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!

SXSW 2019: #youtoo? with DJ Target, Shirley Manson and Richard James Burgess and Song Math with Ross Golan – 15th March 2019 (Friday, part 1)

 
By on Tuesday, 2nd April 2019 at 11:00 am
 

This year at SXSW 2019, I struggled to find convention sessions and talks whose summaries I would write that I felt would speak not just to our regular readers of TGTF but to a wider audience. Beastie Boys’ Adam Horovitz and Michael Diamond had a scheduled keynote Friday morning, but in my head I wondered, what exactly could they tell me, a person who appreciated their band but was not an uber fan, that I hadn’t heard before? I had the same feeling about Shirley Manson of Garbage and Lauren Mayberry of CHVRCHES’ keynote on Thursday, thinking that what the two of them would discuss would be a retread of past conversations about the difficulty of being a woman in the music business. Instead of attending either, I decided instead to attend the #youtoo? Creating a More Inclusive Music Industry session, which included Manson as well as BBC Radio 1Extra presenter and artist DJ Target and Richard James Burgess, CEO of the American Association of Independent Music. The session was moderated by Vanessa Reed, CEO of PRS for Music Foundation and who spearheaded the ground-breaking EU initiative Keychange, self-described as “a collaborative European programme led by PRS Foundation which empowers women to transform the music industry.”

The session offered three different perspectives on how to achieve better equality in the music business, from the unique viewpoints of an artist (Manson) and a radio promoter and independent music champion, both with a background of being an artist (Target and Burgess, respectively). As a woman of colour who runs a music Web site, a rarity, I myself have wrestled with how women go forward from where we are today to reach equality in the business. I have been uncomfortable with the push for equality by physical number of female acts on festival bills, a push that seems to be getting louder every minute. To be clear, I am not against the ultimate goal of equality. The problem, as I see it, is how to implement it.

Vanessa Reed and DJ Target Friday SXSW 2019

One moment in time that sticks in my head is this article by The Guardian’s Michael Hann applauding the bill for 2015’s End of the Road. Part of the argument that rang hollow to me was in regards to Laura Marling’s position as headliner and how the festival should be applauded for choosing her. Marling is an established artist with a very large fanbase and therefore her presence would sell tickets but not on the basis of her gender. While she is a fine example of a woman who broke the mould, succeeded against insurmountable odds and deserves full credit for all she’s done, I would argue that artists regardless of who or what they are have all faced their own difficulties. Who gets to judge who has suffered more and deserves the bigger breaks?

This may sound funny coming from a woman who is also a person of colour, but the way I see it, hard work is hard work, just like some in this business will argue talent is talent, no matter the source. I fully admit that my experience is coloured by the fact that as part of what is called the model minority in America, I’ve received the short end of multiple sticks. I recall with much clarity that even though I asked specifically for help, I received much less assistance from my high school counselor because as an Asian-American, I was perceived as not needing it as much as my peers. I was also excluded from my university’s minority student support office because I was of Asian descent.

Shirley Manson and Richard James Burgess Friday SXSW 2019

One of the things that I have appreciated more than anything else as a Chinese-American music editor is being judged and respected by industry folk for what I bring to the table and not because I’m a woman or the color of my skin. I also don’t even get the sense that my being American is considered a benefit or a hindrance. Maybe it’s masochism, but I would rather be remembered for how I was able to promote acts I loved, not because I was a nonwhite woman doing it. Burgess’ comments describing how his office is staffed echoed my thinking: he explained that while he has more women working for him than most have in the industry, his hiring decisions were based on merit and experience, not gender. While this model obviously can’t be applied to every situation, I think this is what we should aspire towards.

I appreciated each speaker’s views on the topic and what they suggested for going forward. In particular, Manson’s outspoken opinions on how the white women of America failed all women in voting for Donald Trump for President is something I have thought a lot about since that dreadful day in November 2016. While all of us women have shared experiences in feeling marginalised by elders due to existing patriarchal social structures, by voting in that manner, white women, whether knowingly or not, discounted the additional hurdles faced by women of colour in our country.

Manson’s searing commentary on how the pink hat was seized as a symbol of white women feminism felt spot on to me and brought me to tears. It has become very much the “protect your own patch” mentality, which has a mirror in the racism I discovered a few years ago within the white LGBT community, which was a surprise to me after having grown up with the inherent racism among Asians. My intention in including Manson’s comment here is less about taking sides but to take the first step, in raising awareness of the existence of a problem. After awareness, we can move towards better understanding and empathy. Without these three pieces, we cannot truly address or tackle the issues. Inclusivity in conversations seems to me as key for us to come to permanent, lasting, agreeable solutions.

with Shirley Manson crop
photo by Maryum Rasool of SBEV (thank you kindly!),
I’m pretty sure I was reliving ‘Special’ and disbelieving I was talking to Shirley Manson

Manson brought the conversation back to the music industry when she described the difficulty in finding a female band to support Garbage on a recent tour. I thought it was interesting that Manson felt it was a thinking process that caused industry people to freeze, rendering them unable to call to mind any act that would fit Garbage’s request. I think this is an important distinction: minds can be changed. The more we can keep the dialogue open, the more we challenge the status quo, the more we turn the conversations into the norm and less the exception, the more consistent changes we’ll see.

Both DJ Target and Manson emphasised the role (no pun intended) of strong female role models in the artist realm. Manson, along with the aforementioned Mayberry and others like Grimes, Jane Weaver and Gwenno, have taken their positions with candour and energy. More of this, ladies. But we need to step up and raise up those and offer our help to anyone who needs a hand.

Instead of rehashing the part of Ross Golan’s Song Math that I was present for, I will simply summarise for you the most thought-provoking bits. Ross, I hope one day you offer your review of popular music as a recording. I’d buy it! I’m sure plenty of music teachers would use it for their classes, too.
1. A lot of classical composers died of syphilis: that’s a fact, which Golan utilised repeatedly as a comic device. Thankfully, we here in modern day have penicillin available to us. No more mercury poisoning! But if you’ve been watching Victoria, you already know this.
2. Gregorian chants should be considered the earliest pop recordings.
3. Phoenix were right: Franz Liszt was the first true rock star.
4. Today’s musicians are indebted to the songwriters of years gone by, and much beyond sampling. For one, the structure of songs as simple as ‘Happy Birthday’, ‘Frere Jacques’ and ‘Twinkle Twinkle Little Star’ have been repeated over and over, inspiring artists far and wide, and subliminally or not.

 

SXSW 2019: Wafia and Mansionair at Next Level Apparel, Seazoo, The Snuts and Sports Team at Good Karma Club, Talos and whenyoung at Music From Ireland, and PAWS – 14th March 2019 (Thursday, part 2)

 
By on Wednesday, 27th March 2019 at 1:00 pm
 

After APRE’s performance, I really wanted to see The Joy Formidable at the Dr. Martens showcase at Container Bar. However, many, many other people had the same idea, and you could tell the staff were stressed. My merely asking if there were different priority badge lines led one bouncer to think I was trying to cut the line. Seriously, come on. I’ve been to SX seven times before, and I’m not going to start being a jerk and cutting in front of people now. From what I understand from friends who had actually made it in, it was just as well, as the band were only allowed to play four songs, frustrating them and their fans.

Directly across the street at Clive Bar was the Next Level Apparel showcase, Australian electronic artist Wafia was performing to a jammed-in crowd on its patio. She occupies a similar place in the industry to Grace Carter, providing a young female viewpoint through honest lyrics. However, Wafia is also a political lightning rod, being a Muslim and of Iraqi and Syrian ancestry and daring to make politically-charged music. Read some of her thoughts here.


I say all the more power to her to do exactly what others would call her out on and crucify her for. I remember reading a quote once where someone said that it’s when we’re made uncomfortable that we learn the most. A outspoken twenty-something woman with ties to the Middle East who has written ‘Bodies’, a song about the Syrian refugee crisis? The topic isn’t new or unusual, but the woman who is singing it is speaking her truth. Young people like her, not the establishment, will be the key to changing minds and lives. And you know what? The Austin crowd absolutely loved her.

Following Wafia was another Aussie act, one that was celebrating the recent release of their debut album. Mansionair, who have been a SXSW mainstay over the last few years, came to Austin with the long-awaited ‘Shadowboxer’ available now from Glassnote Records under their belt. I have always respected the Sydney band’s confidence whenever I’ve seen them play, and that didn’t stop with their closing set at the Next Level Apparel showcase. If anything, they had added swagger this time now that their biggest group of released songs to date have been released to the wild.


The menacing electronic machinations of ‘Alibi’, paired with Jack Froggatt’s swirling vocals, was a sultry earworm of the highest calibre. Moving things uptempo, ‘We Could Leave’ led to loads of heads bopping in appreciation, while the rhythmically interesting ‘Technicolour’ provided another opportunity to dance. SXSW could have just been another tickbox for the group in the middle of a long North American tour, but they turned in a memorable performance.


During SXSW, you’ll find bands playing in the oddest, most unusual places, some considered Second Play stages. Seazoo’s second performance in Austin turned out to be in the restaurant in my hotel! While it seemed that the primary listeners were all Welsh friends of theirs, their ‘nook’ to play was only a little strip of real estate near the bar and they played sans two band members and in stripped back fashion, the band was in fine spirits.

Another one of my SXSW 2019 Bands to Watch, Scottish band The Snuts, were due to play Abbie McCarthy’s Good Karma Club showcase at Swan Dive. Singer Jack Cochrane very seemed to be extremely nervous, as every other word out of his mouth, except when he was singing, was the f word. There shouldn’t have been so much anxiety: word must have spread about the band, as I was surrounded by very excited new American fans of theirs. Even better for the band, there was a loud, drunk group of non-industry-affiliated Scots down the front who appeared to know all of their songs, shouting for ‘Seasons’ as their favourite of all. That’s a long way to travel for your favourite band, especially if they’re only playing for 30 minutes, isn’t it?


With last year’s Thursday night drenching still a vivid memory, it became a bit of an unfortunate game of mine to avoid them and their spilled drinks. They ended with ‘Sing For Your Supper’, which was explained as their rallying cry of the importance of friends on this journey called life. I stand by my Bands to Watch feature on the Snuts but I felt disappointed in their sound live against some of the other bands I’d already seen in Austin.


The next band on the Good Karma line-up was another band I previewed, the supremely unGoogleable Sports Team. While Swan Dive’s indoor stage isn’t the smallest stage you’ll encounter during SXSW, trying to fit six people and all their equipment on it is no mean feat. The comparison I made between singer Alex Rice and a spastic-dancing David Byrne seems even more apt in person. Like a ball of energy never to lose steam, Rice proved his place within the band isn’t so much staying in one place to deliver the lyrics but while posturing and jumping all over the place.


When I felt like I had enough of Sports Team to have gotten a good idea of their music, I headed to the Velveeta Room and the Music From Ireland showcase. This time last year, there was no issue getting in this venue for Talos. What a difference a year – and the release of a deluxe version of ‘Wild Alee’ and a second album, ‘Far Out Dust’ – makes. Word clearly has gotten around about Eoin French’s electronic-filled, Bon Iver-esque post-rock soundscapes and him and his touring band’s emotional live show. From my vantage point, it looked like most who showed up for him were amorous couples. Groan. Right in front of French was a pair making out and being borderline inappropriate. I think next time I listen to Talos’ music, it’ll be in comfort through a pair of ear buds!

I may have been denied in my attempt to see Limerick, Ireland’s whenyoung at The Great Escape 2018. However, I refused to leave anything to chance at this SXSW, anchoring myself down the front for their Music From Ireland evening showcase slot. Following Talos, their straightforward pop/rock style brought the energy back way up in the venue, even as we edged closer to midnight. whenyoung’s sound is anchored in a powerful and unrelenting style with a pop brightness and catchiness. You can’t help but want to pogo to this kind of music.


This is best exemplified by the beat-heavy, fast tempoed ‘The Others’, which was inspired by the Grenfell Tower fire and highlights the divide between the haves and the have nots. Wearing outfits prominently displaying the EU circle of stars was another sign of their solidarity with being part of a bigger whole, even though they’ve chosen to live in London. Their most recent single, ‘Never Let Go’, is their contribution to the mental health discussion, frontwoman Aoife Power’s soaring vocals providing a measure of hope and understanding.

The Ernest Jenning Record Company showcase at the Mohawk was my next port of call. Running behind schedule, I arrived at the end of a set by New York City punks Flower. Next up was Glasgow’s long-soldiering PAWS, who have become a bit of a name on this side of the Atlantic thanks to past tours with fellow jokey rockers We Are Scientists. I figured PAWS’ appearances at SXSW would be to road test material from upcoming album ‘Your Church on My Bonfire’ and of course, to crack a few jokes, with frontman Phillip Taylor as ringmaster. New songs sat well with old favourites; the only thing perturbing was the presence of a fourth live band member, which confused some of us, as well as those keeping tabs of activities at SXSW at home.


A surreal moment in the set occurred when drummer Josh Swinney appeared to be doing a magic trick with his snare drum. One moment you’d see his drumstick, the next, you wouldn’t. It could have been because it was well past my bedtime but I was not comprehending what had happened: Swinney was demonstrating that the top of the drum had been completely broken through. Mohawk stage crew were able to rectify this quickly, locating a replacement and receiving Taylor’s appreciation for “Mystery Snare Drum Man”. Upon leaving the Mohawk, I noticed the stuffed bear in the bar had been dressed in denim. Laughing at this, I decided it was definitely time for bed.

 

SXSW 2019: Matt Maltese at the Back to Amy photo exhibition, ROE and Joshua Burnside at Output Belfast and APRE – 14th March 2019 (Thursday, part 1)

 
By on Wednesday, 27th March 2019 at 11:00 am
 

After a luxurious sleep (read: more than 6 hours) and the breakfast buffet in my hotel, it was time for a trip to the often neglected west side of Austin, which has some of the most chill and interesting watering holes in town. Holy Roller played host all week to the Back to Amy photo exhibition, displaying never before seen images of the late and great Amy Winehouse at age 19, before she became a household name and before the release of her seminal debut album ‘Frank’. The photos were taken by Charles Moriarty and introduced by producer Gabriel Gornell, who also served as emcee for a specially curated group of promising young artists playing in a cute performance nook of the restaurant.

I was curious about both the photos and Matt Maltese’s performance there at 11 AM. Not the best time to perform during a full-on festival at SXSW, but let me say as a music editor, any opportunity at any time of day to sit down on a chair and enjoy a lovely hand-crafted pink beverage called the She Bad is more than welcome. Following his set the previous night at Central Presbyterian Church, I preferred this performance in more relaxed surroundings for its intimacy. We probably could have sat at his feet if we wanted to. A large cartoon drawing of Amy hung as the backdrop, a poster that all artists playing at this exhibition would sign after their performances. During a week of watching all sorts of artists with seemingly increasingly complexity in instrumentation, watching a master at work with the simplest of setups served as a good reminder that at its very basic, sometimes stripped back is best.


During this set, he had been introduced as creating Brexit pop; Maltese was quick to be humourously contrary in correcting this as he started, saying he was now in post-Brexit pop. Maltese wrote ‘As the World Caves In’ with two world leaders in mind, imagining them getting intimate as their decisions have led to the end of the world and humanity. Given the problems in his country and ours, it has become strangely more appropriate than he could have ever realised when he was writing it. ‘Strange Time’, another one of his songs that is no hurry to get to the finish, muses on an unconventional relationship that somehow works: “They say I’m too old for my age / And you’re just the same / Yet we make love like kids, again and again.” Like Maltese himself, it doesn’t sound like it should work on paper but is such a pleasant surprise when you’re finally get an opportunity to be properly introduced to it.


After some time mooching around at the posters on offer at Flatstock, I returned to the British Music Embassy for the first two acts of the Output Belfast afternooon showcase there. Young Derry singer/songwriter ROE impresssed straight out of the gate with her aplomb. Being stood on a stage entirely alone except for her guitar and electronics in front of Texan fans and industry types might have shaken the nerves of lesser mortals, but not her. The precocious, smiley artist explained the origins of her songs as she went along, lending sincerity to her stories of adolescent angst. The last festival we covered her at was Hard Working Class Heroes 2017, where she performed at Dublin Grand Social.


The poppy ‘Thomas’ specifically calls out a situation where she was teased for her short hair and compared to a male classmate, but the treatment is incredibly catchy. Songwriting was her method of catharsis from depression when coming up wth ‘Down Days’, broaching a difficult, ongoing subject that needs to keep being discussed and continually. ‘Wasted.Patient.Thinking’ is a surprisingly adult admission that we all should taking care of ourselves first, especially when a relationship no longer serves its purpose to us. It is a sobering thought that ROE has able to come to these conclusions and write them into infectiously amazing pop and at an age when the rest of us were all twiddling our thumbs. If she can keep this up – and I do think she can – she’ll have a long career ahead of her.

Joshua Burnside and his live band returned to Austin after a series of rousing performances at SXSW 2018 last March. This time, he arrived in Texas with a prominent moustache that made him look like a cross between a cowboy from days gone by and Matthew McConaughey. Throwing a beloved flat cap into the audience might not have been the best idea – I’m still not sure if he ever got it back? – but it sure led to a whoop of cheers around Latitude 30. ‘Holllllogram’, from his 2017 Northern Irish Music Prize-winning album ‘Ephrata’, still wows in its exposition of how a broken heart can remain haunted.


I unfortunately had to leave Burnside’s set early to catch what I thought would be an enlightening talk given by Björn Ulvaeus of ABBA and his work colleagues at Auddly at the Hilton. Auddly has been now rebranded as Session, though I had to find that out on social media, as there were technical difficulties preventing their Thursday afternoon session at SXSW from starting on time. I sat there for a good 20 minutes before calling it quits in favour of the International Day stage.

APRE’s most prominent appearance during SXSW 2019 would no doubt be their slot opening the BBC Radio 1 showcase Saturday night at the British Mustic Embassy. Given my past experience having difficulty getting into Latitude 30 for that showcase in multiple years, I didn’t want to miss out on seeing the London-based duo up close and personal. If you’ve followed APRE for any length of time or indeed, you read Bands to Watch preview of them from last month, you are well aware that they don’t take themselves seriously. They also enjoy wearing bright red jackets, which they brought to Austin!


okay, so there’s no red jacket here, but…

This electronic-driven duo occupy a nice niche between tropical pop and r&b, which gives them the opportunity to cover more music territory when songwriting. The delivery of the anthemic ‘Without Your Love’ and ‘Don’t You Feel Like Heaven’ suggest they could their music to stadiums. Conversely, in a different way, a r&b-inflected song like ‘Blackstreet’ pits them favourably against acts like Jungle who have proven they can reach those stages. Although like when I saw Elder Island the day before I got the distinct feeling I was probably the only person in the room who’d heard of them before this, APRE impressed a different set of punters than the ones who saw them the night before at the Communion showcase at Augustine.

 

(SXSW 2019 flavoured!) Video of the Moment #2933: APRE

 
By on Tuesday, 26th March 2019 at 6:00 pm
 

The day before I left for Austin APRE unveiled a new video. In case you somehow missed it, I previewed their appearances at SXSW 2019 in this Bands to Watch feature. ‘Gap Year 2008’, released by Charlie and Jules last month as a stand-alone single, is arguably their most singalongable (is that a word?) yet, filled with la la las and unlikely like anything you’ve ever heard of. Merging acoustic and electronic elements with that infectious chorus was already a great feat. In the official promo for the single, the pair appear to be on some kind of unusual plane trip, with a group of all too agreeable travel companions, except for a selfie stick duel. On a piece of paper is scrawled the message, “it’s not the arrival, it’s the journey”. There’s clearly something wrong with you if you don’t chuckle a few times watching this below. Stay tuned for more on APRE at SXSW 2019 very soon.

 

SXSW 2019: Focus Wales and Seazoo, Matt Maltese, Jealous of the Birds, and Grace Carter and Sam Fender at BBC Introducing – 13th March 2019 (Wednesday, part 3)

 
By on Tuesday, 26th March 2019 at 3:00 pm
 

No SXSW would be complete without visits to your favourite country showcases and houses and seeing friends. For a second year running, Focus Wales put on a networking mixer on Wednesday night, this time at one of my favourite venues in Austin, Swan Dive, its stage bordered by white fencing like a perfect slice of Americana. There must be a good joke that all good mixers bring in the Irish and the Scots, but it’s also very true. I also wanted to hang around for as long as I could to see Wrexham, North Wales band Seazoo play as the showcase’s opener. In my Bands to Watch on them at the end of last month, I wrote about discovering their self-described “psych indie pop”. But there’s much more to this band than any boxes they or anyone else could put them in.


While many bands exist and continue on today on a foundation of long-held friendships, you get the sense from watching the band members of Seazoo that long after their instruments are packed away, they will actually go and get drinks at the pub together. (Indeed, I appear to have been invited to visit them in Wrexham the next time I’m relatively close, in Liverpool for Sound City.) The gangly, bespectacled Ben Trow, who fronts the band, is a more obviously humourous frontman than Jarvis Cocker. I was first confused by what he meant by introducing “the best baby head player”. That is, until I got a closer look at what Llinos Griffiths was playing: a head of a doll with metal switches on its surface that evidently are part of Seazoo’s musical success. The super poppy ‘Shoreline’ started the Focus Wales night with flair, as it was impossible not to get drawn in by the infectious earworm. Check out their debut album ‘Trunks’, you won’t be disappointed.

From the slap-happy sunny tunes of Seazoo, I departed for the uphill battle (literally) to Central Presbyterian Church and decidedly more subdued music. Matt Maltese was a last-minute addition to the SXSW 2019 bill; his announcing of his appearances leading to my many squeals. He is the 21st century heir apparent to the late Leonard Cohen and the ever declining in favour Morrissey. Accompanying his voice with only a piano or guitar, consummate crooner Maltese wowed an appreciative seated audience at the church with tunes from his debut album from last year, ‘Bad Contestant’ (review here), out now on Atlantic Records. Like Morrissey and Neil Hannon of The Divine Comedy, he has a rapier-like wit. He quipped that two of the songs in his set were based on unfortunate love triangles he found himself a party in and that he would recommend others to participate in love triangles of their own. (Guffaw.) Despite forgetting his guitar tuner, he was able to crowdsource a mobile phone with the infinitely well-named GuitarTuna app while also continuing his droll stage banter.


I hope he doesn’t mind me comparing his delivery style to Barry Manilow: only so many piano-playing singers have the gift of warmth in their voices, a lustrous quality that makes the pain of heartbreak that much easier to swallow. The languid nature of ‘Less and Less’ is the perfect foil for the chronicling of falling out of love with someone, while the more jaunty, happy chord-filled ‘Guilty’ is the full-scale admittance of his repeated returning to a selfish lover because he just can’t extricate himself from her. While his was not one of the most energetic sets I saw at SXSW this year, it was a great reminder that there is something for everyone at this festival, including the brooding introvert within me that just wants to revisit the strong feelings of love and heartbreak through osmosis.

The next act seemed to have made it their mission to bring brightness back into the church. Before coming out to Austin, I saw that Naomi Hamilton, aka Jealous of the Birds, had chosen to wear a fun purple tartan suit for their set on the Output Belfast boat party on Tuesday. She graced the church in the same outfit, while her bandmates were dressed less ostentatiously but still on theme in black watch tartan trousers. Gotta love a coordinated band! ‘Tonight I Feel Like Kafka’, which I previously saw Hamilton perform solo supporting The Divine Comedy in Birmingham in November 2017, had many more wonderful layers presented by her and her band.


Cracking jokes about having not yet burst into flames while in a house of worship is just one indicator that this is not the same Hamilton TGTF has covered in previous years. Her sound has evolved from ‘breaking’ into the indie world with ‘Goji Berry Sunset’ on BBC 6 Music 3 years ago that I saw performed live at Dublin Tengu at Hard Working Class Heroes in 2016. On most recent EP ‘Wisdom Teeth’, the dissonant guitar licks of ‘Blue Eyes’ throw you off for a moment before you surrender to its wild nature. Even better, Hamilton has described as a celebration of “femininity and strong women feeling empowered”. If you haven’t seen the music video for it, you simply must.

Following my time at Central Presbyterian, just like in the afternoon, I faced another daunting queue at the British Music Embassy for the BBC Introducing / PRS Foundation showcase. Onstage at the time was Grace Carter, a pop singer/songwriter from Brighton whose had a recent meteoric rise thanks to the attention of artists like Dua Lipa and Lana Del Rey. One of her most arresting singles, ‘Why Her Not Me’, documents the heart-wrenching realisation Carter came to when she learned from her single mother than her biological father wasn’t in her life because he chose to stay with the other family he had. While this isn’t the kind of music I’d normally choose to listen to, I can respect her ability to open up her personal life in her music.

Sam Fender returned to Austin and oddly enough, the same exact showcase at the British Music Embassy as SXSW 2018 and at the same time slot. The Geordie had a spectacular year in the meantime, his lyrics espousing social consciousness and the plight of young people today hitting a nerve and making him a critical darling and a must-see at festivals, including the inaugural edition of This is Tomorrow. There was a bittersweet poignancy as he and his band performed ‘Dead Boys’ on the brightly lit Latitude 30 stage, as if the song being performed was to honour those young men we’ve lost through suicide but also shame the society who failed them. 2019 single ‘Hypersonic Missiles’, in contrast, shows his knack for writing a melodious rock song, as well as his impressive vocal range. Having woken up at 4 AM, I called it an early night (and before midnight, shocker!) to be ready for what Thursday would bring.


 

SXSW 2019: Balún, Elder Island, The Dunts, The Joy Formidable and Sway – 13th March 2019 (Wednesday, part 2)

 
By on Tuesday, 26th March 2019 at 1:00 pm
 

An often criminally overlooked part of SXSW are the Radio Day and International Day stages on the 4th floor of the convention center. If you have ever attended SXSW as a badge-carrying delegate, I am sure you have walked by these rooms and never considered stopping to catch any of the bands. There was no contest which band on these stages had the most fan turnout on these two stage. That award goes to ‘90s giants Broken Social Scene, who appeared Friday afternoon and had a queue of fans going down the length of the convention center long before they even took the stage – I implore you to stop by in future iterations of SXSW to catch up-and-coming talent.

Two of the Bands to Watch I previewed before heading to Austin had prominent slots on the International Day stage, which in theory freed me up from trying to see them in the crush at the British Music Embassy at Latitude 30 later in the week. (You’ll see how that panned out later.) First, though, I found myself with some free time and a free Coke from the press lounge, so I ducked in to see Balún gracing the KCRW and NPR-sponsored Alt Latino showcase at the Radio Day stage. They are based in Brooklyn (insert your favourite indie band joke about Brooklyn here) but are originally from San Juan, Puerto Rico. They were the perfect pick-me-up to jolt me into life after my 4 AM wake-up call.

The glasses-wearing, synth-driven indie group with unusual-to-rock instruments such as accordion and violin have managed to successfully marry the digital age with their Caribbean roots. ‘Prisma Tropical’, their second studio album released late last year, is Balún’s expression of their self-described dreambow genre. Rhythmically unmistakeably Latino and with frontwoman Angélica Negrón’s ethereal vocals, this is a group doing the Latin American diaspora in America proud and making music that keeps them connected to the country they felt they had to leave in order to access different opportunities.

Following Balún, it was a quick mosey to the International Day stage where Elder Island were just setting up. The Bristolian trio are part of the proud current wave of emerging artists keen on pushing the envelope beyond the traditional genres of independent music. Their debut album, the self-released ‘The Omnitone Sound’, came out last month, a beguiling mix of Katy Sargent’s r&b-inflected lead vocals and cello, guitars, synths and beats probably best exemplified by the driving ‘You and I’. 2 PM might not be ideal for a show more appropriate for a dark club filled with bodies bumping, but Elder Island did a great job in bringing that feeling to the room, eliciting more than a few instances of chair-dancing. You can read my past Bands to Watch feature through this link.

My next stop was to catch The Dunts at the British Music Embassy. As was true all week, the afternoon showcases proved to be a better bet in my mind than their evening ones, and the queues to get in were proof of this. For my money, Glasgow is one of the more interesting centres for new music these days. It has been able to support an incredible range of genres and artists who can all coexist and support each other with nonexistent infighting. Must be the water or the Tennent’s. The Scottish punks, along with their band best friends Rascalton, were unable to secure funding to travel to SXSW 2019 through normal channels, so in typical ingenious Scottish fashion, they came up with limited edition swag including a black Dunts football-style shirt to sell their fans to help finance their trip. (We’re all too late for that shirt, I’m afraid. Damn it.)

Their efforts appear to have paid off. On a 25 degree C spring day that might have led some Texans astray after the awful winter they had, locals and industry jam-packed Latitude 30 to welcome them. ‘Self Proclaimed Council Punk’ isn’t just an EP title, it’s a state of mind. None of their songs overstay their welcome: the intent appears to be to play loud and fast, with barely a breath in between for themsevles or whoever is watching them. This is not music for the faint-hearted. The feeling of two fingers’ immediacy is inescapable. No matter how old you are, you will leave a Dunts gig feeling more alive than you have in a long time.

I spent a brief interlude down on Rainey Street to check out some of the craziness during daylight hours. The armadillo-mobile was out again as last year but had to share the streets with a couple on stilts dressed like flamingoes. I like pink, but you’re never gonna get me to wear a pink bird on my head. Clive Bar was turned into a temporary carnival sponsored by Showtime, with a balloon artist, photo booth and popcorn and cotton candy vendor. Walking back into the centre of town with a large tuft of delicious, s’mores-flavoured cotton candy in hand felt like winning. I returned, making the mistake that I could just walk in for the Joy Formidable’s set at the British Music Embassy. Whoops.

Really, though, my job is done when a band I’ve written about a lot has filled a venue to heaving, right? As is usual with Latitude 30 during SXSW, the windows were flung open, affording us poor souls who couldn’t get in the opportunity to hear ‘The Greatest Light is the Greatest Shade’ even if we couldn’t be in the same room with them. Hearing the final track of ‘The Big Roar’ reminds me of a time in my life when I got my heart broken. This song was my salvation, telling me with absolute certainty that one day I’d stop wanting to kick the guy and instead wish him well with the rest of his life with the woman he eventually chose over me. As the Welsh band’s wall of sound reverberated far beyond the confines of Latitude 30, I felt happy how far I’ve come to that moment and thankful I had friends who got me out of that dark place.

To set myself up for a night of running around the city to be preceded by drinks with the Focus Wales crew, I decided to get dinner at Stella San Jac. The restaurant attached to the Westin has become a firm favourite of mine for food and drink while in Austin. At the bar, I ordered what now will probably be my usual there, the fried avocado salad. Don’t knock it until you try it. I was expecting a low-profile supper, served by some very cute bartenders. What I didn’t expect was being sat next to a man drinking a bartender-recommended tipple. He looked familiar but in an effort to play it cool in case it wasn’t who I thought it was, I tapped him on the shoulder and asked sotto voce.

What ensued was a delightfully impromptu conversation about social media with the uber cool Sway Calloway, who I first came across as a hip-hop correspondent on MTV nearly 2 decades ago. Nowadays, Sway is the coolest of the cool cats, taking his own background as a rapper and radio experience and continuing to be a force of pop culture on his Sirius XM radio show Sway in the Morning. The verdict of our conversation? Neither of us will ever be as great with social media as kids are, but that’s okay. I was reminded of Lance Bass’ talk earlier that day where he talked about the importance of being authentic. If a old fogey like me being old school is wrong, then I don’t want to be right!

 
 
 

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 was edited by Mary Chang, based in Washington, DC.

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

Privacy Policy