SXSW recap Pt.3 (Courtney Barnett, Best Coast, The Pop Group, Will Butler); Matthew Sweet is Saturday!
by Tim McMahan, Lazy-i.com
And lo, how the rain fell on my final day at SXSW, last Friday. It wasn’t so bad, but it was rain, and wind, and that combination makes for poor outside concert viewing and even worse navigation/walking from venue to venue. I was happy I got my afternoon at Stay Gold the day before.
There were a number of artists that proved illusive this year at SXSW. Among them was Courtney Barnett. It seemed like every time I wanted to see her perform it was either at 1 a.m. or in a location already at capacity (which makes one’s SXSW badge useless — when the club is full, they don’t care about no steen-king badges!).
There was one Courtney performance left, however, and it was at the SXSW Convention Center. The mega building houses dozens of enormous auditoriums and meeting rooms where SXSW “sessions” take place on such topics as “understanding copyright law” and “how to make the best of streaming technology” and so on. Panel discussions abound — this is where Snoop Dogg did a talk about something music-related. I’ve never been to a SXSW Music informational session, and most people I know who go to SXSW haven’t, either. Who wants to get up early after being on 6th Street until 2 a.m. the night before and sit in a conference room listening to a bunch of “music pros” drone on about “levering your band’s brand presence in social media” or whatever?
Still, a couple of the mammoth auditoriums were dedicated to performances, like the one happening in Auditorium G — the Public Radio Showcase, which included among the bands Courtney Barnett. And unlike the other gigs at SXSW, there was plenty of room and access to earthly conveniences like bathrooms, wi-fi and coffee. Not a bad place to be when sheets of rain are pouring down outside, at least for the afternoon.
But before Barnett took the stage Best Coast was playing a set of their El Lay-infused jangle-pop. People love Best Coast (especially in Omaha) and for the life of me I don’t know why. Their music is somewhat featureless, and front woman Bethany Cosentino suffers from (how do the American Idol judges put it?) pitch problems.
When I tell people I spent last week at SXSW, the first question is: “So did you discover any hot new music?” Courtney Barnett is not exactly new, but she is the hottest thing going indie-music wise these days and cemented that rep at SXSW playing eight showcases, where she debuted songs off her new album, Sometimes I Sit and Think and Sometimes I Just Sit, a record bound to be on a lot of “best of” lists this December (including mine).
Playing as a classic guitar/bass/drums trio, Barnett’s music, while singularly its own, owes a lot of its resonance to Kurt Cobain and Nirvana (though it’s not anywhere near as dark). The song structures are deceptively simple, the guitar riffs hook you and Barnett’s lyrics are both clever and introspective. If you’re an indie music fan who listens to XMU or an online indie radio station, you won’t be able to avoid Barnett this year. She’s the 2015 version of Liz Phair circa 1993. Watching her band on the auditorium stage was very much like watching an arena concert, with the crowd singing along to some of the older material. Great stuff. We need to get her to Omaha.
We left the convention center at around 6. By then the rain had slowed to a sprinkle. It was off to classic Austin bar The Ginger Man for a beer and some Drivin’ and Cryin’ but before D&C came on, a band of Japanese lads were on stage playing an intricate style of instrumental prog reminiscent of Eno/Fripp-era King Crimson. It was LITE, a band lauded as “one of Japan’s top instrumental acts.” They were mesmerizing. I have little doubt the folks at The Ginger Man knew who they are when they started their set, but by the end, everyone was a fan.
Then came Kevn Kinney and Drivin’ and Cryin’. The band has a new record coming out, and the songs I heard them play were solid (if not too long – Kinney likes to draw things out). He sounds exactly like he sounded a 20 years ago, same high-end squawk, ageless except for the extra poundage. Needless to say the crowd stood from their picnic benches when they the opening riff to “Fly Me Courageous” blazed through the place.
The Ginger Man is as comfortable a bar as you’d want to sit and drink at — huge cushy leather wingback chairs, fantastic beer selection. Just up the street is the Paramount Theater — a golden age movie house complete with balconies and gorgeous ceiling, a velvet-chair space like the Orpheum and the perfect venue for seeing classic ’80s avant-art group The Residents. You might remember them for their giant eyeball-with-tophat helmets that were part of their shtick for years.
Well, the eyeballs are gone, replaced with crazy old man wigs and alien makeup. Frontman Randy looked like the ol’ Crypt Keeper but in gold bikini underwear, giant shoes and body paint. Very creepy indeed, as was the staging, which involved a giant crystal-ball like projection device that hosted messages throughout the set. Strange and fun. I’ve never been a follower of The Residents, but I understand their importance in the overall history of art rock. And though these guys are in the 70s, they still sound pretty good, especially the guitarist.
Afterward it was back to 6th Street and Buffalo Billiards for The Church. The venue’s title sums it up, it’s a huge pool hall with a stage upstairs. Getting close to that stage was nearly impossible as it was a crush mob. Hearing The Church wasn’t much easier, as the booming sound in the hall was the worst of any performance I’d seen this year at SXSW. Still, the band was on point. I didn’t stick around long enough to hear “Under the Milky Way.” Wonder if they even played it…
It was back to Maggie Mae’s rooftop, which had been covered with a large tent, keeping things high and dry as the rain geared up again. The attraction was a performance by The Pop Group, a ’70s-era British punk band that’s been credited with helping define the post-punk movement. Bands like Sonic Youth and Nick Cave have credited The Pop Group as an influence on their sounds. The band was only around for a few years, but got back together last year for a new record.
Their style is extremely rhythmic and fun, but their songs are dissonant and brash in way that reminded me of The Fall. Mark Stewart, who has to be in his 60s, is still a powerful frontman, screaming into the microphone with clenched fists.
Will Butler of Arcade Fire was next on the same stage. The band wore t-shirts with their first names on them. I wondered if this was because people confuse Will with his more famous brother (and AC frontman) Win. That said, there was no confusing Will’s music with Win’s, as his solo stuff, while upbeat and interesting at times, lacks the grand panache of Arcade Fire’s epics. Will’s music is better suited for the dance floor than the concert stage, with its reliance on a thump-thump-thump disco beat. Butler is scheduled to play at The Waiting Room June 2. Bring your dancing shoes.
That was my last show of SXSW 2015. My impression of the overall experience — is written in next month’s issue of The Reader. Spoiler Alert: I’m not sure I’m returning to Austin next year, at least not for the music part of SXSW.
Check out sound clips from all the performances mentioned above in the the podcast below — it’s only about 12 minutes long, but includes snippets from all concerts except The Church’s performance.
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Speaking of big concerts, that Matthew Sweet concert has snuck up on me. The concert, being held at the 1200 Club in the Holland Performing Arts Center is this Saturday. If you’re even remotely a fan of Sweet and his music, you’ve got to go to this one. Tickets are still available for $45 and $100 (VIP) right here. Get them while you can. And the concert is a benefit for Hear Nebraska!
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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2015 Tim McMahan. All rights reserved.
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