Only at the South By Southwest Music Conference – the music industry equivalent of spring break, held every March in Austin, Texas – can you easily catch more than a dozen decent bands in 24 hours.
The daily rock itinerary was jam-packed, from an a.m. wakeup call of jalapeno pancake breakfasts and Allen Oldies Band performances; to taco stops, an abundance of beer and feisty Waco Brothers sets playing into the wee hours.
There was a whole lotta love, some truly genius band names, including I Love You But I’ve Chosen Darkness’ – and a few Robert Plant sightings in between.
This year, 9,000 people (a record number) signed up for four days of margaritas, breakfast tacos and 1,000 bands worth of music.
Everyone’s looking for the next big thing at the conference, but sometimes the next big thing is hard to find – or impossible to get into. Lines for M.I.A., the Kaiser Chiefs, LCD Soundsystem, the Go! Team and the Kills were wrapped around the block – but so was the one for Aimee Mann – so go figure.
Persistence, however, pays off.
Here are some Texas treats we caught at SXSW: They’re a mix of new and old bands, but all are must-sees when they venture up North.
Death from Above 1979 at Emo’s Annex
With the mohawked Sebastian Grainger on screech-vocals, and the shaggy-haired Jesse F. Keeler shredding a bass (as well as executing keyboards and contributing vocals), DFA ’79 is a thrashing force to behold.
Somewhere between the freak show of Suicide and the hair-raising metal of Judas Priest (with Grainger’s voice resembling a bizarre mix of Polly Jean Harvey and Robert Plant), this pulse-heightening duo is not to be missed. Keeler’s one-man-band performance alone will turn your world upside down. No guitars allowed – or necessary.
The duo, which is comprised of two Canadians who met in prison and now live in a Toronto funeral parlor, released its debut, “You’re a Woman, I’m a Machine,” last fall. They’ll perform at the Bowery Ballroom on April 30 and the Mercury Lounge on May 1. Check out tour diaries at deathfromabove1979.com.
DaKAH at Stubb’s
This hip-hop orchestra is not an easy-traveling band.
Principle composer, baritone sax player and daKonductor Double-G (Geoff Gallegos) leads this 60-some-piece spectacle, replete with strings, electric guitars, horns and turntables. It’s fronted by several male and female rappers – one of them is only 16 years old – and a handful of R&B singers.
The MCs leave the posturing behind as they deliver old-school, rock-the-mike hip-hop in front of this truly modern big band. Its many influences include the Sun Ra Arkestra, ’70s soul, classic and more-contemporary jazz – and, of course, the riffs of the gold age of hip-hop.
Sixty-members-strong might be overkill at time, but it sure is groovy fun. They’ll be announcing upcoming tour plans soon.
The Woggles at the Victory Grill
The Atlanta garage rockers who performed at Little Steven’s Underground Garage fest aren’t new; they opened for Johnny Cash at SXSW 10 years ago.
They still rock, though. And with a seemingly endless supply of ’60s riffs, beat-happening drums, and catchy, dance-igniting tunes, even the most exhausted SXSW partier has no choice but to join in the twist on the floor.
That’s because the Professor, the human highlight film of rock ‘n’ roll and lead singer, madly jumps off the stage, cajoles audiences into shaking their tail feathers, and wiggles his butt off as he sings his heart out. It’s no wonder the Stripes’ Meg and Jack White are fans.
The Woggles will perform at Maxwell’s in Hoboken on April 22. Bring your dancing shoes – or else.
The Sights at Flamingo Cantina
Lead singer Eddie Baranek is no longer a schoolkid – he formed this Motor City rock trio when he was in high school. Now, at the still youthful age of 24, he’s about to unleash the Sight’s third disc (due on Smashing Pumpkin James Iha’s Scratchie/New Line label).
A child of Detroit’s recent garage-rock resurgence, Motown soul and ’60s pop, Baranek, on vocals/guitars, is the third rail live. Onstage, he scowls and howls, as keyboardist/bassist Bobby Emmett rips out soul grooves from the ’60s – recalling everyone from the Stones to the Zombies.
The band masters the rock song and has no tolerance for wallowing. On “Frozen Nose,” from the group’s upcoming self-titled disc, Baranek urges his pal to “Stop feeling sorry for yourself.”
The group will perform at the Bowery Ballroom on May 18 with Mando Diao.
High Dials at the Soho Lounge
Fronted by Trevor Anderson, this Canadian quartet does a sweet job of resurrecting the Byrds era with cotton-candy harmonies and jangly electric guitars. But what truly differentiates the High Dials from every other ’60s throwback is bassist Rishi Dhir’s sitar, which he rocked for “Things are Getting Better.” It’s a time warp you may have never fathomed.
The High Dials will release their new album, “War of the Wakening Phantoms” this summer. Samples available at thehighdials.com.
BUT WAIT; THERE’S MORE …
5 more banks that should not be missed
The Blue Van at the Drink: Bluesy rock ‘n’ roll from Denmark led by guitarist/singer Steffen Westmark, in a Cheap Trick shag, energetic amp-climbing, high-flying bassist Allan F. Villadsen and a wildman on the keyboards. The group performs at Rothko on Tuesday.Ed Harcourt at Antone’s: Our favorite London-based piano man has shades of Rufus Wainwright when he’s on the keyboard, but this was no earnest Joe’s Pub set. When Harcourt picks up the guitar for “Born in the ’70s,” and stands up to the mike – then soon adding a violinist, a rock guitar and drummer to the mix – he’s leaves the rock-hungry Antone’s crowd completely sated.
Los Super Seven at Las Manitas Cafe: At this “Sunset at the Border” annual respite, Calexico helped back Joe Ely, Rick Trevino, Raul Malo and Ruben Malos on a crammed stage for this acoustic set, replete with horns.
Enon at the Red Eyed Fly: Keyboardist and singer Toko Yasuda stole the show by this electronic pop trio. After two false starts, she “fired” herself.
Dale Watson at Ginny’s Little Longhorn: This cool country crooner oversees “Chicken S– Bingo” every Sunday afternoon, commanding the beer drinkers and two-steppers with his hearty voice and lyrical tunes. It’s the only way to end four hard days of margaritas and music.