Join me after the jump for a collection of photos that I took on Day 1 (Friday) of this year’s Pitchfork Music Festival. Photos are arranged by set time. They are also available in higher resolution on Facebook. Check out my full recap of the day, as well as all the rest of the coverage, by going here.
Tag: photos Page 2 of 3
My Morning Jacket are at their core an outdoor ampitheatre band. The music they make, in all of its triumphant goodness, can be so expansive that even the largest of rooms would have trouble holding it. That’s a big part of the reason why they’re often asked to play music festivals, and do so with the sort of wild abandon reserved for the headliners they are. Looking through their copious tour archive, I wasn’t entirely surprised to learn that My Morning Jacket’s last four shows in Chicago have all taken place at festivals and/or outdoor venues. The last time they played inside was in late December 2008, where they blew the doors off the Chicago Theatre for two nights in a row. It’s taken them seven years to return, which is probably how long the venue needed to repair and reinforce the “damage” from last time. Of course now they’re even bigger and more popular band with a few radio hits under their belts, so for 2015 a two-night stand becomes a three-night stand. Out of concern for my safety and the thought that the 94-year-old venue might not survive the 72 hour rock and roll punishment it was about to endure, I decided that attending the first show on Tuesday night would probably be the smartest choice. Immediately following the show I can tell you my biggest regret was not getting tickets to all three.
It began with a waterfall. Specifically, the psychedelic-looking one that graces the cover of their new album. It was projected onto a gigantic white sheet that covered the entire front of the stage. The first few plinks of keyboards rang out from behind the sheet, as did Jim James’ voice at the beginning of “Believe (Nobody Knows),” the opening track on The Waterfall record. As the song approached the first chorus, a blinding white light flashed on from the back of the stage, revealing the massive shadows of a band that many consider to be larger than life. It was a playful start to the show, and the curtain finally fell once they got around to the chorus for the second time. A massive cheer erupted from the crowd as the band was fully and exultantly revealed. I’ve seen a couple of other artists pull a similar stunt at the start of their shows, and honestly it’s effective even if it’s not original.
Unknown Mortal Orchestra are difficult to pin down. This is something that has only increased in magnitude over time. On his recently released third album Multi-Love, the band’s primary architect Ruban Nielson might as well have titled it multi-influence as he takes a signature lo-fi psych-pop sound and infuses it with elements of funk, soul, blues, disco and much more. The one thing holding it all together is the record’s overarching thematic exploration of polyamory (hence the title) and the impact one woman had when she joined Nielson’s already established family. While stylistic expectations and societal norms may be upended, the overall focus stays strong and prevents things from totally going off the rails. A similar approach has made its way into UMO’s most recent live shows, and was on full display this past Saturday night for a wild and funky set at Lincoln Hall.
Prior to Saturday, I had seen Unknown Mortal Orchestra perform twice. Both times were at outdoor music festivals, which was nice because their sound pairs nicely with nature. Yet fests are also built as variety pack samplers to give you a good taste of what an artist has to offer but may not be the truest representation of what they’d do in a typical show in the confines of a dark venue. What struck me about those previous UMO sets was how genuinely relaxed Nielson and his bandmates were, to the point of spending about a quarter of the time seated on the stage with legs crossed just playing guitar. Sometimes it’d be in service of the song, while other times it’d be part of some extended jam session that included effects pedals and plenty of knob turning. It only took two songs at Lincoln Hall before Nielson sat down, turning the outro of II track “From the Sun” into a jittery, radiating piece of white noise. While the idea was smartly conceived, particularly since that song has plenty of room for deviation from the recorded version, the execution in this case was a little less than ideal. Playing with effects simply for the sake of playing with effects can come across as a bit aimless if you’re not careful, creating the reaction of, “just end this already.”
In contrast, a little more than halfway through the set the band took single “So Good at Being in Trouble” and extended it to encompass some incredible guitar and drum solos. When a band fires on all cylinders like that, it can make for a truly transcendent experience, as this certainly was. It also served as a great reminder of how ridiculously talented of a guitarist Nielson is. No matter if he was jamming for fun or playing an intricate part because that’s what the song required, the way his fingers would fly around the fret board and pluck those strings was almost always a treat to behold. The real shame is that he didn’t do more of it. Of course when your set primarily focuses on your new album which doesn’t feature as many guitars let alone solos, there’s no point in trying to shoehorn them in. Actually Nielson put down his guitar towards the end of the night for a synth-heavy performance of “Stage or Screen,” which freed him up to climb atop some speakers on the side of the stage as well as pull off a funky spin into the splits as a capper. That was arguably the most fun he had all show, though the loud cheers from the crowd and people yelling “Ruban!” kept him smiling for much of the evening.
Speaking of the crowd, their passion and energy was nothing short of infectuous. There was an older gentlemen standing in front of me, likely in his mid-50s and dressed like he had just come from a fancy dinner, who spent most of the show jumping around, dancing and just generally having the time of his life. He might not have looked like the average Unknown Mortal Orchestra fan, but in many respects he showed more enthusiasm than a lot of people who are half his age. Part of me wonders if his fanaticism pushed others to more freely express their own by dancing and singing along. Things really picked up at the end of the set, with the one-two punch of 2010 single “Ffunny Ffrends” and 2015 single “Multi-Love” subtly placing emphasis on how much UMO has evolved over these last few years. The double-barreled encore of new songs “Necessary Evil” and “Can’t Keep Checking My Phone” then offered up a closing salvo, the gleeful smiles and writhing bodies connecting with each melody to ensure the future of this project will be anything but unknown.
Like Acid Rain
From the Sun
How Can You Luv Me
Ur Life One Night
The World Is Crowded
So Good at Being in Trouble
Swim and Sleep (Like A Shark)
Stage or Screen
Can’t Keep Checking My Phone
“It’s great to be back at the Empty Bottle,” Mackenzie Scott (aka Torres) told the packed crowd during her headlining set on Thursday night. “This is my third time here. I love this place.” If the extensive applause and cheering from the peanut gallery in response was any indication, the place and the people in it love Torres too. It was two years and seven days since her last visit, and much happened in her world during that gap. An extensive amount of touring helped build Scott into an even more dynamic live performer that only further solidified her fan base. She also found the time to write and record a sophomore album Sprinter, which was released earlier this month to widespread critical acclaim. To say things are better than they’ve ever been in the Torres camp appears to be accurate, and she only further proved that with her set at the Empty Bottle.
Immediately upon taking the stage on Thursday night with her three piece band, Scott pulled out a lighter and set some sage ablaze, waving it around the stage and out into the crowd. It was perhaps the most peaceful moment of the evening, as the music that followed was frought with high emotions that would eventually explode in pure cataclysmic fashion. The intensity began to build from the first notes of opening number “Son, You Are No Island,” which may be one of the quieter and more spare moments from Sprinter but carries with it an underlying threat as the guitar picking gets faster and the vocals become increasingly strained. Throwing the one-two punch of “New Skin” and “Sprinter” early on brought the noise level considerably higher thanks to some heavy guitars, but it wasn’t until “Cowboy Guilt” halfway through the set that things felt like they had truly shifted into fourth gear. That particular song diverted the most from the recorded version, in this case for the better by fully embracing its more aggressive elements and revealing this whole other layer that had otherwise been simmering beneath the surface. With the flood gates open, “Strange Hellos” arrived like the tidal wave it is and much of the crowd quickly tapped into that energy by jumping around for a bit. Some music writers have noted that the new Torres record is reminiscent of vintage PJ Harvey, and in that exact moment the performance also felt cut from that same cloth. Revelatory feels like the right descriptor to use for that mid-set section, a true glimpse into what Scott is like at her most focused and powerful.
After peaking like that, everything else is going to feel a little lesser in comparison. Thankfully “Honey,” the popular single from her 2013 debut, offered up a satisfactory slow burn that acted as a bit of a salve. Perhaps the most tender and beautiful moment of the set came at the very end, with the quiet ballad “November Baby”. For a few minutes it was just Scott and her guitar, with one of her bandmates contributing to harmonies as needed. But unlike the album version, the full band jumped in for a gorgeous crescendo that just felt like icing on the cake. Scott stepped away from her microphone and over to the edge of the stage, cracking a smile as she looked out into the crowd. Once the last notes had been played she quickly asked people near the front if they had a lighter for her sage. And so in perfectly cyclical fashion, things ended the way they began. Of course that doesn’t take the epic single-song encore of “Ferris Wheel” into account, which certainly represented a sobering way to end the night. “There’s nothing in this world I wouldn’t do / To show you that I’ve got the sadness too,” Scott sang with pathos and grief. Part of the reason Torres has found success has been because her lyrics feel personal, yet relatable. It was clear as she exited the stage that the entire crowd, myself included, was also afflicted with the sadness. Whether that was due to personal pain or simply because the show was over, everybody felt it on some level. Kind soul that she is, Scott stuck around near the merch table to greet fans and offer up hugs as needed.
On May 14, 2013, Lady Lamb (Aly Spaltro) played a headlining show at Schubas in Chicago. She was very sick with a cold and by all accounts barely made it through her set. “If I recall correctly,” she said on Wednesday while reminiscing about that night, “I couldn’t even sing most of the songs, so I asked the crowd to sing along with me.” Quite a few people cheered when she said that, to acknowledge they were there and that she was telling the truth. Shows like those are the sorts that both the audience and artists remember clearly, because they’re far from what could be considered normal. Then again, I’d like to think that just about every Lady Lamb show is special and unique in its own way, which is why when Spaltro returned to Chicago to play the Empty Bottle with Torres about a month and a half later, she was 100% healthy and arguably even more memorable for her powerful and intense solo set.
Nearly two years to the day since her sick performance at Schubas, Spaltro returned on Wednesday night to headline the venue once again. Not only was she in tip top shape, but was also armed with a brand new record called After as well as a backing band to help bring her songs to life in a much fuller way. Things immediately got off to an elaborate start with the multifaceted “You Are the Apple” from Lady Lamb’s 2013 debut album Ripely Pine. In the grand tradition of starting strong and then going stronger, After single “Billions of Eyes” surged to life next, which got the crowd moving a bit with some serious head bobbing and a bit of a sing-along. At one point a couple people began to clap along with the beat, but unfortunately nobody else joined in so that stopped pretty quickly. Still, it was clear early on that people were connecting with the songs, they just showed it in a variety of ways.
For her part, Spaltro did a great job of mixing things up, really putting her three piece setup to good use with some of the louder and more aggressive numbers like “Bird Balloons” and “Spat Out Spit,” then giving them a mid-set break to play some quieter stuff like “Sunday Shoes” and “The Nothing Pt. II” solo. Those moments when it was just her voice and guitar really brought back the intimacy of her shows from a couple years ago while also infusing the set with greater doses of pathos and heart. The between song banter was a similar shade of earnest, with Spaltro expressing real gratitude for Chicago and everyone who came out to support Lady Lamb, which included her own Aunt Fran. I had the privilege of standing right behind Aunt Fran next to the stage for the duration of the show, and she was positively beaming with pride the entire time.
At the very end of her 90 minute set, Spaltro once again sent off her bandmates and closed by playing “Ten” solo. “This is my favorite song,” Aunt Fran whispered to her friend as the first notes rang out. It comes across like a diary entry brought to life, complete with the little moments and vivid imagery that we remember from our childhood. In one of the final verses, Spaltro sings the lines, “We were singing along / To every word of the songs / That helped make us who we are.” If the tear-streaked faces in the crowd were any indication, Lady Lamb’s songs have done their part to help shape lives in a similar fashion.
There are some things that, no matter how hard you try, you simply can’t un-see. Images are burned into your brain for all of eternity, in many cases haunting you and giving you nightmares. It’s the sort of stuff where you want to look away, but for whatever reason are unable to do so. I had one of these such experiences at Lincoln Hall this past Wednesday night with a triple bill show of Oscillator Bug, The Stargazer Lilies and TOBACCO. Let me tell you the story of how it destroyed me mentally.
Opening the night were Chicago’s own Oscillator Bug, who have been on this tour for a little over a week but are just now getting around to playing a hometown show in celebration of their debut album Bursts of the Million. While they’re technically a quartet when performing live, pretty much all of their fractured songs and compositions are built by frontman Zaid Maxwell, who started the project because he had these sounds and melodies in his head that wouldn’t go away and wouldn’t fit with any other band or project he was working on. The results are something truly unique, though most people describe Oscillator Bug’s sound as synth psych-pop. You’ve got to find some way to sum it up concisely. To my ears though, it’s more like a sonic assault. Songs overflow with more noise than often feels sensible, yet there’s still a clear melody and strong beats propelling everything forward. While there’s a central groove to most of their songs, sound effects and synths buzz around your head at all angles to the point where sometimes it can feel like there’s a little ADHD going on with too much to try and pay attention to. Of course it’s things like that which make the record worth repeat listens, mostly so you can pick up on everything that’s going on. Meanwhile in a live setting the assault extends beyond the mere auditory and into the visual, as lights surround the band on all sides and are consistently changing in time with the music. They’re not tremendously bright though, as ample attention is also given to the projection screen behind them, which shows a variety of psychedelic imagery. The band is a highly functioning machine while performing, and Maxwell plays ringleader throughout. I’d best describe his demeanor on stage as “staccato,” which is really to say he’s moving at a mile a minute, whether that’s in his halting vocal delivery or switching back and forth between a guitars, synths, pedals and other sound manipulators. He’s a one-man wrecking ball, and his three bandmates are right there at the core because there’s so much to do. Overall, Oscillator Bug’s 25 minute set was extremely high energy, fun and just a bit nuts to experience. More than a few people standing near me commented about how impressed they were after the band wrapped up, and in no way do I disagree with that sentiment.
Things got a little different with The Stargazer Lilies’ performance, but not in a weird or uncomfortable way. It was simply a sonic shift from the technicolor psych of Oscillator Bug into a world shrouded in muted tones and drones. The New York-based trio powered through a 40 minute set that was heavy on ambient and shoegaze melodies. It was glorious and beautiful and loud, which is really just as it should be. One of the main things I came to realize over the course of their set was that they have the word “stargazer” in their name partly because their music intends to be more uplifting than downtrodden (naturally, it’s also a type of flower). You may be inclined to gaze at the ground out of pure genre habit, but pay close enough attention to the way their songs are structured and do what you can to discern some lyrics, and suddenly there’s this positive harmony that shines through the cacophony. That’s a somewhat rare quality for a band like this to have, which is probably why they’ve been steadily on the rise over the course of the last year or so. There are two small areas in which their live show could use some improvement, and those are with the presentation and vocals. I understand that with most ambient drone-style performances the crowd is supposed to let their minds drift and internalize just about everything, but those not fully entranced may find the band’s deep lighting and projected images to be a bit boring. They’re not hyperactive like Oscillator Bug, nor are they danceable and showing crazy videos like TOBACCO (more on that in a minute). Then again, if you’re the filling in that band sandwich, there’s very little you could do that wouldn’t be perceived as boring. Aside from that, Kim Field does great work on the bass, and is equally talented behind the microphone – when you can hear her, of course. Guitars overpower everything in this style of music, but the vocals are there to function as their own gorgeous instrument and if they’re not properly mixed they’ll be completely drowned out. Field’s voice was barely audible during the songs, and the couple of times she attempted to engage in stage banter it was nearly impossible to hear and make out what she was saying. Outside of those couple of things, it was a highly enchanting set.
The evening’s headliner was TOBACCO, but it might make more sense to call the guy “wacky tobacky” based on how much strange and offbeat humor played into his live set. Thoroughly aware that having a crowd watching a guy behind a table of buttons, knobs and laptops while lights flash can be pretty boring, one of the main elements in TOBACCO’s live show are videos projected on a screen behind him. He started his set by showing a clip of “The Jerry Springer Show,” which included a hilarious story that a guest told about finding his fiancee cheating with his best friend. From there, it was all about the weird, wild, perverse and strange, set to pounding beats and highly manipulated vocals. If you’ve heard of TOBACCO and maybe even heard his music, then that only tells one small part of this guy’s aesthetic. Music videos for songs like “Streaker” and “Super Gum” (both very NSFW) give you a much better idea of the visual and auditory madness that’s rules his set. I mean, that second video features re-edited video from an actual porno from the 80s wherein people have sex with a strange, female version of E.T.! Any newer videos that were shown during the performance, including “Streaker,” may have been shot within the last few years but had just the right tint and grain to make it look like a product of the 70s or 80s to keep with a running aesthetic and motif in the world of TOBACCO. So what you do during the set is watch the (mostly) psychologically damaging videos while dancing your ass off. Part of me wants to detail all of the figurative war crimes that my eyes bore witness to, but it’s probably better if you don’t know, just in case you want to discover and explore this box of horrors yourself. So is the TOBACCO live show worth your while? I’d liken the experience to a car crash – it may look nasty, and there’s certainly the possibility that people were hurt, but through whatever morbid Curiosity you can’t help but want to look. The man reaches into the dark recesses of your human inclination and plays around in the blood and pus. You’ll walk away feeling violated and maybe even a little offended, but some part of you also loved it and craves more. It’s incredible how close our sensations of pain and pleasure are to one another.
Join me after the jump for a collection of photos that I took on Day 3 (Sunday) of this year’s Pitchfork Music Festival. Photos are arranged by set time. They are also available in higher resolution on Facebook. Check out my full recap of the day, as well as all the rest of the coverage by clicking here.
Join me after the jump for a collection of photos that I took on Day 2 (Saturday) of this year’s Pitchfork Music Festival. Photos are arranged by set time. They are also available in higher resolution on Facebook. Check out my full recap of the day, as well as the rest of the festival coverage by going here.
Note: There are no photos of Saturday headliners Neutral Milk Hotel featured here at their request.
Join me after the jump for a collection of photos that I took on Day 1 (Friday) of this year’s Pitchfork Music Festival. Photos are arranged by set time. They are also available in higher resolution on Facebook. Check out my full recap of the day, as well as all the rest of the coverage, by going here.
In case you missed all of the action out at this year’s Pitchfork Music Festival, I’ve certainly written plenty about it, but haven’t SHOWN you what it all looked like. Well, this and the next couple of photo posts should change all of that. Join me past the jump for a bunch of photos that I took on Day 1. In this set, you’ll find photos of Bjork, Joanna Newsom, Wire, Woods, Angel Olsen, Mac DeMarco and Mikal Cronin.
Now that all the written pieces are out of the way, I wanted to share with you the collection of photos that I took at this year’s Lollapalooza. Before we dive in, I want to make sure you’re aware of a couple things. First and foremost, I was not given a press photography pass for the festival. That means I didn’t have the opportunity to stand right next to the stages and zoom in to get photos of sweat dripping off the faces of every artist that was up there. When you see Jack White looking like an ant in one of these photos, that was taken from pretty far back. I like to think that most of these photos are still reasonably decent though, and I tried my best to only select the ones that worked. Secondly, what I’m posting below is only a small sample of the total photos I took over the duration of the weekend. If you want to see the all the photos, head over to Facebook for day-by-day sets. Also, if you’d like to gain a little perspective on what bands I saw and the good/bad of it all, simply click this link to see all of my coverage of Lollapalooza 2012. Thanks! Photos are after the jump.
Okay, friends. Here’s a selection of photos that I took all this weekend at the Pitchfork Music Festival. In this set I’ve included one photo from each artist, edited down from over 400 photos total. If you’d like to see the complete set of edited photos (4-5 photos from each artist), please visit our Facebook page for all that. Their uploader is easier to use and the pictures look nice in that context. I’ve also given my final thoughts about this year’s fest, in case you missed it. Read 100% of my Pitchfork Music Festival coverage via this link. I think that about wraps things up. Starting tomorrow we return to our regularly scheduled programming of album reviews and mp3s. Until then, click past the jump to glance at some photos from the festival.
Four days, 32 artists, and one physically/mentally tired guy. That about sums up my SXSW 2012 experience. While I was stumbling around Austin in a haze the last hour of the last day, my first trip to SXSW was a wonderful experience I wouldn’t trade for the world. After hearing so many great things about the city and the conference/festival, I decided I couldn’t wait any longer and simply had to go just once, just to see what it was like. The end result was largely what I expected it to be, but with a few surprises thrown in as well. My hope here is to chronicle the things I think worked about SXSW, and a few that didn’t. Also, if you click past the jump, you can see all the photos I took while in Austin. If you’d like to read about individual performances that I saw last week, have a look at the following daily reports:
Perhaps the thing that makes SXSW truly great is the sheer size of it all. There are literally thousands of bands performing over a handful of days, almost all of them within the span of about 2 square miles. Getting around from show to show isn’t bad, whether you’re on foot or feel the need to take a pedicab. Of course 6th Street can get a little packed during peak hours and create some slow downs, but it’s never anything too unmanageable, even if you need to get somewhere fast. The wide array of shows and showcases happening at any given time can also create a bit of a headache, as it’s not exactly easy to pick and choose if there are 6 artists you want to see all performing at once. Learning the city and the locations of all the venues both legitimate and illegitimate goes a long way towards helping you make such tough choices based purely on conveniece and distance from where you’re currently at. Do you go see Cloud Nothings playing down the block, or do you walk 6 blocks to see Grimes? As I see it, the decision is pretty much already made for you.
Yet there are also a few SXSW music moments that you can’t always plan for, simply because they weren’t planned. There weren’t many “secret” shows this year so much as there were secret guests like Kanye West jumping on stage at the 2 Chainz show or Eminem showing up to support 50 Cent or Bruce Springsteen bringing out everyone from Jimmy Cliff to members of Arcade Fire to Tom Morello and Alejandro Escovedo. Those extra thrills only make the experience more special. Also a major contributor: the people. Austin is already something of a cultural melting pot, but with music fans and artists coming into town from all over the world, the diversity factor multiplies by about 10. But here’s the thing aboug most music fans: they’re good, friendly people. You could strike up a great conversation with the person standing next to you in line and not blink an eye. Everybody was there because they love music, and the easiest conversation starter was always finding out who they’re most excited to see while in town. The only time I ever saw anybody get angry was when a couple of people cut in line trying to get into a show. The reaction was less anger and more, “That wasn’t cool, guys.” If we as a society behaved more like everyone in Austin at SXSW did, the world would be a more peaceful place. Unless of course you’re at an A$AP Rocky show and somebody’s throwing full beer cans at the stage. That near-riot situation was a showcase of the worst side of humanity.
But outside of good music, good people and good weather, good food is another thing Austin is known for. There were food trucks and street vendors on most corners, each specializing in a different type of cuisine. You could get breakfast tacos at one place, and some Korean version of spaghetti at another. There was plenty of BBQ to be found too. If you’re a fan of slow-roasted meats that are tender and delicious, you didn’t have to walk more than a block in downtown Austin to find some. For the cheapskates, there were also a bunch of showcases giving away free food. It’s worth noting that like grocery store samples, the “food” they give you for free is often small and may not be of the highest quality. It also gets snatched up almost immediately for those reasons as well. You’re costing yourself a potentially great meal if you’re not paying for it.
For all the great things that happen in Austin during SXSW, it’s not a perfect situation by any means. First and foremost among the issues is overcrowding. Things may get cramped when you’re walking down the street, but that’s nothing compared to what’s happening inside many of the venues. Jam packed to the gills, trying to get anywhere close to the action was tough, let alone trying to make your way back to the exit. When things did get that bad, the waiting games began. Lines built up outside venues that were a city block or more long, everyone beholden to the “one in, one out” policy. Pitchfork’s evening showcase at Central Presbyterian Church was the height of madness, and I stood in line for 3 hours, missing Fiona Apple, just to get into the 500 capacity venue. Was it worth it? Eh, kinda. Every performance I saw there was a revelation, which is more than I can say about the other venues in town. I’m not entirely sure how all these sound engineers stay employed given how many times I saw an artist ask for a levels adjustment or something broke. I know these artists don’t get a soundcheck during SXSW and they want to put on the best show possible, but constantly stopping or even aborting some songs right in the middle because of a small issue takes away whatever mojo that might have developed in the meantime. The worst night of all was at Clive Bar, where Tycho played without any sub-bass, New Build’s monitors weren’t functioning properly, and Grimes was forced to start her set even after everything wasn’t tested to see if it was working properly (it wasn’t).
Sound issues are just one half of the paradoxes that SXSW presents. The other is overextension. While SXSW can be a great thing for artists (performing in front of music industry bigwigs brings all sorts of exposure along with it), agreeing to play 3 shows a day for 4 days in a row can put you near death’s door. Touring is tough enough when you’ve got one show every night for 3 weeks straight, but SXSW is a marathon compared to that long distance run. Artists function on little to no sleep and can easily blow out their voices from singing too much. On Thursday night I saw Grimes play a perfect show at Central Presbyterian Church. 24 hours later, she had performed at least twice more before arriving at Clive Bar with a voice that was barely there. She fought against it as hard as she could, and eventually had to call it quits in a set that was also plagued with sound problems. It was a valiant effort, but likely left most of the crowd disappointed. Then again, everyone was so kind, understanding and enthusiastic, it probably didn’t matter as much as I thought it did.
Finally, I want to mention the hierarchy that is SXSW. Your amount of access is almost entirely based upon your status within the music industry. If you’re not part of the industry and are simply looking to see some free music, there’s lots to choose from if you don’t mind a bunch of bands you’ve never heard of. If there was a line anywhere, it was almost guaranteed the general public would not be allowed in, as those with badges or wristbands automatically had first dibs. Among the badges and wristbands, only the badges were given priority access into any venue. Every badge would be allowed in before any wristbands would, no matter when they showed up. Of course if I had a badge I probably wouldn’t be complaining about it, it’s just that there were so many of them. There must have been at least a dozen shows I tried to get into but was denied because the room was already filled with badges. Granted, badges cost around $900 and you should be getting something for that money, but it would be more fair if they offerend some balance like for every 100 badges let in, 10 wristbands also get in. Alas, wristband holders got the shorter end of the stick, while the general public was more shafted than anything.
SXSW is something that every obsessive music fan should attend at least once in their lives. It can be a genuine blast if you let it, and only gets better the more access you have. Not but a few years ago, the several day conference/festival served as a proving and development ground for new music talent. Today, that’s not really the case anymore. You may discover your new favorite band while wandering around Austin, but for the most part our discoveries are contained to the hype cycle on the good ‘ol Internet. Then again, were it not for SXSW I never would have stumbled into the band Tearist and one of the most batshit crazy/weird live shows I’ve ever seen. I’m still not sure whether it was supremely stupid or incredibly clever, but if you like incomprehensible psych-pop and somebody showing an iron beam who’s boss with a lead pipe, Tearist could be for you. Outside of the occasional exposure to an artist you didn’t intend to see, you’re quite in control of your own destiny. Unless you’re the adventuresome type willing to walk into a venue without knowing or caring who’s performing, most identify and target acts based on personal tastes or recommendations of others. With so many choices, you can use the time to check a few acts off your personal bucket list. That’s what I did, and though I didn’t get to see every artist I wanted to, I feel like what I did see was extremely worthwhile anyways, with the aforementioned issues or not. I hope I get to go again, be it next year or in 10 years. And if you didn’t go, I hope you take the opportunity to get to Austin soon. It’s a great American city, and the Live Music Capital of the World for a reason.
Click past the jump for photos of many of the bands I saw at this year’s SXSW, in alphabetical order:
Yes, it’s been nearly a week and a half since Lollapalooza ended. I’ve written piece after piece on it. I’ve said all I’m going to say about it for 2011. All I’ve got left is to SHOW you some of the things that went down. So this is a collection of edited photos that I snapped over the course of the 3 day weekend. As it gets later in the day and the crowds built up, my photos got further and further away. Which explains why the headliners look like little dots in the background. What can I say – I did what I could. I hope you enjoy these (mostly good) photos. Perhaps we’ll do it all again next year. Click past the jump to see the assortment, in the order I saw each band in.
Click past the jump to see a whole lot of photos from Day 3 of the 2011 Pitchfork Music Festival. You can see photos of Yuck, Kurt Vile and the Violators, OFWGKTA, Ariel Pink’s Haunted Graffiti, Baths, Superchunk, Deerhunter, Cut Copy and TV on the Radio.