It's now two weeks since SXSW ended and it's time to finally
wrap up the wrap-up. We saw 50 performances in 4 days, saw legends made and others
fade. (On a side note, we aim to finish
our best of 2011 before the first NFL game is played. Guaranteed, my friends.)
If you've been to Austin, you want to go back. If you've been to Austin
twice, you start imagining a life there. I'd live out beyond South Congress, a
little ways away from the mayhem. V would stay in Boston
so we could still remain friends.
Highlights
– The whole day. After a massive IHOP breakfast that soothed the hangover beast
and obliterated the need for lunch, we set out immediately for Jovita's and
Twangfest, probably the location with the best vibes of any SXSW venue (with
apologies to The Mean Eyed Cat, since we didn't get there this year). Jovita's
utilizes two stages- one indoor is a small, dark but homey bar/restaurant and
the outdoor stage sits on a rickety porch with a wooden lattice fence on side,
a stone wall behind and few tables lazily arranged on the other side. It's a
couple miles out of town and has a bucolic charm a million miles away from the
frantic frenzy of Sixth Street. It's probably as close to its roots as SXSW
gets these days and a must stop for any americana
fan.
We arrived a little late but caught the tail end of Chuck
Prophet's jam packed set, quickly moved outside to catch the massively talented
Joe Pug steal the day and some tears as he debuted 4-5 songs from his new
album, the wonderfully titled The Great Despiser, out April 24. I can't really
put my finger on what makes Joe Pug so great (it's probably the songs, stupid),
but his wit and charm enliven small tales of everyday battles that recall the
Midwestern grace of fellow Chicago storytellers John Prine and Steve Goodman. Then
we rushed back inside to see the always great Waco Brothers, whose "Do
What I Say, Don't Do What I Do" should be an unofficial Austin
anthem. No one is more comfortable in his own skin than Jon Langford. Exploding
onto the stage next was star in the making JC Brooks, whose Uptown Sound is a
much tighter soul revival than the insanely hyped Alabama Shakes and who
acknowledged their Chicago roots with a blistering cover of local kid Jeff
Tweedy's "I Am Trying to Break Your Heart". SXSW staple Glossary closed out our back
porch hoedown with a scoop of soulful southern rock, and we made a promise to
spend more time at Jovita's in 2014.
Next up were The Shins in a converted (Spaghetti) warehouse,
whose sleek, darkened, air-conditioned setting was the antithesis of Jovita's
laid back scene. But there was free beer. And that is good. After too long a
wait, The Shins hit the stage with a much tougher sound than they possess on
record. But while James Mercer is a top flight songwriter, his on stage
charisma is negligible. Mediocre sound and a by-the-numbers performance had us
making an early exit, but did I mention there was free beer. Highlight!
The night began with Justin Townes Earle at Stubb's leading
a full band for the first time and his Memphis fried americana is in full
bloom, as noted by half a dozen songs off his brand new Nothing's Gonna Change
The Way You Feel About Me Now, including the highlight "It Won't Be The
Last Time", an unapologetic apology for past transgressions with no
promise of better behavoir. Then quickly over to the Cedar Street Courtyard to see another
electrifying set by J Roddy Walston and The Business, followed by the amazing
William Elliott Whitmore, whose gritty voice of god vocals consecrate working
class spirituals for The Great Recession. His 2011 release, Field Songs, was
among the year's best. After WEW, it was time to set the wayback machine to 1979,
slip on a skinny tie and take a nostalgia trip with Peter Case and Paul Collins
as they celebrated their power pop heyday trawling their melody rich catalog of
tunes by The Nerves, The Beat and The Plimsouls. A balding, unlikable Collins
and the incredibly likeable, wild-eyed gnome Peter Case blasted out a set that
was better than it had any right to be. Dominated by songs from The Beat's
sterling 1979 debut plus a few Case classics, their set gave a room full of
aging hipsters a chance to let their hair down (so to speak) and engage in carefree
shout-alongs.
The final show of my SXSW was Diamond Rugs, the likely
one-off semi-super group featuring main man John McCauley of Deer Tick, Steve
Berlin (Los Lobos) and other indie types from Black Lips, Dead Confederate and
Six Finger Satellite. They played their upcoming debut straight through and
reminded me of a scuzzy, Southern fried, whiskey swilling Rockpile masquerading
as a Rolling Stones cover band. Yeah, it was that good. There were horn fueled
stompers, balls out rockers, a psychedelic freak-out, and even the awful lounge
lizard on Quaaludes misstep "Totally Lonely". John McCauley is quickly becoming the Jack
White of the indie twang set (except, you know, without White's massive commercial
success) who seems either hell-bent on self destruction or cranking out a
genre-defining masterpiece. I hope it's the latter.
Lowlights –
Trying to order a burger (and avoid cheese) at a Mexican restaurant. The prospect of four hours sleep. Realizing
Paul Collins is still a jackass.
Moments to savor
– That IHOP coke, scrambled eggs and bacon combo... manna from the gods. Joe
Pug bringing up local Austin legend
Harvey Thomas Young to duet on Young's "Start Again" which closes
Pug's new album. The mutual affection was obvious, as the shy upstart paid
tribute to a forgotten songwriter and shared a tender moment in the sun. Classy
and touching. Whitmore's voice. Steve
Berlin's baritone sax. V's arrival home 2 minutes after me... didn't think he
had it in him.
Goodbye Austin...
see you in two years. V... hope I see you sooner.
