[SXSW] Music Festival 2014 Recap
Photo by Kristen Wrzesniewski
In 1977, a water skiing Henry Winkler wore a leather coat and life preserver and attempted to 'jump the shark' in a move that become synonymous with the beginning of the end of a good thing. In that regard it was the long-running "Happy Days" sitcom. Last week in Austin, Texas, it was the South by Southwest Music conference that took the leap from humble beginnings to corporate cash in it's own rendition of 'jumping the shark'. No one pointed it out better than TDE-signee and Oxymoron artist Schoolboy Q, who interrupted his set at the Complex House several times to address several SXSW sets he played for 'yuppies' while his real fans stood outside unable to get in. Alas, the 2014 edition of SXSW couldn't have been described better. An armful of wristbands, garnered through careful planning and RSVPs was instantly trumped by a litany of barriers between them and the artists they had traveled to see. When it began in 1987, the festival was a place for new and unsigned artists to get recognized and for true fans to catch them before they hit the big time. Today, to put it the words of my Journalism professor, it is essentially 'one big blow job'. Despite a lack of a real industry, or perhaps because of it, record labels funnel top-tier artists to the highest bidders, who more often than not come with long guest lists that leave fans sitting outside wondering where all the public transportation in this 'city' is. Even the Illmore, the exclusive house party that has become a staple of the fest, running late into the night with star-studded performance, seemed a bit too big this year in it's new home at a sterile youth center.
For me, the best part of the week was living vicariously as if the SXSW Schoolboy Q encountered was somewhere else. I hustled interviews with true rising acts in Philadelphia-based Cheers Elephant, who's onstage presence is obviously culled from years of performing together and who I'm sure saw a significant boost afterwards, The Tontons, a Houston indie/soul group with a personality to match that hit SXSW on the heels of their latest project, the well received Make Out King and Other Stories of Love. Then there was Radkey, the trio of young brothers, aged 16, 18 and 20 respectively who single-handedly got me back into punk rock with one of the wildest, most raw sets I have seen in a long time, and 17-year-old Bishop Nehru who very well may be the second coming of Nas, The Lonely Biscuits, a band of Belmont University students who stopped down to ATX between projects and mid-terms. They weren't a sit down with Rick Ross, or an in-depth on Phantogram, but the stories I was able to dig up throughout my time at SXSW made me proud to be able to say I saw through the thick haze of bullshit and gerrymandering that descends on the city for a week and actually seek out acts that benefited from the experience.
To be sure, it was two Chicago artists who not only embodied all that SXSW should be, but capitalized on it to continue their independent, organic rises out of their hometown. A year ago, Chance The Rapper ran around SXSW playing sets in anticipation of his yet-to-be-released album, Acid Rap that turned 2013 into a roller coaster of experiences for the 20-year-old MC. At that time, Vic Mensa was still performing as part of the band Kids These Days, which broke up soon after Chance dropped his project on April 30. The two close friends arrived again in Austin at wildly different points in their careers. Chance, with just about every accolade possible under his belt is becoming the biggest independent artist in recent memory, while Mensa, fresh off a plane from Norway, put on a marathon of sets throughout the week that had crowds buzzing in the street about the kid from the Midwest with the funky, different flow to him. Chance's only show was cut short by Fire Marshalls, an ode to his popularity and a crux of the festival at large while also picking up a Woodie award with Austin Vesely for the "Everybody's Something" video. As independent, self-funded artists, Chance and Vic may have embodied the spirit of what SXSW is supposed to be better than anyone else in Austin this week.
In 1977, Fonzie made history by ruining a good thing while ten feet in the air on water skis, in 2014 Lady Gaga did the same by performing beneath a carefully-placed canopy of Doritos bags. Corporate money has always been prevalent (early 2000s 'ringtone rap), and it's just another chapter in the money making something so genuine so utterly unrecognizable.
"Win Y'all Hearts Before I Win a Grammy": Macklemore & Ryan Lewis Grammy Wins
Well, it was what we thought it was. The 2014 Grammy Awards came and went, with the same frustration and disappointment that seems to follow the milestone award ceremony year-to-year. After a run-up to the show that included the judges for Hip-Hop suggesting that Macklemore & Ryan Lewis not be included in the rap category for their album, The Heist, which eventually stayed put, winning that and sweeping the rap category. A lot else happened at this year's Grammys, but this may have been the biggest robbery since Naughty By Nature's Poverty's Paradise beat out 2pac's Me Against The World in 1996, the first year the title was a part of the festivities. Macklemore & Ryan Lewis deserve a ton of credit, and they certainly received it last night, but The Heist was not the best rap album of the year by any stretch. To be fair, Kendrick's Good Kid, m.A.A.d City should have been last year's Rap Album of the Year, having been released in October of 2012, but nonetheless was the most powerful album on the list by far.
Last night Macklemore & Ryan Lewis very well may have realized both the best and possibly most damaging moment of their careers. A lot was written about 'white privilege' in hip-hop and the Grammys at large and the inevitability of the Seattle rapper walking away with the golden gramophone. To be fair, The Heist deserves accolades, but different ones. It is a huge independent success that has laid a road for artists like Chance The Rapper to keep from signing, and furthered the ability of an artist to create music creatively and find an outlet, but even he knew what would happen if the Grammy voters were as un-inventive as ever, choosing him for every award available. In an interview with The Source Macklemore said: "“We’re up against Kendrick, who made a phenomenal album. If we win a Grammy for Best Rap Album, hip-hop is going to be heated. In terms of [that category], I think it should go to Kendrick. He’s family. TDE is family, and I understand why hip-hop would feel like Kendrick got robbed [if he didn’t win]."
One thing is for sure; Kendrick got robbed. No one in the building or watching on TV last night can dispute that, but at least they got it wrong with the right guy. With a message behind his music that saw 33 gay marriages happen live onstage, Macklemore allowed an optimistic spirit in a year when we crept to the edge of the fiscal cliff several times while battling each other over petty social issues seemingly on the daily. The hip-hop game needed a breath of fresh air and got it in Kendrick Lamar, but the greater world needed a breath of fresh air from day-to-day life, and that's what Macklemore & Ryan Lewis provided. On his 2009 mixtape, The Kendrick Lamar EP, K Dot rhymes, "See y'all don't understand me/My plan B is to win y'all hearts before I win a Grammy." With those bars in mind, perhaps no one understands Kendrick's loss better than him.
Macklemore's text to Kendrick afterwards.
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