SXSW

SXSW Review: Best Coast, March 19, The Sunset Room

Posted on by Paul in South By Southwest | Leave a comment

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Covid anxiety can be a real bitch at SXSW when you’re a Canadian who’s still into masking up while practically everyone else is in “Covid’s over” party mode and throwing caution to the wind. But it certainly helps to ease the anxiety when you’re watching an old favourite play a solid set to a packed ( but not obnoxiously so) room. And I guess the free White Claws help too, though you’ve gotta take the mask off for that. Hey, we all have to make sacrifices sometimes.

The aforementioned old favourite was Best Coast and yes, they were playing a late afternoon set at The Sunset Room, rebranded for the last few days of the fest as the White Claw Surf House. Bethany Cosentino speculated that part of the reason they may have been booked to play there was the beach-like vibe of songs like “The Only Place.” That song was an obvious highlight of their set, as were tracks like “California Nights”, “Everything Has Changed” and “Goodbye”, which she dedicated to her cat Snacks, who recently passed away.

Cosentino mentioned how the band first played SXSW about twelve years ago and that it felt good to be back in Austin. She also noted how good it felt to be playing in front of a crowd in general again, seeing as how the band has had to put their tour behind 2020’s Always Tomorrow on pause several times over the last two years or so. And it felt good to see them too, even if I was pretty much the only one wearing a mask.

SXSW Review: Working Men’s Club, March 19, Elysium

Posted on by Ricky in South By Southwest | Leave a comment

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One of the things I missed the most during the pandemic was dancing. Just listening to music so moving that your body naturally starts moving however it may to the rhythm and the beat. Not only is it great for weight loss, it’s also great to just have those moments.

For those who are missing the feeling – all you have to do is attend a Working Men’s Club show to get it back. The West Yorkshire band played a great set that had everyone moving their feet and hips as if it was 2019 all over again.

Mixing in heavy elements from early New Order, later Depeche Mode, rave and even wall of sound guitars, the band played a pulsating set of music featuring influences from many bands that I like. Against the backdrop of those beats was Sydney Minsky-Sargeant’s dry delivery and snakey dance moves, all formulating together a feeling that you are watching something cool. There was a moment during the show where all the different beats were merging together, but then Sydney brought out the guitar and the next thing I knew, I was wondering how much MBV they listened to. It’s great to know that the foundation the band has already set is so strong that in future tracks they can continue to explore different areas of music to merge into their sound.

The band released a debut record during the pandemic, and from what I have seen and heard, it’s an incredibly promising start. I’m excited to see where they are headed next.

SXSW Review: Laura Lee & The Jettes, March 16, Hotel Indigo

Posted on by Paul in South By Southwest | Leave a comment

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One of the fun things about SXSW is seeing bands in somewhat unusual settings, oftentimes also performing rather unique sets. Such was the case on the Wednesday of SXSW as German band Laura Lee & The Jettes played a stripped down 5:00pm set in a hotel lounge, which they then repeated later that evening, playing a presumably identical set in the same hotel lounge at 6:00.

With Lee and her band set up in the comfy confines of the Hotel Indigo lobby, I settled in for a set of what Lee described as “slightly less loud” versions of her songs. It was an enjoyable set, both for the audience and the band. As Lee described it, she had a lot of fun figuring out how to reconfigure their songs for these shows and even likened it to being sort of her version of Nirvana Unplugged. Bowie and Meat Puppets songs not included, however.

A highlight of their set was “Cheap Wine”, described by Lee as a song about being over 30 and still chasing the rock and roll dream. Seeing as how Lee has already been on the scene for awhile with her other band Gurr (who are also quite good, by the way – check them out), it’s not surprising that she’d write a song on the subject. But also she’s not old at all and I saw many acts of all ages around Austin this week who were also still chasing that rock and roll dream. She did mention that one song she played later in her set was already something of a hit back in Germany. Here’s hoping she can repeat that feat on North American shores.

SXSW Review: Ryder The Eagle, March 15, Chess Club

Posted on by Paul in South By Southwest | Leave a comment

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“Keep Austin Weird” has been an unofficial motto for the city for some time now. and at its best (and sometimes its worst), the music programming at SXSW can help to shine a spotlight on the weird and wonderful performers out there, not just from Austin but from around the globe. A perfect example of this is Ryder The Eagle.

Originally from Toulouse and currently based in Mexico City, Ryder The Eagle took the audience at Chess Club on a journey through the weird during his set at Chess Club, a journey that included tales of divorce, motorcycles, rebound romances, and much more.

Performing solo, Ryder took to the stage and began his set with a monologue explaining everything he’s gone through with the divorce and setting the thematic groundwork for the evening. Though it isn’t exactly accurate to say he took to the stage – he made the entire venue his stage and more or less made everyone in the small confines of Chess Club a part of his show.

And what a show it was. Roaming about the entire space, singing directly to and occasionally dancing with various women in attendance (presumably using them as a surrogate for his ex), writhing about on the floor, and culminating in him singing while standing on the bar, Ryder the Eagle gave us a show that was weird, yes, but wildly entertaining. And the finale, with him singing atop the bar, was made even more surreal by the Led Zeppelin concert footage airing on the screen behind him.

Falling somewhere between karaoke and performance art, it wasn’t fully clear how much of Ryder’s story was just a persona created for his show and how much was true to life, but that hardly matters when it’s this much fun. I know that watching some dude in an all white cowboy suit singing songs about his divorce behind a prerecorded backing track doesn’t necessarily sound all that fun, but trust me, it was.