Whether planned, secret or last minute, there are hundreds of daytime shows that go on throughout the week at SXSW providing you with a chance to catch those acts that you might otherwise miss — not to mention that these gigs were often accompanied by free food and drink.

Waking early, I headed straight to Club de Ville, one of my favorite old haunts from SXSWs of years past, as the Austin band Feathers took stage. A five-piece comprised of four women and a male drummer manning an electronic drum kit, Feathers wore tall heels, looked like the Runaways years later and sounded like a gothic Pat Benatar.

Each day, the Convention Center hosts panel discussions as part of SXSW. I ducked into an program intriguingly titled “Drunk Comedy at SXSW.” The internet sensation known as Drunk History that became popular on Funny or Die, is coming to Comedy Central and Kyle Kinane and Derek Waters were there to discuss their plans. Playing the part with tallboys in cozies, they talked about the concept, confessing that it was only sup-posed to be one video short until Jack Black asked if he could be Ben Franklin. The rest is history … drunk history.

From there it was up a few floors to see Devendra Banhart. Pretty and polished he sat and played a handful of songs with his signature falsetto warble and intriguingly absurd banter like wishing everyone a Happy Halloween.

Nick Cave and the Bad Seeds were slated to perform at Stubbs Amphitheater on Wednesday night while the sun was still up in the Austin, Texas, sky — a strange and rare choice for his dark tunes. Cave, as I expected, stalled until the darkness fell, and with the smell of barbecue in the air, opened with a few tracks from his latest album, “Push the Sky Away.” Almost possessed, he brought life to the quiet songs and followed them up by an epic run through some of his best work. “From Her to Eternity” was followed by “Red Right Hand,” “Jack the Ripper and “Deanna.” While much of the band is new, the Bad Seeds complemented Cave’s commanding stage presence with tense reserve, all except violinist Warren Ellis, who has in time become Cave’s maniacal right-hand man.

Next up was the Love Inks, an Austin band whose single, “Blackeye” has been in constant rotation in my headphones for the past year. A modern day girl-group with fuzzy reverb, the band backed up the sound on their record with remarkable poise.

For the remainder of the night I decided to set up camp at one venue, rather than wait in any more lines. I then headed to Hype Hotel for what should have been an excellent lineup, but ended up serving as a stark contrast to the veteran Cave’s class and showmanship. The Orwells kicked things off and after noticing the X’s on their hands I learned that they are teenagers. They don’t look it, and they don’t sound like it. Sure, the lead singer has a bit of Jim Morrison snotty angst, but the band played well … until they were told it was their last song. Thinking their set was being cut short, the guitarist told the sound guy that he had been lied to, provoking the lead singer to swing his microphone around and smash it into the cymbals before sending it into the crowd. After a physical altercation with the soundman, they left the stage for good. It was a rock ‘n’ roll moment that you don’t see very often anymore … for better or worse.

Whether or not it was the Orwells’ fault, the sound only went southward: Cords were busted and sets were delayed. The anticipated Phosphorescent shone despite the ordeal. Seven members deep and with two keyboardists, their sound was fleshed out roots rock with an expressive backwoods voice. Making it through most of the set without complaints, they also threw their mic after their last song. Are rockers now borrowing from rappers?

Things would only get worse as Foxygen, who sound sexy and polished on record and have a big buzz from many major press outlets, ended up sounding like an out of tune and out of work showtune band.

The sound and showmanship only returned as Jim James closed out the night with a short set.

But maybe there’s hope for these young bands. Once upon a time there was young punk named Nick Cave who might have behaved the same way.

The post SXSW Night Two: Class vs. crass in Austin, Texas appeared first on Metro.us.

Every year, thousands of musicians, record labels, fans and publicists from all ends of the earth make their way to Austin, Texas for the five-day sonic soiree and sensory overload known as South by Southwest, which for the rest of the week, you’ll see referred to as SXSW.
For the uninitiated, SXSW is, in theory, where bands go to make it, labels go to show off their talent and the rest of the industry goes to latch onto untouched potential. As for me, I’m there to take it all in, write it all down and tell you all about it. While there’s no possible way to see every act, here are a few I’m looking forward to.

Chelsea Light Moving
The band’s name may seem esoteric, but their leader is one of rock’s greatest guitarists. With Sonic Youth on indefinite hiatus, Thurston Moore’s latest outfit is far from the delicate stylings of his recent solo records. CLM combine Sonic Youth’s atmospheric guitar sounds with artistic abrasions most similar to Moore’s 1995 “Psychic Hearts” record. On CLM’s self-titled debut, released last week, Moore possesses a newfound angst and seems angrier than ever.

Nick Cave and the Bad Seeds
Ten years ago, Nick Cave may have seemed a bit out of place at SXSW. But after scoring three westerns, and providing the musc and a screenplay to the Southern bootlegging movie, “Lawless,” he now seems to embody the ideal of the dusty American outlaw (despite being from Australia and the U.K.). While his recent release seems more like a solo record than a Bad Seeds endeavor, his commanding presence in live shows is as powerful as a fire and brimstone preacher. SXSW is the first of his 20 sold out North American dates and one of the hottest tickets in town.

Generationals
An electro pop duo from New Orleans, Generationals combine guitar and electronics to create blissful textures and melodic hooks that overpower the inherent melancholia that lingers in the backdrop. Playing seven shows in four days at SXSW, the band will preview their third and best full-length, “Heza,” due out in April.

King Tuff
While the name may suggest some Studio One dub producer, only the weed smoke links Tuff with Jamaican styles. The pride of Brattleboro, Vermont and one of Sub Pop’s latest acquisitions, KT’s music is more akin to the haunting acoustic psych sound of Girls, but with a grunge-y energy.

Skaters
NYC by way of Boston and England, Skaters will be one of the newest and busiest bands in Austin. Consisting of members of Dead Trees and Dirty Pretty Things, Skaters are one of Warner Brothers’ hopes for a youthful rock ‘n’ roll revival. They’re headed straight from the studio after wrapping up their debut LP, slated for early summer release. There’s already a buzz around them, based on their free EP, and extensive European and U.S. tours are already booked for spring. Expect infectious guitar ballads that make you move, but also make you think.

Prince
Wait, what? Yes! In the past few years SXSW has become about established superstars staging their comeback into the public consciousness as much as it is about undiscovered talents. Now that Justin Timberlake has been co-opting Prince’s big band setup of the “Diamonds and Pearls” era, it’s time for his Royal Purpleness to show JT how it’s really done. Prince will reportedly stage an as yet not totally confirmed club show with a 22-piece band during the festival.

—Follow Nolan Gawron on Twitter this week at @metrousmusic. Check out this website all week for his updates on the best of SXSW. Check out our playlist below…

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