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Live Gig Video: Field Music play four tracks in studio for Seattle radio station KEXP

 
By on Monday, 9th May 2016 at 4:00 pm
 

In the midst of their recent North American tour, Sunderland brother duo Field Music stopped in at Seattle radio station KEXP to play a live set of four tracks from their latest LP release ‘Commontime’. The KEXP studio session took place on the 28th of March, coincidentally the same day that editor Mary’s live review of Field Music’s Washington, DC performance from a few days earlier posted here on TGTF.

The Brewis brothers, along with Liz Corney on keyboards and backing vocals and Andrew Lowther on bass, joined KEXP radio host Stevie Zoom and photographer Hanna Stevens for the late afternoon studio session, where they played new album tracks ‘The Noisy Days Are Over’, ‘I’m Glad’, ‘Disappointed’ and ‘Don’t You Want to Know What’s Wrong?’. Just below, you can watch the full 24-minute live set, which includes a brief interview at the midway point, and you can sneak a peek at Stevens’ photos from the session on KEXP’s Flickr.

TGTF’s previous coverage of David and Peter Brewis in the context of Field Music is right back this way.

[youtube]https://youtu.be/fS6LFmB3j40[/youtube]

 

SXSW 2016: a slower-paced Saturday afternoon of singer/songwriters – 19th March 2016

 
By on Monday, 18th April 2016 at 2:00 pm
 

After the frenetic Friday of SXSW 2016, (which I spent here and here, in case you haven’t been reading along), Saturday dawned sunny, if a little chilly. I found myself running at a slightly slower pace. I had only two interviews scheduled for the day, both with exciting female singer/songwriters, and though I was glad for a later start to the day, I was eager to get moving by the time Mary and I arrived downtown.

Recent California-to-Iowa transplant Lissie was on the schedule for the SPIN Magazine day party at the Bud Light Factory at Brazos Hall, and I had a standing appointment for an interview with her after her set. The atmosphere at the venue was relaxed but energetic, as you might expect on a sunny Saturday afternoon. And Lissie’s mellow, mostly acoustic set fit perfectly with that vibe. She played a set of songs centered around her new album ‘My Wild West’, but to my delight, she also included her well-known cover of Kid Cudi’s ‘Pursuit of Happiness’. I hadn’t heard Lissie perform live before this, but after having reviewed ‘My Wild West’, I would say that her voice in person was every bit as rich and warm as it comes across on the record, and its raw power is only magnified by being in the same room.

Lissie internal

The sound and lighting were both excellent at the Bud Light Factory, and aside from Lissie, the showcase promised high-energy performances from hip-hop artist Lizzo (who had been first on the afternoon docket), UK indie rockers Bloc Party and genre-bending alt-pop artist Santigold. In the end, though, I only saw Lissie’s set from in front of the stage. After she finished playing, I was escorted upstairs to the VIP area for our scheduled interview. This was Lissie’s final show of SXSW 2016, and she had other press commitments as well as ours, but I was happy to wait my turn. There were plenty of amusements to pass the time, and I took the opportunity to try out a cool virtual music making machine, as well as watching part of Bloc Party’s set on the venue’s closed circuit TV. After that bit of fun, I had this casual chat with Lissie about her new album and where it has led her, both personally and professionally.

After leaving the SPIN party, I took an hour or so of “personal time” to try something new at SXSW. On a bit of a whim, I headed to the ChiveTV pop-up party on the west side of downtown, where I heard country rock band Poor Man’s Change. I can be picky about country music; it isn’t always to my particular liking, but this Southern California quartet fit nicely with my genial Saturday afternoon mood, and I had a chance to chat with several friendly people while I took in the scene.

Chive party photo

Following my short stopover at the ChiveTV party, I headed back east to meet up with Mary at the Hilton Austin hotel. We saw a few familiar faces and had a quick dinner ahead of Brighton singer/songwriter Holly Macve’s set at the hotel’s intimate Liberty Tavern. The audience here was captivated by Macve’s unique singing voice and dramatically stark song arrangements, and particularly in her cover of Patsy Cline classic ‘Crazy’ and her own haunting track ‘Sycamore Tree’. I had a chat with the fresh-faced and undeniably talented Macve after her set, and it was truly a pleasure for me to have the opportunity to speak with her at this exciting juncture of her career. Mary shares thoughts on the early evening showcase just below.

Holly Macve internal

Mary: I wanted to note here that if a club atmosphere is not for you, and/or you’re keen on catching fresh – and free! – entertainment during SXSW, the festival offers up the Second Play Stages at several hotels in downtown Austin, plus the Hyatt Regency south of the Colorado River where I caught Demi Louise last year and Carrie saw Roo Panes on Wednesday during this year’s festival. Liberty Tavern, located at the Hilton on E. 4th Street, had 3 acts scheduled each night of SXSW 2016. We were present for Holly Macve’s set to start the dinner hour at 6, and while Carrie was speaking with her after her set, I also had a look-in on 18-year-old James TW, who will be having his debut London live appearance the 12th of May at Islington Academy 2 (tickets on sale now).

The young James – the “TW” in his act name refers to his double-barrelled surname Taylor-Watts – holds the distinction of being the youngest artist ever to sign to Island Records UK. Prior to coming out to Austin, he released the single ‘When You Love Someone’ in February, which has already charted on the Spotify Viral Top 50. With boy next door charm, his music is easy on the ears, bridging the gap between country/western / singer/songwriter and urban vocal stylings of today, his voice at times twangy and soulful. His debut EP ‘First Impressions’ (how appropriate to reference his first showcasing at SXSW) is scheduled for release this Friday.

James TW at the Liberty Tavern, Second Play Stage, Saturday at SXSW 2016

Carrie: Following James TW’s set and my interview with Holly Macve, Mary and I met up again to plot our course for the final evening of SXSW 2016. You can read Mary’s Saturday night reviews here and here; my own Saturday night review will post soon.

 

Live Gig Video(s): watch behind-the-scenes footage of Kodaline at the Jameson Bow Street Sessions and them talking about their history

 
By on Wednesday, 13th April 2016 at 4:00 pm
 

Dublin pop success story Kodaline have had a wild ride the last 3 years. It seems like yesterday I saw them play at Maggie Mae’s at SXSW 2013, before their meteoric rise to global fame.

Last month, the band – Steve Garrigan, Mark Prendergast, Jason Boland and Vinnie May, Jr. – took part in a special Bow Street Sessions show at Dublin Academy on the 16th of March. They performed alongside County Donegal’s Little Hours (who I saw open for The Staves last spring at Dublin Olympia), Dingle’s Walking on Cars, Canadian act July Talk and the local Dublin Street Choir. The Bow Street Sessions are curated and put on by Jameson Whiskey, in partnership with the famed, long-running Irish music and politics magazine Hot Press.

In the first embed below, you can enjoy some exclusive behind-the-scenes footage of Kodaline preparing for their moment on the night and their first-ever live appearance at the Academy, along with some clips of the other acts. Directly below it, we’ve also found a video called ‘Our Story’, which sees the members of Kodaline talk about their humble beginnings in their own words. For our extensive back coverage of Kodaline here on TGTF, go here.

[youtube]https://www.youtube.com/watch?v=kcy8ZFTVMYI[/youtube]

[youtube]https://www.youtube.com/watch?v=Apxz2-xL8bU[/youtube]

 

SXSW 2016: Friday night at Empire Control Room, Vulcan Gas Company, St. David’s Episcopal Church and Mohawk Outdoor – 18th March 2016

 
By on Tuesday, 12th April 2016 at 4:00 pm
 

The Friday evening of SXSW 2016 was fraught with challenges, most of which involved the weather forecast. Rain clouds threatened late in the afternoon but didn’t erupt into thunderstorms until early evening, just as the night showcases were beginning in downtown Austin. Mary had initially planned to see shows at Stubb’s and the McDonald’s Loft that evening, but both outdoor venues postponed their start times due to thunder and lightning in the area, not to mention the actual rain. Fortunately, my own plan for the evening started at an indoor venue, the Empire Control Room, with teenage alt-pop up-and-comer Declan McKenna (pictured at top).

Lightning flashed in the skies over Austin as I walked to the Empire Control Room, but luckily I got there before it began to rain in earnest. I found a spot near the stage well before the show was set to begin, but I was surprised at how quickly the room filled with punters. It took me a few minutes to realise that the swelling crowd was due to the closure of Empire’s outdoor venue, the Garage. The Control Room quickly filled to capacity, and Mary was delayed in joining me after her shuffling of plans for the evening.

Declan McKenna's pedals, Friday at SXSW 2016

The stormy weather was quite lucky for McKenna, who played that evening to possibly a larger audience than he expected. There were a few diehard fans at the front of the stage who had heard McKenna play already in the course of the week, but his songs were largely new to me. I was immediately impressed by his stage presence and pleasant singing voice, but as his set progressed, I saw that McKenna was more than just a boy with a guitar and a gift for words. He played the large stage like a seasoned pro, deftly managing his guitar, keyboard and an array of foot pedal effects in a manner that reminded me very much of the first time I saw another teenaged pop sensation, Ed Sheeran, way back in 2012. If you haven’t yet heard Declan McKenna, keep your ears on the radio for his catchy hit single, the FIFA-inspired ‘Brazil’.

AirLands, Friday at SXSW 2016

After McKenna’s set, I headed back out into the rain for a quick walk to Vulcan Gas Company, which was hosting a series of showcases sponsored by music distribution platform TuneCore. I was due to interview Scottish rock band Holy Esque before their set on the TuneCore showcase later that evening, but I turned up early to scope out the venue and caught a couple of interesting acts in the process. Brooklyn-based indie artist AirLands (aka Kevin Calaba) was on stage when I arrived, playing stripped back versions of his atmospheric, orchestrally-arranged songs. I’m not an avid television fan, but I might not have recognized recent single ‘Love and Exhale’ without the elaborate ornamentation of the recording even if I had heard it when it was featured on The Vampire Diaries last year. The song has also garnered attention from Google Play and Spotify, and it’s worth a listen if you haven’t come across it already.

Strange Fiction, Friday at SXSW 2016

Following AirLands were two Austin-based acts, retro synth-pop band Strange Fiction and solo artist The Wealthy West. Strange Fiction’s five-member arrangement created a markedly fuller sound than either of the surrounding solo acts, and their onstage energy was infectious as they centered their set around catchy single ‘Memphis’. The Wealthy West was naturally a bit more subdued, as I might have expected from the solo side project of The Rocketboys‘ frontman Brandon Kinder. The Rocketboys were selected to showcase at SXSW this year as well, but Kinder’s acoustic set featured a handful of introspective, gospel-tinged country rock ballads that seemed to come from a more personal place than what I’ve previously heard from the full band.

Wealthy West, Friday at SXSW 2016

At that point, I had to step away from the stage to meet up with the members of Holy Esque, and after trying in vain to find a quiet spot for our scheduled interview, the five of us ended up stepping outside into the alley for a very quick chat, which you can hear here. The band had gotten stuck in traffic on the way to the venue and were due onstage in short order, but despite this minor stress, Holy Esque cranked up the volume on the Vulcan Gas Company stage with their massive synth-rock sound. As promised in the interview clip, the band filled their short set list with songs from their new album ‘At Hope’s Ravine’, which was released just before SXSW and which had apparently garnered them at least one new fan. (You’ll see her in the second photo below, taken just before she was escorted from the stage.)

Holy Esque, Friday at SXSW 2016

Holy Esque, Friday at SXSW 2016

After Holy Esque’s set, I decided to take my chances on some of the unknown Special Guests listed on the SXSW schedule. Surprise slots were listed at several venues, including St. David’s Episcopal Church, which was hosting the always high quality Communion Music showcase. I arrived at the church too late to see Jake Bugg (sob!), but I got there in time to see another new-to-me artist, Australian singer/songwriter Ry X, who was playing just ahead of the scheduled Special Guest. His smooth neo-folk stylings and predominantly falsetto vocals struck me immediately as appealing to fans of James Vincent McMorrow and Bon Iver. You can listen for yourself in the recent video for ‘Only’, which will feature on Ry X’s upcoming album ‘Dawn’, due out on the 6th of May.

Ry X, Friday at SXSW 2016

In the interim after Ry X’s set, I found out from fellow audience members that the Special Guest on Communion’s showcase would be Liverpool singer/songwriter Låpsley, who I’d seen just the night before at Stubb’s. I recommended her to those who hadn’t already had the pleasure of hearing her sing, but I ultimately decided to test the waters elsewhere. I sent out a last minute tweet asking about the Special Guest on the docket at the Mohawk Outdoor and was pleasantly surprised to hear that it would be electro-pop duo Sylvan Esso, who had won me over at Tucson’s Club Congress back in 2014. In retrospect, Sylvan Esso’s appearance shouldn’t have been a total surprise, as Mary and I had seen a glimpse of Nick Sanborn’s Made of Oak side project set on Monday at Barracuda.

Sylvan Esso, Friday at SXSW 2016

By this time the rain had stopped, and I hastily made my way to the Mohawk in hopes that I could still get in. Once again, luck was on my side, and while I couldn’t get anywhere near the stage, I was excited to find a decent spot in the courtyard amongst a throng of fans who were already buzzing with the anticipation of hearing Sylvan Esso. The wildly popular duo had been conspicuously quiet in recent months, but much to my delight, they burst their bubble of silence at the Mohawk on Friday night with a handful of brand new, never-before-heard songs. While familiar numbers ‘Coffee’ and ‘Hey Mami’ were natural crowd favourites, the new tracks were were received with rapturous cheers and ecstatic dancing, not the least from yours truly, as I ended my rather arduous Friday night on a euphoric high.

Sylvan Esso, Friday at SXSW 2016

 

SXSW 2016: rock and pop to close out editor Mary’s time in Austin (Saturday, part 2) – 19th March 2016

 
By on Tuesday, 12th April 2016 at 2:00 pm
 

After the rain of Friday night, a chilly air had settled onto Austin. It’s not normal to be wearing gloves and a hat in Austin in March, but when needs must… Carrie has hypothesised the precipitous drop in temperature translated to less people willing to stand outside in the cold. This was probably true to some extent, as when it came to the showcase the irrepressible Har Mar Superstar‘s showcase put on at Cheer Up Charlie’s, I was surprised there wasn’t a queue to get into the place. Once inside, the outdoor patio area wasn’t full either. Maybe everyone was waiting for Har Mar Superstar’s own headline set at the end of the night? Not sure.

Though I missed first two acts Cold Fronts and Ghost Babes Compilation alums Slothrust, I made it to red lipsticked smiley face sign on Red River shortly after New York City’s Drowners began. Every year and a half or so, I experience a dramatic change in musical taste, and I’m wondering if it’s time yet again to make a move. The Strokes revolution in the early Noughties passed me by, probably because I was too busy with school, as well as being too busy then with my then Duran Duran obsession. Maybe it’s time for me to get back to back to basics-type rock, as I wanted a second look and listen (after the Paradigm showcase Wednesday night) at Drowners before we left Austin.

Drowners at Har Mar Superstar Best Party Ever at Cheer Up Charlie's, Saturday at SXSW 2016

It’s been long bemoaned that there really hasn’t been a band ready to take the Great British Guitar Band mantle, especially in light of The Vaccines changing their sound last year on ‘English Graffiti’. Is it somewhat appropriate that The Vaccines’ buddies Drowners might be in the lead to vie for the now open honour? While they’re technically not eligible since they only have one British-born member (their singer / guitarist Matthew Hitt is Welsh), with their sound, they might be close. Maybe the world is ready for the “jangling fringe-shaking indie-pop“ Q described their 2014 self-titled debut album as having? We’ll hang tight for the release of their second LP ‘On Desire’ at the end of June and see if the tectonic plates of indie will move.

Drowners at the Har Mar Superstar Best Party Ever at Cheer Up Charlie's, Saturday at SXSW 2016

After saying goodbye to a new and famous friend at Cheer Up Charlie’s, I went across the street to check in with some soon-to-be-famous friends at Stubb’s. There was no question as to who was the biggest act of the night at the well-known barbecue joint’s outdoor stage: upstate New York’s X Ambassadors, a recent American indie rock success story after releasing their debut album in 2015, being helped along with fellow Interscope band Imagine Dragons, and the blowing up of their single ‘Renegades’. However, I was there to see Honne play on the biggest stage of their lives.

Honne at Stubb's, Saturday at SXSW 2016

Judging from the audience reaction further back, including my almost going deaf thanks to a young woman who would not stop screaming and going mental during their entire set, I can tell this slice of American music fans are truly taken by the futuristic soul sound of Andy Clutterbuck, James Hatcher and their touring band. It is a surreal moment when you witness seeing a band at a dark, claustrophobic place like Leeds Hi-Fi Club and then a year later, you see them play some place as massive as Stubb’s, thousands of miles away. It also isn’t hard to imagine them filling out similarly large venues in the future with their smooth grooves and, as previously mentioned in my review of their show Friday at the British Music Embassy, their sensual “baby-making music”.

From one massive venue, I moved on to yet another, in the form of the Pandora Discovery Den at the Gatsby. So much for the terribly incorrect impression I had that this place would be a small, intimate affair – ha! The queues outside the venue was enormous, with badge holders unlikely to get in, let alone the wristband crew. Further, I felt guilty that a lot of youngsters who were fans of the man I was going to see were going to have to watch and listen from very far away outside and away from where the action would be inside, especially since it appeared most of the crowd inside the Den inside that I was trying to get around were more keen on getting wasted and weren’t even facing the stage. I never understand this at shows in DC or anywhere else. If all you want to do at SXSW is to drink, go to a bar with your friends and get out of the way of people who actually want to witness a musical experience.

Troye Sivan at the Pandora Discovery Den, Saturday at SXSW 2016

After waiting for what seemed like forever in the pass queue, I made it inside, only to find out the venue was running badly behind schedule. While the Pandora Discovery Den was certainly high on production values, the overall feel was generic, lacking charm and character that you’d get at a place like Stubb’s. I guess that was the point of such a pop-up venue? It seemed more like Australia’s biggest deal as of late, South African transplant and already massive pop star Troye Sivan, could have been performing anywhere, not in Austin.

Troye Sivan at the Pandora Discovery Den, Saturday at SXSW 2016

The 20-year-old already has everything he needs to be a young pop star: the million-watt smile, the doe eyes, the big lips, all part of the charisma needed to keep young people’s short attention. I find it sad that ‘Youth’, his most recent video, has been getting more attention on YouTube because of his sexual orientation and not for its own musical merit. Are we as a human society ever going to get away from such stupid conversations? I’m clearly not Sivan’s target audience (generally, musicians in track suits aren’t my thing, sorry, ha) and his music isn’t what I’d probably chose to listen to, but I’m not ashamed to admit that I wouldn’t mind dancing to his electronic-tinged urban pop at a club. Go forth and keep inspiring our young people, Troy!

It shouldn’t have been a big deal to get down 6th Street to Tellers, as it was only 3 blocks west from the Gatsby. We’re used to seeing so many rowdy people on 6th Street on a Saturday night, but I was not prepared to be inappropriately touched by a man when I trying to get out of a crowd and worse, I saw his face leering at me as he did it, but it’s not like screaming or yelling would have done anything. I still feel dirty and gross from the incident. I realise I could have taken a different route around the crush of people, but thinking about it some more, why should I have? SXSW has evolved over the years I’ve attended and while I accept this sort of stupid thing happens at random whenever there’s a bad apple in a high-density music event, it doesn’t make it right. I was so shaken up by what happened that by the time I finally arrived at Tellers, I was having trouble locating my ID in my bag. It was some good luck that I ran into (male) friends at the door of the venue so I felt safe. Or at least safer.

Get Inuit at Tellers, Saturday at SXSW 2016

It seemed appropriate that the band that officially kicked off my SXSW, Kent’s Get Inuit, would be seeing me off from Austin as well. After being in Texas for a week, the band truly gave it their all on the upstairs stage, banging away on tunes from their most recent ‘Luge Lessons’ EP and songs that could very well likely show up on their upcoming debut album. The surf-y guitar lick of ‘Mean Heart’ plus singer Jamie Glass’ spirited vocals were a positive, loud and kick-arse way to end the weirdest (and unsettling) SXSW I’ve experienced yet. Until next year, see ya Austin…

 

SXSW 2016: rock on the last day in Austin (Saturday, part 1) – 19th March 2016

 
By on Monday, 11th April 2016 at 4:00 pm
 

It’s been a bit of a tradition since Carrie came along with me to Austin to send SXSW off with an amazing (and free) lunch, plus Bloody Marys at the British Music Embassy at Latitude 30. However, this year, it made more sense for her to cover Lissie at the SPIN party at Brazos Hall, so I was all by my lonesome. I gobbled up back two delicious tofu wraps and two of those divine, tomatoey creations under the watchful eye of the barmaid who made them for me. It was probably for the best, though, because the music slated for the afternoon isn’t exactly Carrie’s speed…

The Northern Powerhouse showcase was a good who’s who of bands who are currently knocking about in the great North of England and showing who’s boss with their own personal brands of rock, generally on the harder side of things. Sheffield duo Nai Harvest started the afternoon on a frenetic, yet still melodic note. I think the great lesson that the success of Royal Blood, Drenge and Slaves has taught us is that despite the conventional wisdom that had been around for several decades post-Beatles and Stones, it is entirely possible to make a go of it – to be loud enough and be successful at making rock music – only having two blokes in a rock band. And going for it seemed to be the theme of the day, as it was the last day in Austin for most bands and the last time to make a lasting impression.

Nai Harvest at Northern Powerhouse at the British Music Embassy, Saturday at SXSW 2016

Based on the music videos I’d seen prior to SXSW, Nai Harvest seemed like funny guys: I mean, guys who named their last EP ‘Hairball’ can’t take themselves too seriously, right? Live, they didn’t disappoint on either the music or the stage patter front. As evidenced by most recent single ‘Just Like You’, Nai Harvest’s style is less about being massively loud than to embrace the lo-fi, slacker vibe that currently sweeping Britain. Guitarist Ben Thompson bemoaned that they’d forgotten to bring along Yorkshire Tea to Austin with them. Umm…didn’t they get the memo that there would be *plenty* of Brits at SXSW, some of whom must have had brought some over to avoid the curse of the American, non-descript dark water, black tea problem? At the very least, I could have helped them with their dilemma from my own stash specifically for travelling purposes. Well, now you all know who’s your dealer…

Following the Sheffielders on the afternoon and moving the action due north, up to Leeds, was Autobahn, who were playing their third and last show at the British Music Embassy. I’d seen them earlier in the week, Tuesday night at the felte / Part Time Punks showcase at Barracuda. As is true for nearly every act I’ve ever seen on the Latitude 30 stage during SXSW week, Autobahn’s sound was great, both in volume and pomp. I mean, really, how can you go wrong with guitars being banged and flailed about while there’s a beacon of light, via a voice in the darkness…er…in a trenchcoat. The raw and unforgiving nature of their music as described previously by Rebecca makes all the more sense to me after having the opportunity to speak with their singer Craig Johnson. He explains that there’s not only a dark melancholy that comes through their music but also the coming to grips of reality of what’s outside one’s bedroom window, of which there’s too little of in the greater landscape of manufactured top 40.

Autobahn at Northern Powerhouse at British Music Embassy, Saturday at SXSW 2016

Continuing later on the bill and whose punishing tones I heard well outside of the venue – because they were really all that loud! – were Sugarmen (Liverpool), Fizzy Blood (Leeds) and Demob Happy (Newcastle and Brighton). Lads, don’t be too discouraged that I did not join you. I’m currently going through a reboot of my hard rock loving phase and I’ll probably catch up to you soon.

In the evening (cue the Led Zeppelin song), Carrie and I got a bit of a taste of Lusts at the British Music Embassy before I left her to cover the rest of the NME / UK Trade and Investment showcase there. I needed to find a venue and I should have thought more about this at the time, as if it was some foreshadowing of what was to come later in the evening, but I didn’t. I got lost on 6th Street and when I asked around for help, a bouncer of another establishment on the block stereotyped me, warning me that “a nice girl like you shouldn’t be going to a place like that.” Uh huh… At that moment, I kind of wished Gwenno had been there to clock the meathead. I didn’t have time to waste, or else I would have started quoting lyrics verbatim off ‘IV’ or doing my now world-famous ‘Whole Lotta Love’ guitar solo humming.

Abjects at Sledge Hammer, Saturday at SXSW 2016

I finally got to where I was going (Sledge Hammer), and no thanks to any help from the chauvinist pig. As part of a coincidental continuing-on of the feminism theme and without any injury to myself, I witnessed Abjects‘ entire set. They’re lo-fi, they’re garage, they’re surf-y…they’re a little bit of everything but to be sure, a whole lot of fun. Yes, the sound can be in your face, but it’s in the name of having a good time, and the ladies were smiling the widest grins I’m pretty sure I saw onstage all week. I think the inevitable comparison will be to Manchester’s PINS, but after having seen both bands in a festival atmosphere and now being able to compare them, I think Abjects take it for their sheer audacity.

Stay tuned for part 2 of my review of Saturday at SXSW, which will post tomorrow. For more of my photos from Saturday in AustinE, visit my Flickr.

 
 
 

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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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