagine how out of place Hælos‘ performance must have looked? The act signed to Matador Records have a little bit of everything in their sound: a little pop, a little soul, a little trip-hop, a little experimental. This kind of music demands a darkened club atmosphere. Comparisons to the xx because they utilise harmonising male and female vocals well further bolster this argument for a shadowy, mysterious stage setup.

Haelos FLOODfest Cedar Street Courtyard WednesdayLucky for them, they didn’t suffer from the same technical issues as Everything Everything did, which probably explains why they looked completely poised and on their game when their set began. On paper, this is the kind of band I should like, so I guess you should blame the oppressive heat beating down from above that I really had trouble getting into the mood for their music. Expect a better review of them very soon, as I had an opportunity to see them again at the nighttime (the right time!) Friday Clash Magazine / PPL showcase at the British Music Embassy, where they were truly in their element.

The People the Poet at the British Music Embassy Wednesday at SXSW 2016

Carrie: After Everything Everything’s set, I hurried to the British Music Embassy to catch The People The Poet on Mary’s recommendation. As usual, her suggestion that I’d like the Welsh rockers was right on target. Their full-bodied rock sound and Leon Stanford’s rough-around-the-edges lead vocals were just to my taste, and I couldn’t resist introducing myself to full-bearded guitarist Tyla Campbell after their set to tell him so. The People The Poet’s latest single ‘Club 27’ was due for its first play on BBC Radio 1 only hours after this performance, but technically, we heard it first!

Jane Weaver at British Music Embassy Wednesday at SXSW 2016

Following The People The Poet on the BME stage was electro-pop artist Jane Weaver, who we initially previewed in a Bands to Watch feature right back here. I knew I might not get to stay for Weaver’s entire set, as I was due to switch places with Mary at that point in the day, but after learning the history of Weaver’s career in the course of writing the aforementioned preview, I was intrigued, especially by her recent album release ‘The Silver Globe’. I was gratified to hear the hypnotic psych-pop of current single ‘I Need a Connection’ before I had to dash off across the river to the Hyatt Regency Austin, and Mary was lucky enough to get this interview with the magical Ms. Weaver later in the afternoon.

Keep an eye on TGTF for part 2 of our tag-team coverage of Wednesday afternoon’s activities, coming soon to a computer screen or mobile device near you!

 

SXSW 2016 Interview: Jane Weaver

 
By on Tuesday, 29th March 2016 at 11:00 am
 

Oh, the kinds of stories Northern singer/songwriter Jane Weaver could tell. Having been in the music business for over 2 decades, Weaver has been in bands and has continued to record and perform as a solo artist. The ever busy Weaver also owns her own record label Bird, which focuses on the release of underground Northern female artists. In 2014 she released her sixth album ‘The Silver Globe’, which continues her work in electronic music. This is after her having done pop, folktronica and psych rock in her previous guises. In this conversation outside the British Music Embassy at Latitude 30 after her appearance there Wednesday afternoon, I ask the legendary Jane how she thinks things have changed in the industry over the years as she’s been a part of it. Have a listen to our conversation below.

For a taste of ‘The Silver Globe’, have a watch and listen below to ‘I Need a Connection’, one of the album’s exemplary tracks. For more on Jane and the other female acts who showcased at SXSW 2016, go here.

[youtube]https://www.youtube.com/watch?v=rcm1z-iYbCs[/youtube]

 

(SXSW 2016 flavoured!) Bands to Watch #384 and #385: Jane Weaver and Holly Macve

 
By on Thursday, 10th March 2016 at 12:00 pm
 

Editor’s note: we’re making some exciting changes in the way we cover SXSW 2016 this year, especially in the way we preview all the bands that we want to introduce you to before the big event in Austin in March. Read all about our big plans here.

As promised in my earlier article on feminism at SXSW 2016, I’m rounding off my SXSW preview coverage with a feature on two female solo artists scheduled to showcase in Austin next week. Both Jane Weaver (pictured at top) and Holly Macve have recently received funding from the PRS for Music Foundation, Weaver specifically for her trip to SXSW, and Macve for the completion of her upcoming debut LP.

Manchester’s Jane Weaver has transformed herself many times throughout the course of her nearly 20-year career in music. She started out with pop group Kill Laura, then formed an electronic folk project called Misty Dixon while simultaneously branching off as a solo artist. Her extensive back catalogue includes five previous solo albums, as well as a multitude of collaborations and side projects. Her current sixth album ‘The Silver Globe’ was released back in 2014 via her own label imprint Bird Records, which purposefully aims to “cultivate and promote Manchester’s lesser-documented female musicians”. Last year, Weaver re-released a deluxe edition of the album that contains an additional disc of new material.

[youtube]https://youtu.be/rcm1z-iYbCs[/youtube]

Weaver’s light, ethereally floating vocal tones are easy on the ear, but her musical accompaniment has a very deliberate edge. The electropop backing to songs like ‘Mission Desire’ and ‘The Electric Mountain’ is powerfully percussive and rhythmically propulsive, even through the shining haze of synths and electric guitars. Leading into SXSW 2016, Weaver’s track ‘I Need a Connection’ has been featured by Austin radio station KUTX as its Song of the Day, as well as by NPR on its SXSW preview list The Austin 100.  The song’s breezy lyrics are, appropriately enough, about redefining one’s own self-image, and the repeated lines in the coda, “I want to protect you / I want to impress you / I want to suggest how I’m sending the message” linger in the memory long after the song fades away.

Holly Macve internal

In comparison to the veteran Weaver, 20-year-old Holly Macve is a mere babe in the music business. Hailing from Brighton and recently signed by Simon Raymonde for Bella Union Records, Macve lists female heavy-hitters Billie Holliday and Gillian Welch among her influences, along with the more obvious Bob Dylan and Leonard Cohen. To my own ear, Macve’s shadowy songwriting and emotionally evocative vocals are similar to those of Laura Marling, though perhaps without the bitter aftertaste. Macve’s haunting demo version of ‘The Corner of My Mind’ is starkly captivating, while her recently unveiled track ‘We Don’t Know Where We’re Going’ realises the full potential of what she can achieve in the studio. We look forward to checking out both of these leading ladies in Austin next week.

 

TGTF Guide to SXSW 2016: Feminism at this year’s festival’s forefront

 
By on Friday, 4th March 2016 at 11:00 am
 

Header photo: Sadie Dupuis of Speedy Ortiz, courtesy of PAHF

Sexism in music is hardly a new phenomenon. Female musicians have literally been fighting it for centuries, going back to the dawn of Western music. In those early times, female performers were often banned from churches or any public musical productions. Women who did perform were unfairly objectified or viewed as sexually promiscuous and morally depraved. By force of centuries-old habit, those attitudes have prevailed into modern times, manifesting themselves in more subtle but equally pervasive ways.

With the outbreak of controversy surrounding #Gamergate, sexism and misogyny in the online gaming community came to the forefront of our awareness in 2015. Along with it came renewed and often heated discussion of sexism and misogyny in the music industry. Artists like Bjork, Speedy Ortiz frontwoman Sadie Dupuis and CHVRCHES’ Lauren Mayberry have jumped into the fray, along with major music publications both in North America and the UK, universally sounding off against the marginalisation of women in music.

Jessica Hopper

Jessica Hopper, courtesy of Featherproof Books

Despite the cancellation of two previously scheduled Interactive Conference sessions addressing misogyny and harassment, the organizers at SXSW have responded resoundingly to the ongoing debate in their Music Festival and Conference programming. Former SXSW showcasing artist Dupuis will appear this year as a panelist on the Wednesday 16th March Conference track Representations of Women in Music Media, which will attempt to analyze present and future portrayals of women in music. And on Thursday 17th March, one of 2016’s most highly anticipated panels will feature an interview with former Pitchfork editor and music critic Jessica Hopper.  Last year, Hopper published her second book The First Collection of Criticism by a Living Female Rock Critic, then burst the sexism conversation wide open on Twitter with a call for stories of marginalisation within music and music journalism.

Angelique Kidjo

Angelique Kidjo, courtesy of her Facebook

Recognising that marginalisation in the music industry isn’t limited to sex or gender, Feeling Ourselves? – Black Girl Power in Music (Wednesday 16th March) promises to address issues of both racism and sexism in music. In the same vein, another noteworthy panel choice on Friday the 18th of March is an open interview with world music artist and human rights advocate Angelique Kidjo. Hosted by NPR correspondent and music critic Ann Powers, the discussion will no doubt touch on issues related to feminism, racism, and intersectionality in music. More information on Powers’ scheduled interview with Kidjo can be found here.

Women in the music business are encouraged to pave their own paths in a Thursday 17th March panel titled She Who Goes First Sets the Rules – Women Innovators. By contrast, Business Rules for Women: Entertainment & Media on Friday 18th March seems on first glance to take a slight step backwards, as it implies a separate code of ethics and conduct for those of the feminine persuasion. Nevertheless, both panel discussions make a concerted effort to shift the traditionally male-dominant perspective and invite female participation on the commercial side of the music industry.

Loretta Lynn internal

Loretta Lynn, photo by David McClister

In terms of showcasing artists, the Music Festival has the potential to propel the feminist dialogue even further forward. Legendary country artist Loretta Lynn has been announced as a showcasing performer, which might not seem immediately relevant until you consider that Lynn has been an outspoken feminist in her music dating back to the 1960s. Songs like ‘You Ain’t Woman Enough (To Take My Man)’ and ‘The Pill’, not to mention ‘Coal Miner’s Daughter’, placed Lynn squarely in the center of the feminist conversation, whether she initially intended it or not, and the subject matter of those songs is no less germane in 2016. Lynn’s upcoming new album ‘Full Circle’ will contain both revised versions of past hits and a few newly composed songs, including ‘Everything It Takes’, recorded as a duet with Elvis Costello. The new single continues Lynn’s established predilection for writing songs with empowered female characters, and Lynn herself described the new single in a recent interview with Rolling Stone as a “woman song—something more for a woman.”

Stealing Sheep

Stealing Sheep, courtesy of their Facebook

We here at TGTF already have our eyes and ears on a host of outstanding female artists from the UK who will be heading to SXSW this year. Among them, Liverpool dream pop trio Stealing Sheep, will make their first appearance in Austin with funding from the PRs for Music Foundation on the strength of their album ‘Not Real’ (reviewed here last spring). New TGTF writer Rebecca has already penned a Bands to Watch feature on up-and-coming female acts Abjects and The Big Moon (the latter of whom have unfortunately cancelled their SXSW appearance since publication).  Additionally, our continuing preview coverage of SXSW 2016 showcasing artists will soon feature singer/songwriters Jane Weaver and Holly Macve. Having touched on the issue of feminism several times last year in my own reviews of music by Esmé Patterson, Warpaint’s Jenny Lee Lindberg and the aforementioned CHVRCHES, I am particularly keen to observe and contribute to the discourse at this year’s SXSW.

 

TGTF Guide to SXSW 2016: Huw Stephens with PRS for Music and British Music @ SXSW at the British Music Embassy – 15th-16th March 2016

 
By on Monday, 29th February 2016 at 12:00 pm
 

The British Music Embassy will return to Latitude 30 at 512 San Jacinto Boulevard, right by the heart of the action off 6th Street during SXSW 2016. Get ready, because the lineups are looking pretty brilliant! In this post, I’ll be previewing the talent on show from Tuesday evening through Wednesday evening. We’ll be running additional previews of the BME’s programming later this week, including another one by me on the artists of Thursday’s bill and Carrie’s own to tip the offerings all day Friday and Saturday to close out the festival.

As he has done for many years running, BBC Radio 1 specialist presenter Huw Stephens will be hosting the opening night of festivities at Latitude 30. This year, this showcase is being put on with the auspices of the UK music copyright, licensing and royalties body PRS for Music. Huw has put together an eclectic bill with no two acts in the same exact genre. Get down to the venue early to experience Kent’s self-described ‘dirty pop’ quartet Get Inuit (our past coverage of them here), who are currently working on their debut album, with help on its financing thanks to the kind backing of PRS themselves. Lo-fi post-punk will be provided by Belfast’s Girls Names (our past coverage of them here). They released their fourth album ‘Arms Around a Vision’ on Tough Love Records last autumn. The scuzz in your ears from the first two bands will be washed out by the social commentary of Hertfordshire teenager Declan McKenna, who I profiled last month in this SXSW 2016-flavoured Bands to Watch feature.

[youtube]https://www.youtube.com/watch?v=Xq4-IpRAr0c[/youtube]

Pop continues on in an equally unique but slightly different way with the quirky yet lovable Oscar. He will be releasing his debut album ‘Cut and Paste’ on Wichita Recordings in May. For the next act on the bill, a head up to the North West is in order for Liverpool’s Clean Cut Kid and their bouncy, indie pop melodies and amazing harmonies. Rebecca profiled them with recent tourmates and fellow SXSW 2016 showcasing band Fickle Friends back here in January. The night will be closed out with the pomp and oomph of hip hop of South London’s Loyle Carner, using his rhymes to express his perspective on life.

[youtube]https://www.youtube.com/watch?v=GazJC5cAcIw[/youtube]

The music continues Wednesday afternoon at the British Music Embassy. Chad Valley is Oxford’s own chill wave artist Hugo Manuel when he’s not busy with his other band Jonquil or remixing the work of his mates Foals, among others. He’ll start the day’s activities with synthy goodness. He’s followed by Welsh band The People The Poet, one of BBC Radio 2’s Dermot O’Leary’s favourite discoveries from last year’s festival (read our past coverage on the band here). The bill then turns its focus to Cheshire-bred singer/songwriter legend Jane Weaver. The lineup stays in the North West for former Liverpool choir boy turned pop artist Banners, who released his self-titled EP last month on Island Records (read our past coverage on him here, including Rebecca’s Bands to Watch from January). The afternoon’s programming ends with East Hampshire trio and Transgressive Records signees Blaenavon. Their in-your-face sound was recently reigned in for this recent Burberry Acoustic video for ‘Dragon’ live in Manchester.

[youtube]https://www.youtube.com/watch?v=9-0APoy4rdw[/youtube]

Latitude 30 will reopen for Wednesday evening at the British Music Embassy for the previously previewed BBC Introducing and PRS for Music Foundation night. It will begin with a touching tribute to the late Viola Beach and their manager Craig Tarry. The band from Warrington were due to open the BBC Introducing night before they who lost their lives tragically in a car accident in Sweden last month. We encourage all to attend and pay their respects to our fallen friends.

 
 
 

About Us

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.

All MP3s are posted with the permission of the artists or their representatives and are for sampling only. Like the music? Buy it.

RSS Feed   RSS Feed  

Learn More About Us