[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.
[SXSW Journal] Day 4
Photo by Kristen Wrzesniewski
The weekend in Austin started off quickly with several interviews on the docket early. My feet, blistered, sore and just generally unhappy about the situation, slipped into a pair of Converse boots with the thought it would help with all the moving. Strapped up and ready to go I headed out to The Blind Pig on 6th Street to talk to The Lonely Biscuits, a four piece jam/hip-hop/indie group from Nashville. The Belmont University students were on the back end of a wild collection of shows throughout SXSW and played a fitting mid-afternoon set after we had a chance to sit down and talk. As soon as I was done there, I raced across town to the Omni Hotel where I was to interview New York City’s rising star, 17-year-old Bishop Nehru. Sans photog for the week, I was able to get the lovely pair of Rasha Mosa and Asia Ashley of The Lab3l to lend a hand for what ended up being one of the more interesting interviews I’ve done in awhile. We discussed the theory of the ‘twenty year loop’, his ties to Nas and what we can expect next, words on that coming soon.
After that it was off to 502 Brushy Street on the other side of the highway to catch Chicago local Taylor Bennett perform at the House of Aura showcase. Technical problems led to him doing a rousing acapella performance before launching into a full set list. A trip to the Rap Genius Ranch ended up just getting me more miles on my ragged feet as we made the trip just a bit too late to catch Nas actually talking about Illmatic. It was at about this point I realized the ridiculousness of this ‘festival’ and how impractical a town Austin really is. There is a ton going on in ATX for SXSW, so much in fact you can find music just about anywhere you go. However, once you walk up to that venue with your Bomberman-looking arm of wristbands, trying desperately to find the one for this particular venue, you’ll likely find there is an extra hierarchy above your ‘credential’ (i.e. it’s a corporate party with people who don’t really even like the music), or you’ll be directed to a mile-long line with a shrug and a ‘good luck’. So, I spent a good amount of time Friday walking to shows like SaveMoney’s set at Clive, only to hear Tumblr only likes folks in badges and decided to pack it in and meet up with some familiar faces at D.B. Riley’s on 6th where Marrow played an absolutely fantastic SXSW debut. Going back to Austin being impractical, keep in mind there is little to no public transportation, the highway system is like a toddler’s SimCity game and they have a train that literally runs like every three hours in a straight line down one street. Sorry guys, you have a way to go before you get true ‘city’ status. Anyway, after Marrow injected happiness into the souls of D.B. Riley’s patrons, I decided it was time to get out of the city and ended up at a mansion party about 20 minutes outside of town where we partied through the night. Looking forward to the last day, ready to get back to Chicago.
Marrow at D.B. Riley's
Taylor Bennett at House of Aura
The Lonely Biscuits at The Big Picture Media Showcase