SXSW Austin, TX March 15-20, 2011

I began my odyssey on Tuesday (the last day of the SXSW Interactive Festival) with BMI’s Howdy Texas Party at Stubb’s Bar-B-Q. BMI showcases new artists and provides free food and drinks as a way to welcome people to the SXSW Music Festival which starts the next day. I planned to catch some bands there and then catch Fitz & the Tantrums at 10:45 and then head to the Pure Volume House for a set by The Sounds. Alas, a SXSW plan must be flexible though. After photographing Gary Clark Jr at a solo acoustic set, the Foo Fighters rumors escalated. The Foo Fighters premiered their documentary movie at the Paramount that evening and the rumor was they would play a stealth set somewhere. The late set at Stubb’s had a special guest scheduled. Could it be…?

Yep, I found out that the Foo Fighters were to be the special guest. The rumors were plentiful; including a 9:00 set that was either 1 song or a few songs, or a full set. I found the press line and got in place to see what would happen. They ended up playing a full set, consisting of their new album and then some greatest hits, and we got to photograph the first three songs, a definite win for the start of my SXSW. I was also there to photograph Fitz & the Tantrums, but their set would now start after midnight. I wanted to get some nice photos of the entire band and this would be a good place. Except they decided to not allow photographers. What? Why not? I was able to get some shots by waiting on the rail for an hour and photographing the first three songs (although I had to wait for security to get distracted and out of my shots) before moving back in the crowd and getting some more shots.

After Fitz & the Tantrums, I wandered down the street to the legendary Emo’s to check out Surfer Blood. Although the lights are too low for non-flash photography, I enjoyed the songs I heard and got some photos. And so, the first day did not go as I had planned, but it was still wonderful. That is fairly typical. I began Wednesday at the FADER FORT by FIAT, an annual corporate event that regular SXSW attendees enjoy because, as one fan told me, they never run out of free beer. It is also a good place to photograph, with decent lighting and a photo pit (which is why I was there), and free water and tea and lemonade so I could stay hydrated. Within a few hours, I photographed Jonquil, Oh Land, Dom, Young the giant and Friendly Fires. All of the sets were good, with Oh Land and Friendly Fires making for the best photos. Then it was time to go to City Hall where the mayor’s office welcomes press to the Live Music Capital of the World with some music, swag, food, drinks, and a raffle. I caught a nice set by Kat Edmonson, enjoyed some tacos and pastries, and did not win the raffle.

The evening would be at Stubb’s again, where I would catch Yuck, James Blake, the Smith Westerns, Raphael Saadiq and Duran Duran. Yuck was ok but did not stand out from the crowd. There was a buzz about James Blake, but his set was too subdued, with James sitting at his keyboards and recreating his music. It didn’t help that the lighting was mostly blue and not great for photographing. The Smith Westerns, however, were my great discovery this year. Indie music with a country edge is something I can enjoy. Raphael Saadiq put on an energetic soul set and the lighting opened up to show the full possibilities of Stubb’s. Duran Duran kicked off their new tour with an intimate set for a couple of thousand SXSW attendees.

I started off Thursday at the MTV Garage, a showcase at an old parking garage across the street from Stub’s. With 2 stages, the music was non-stop and I was able to check out some bands I had never heard of (and some I liked and was looking forward to), including Theophilus London, Hell & Lula (a contest winner), Foster the People, Locksley (nice matching outfits and a fun attitude), Atlantic Line, Tinie Tempah (UK hip-hop), Friendly Fires, Atlantic Connection, Kids of 88, New Cassettes, and headliner Matt and Kim. Garages are designed to flex so they can survive earthquakes. During Matt and Kim’s set the floor was bouncing up and down with the crowd. It had the surreal feel of a concrete trampoline. My evening began with a set by keynote speaker Bob Geldof performing a set at ACL Live at the Moody Theater, a new state-of-the-art venue built for the long-running Austin City Limits TV series. I was thrilled to hear 3 Boomtown Rats tunes as well as his new material. Bob was energetic onstage, playing guitar and singing as if he had never taken time off for charity events like Live Aid.

For the evening I started at the Austin Rox (sponsored by L.A.‘s Roxy) party at Rusty Spurs for sets by Lenka and Fitz & the Tantrums. Lenka played some charming pop music that had the crowd dancing. Fitz & the Tantrums turned it up a notch with a soulful set for a packed, sweaty crowd. I then headed to the Ultra Music showcase at the Phoenix to try some electronic music, just in time to catch the end of Unicorn Kid’s set and a dj set by Wolfgang Gartner on his birthday.

Friday afternoon at SXSW is known for the Spin@Stubb’s party and this year was no exception. Inside, I caught a new band I had not heard of called 28 North and they were impressive with a twin lead guitar attack that brought back memories of 70’s hard rock. Outside started with my favorite new discovery the Smith Westerns, followed by an old school punk set by Off! (not surprising considering the singer was formerly in the Circle Jerks). The Vaccines represented British rock with a sound reminiscent of other recent British bands. OMD was the highlight though, with an energetic set of electro-pop that had Moby so enthralled that he joined in on bass with a huge grin on his face.

OMD is a hard act to follow and Wolfgang Gartner, who was there to dj between acts, seemed to be unhappy with the sound, leaving the stage midset in a snit. The Kills tried to play a set too, but they had technical difficulties and a tantrum too. When Jamie Hince of the Kills quipped that they were better in a club at night, I had to wonder how that would be better (because fewer people would see them?). Skrillex had a better experience dj’ing after the Kills and then some Yo Gabba Gabba characters came out to introduce a spastic set by TV on the Radio that put all the prior technical difficulties to rest.

For the evening, I went back to the ACL Live at the Moody Theater for a Lost Highway Records 10 year celebration. Black Joe Lewis was first with a funky, bluesy set that also featured an appearance by Gospel group the Relatives to end the set. Hayes Carll was next with a stripped down sound that showcased his wry humor and captivating songs. The next act was simply billed as a special guest and it turned out to be Ryan Bingham who was in a rocking mood this evening. My evening ended with Robert Earl Keen’s insights at the Lost Highway celebration.

One of my favorite shows last year was Rachael Ray’s Feedback Festival at Stubb’s on Saturday morning and I was looking forward to the nice line-up at this year’s show as well. As usual, Rachael had created some special recipes for the Feedback Festival, and the line inside to get some treats from her cookbook was huge. The treats included some 5 Chili Chili, some Flank Steak Tost-achos and (my favorite) Jalapeno Popper Sliders.

The bands were just as tasty, beginning with Austin legend Bob Schneider outside and contest winner NXTM outside. A second outside stage made sure the music was nonstop. When Bob Schneider’s set ended, all you had to do was turnaround and catch Tapes ‘n Tapes indie-rock. Turnaround again, and it was the Cringe (featuring Rachael’s husband John Cusimano) rocking on the main stage; ZZ Top’s Billy Gibbons joined them for a bluesy track at the end of the set as John switched from guitar to keyboards. Another turnaround and it was Eli “Paperboy” Reed bringing the old-school soul to the second stage, beginning with a soulful rendition of Motorhead’s “Ace of Spades.” Yep, you read that right. The rest of the afternoon featured FreeSol’s funk, Fitz & the Tantrums soul (I’m glad I was able to catch them 3 times this week), and The Bravery’s rock. And how do you close out the afternoon? With rockabilly courtesy of the legendary Wanda Jackson, a set that was definitely a highlight of SXSW for me. Her covers of “Shakin’ All Over” and Elvis Presley’s “Heartbreak Hotel” were amazing and her new material was just as good if not as well-known. Yet.

Rachael Ray’s party ended fairly early, leaving just enough time to cruise over to La Zona Rosa and catch Ellie Goulding’s exciting pop set at the Rolling Stone Ice Cream Social and sample some Bonnaroo Buzz ice cream. Then it was off to the Samsung Presents Perez Hilton’s One Night in Austin at the ACL Live at the Moody Theater.

I also have made the Perez Hilton show a personal tradition at SXSW as he brings some interesting new artists I have not heard before, and some interesting and surprising headliners. I entered the venue to the sound of dj duo Nervo and found my way to the backstage area where the performers would pose for us throughout the evening.

FrankMusik was the first main stage performer and his band wore ski masks while he spasticized around the stage. Selah Sue was the next main stage performer and she showed her solo acoustic style to the gathered masses who were already thrilled to be inside the venue for the event which is known to be a hard-to-get ticket (the fans had lined up around the block several hours before the show). Next up was Zowie, a European chick who seemed like a cross between Satan and Lady Gaga. She sported black horns on each shoulder and told us she made the costume herself. Kids of 88 were next and they were more mainstream. Caitlin Moe performed with a dj next during the set change, and her violin style was the most impressive performance of the evening so far.

Liz Phair, dressed in a too-short miniskirt was next, and she was probably the surprise headliner as she only did one other set at SXSW that I know of. Taylor Momson and the Pretty Reckless was next (and I think this was their only SXSW set). Taylor did manage to dress even more provocatively than Liz Phair and her angst rock was actually fairly palatable. Continuing the femme fatale theme, Oh Land played next after an introduction by Perez who claimed he discovered her last year at SXSW and said his showcase of her resulted in her record deal.

So far SXSW had been great and it is hard to imagine what I could do next that would up the ante. Dirty Vegas was next with a dj set that would be difficult to shoot from the pit. Then I saw Alex, their publicist, backstage and she offered to bring me onstage to photograph them. Score! I ended the weekend onstage at the ACL Live at the Moody Theater photographing Dirty Vegas.

Five days filled with more than 60 sets featuring almost 60 different bands and a camera in my hands the whole time. SXSW is always a monster of a festival for me and I always leave happy with tons of photos (this year I took a total of 7997 photos). No wonder I always go to SXSW to photograph bands!

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