The big names were largely missing at this year's SxSW, making for a lower-key event which somehow felt closer to its roots. In the main, the more exciting events were taking place on the fringes rather than in the crazy hurly-burly of the showcase maelstrom around 6th Street and Red River. Examples of such gems were the unfortunately-named Mothertruckers, playing a blinder to celebrate carrying off the Austin Music Roots Award; or Graham Parker, storming along with New York power trio The Figgs; or Canadian future stars Luke Doucet, Melissa McLelland and Justin Rutledge, forming an impromptu mini--supergroup and almost blowing the roof off Headhunters.
As Amplifier's resident Brit, I have to confess that the huge UK presence was a curate's egg. On the first night, the Texan audience listened in disbelief to the facile Eurovision-style performance by the inept Lily Allen and her dire band. Her idea of entertaining the Americans was to slag off the NME. Razorlight cheered things up with their usual bravado, Johnny Borrell's jaggeresque mannerisms stopping just short of self-parody. In the trouser department, he might just as well go the whole hog and adopt the see-through kecks of Iggy Pop (also present at SxSW as a Stooge). Across the weekend, numerous performances by Amy Winehouse (to some of which she actually turned up) justly made her the talk of the town. Opinions differed on The Good, The Bad and The Queen, but I found their languid, bass-heavy whimsy perfect for the wee hours. The notion of corporate sponsorship has now developed into government support, with merch-heavy Welsh, Scottish and English showcases succeeding in clashing with each other. A quick dash between them didn't reveal much: The Automatic (frantic pop), the Fratellis (less frantic pop) and Mika (um ... Gilbert O'Sullivan?).
Much more to my taste were more genuine, less hyped acts such as Raleigh's intense and ever-entertaining Patty Hurst Shifter, the Drams (rocking former Slobberboners from Denton), the magnificently noisy Austinites Grand Champeen, the moody Sparklehorse (sadly plagued by sound problems) and the increasingly energetic and accessible Deadstring Brothers from Detroit. Not to forget a charming highlight in the form of the Buzzcocks, playing a rampant greatest hits set to a demented audience.
It was fitting that the festival should close with fiery performances from two sets of local boys, Friends of Dean Martinez, with their moody instrumental soundscapes, and Midlake, who made it to Band Of SxSW 2007 by demonstrating their intelligence and originality in a short but emotionally performed and received set. Music from the heart, that's what SxSW is all about.
~ Oliver Gray
Photo: Oliver Gray
