We’re just back from the SXSW Music Festival, and wanted to share some of the big themes that we heard throughout the week. Most promising perhaps – brands, technologists and promoters at SXSW concur it’s a great time to be in the music industry. These experts point to an expanding music ecosystem as creating an unsurpassed opportunity to connect, engage and interact with fans – for those who leverage the tools and technology available.
Running, of sorts, as best as one can on the last day of SXSW, to the Empire Control Room, I caught the last minutes of Rumblebucket and their confetti shower, a fray that would continue through to the Palma Violets set soon after.
It’s the second to the last night of SXSW. It’s been a day of rain that canceled out East India Youth, Mew and The Vaccines earlier at Culture Collide’s showcase at Container. But tonight, CC’s set of bands are safely covered and dry under the tents at Bar 96, as are the fans crammed into the small space.
It's appropriate that one of Catfish and the Bottlemen's most popular songs is entitled "Homesick." The North Wales boys are rarely home, spending most of their time on the road making fast friends with a flurry of penetrating-to-the-bone rock music, willing to play anywhere and talk to anyone, and continuously showcasing their talent along with a deep appreciation for all their adoring fans.
“We’re ground zero,” said Ricardo Baca in regards to our home of Colorado, the first state to legalize marijuana for recreational use. The first-ever marijuana editor for Denver’s news outlet, The Cannabist, Baca had just emerged from the private screening of Rolling Papers, the documentary that will premier at this year’s SXSW.
[Photos by Kyle Cooper] I first heard of the Welsh band Catfish and the Bottlemen before I’d actually heard their music. It was during the Association of Independent Festivals Congress, a conference where festival organizers from around the UK and Europe gather to discuss all facets of the business.
Kishi Bashi performed at the Ogden Theatre Saturday, January 17, on the first date of Guster’s North American tour. The multi-instrumentalist/singer-songwriter performed his unique style of intricate and intense stringed-solos, layered and looped harmonies and beats, and nearly operatic indie pop with a slice of comedy and bright smiles at every turn.
Not sure what the equivalent of a band’s first night of tour is to a home run, a hat trick, a blow out, either way and sports metaphors aside, Guster met and more than exceeded fan’s expectation at the Ogden in Denver to a sold-out crowd.
The bedroom musician has become commonplace over the years with the advancement of digital music tools and platforms. Yet there are few that actually make it from the four small walls to the four large walls of a venue, in front of many, few that are able to translate those intimate creative pieces into a captivating live performance. East India Youth, aka William Doyle, is one of those performers and musicians.
A quite timely video was just released by Carl Barât and The Jackals for the group’s first single, “Glory Days,” in dedication to the 306 British and Commonwealth soldiers shot at dawn during World War I for "cowardice" or "desertion," yet another tragedy of war. It not only coincides with the beginnings of their new U.K. tour, which launched Thursday, 14 November and continues through 21 November in London, but with the other tributes taking place for the many, many who lost their lives 100 years ago.