South by Southwest has long served as a barometer for what’s simmering in the music industry, long before artists make the charts and airwaves. It’s also where some of the biggest bands around pop in to make the scene, or reenter it.

This year was no exception, as “surprise” shows abounded from the likes of Muse, who played the relatively intimate outdoor venue Stubb’s and Gwar, as well as Hole’s return for the first time in more than a decade to a Stateside stage. The week was also marked by tragedy, when the news of Alex Chilton’s death on the opening day of the music fest overshadowed what was hoped to be a triumphant return and reunion of legendary act Big Star. Founders Jody Stephens and Andy Hummel, along with ’90s added members Ken Stringfellow and Jon Auer soldiered on, performing a memorial concert at Antone’s on closing night. They were joined by an all-star cast that included X’s John Doe, R.E.M.’s Mike Mills, M. Ward, Evan Dando and Chris Stamey.

And while the big headliners drew expected crowds and long queues, there were plenty of acts creating buzzes of their own.

Wednesday, March 17, 2010

UK’s Findlay Brown, who’s signed to Verve, owed his throwback sound to the ’60s, blending a touch of rockabilly with soulful singing and loads of balladry at Galaxy Room. While he may follow too closely his heroes – with little updated sound, there was a certain hip quality about him. Brown could fit Triple A, though AC and Hot AC might also suit him.

The Parish was packed and steamy for the SxSW Scottish Showcase. Amid trippy lights We Were Promised Jetpacks played every song like their lives depended on it, and it was impressive. “It’s Thunder and Lightning,” began with a quiet rhythmic guitar, which then crescendo’d into a furious sound with frontman Adam Thompson belting repeatedly “Your body was black and blue” until his face was red from screaming. Each song felt like their last, building emotion and then catharsis. The buzzing band is burgeoning on the airwaves, too, with heavy airplay on Sirius Alt Nation.

Frightened Rabbit followed. Its The Mignight Organ Fight 2008 album made many a rock critic’s Best Of list (it was number 2 on mine). With its anguished and sing-along lyrics as heartfelt as a first crush, wrapped in rollicking rock ‘n’ roll, Frightened Rabbit has built a steady and growing fanbase since that breakthrough album. In March its latest effort, The Winter Of Mixed Drinks, debuted at number 78 on the Billboard 200 and was the number one most added on both the FMBQ Triple-A albums chart and modern rock specialty singles chart. While their set didn’t quite feel like lives were on the line as their fellow Scotsmen show prior, songs such as “Keep Yourself Warm” and “Modern Leper” were close to as emotive, and inspired sing-alongs.

A top Billboard SxSW pick, New York-based, with Dominican-roots Maluca performed at Mi Casa Cantina. While it was sparsely attended, those in the house were treated to some Latino-fused hip-hop beats, songs in Spanish and English, backing dancers with choreographed moves, and a very sexy Maluca. She had the right look and all the right moves to be poised for something big and the show was fun, however the songs were a bit samey and her vocal chops weren’t all there. Still, the vibe and the fact she signed to Mad Decent, with some Diplo love, should mean this is just a launching pad for this artist.

Thursday, March 18

Back in the late-’80s, early-’90s it was indie labels, such as Sub Pop, who set the tone of a nation’s musical tastes. Long before commercial radio jumped on the grunge, Sub Pop was the gatekeeper. Much has changed since then, both musically on the label, and also with the internet and internet radio helping shape musical culture. But one thing has remained the same: It is still often through the indie labels where tomorrow’s Next Big Artists are culled. Yeah Yeah Yeahs and TV on The Radio both began on the now-defunct Touch and Go Records. Death Cab For Cutie once called Barsuk home. And Sub Pop has also given us The Shins, who remain on the label.

In that light, checking out the Sub Pop showcase at Galaxy Room seemed a good stop to mine what may be the new future flavor. Kicking things off was Happy Birthday, whose experimental pop is being played on three commercial stations, according to Mediabase. England’s Male Bonding trio had a careening and nicely sloppy and lo-fi punk vibe. Avi Buffalo has been making airwaves on KROQ and one other station, and the group had some nice harmonies and a pretty pop sound, although not all songs were gripping. It was a bit inconsistent. Their eponymous full-length debut is out on Subpop in April.

I headed to Stubb’s to catch longtime indie darlings Broken Social Scene headline. The Canadian outfit with a rolling cast of collaborators/members (including Metric, Stars, Apostle of Hustle members along with Feist) gave its sophomore release, You Forgot It In People, a bigger sound, with horns, additional singers and a swelling, growing and varied style that made BSS distinct. After another critically acclaimed (eponymous) album, they began a series of soloish efforts under the moniker Broken Social Scene Presents … Needless to say, its forthcoming May release of Forgiveness Rock Record, five years after its last proper album, is much anticipated. Opening its set with its single from the upcoming album, “World Sick,” was a wise choice, the anthemic tune fit in well with BSS’s repertoire (and is already making waves on four commercial stations) as did “All To All,” with its stuttering rhythms and soaring melodies and the rocking “Forced To Love.” Of course, BSS now-classics “7/4 (Shoreline),” “Fire Eye’d Boy,” and Metric’s Emily Haines-fronted “Anthems for a Seventeen Year Old Girl” were highlights.

While the xx’s performance at a church on Friday was one of the SxSW shows I was most excited about, I popped in for the last half of their set at Mohawk’s to see how the band did in a less intimate setting. The over-packed show was not the ideal way to see the UK group, whose atmospheric and minimalistic electronica-tinged sweet pop-rock with loads of come-ons and lusty lyrics are made for crushed-out teenagers and non-jaded adults alike. Surprisingly, they delivered the bedroom material bigger than expected, drowning out the boisterous Friday night drunken crowd that filled the venue. It’s no wonder their presence is growing Stateside, with 19 stations rocking their music.

Friday, March 19

While there are always myriad day parties pulling industry folks all around SxSW, the Spin party was the site for Hole’s first U.S. stage appearance in more than 10 years. Courtney Love and “Hole,” which is really an all-new band, Headlining the party. “We’re Hole,” she asserted, “if you like it or not, you little suck shits.” As derisive as Ms. Love can be, most expected a meltdown. And while she hasn’t quite softened her attitude in the years since Hole charted (there was a litany of swear words throughout), her vocals were fiery and the performance rocked, even if the new material lacked luster. It was of course hits like “Violet” and “Miss World” that appealed to the at-capacity crowd. When someone at the venue told her she needed to cut the show, she told them to “stick that up your ass,” before closing the set with new song “Samantha.” Not to be ushered out too quickly, Love ended by saying, “I’d stage dive, but I’m far too elderly.” Props to Love for keeping a sense of humor.

Prior to Hole, Fucked Up got the party started, and boy did they ever live up to their name. Lead singer Pink Eyes, aka Father Damian, and born Damian Abraham is a formidable character, with a beer belly (though he supposedly does not partake) and self-inflicted bruises on his forehead from banging his mic on his head. Through a raucous set of in-your-face punk, Pink Eyes spent most of the time singing offstage in the audience, stripping down to his skivvies, rolling around in mud, and interacting with the audience (often involving the audience in his antics). It was, by far, the wildest show I caught.

While the in-demand shows of Muse and Broken Bells were rocking elsewhere on Friday night, I happened upon one of the most unexpectedly beautiful sets transpiring that evening. Jakob Dylan and Three Legs, which featured the astounding Neko Case and Kelly Hogan, joined by steel guitar player extraordinaire Jon Rauhouse played at St. David’s church. They previewed songs from Women and Country, which is slated for release in April. The set perused the back roads of American roots rock, touching on blues, country, folk and some spiritual sways. Dylan’s rich, earthy vocals were buoyed by the angelic siren vocal touches of Case and Hogan and it was a goose bump-inducing show.

Down the street in another church, Central Presbyterian, one of the most anticipated shows of SxSW commenced. Making number 3 on my Best Of album list last year, I was excited to see them twice. The xx’s singer/guitarist Romy Madley Croft and singer/bassist Oliver Sim were about to define what intimate means in more ways than one. A church setting for the xx was both fitting and a strange juxtaposition. On one hand, their music feels so personal, it seems the perfect place to listen is in the confines of a quiet sanctuary; on the other, the carnal yearnings of the lyrics don’t necessarily befit such a religious setting. Arguably, desire can be as spiritual as it gets for some. In the end the show was among the best at SxSW 2010. Their perfect male-female point-counterpoint lyrics, delivered in hushed, lovers’ tones gave almost an air of voyeurism for the audience, in a transcendent way during “Crystallized.” The confessional and spare, but rhythmic “Heart Skipped A Beat” with its “sometimes I still need you” laments were riveting. They ended the show with a powerful and extended “Infinity.” With its rueful repeated refrain between the two of “I can’t give it up,” Sim hit a cymbal hard and later furiously, like it represented every heartfelt regret. It was a devastatingly gorgeous end to the night.

Saturday, March 20

Rachael Ray’s day party featured a very cute Zooey Deschanel and M. Ward She & Him set to kick off the final day of SxSW 10. While they managed to inject sunny songs into a very chilly, sunless day, it was the night’s rockers that provided the serious heat.

For the first time at SxSW, a Chinese showcase took place, which was held at Speakeasy, and I for one was curious to see what the fastest growing economic nation would bring to the rock ‘n’ roll table. For years now, many Asian artists have turned to the influences of Britain and American rock to hone their respective sounds. And while much of the music at the Chinese showcase could be traced back to our country and England, it’s the personal stamp they’ve begun to hone, which makes a couple of the acts worth checking out. Do I think they’re going to get airplay? Well, I’d say a couple are ready for college and specialty shows, and if the commercial radio tides turn in favor of Asian rock, I’d bet on the two mentioned below to lead up the charge.

The trio of Carsick Cars – comprising ass-kicky female drummer Zhong Qiu rivaling Sleater-Kinney’s Janet Weiss, talk-singing vocalist/guitarist Shouwang who sings many songs in English, and bassist Levis – are a favorite in Beijing. Thei noisy, beat-heavy, with catchy countermelodies and shout-along lyrics for “You Can Listen, You Can Talk” could easily gain traction on these shores. And while their Sonic Youth influences could easily be traced during its “Rock ‘n’ Roll Hero” performance, it was forgivable as Carsick Cars also have a slightly more pop spin that gave the song extra legs.

P.K. 14’s singer Yang Haisong who sang in Mandarin, flailed about the stage, kicking, dropping to his knees, and emoting every word with equal weight. I’ve no idea what the lyrics were conveying, but backed by post-punk/thrashing music, it felt like whatever the sentiment was, was worth clinging to. It’s no wonder Time Magazine named one of Asia’s Best Bands in 2007. It’s only a wonder they aren’t more known, although their set was decently attended.

After a trip to see what was on in China, I thought I’d hoist myself back on these shores to jump on Portland’s YACHT at Cedar Street Courtyard. It was frigid come evening, and where Austin is normally swarming with SxSW goers on the final Saturday night, it was busy, but not horrific to walk down the street. Fortunately at Cedar Street Courtyard, which is literally an outdoor courtyard, the venue had hoisted up heat lamps (sweet), and it was fairly packed (even better, body heat) by the time fronting bandmates Jona Bechtolt and Claire L. Evans took the stage. Catching the first half of its set, the audiences’ hands were all in the air, and bodies were bumping to the infectious “It’s Boring/You Can Live Anywhere You Want” and its funky, über dancey “Summer Song.” They’re just beginning to gain traction on commercial radio, with two stations playing them.

The dance party seemed a fitting way to end SxSW 2010. From burgeoning acts to stalwarts returning to the stage, this year’s fest provided a worthy taste of what will soon likely be on everyone’s radar.