6:00 PM
to 7:00 PM
Ignite SXSW - 2021 Vision of the Future
258 schedule::attendees
Location
Austin Music Hall
eventtype Party, Interactive
event::about
If you had 5 minutes on stage to talk about the future, what would you say? It's time to Ignite SXSW!
8:30 PM
to 11:30 PM
2011 MTVU Woodie Awards
166 schedule::attendees
Location
Austin Music Hall
eventtype Unofficial Music
event::about
FOR THE FIRST TIME EVER, THE MTVU WOODIE AWARDS IS HEADING TO AUSTIN, TEXAS
DURING THE SOUTH BY SOUTHWEST MUSIC FESTIVAL
THE SIXTH ANNUAL SHOW WILL BE BROADCAST LIVE
ON WEDNESDAY, MARCH 16
Hosted by:
DONALD GLOVER
Performances by:
Wiz Khalifa
Sleigh Bells
Odd Future
Two Door Cinema Club
and more!
The award presenters are:
Matt & Kim
Lupe Fiasco
and more!
“Black and Yellow” rapper Wiz Khalifa, Brooklyn duo Sleigh Bells, L.A. hip-hop collective Odd Future and sprightly Irish rockers Two Door Cinema Club are slated to be the live entertainment as Matt & Kim, Lupe Fiasco and others hand out “Woodie” awards based on student votes from campuses across the country.
This the first year the mtvU Woodies will be aired live on MTV (as in MTV alpha) in addition to the dorm-only network mtvU and MTV2. Additionally, this is the first time the college-crowd centric music show is part of the eminent South by Southwest Music Festival.
Clearly ready to live up to SXSW’s reputation as the best place to see upcoming artists, the previously-mentioned artists should put on a helluva show.
3:00 PM
to 4:00 PM
Village Voice Media Showdown
165 schedule::attendees
Location
Austin Music Hall
event::about Village Voice Media & Frank 151 present The Showdown Pre-party at SXSW 2011. Join us on Thursday, March 17th at the Austin Music Hall from 5p-8:30p followed by the SXSW Official Showcase. Performances by Wild Flag, Ume and more. Free pre-party. Come before 8p and stay for free all night long. All Ages. Get all the details at SXSW.VillageVoiceMedia.com.
8:00 PM
to 9:00 PM
Eclectic Method (Between Sets)
11 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists Eclectic Method (Between Sets)
event::about What is it about Eclectic Method that inspired U2, Phish, Fatboy Slim and Public Enemy to employ their talents? That inspired Cannes and Sundance to have them headline their closing night parties? That impressed Motown and XL Records to hire them for official remixes; Sony PlayStation to have them develop video games levels, and MTV Europe to have them kick-start the MTV Mash series? Simply put, it's because Eclectic Method is reshaping the platforms to bring us tomorrow's entertainment today. Eclectic Method featuring London natives Jonny Wilson, Ian Edgar and Geoff Gamlen helped pioneer the emerging art of audio-visual mixing since first cutting U2's Mysterious Ways music video with the Beastie Boys' Intergalactic as an experiment back in 2002. The trio's audio-visual mash-ups feature television, film, music and video game footage sliced and diced into blistering, post-modern dance floor events. It's a cyclone of music and images mashed together in a world where Kill Bill fight scenes and Dave Chappelle's Rick James rants are ingeniously cut and looped over bootleg samples, DVD scratches and pumped-up dance anthems. It's a real-time subversion of technology and media performed live on video turntables for what LA Weekly called a 'mesmerizing' sensory overload. 'Eclectic Method are the remix kings
a head-rush that unites disparate pop culture elements into an insanely infectious, beat-wise roller coaster,' raved DJ Magazine, while music-producing legend Brian Eno says, 'Earwax problem? Eclectic Method will shake it loose.' Eclectic Method have released two 'video mix-tape' DVDs, 2005's We're Not VJs and 2008's Lock Up Your Videos, but millions have seen their work in other contexts. There's the U2-commissioned Zoo TV video remix the rockers used as a concert opener, and a mega-mix for Fatboy Slim's 2006 DVD Why Make Videos. XL Recordings celebrated their 10th anniversary by commissioning an Eclectic Method mega-mix and live performance combining everyone from M.I.A. to the White Stripes, while the Bob Marley Family and Motown have both used Method remixes to showcase their rich video catalogs. From the Jammy Awards and Getty Images World Tour to film studios like Palm Pictures, New Line and Lion's Gate, content creators are lining up to invigorate their catalogue with the Eclectic Method stamp. Eclectic Method also claims one of the freshest live shows in music. The group's performed at such popular events as Glastonbury, The Festival, Winter Music Conference, BBC's One Big Weekend and at several major film festivals. Top companies like Blackberry, Motorola, MTV, Spike TV, Oakley, Adidas, Apple, AOL and Red Bull have all tapped Eclectic Method for content-launch parties. With such visionary ideas, it should be no surprise the trio boasts a wealth of experiences. When the group formed in 2002, Ian was already a popular scratch DJ and journalist. Geoff, a regular at The Haçienda and a veteran of Manchester's Factory Records scene, had a front row seat to the Soviet Union's collapse working at the British Embassy in Moscow. Jonny, who spent several trying years in post-war Bosnia, worked as a sound engineer and beat-maker for legendary producer Brian Eno (U2, Coldplay) and played in bands with future members of the Libertines and Razorlight. With these types of resumes, Eclectic Method were bound to do something revolutionary
and so they have. With Europe and Asia already jumping, Eclectic Method is readying the New World for the 2.0 AV revolution. To expand their U.S. efforts, Jonny relocated to NYC and Ian to the City of Angels to give American fans a jolt of the Method live show. With upcoming shows in Mexico, Canada and Brazil and Geoff holding down the fort back home, Eclectic Method have truly become a global brand. Back before MySpace or Facebook even existed, Eclectic Method came together to push the limits of technology and create a window into the future. More than a half-dozen years later, they now sit at the forefront of audiovisual entertainment with a style and technique that's redefining the way people enjoy music. Needless to say, it's no longer just a Method-it's a movement.
event::tags All Ages
8:30 PM
to 9:30 PM
Trouble Andrew
11 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists Trouble Andrew
event::about From virtuoso snowboarder to fashion innovator to skate punk electro artist to honky-tonk warbler, Trouble Andrew may be many things at once but his signature is style. After taking his professional snowboarding career all the way to the Olympics, Trouble turned to product design, pushing street influence into technical products for brands like Burton, Analog, Oakley, and Nixon. Switching direction again, his need to create met his passion for music and the Trouble Andrew project began to evolve. Trouble released the Trouble LP in 2005, a full length album fused from his punk rock and hip hop influences. The album was re-released as Remixed and Remastered by Virgin in 2009 with new production from Shitake Monkey and Trouble. For the next year Trouble went on a production bender, doing songs with the likes of Diplo, Santigold, Ninjasonik, Amanda Blank, Curren$y, Jackie Chain, Lil Jon, Stunnaman of The Pack, Hollywood Holt, Team Facelift, and more. The result was The Trouble Gang Mixtape, an epic 30 song outpouring that demonstrated Trouble's mastery of his own personal genre as well as his ability to push into completely new musical territory. His next project, Dreams of a Troubled Man on Trouble Gang Records/Last Gang Records picks up where the Mixtape left off. It's a dark and roaming personal statement that corrals an even more eclectic range of influences for an even more unique sound, a sound that can only be described as Trouble.
event::tags All Ages
9:00 PM
to 10:00 PM
Rocky Business
3 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists Rocky Business
event::about Building a reputation as a must-see band on New York's Lower East Side, Rocky Business is certainly a breath of fresh air. Headed by frontman/emcee Strictly Business and guitarist/producer Jonny On The Rocks, Rocky Business brings together a diverse range of sounds, ranging from Hip Hop to Indie Rock. Both members come from very different backgrounds; Jonny is a Toronto native, while Strictly Business hails from Bed-Stuy Brooklyn. The two first met when Jonny was engineering a studio session for SB in early 2009. While recording SB's tracks, Jonny took an interest in his style, further collaborating artistically, starting a partnership that would become Rocky Business. Since then, Rocky Business has hit the stage with artists such as Diplo, GhostFace Killah, Redman, Rick Ross, HEARTSREVOLUTION, Hey Champ, Theophilus London, Maluca, Ninjasonik, Anton Glamb and Death Set. Rocky Business has made a name for itself in NYC's underground nightlife. Playing at major music venues to dance clubs to illegal loft parties, Rocky Business has also played many festivals such as Northside, SXSW CMJ and events in Europe as well. Most recently, "Army Of Love" and "Find Away," both from their debut EP, shot to the top of Hypemachine charts. Rocky Business' debut EP, A Rebel's Roar, drops March 22nd on FrankRadio/Babygrande Records.
event::tags All Ages
9:20 PM
to 10:20 PM
Marz Lovejoy
3 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists Marz Lovejoy
event::about At just 19 years-old, Marz Lovejoy has emerged as a frontrunner on the Los Angeles music scene. After gaining notoriety for her breakthrough performance on "Shine" by Pac Div (Universal Motown), Marz was recruited by the group for her first national tour. On the heels of the tour, Marz wasted no time in refining her sound alongside acclaimed producer and fellow Los Angeles native Polyester (Dom Kennedy, Too Short, Chaka Khan). iHipHop Distribution took note of Marz's talent and unique style and promptly signed her. Making her mark on the hip-hop community with the release of her debut EP, "This Little Light Of Mine," Marz continued to perform across the country, eventually sharing the stage with Wu-Tang Clan members GZA and Raekwon in New York City during a CMJ showcase. In addition, West Coast legend DJ Quik went on to invite Marz to perform at his Quik's Grooves concert series in Hollywood. Marz earned critical praise for "This Little Light Of Mine," as members of the press championed the release: "Marz Lovejoy stands out with a unique style that combines fun pop-hooks and sharp lyricism... Lovejoy definitely has a bright future ahead of her, as she has the ability to craft catchy hooks to make some noise in the mainstream crowd, and she has the lyrical prowess to hang with the best of the underground." -- Zach Gase, Okayplayer.com
event::tags All Ages
9:45 PM
to 10:45 PM
Trae tha Truth
14 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists Trae Tha Truth
event::about He's one of the most in demand artist in southern hip-hop. He's Houston's King of the Streets. A survivor, a fighter, a winner, a true voice. He's Tha Truth. There's no denying that over the past few years, Houston has been hip-hop's hotspot. Many artists received major label deals and while their initial impact was quite great, more than a few have fallen off the radar. One artist who used Houston's surge in popularity to his advantage independently is Trae. While many of his contemporaries were searching for deals in New York City, Trae decided to stay with his home team and signed with Rap-A-Lot Records. The marriage proved to be a golden one, as his Rap-A-Lot debut, Restless, garnered much critical acclaim and solidified Trae as one of Houston's most important voices. Now in 2007 he is set to release his latest disc of heart-felt, reality raps ' Life Goes On. Trae grew up in Houston, Texas. Born and raised a product of it's south side streets. Among other notable distinctions, he's a member of the Screwed Up Click and the ABN Gang. Since his first appearance on wax, on his cousin Z-ro's debut CD, Look What You Did To Me, to this moment today, Trae has been one of the most consistently lyrical, street reporters this region has ever known. His first official release hit the world in 1999, the classic Guerilla Maab album, Rise. Rise helped set the tone for a whole resurgence in Houston. Back then, Trae, Zro and Dougie D were all about 16 or 17 years old, and their youthful fire showed through on every track. Theirs was a new sound for Houston, harder, more aggressive, yet also smarter and more focused than many who came before them. Not since the Geto Boys released their classic Grip It On That Other Level, ten years earlier, had the city heard such genuinely heartfelt angst. Rise was recorded and released just after Trae returned from a short stint in jail. That experience taught him to focus on his music, but still he remained in the streets. I caught an aggravated robbery case by being young and crazy. Trae remembers, I was on the streets. It was a blessing. I didn't do nothing but probably some weeks in jail, but I was on paper for like two years for aggravated robbery. They tried to give me close to 40 years. But it was a blessing man, the DA knew my lawyer and they felt they could give me another chance for me to not mess my life off. Cuz I had been doing music, so I was already known for that. They ended up doing that to where I only got two years deferred, but if I had messed up on that deferred probation then I'd have did the max that I could do on that case. That forced focus of sorts has paid off for Trae. From his world famous SLAB mixtapes, to his regional solo releases, Trae's name is known in Texas as one of the realest to ever spit. His raw emotion and true tales of the ills of the streets are rare in rap today. On a Trae album you won't find the endless barrage of bling bling. But you will hear some of the most genuine tales of woe and fury ever recorded. People always wonder why we be so serious, Trae reflects, and I sit back and let 'em know, we keep a lot of shit we go through inside our chests. We ain't the type to go talk about our problems to nobody so that's what make us good at what we do in this music shit. We go through shit on a day to day basis. That's why we have so much shit to talk about. That's why I'm glad we go through shit. I hate that it be how we go through it but it's good that we do go through it because without that, shit, what would we have? Shit, my brother Dinky doing three life sentences, I can't be there. I don't even want him there. I gotta do this for him and for me and my whole family. The tales of reality don't come from hearsay or his imagination either. Trae is the rare rapper who really lives the street life every day. Whether he wants it or not, it is a part of him. Last year I ended up catching a bullshit case being in a shootout that wasn't even our fault. He explains, We ain't in no fairy tale shit. I'm gonna be consistent till they put me in my grave and hopefully when they put me in my grave it's still gonna be consistent. His solo albums, Losing Composure, Same Thing Different Day, Drama, Return of the Streets, Say Hello to the Asshole, Later Dayz and Restless are all regarded as classics. But it's his forthcoming release Life Goes On that has had the streets buzzing for the past year. Life Goes On is a collection of some of Trae's strongest works to date. His biggest hit to date featured the late Screwed Up Click members Hawk and his brother Fat Pat ' both of whom died at the hands of a gunman. Swang is a heartfelt tribute to everything that made H-Town what it is, and Trae continues on with that vibe on Life Goes On. It's only right for me to bring my culture and my team. Trae will always ride for his people. 'Swang,' that was a term Screwed Up Click used period. That's just our shit. Pat and Hawk were legends man and with me around they ain't never gonna fade away. And then Screw, I ain't gonna let that shit fade away. I brought that shit back because I felt my first impact needed to be what I represent and who the fuck they need to be respecting right now because this man paved the way for everybody. Life Goes On features more guest appearances than normal, but all of them are great ones. The first single, Screwed Up featuring Lil Wayne carries on in Trae's tradition of teaching the outside world about his scities culture while keep the name od DJ Screw alive. 2 Pac pops up on the hard hitting Against All Odds. Smile is a deep jam that features Jadakiss. Ghetto Queen is a mellow, mid-tempo banger that features Lloyd and Rich Boy. But it's the beautiful, sweeping tribute to his fallen mentor Hawk, Give My Last Breath that will make sure this disc stays locked in your deck. Trae is not your average artist, and this is not your average record. Yeah I'm away from the pack. Trae states in closing. I'm the truth. Everything I say is true. You're gonna see a lot of real shit coming from me. I ain't here to be friendly with nobody. I ain't here really to kick up no dust. It just is what it is, the truth. I'm bringing to the game the realness, no fabricated shit. No ridin' nobody's dick cuz they hot. I did my own thing. I made my own way.
event::tags All Ages
10:10 PM
to 11:10 PM
YelaWolf
156 schedule::attendees
Location
Austin Music Hall
10:50 PM
to 11:50 PM
Fishbone
90 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists Fishbone
event::about Celebrating 25 groundbreaking years, FISHBONE has been trailblazing their way through the history of American Ska, Rock Fusion and (so-called) Black Rock since starting their professional career in Los Angeles' burgeoning, Alternative Rock music scene of the mid-1980s. Their sound has often been imitated, but never duplicated. They have toured worldwide with such bands as the Beastie Boys, Red Hot Chili Peppers, The Roots, Les Claypool/Primus, Fela Kuti, The Dead Kennedys and many more. Angelo Moore's ability to combine thought-provoking, humorous social commentary with Fishbone brethren's frenzied, up-tempo music and frantic, euphorically entertaining stage show has cultivated their undisputed reputation as one of the best live acts in music history. Now in their 25th year of composing, creating, recording, releasing and performing original music together, mass critical appeal appears to be returning to the band fueled by their critically acclaimed full-length feature documentary; Everyday Sunshine: The Story of Fishbone. Narrated by Laurence Fishburne, Everyday Sunshine earned LA Weekly's Critic's Choice Award at the Los Angeles Film Festival, has been called 'effortlessly Entertaining' (Variety), 'Brilliant and Groundbreaking' (Pop Matters), and hailed as 'more than a documentary about rock 'n' roll. It's a documentary about the American spirit and one that shows the life of one of its most influential creative forces.' (Encore Magazine) Featuring celebrity testimonial from an A-list cast of rock icons such as Flea (Red Hot Chili Peppers), who calls the band 'an important musical institution', and 'the band that gave us the inspiration to be a band' by Gwen Stefani (No Doubt). The film also includes similar admiration from the likes of Perry Farrell (Jane's Addition), Jerry Cantrell (Alice In Chains) Rob Trujillo (Metallica), Questlove (The Roots), Chuck D (Public Enemy), Tim Robbins (Grammy Winning Actor), and many more. The film not only highlights the bands substantial legacy in contemporary music of all forms, but also the struggles, adversity, and inner turmoil that has surrounded the bands career. In 2011, Everyday Sunshine will premiere its theatrical and DVD releases, and also has broadcast release interest from Vh1, Showtime, and PBS to name a few, and has also opened up the possibility of, and widely rumored and sought after reunion performance with all original members of this legendary band. To date, the band still continues to tour all over the world, still turning heads at some of the worlds most noteworthy festivals such as Fuji Rock Festival, Tokyo, Japan (2010), Wakarusa, Ozark, AK (2010), and Sunset Junction, Los Angeles, CA (2010). The band is currently on a national U.S. tour with Slightly Stoopid & Dumpstaphunk, with confirmed dates scheduled at SXSW w/ Wu-Tang Clan, and Mobb Deep, an Australian tour featuring performances with Trombone Shorty & George Clinton, highlighted by a performance at Byron Bay Blues Festival. The band will also return to Europe and Japan in 2011, and is slated to release a brand new EP.
event::tags All Ages
11:45 PM
to 12:45 AM
Wu Tang Clan
422 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists Wu Tang Clan
event::about The Wu-Tang Clan is a New York City-based hip-hop group, which consists of: RZA, GZA, Method Man, Raekwon, Ghostface Killah, Inspectah Deck, U-God, Masta Killa, Cappadonna, and the late Ol' Dirty Bastard. They were formed in (and are generally associated with) the New York City borough of Staten Island (referred to by members as "Shaolin"), though some of its members originate from Brooklyn. One of the most critically and commercially successful hip hop groups of all time, Wu-Tang Clan rose to fame with their uncompromising brand of hardcore hip hop music, and their success enabled all of its members to pursue solo careers, with varying degrees of success. They have introduced and launched the careers of numerous other affiliated artists and groups with over 60 million records sold worldwide; In 2007, MTV ranked Wu-Tang the 5th greatest Hip-hop group of all time.
event::tags All Ages
1:00 AM
to 2:00 AM
Lo Down Loretta Brown aka Erykah Badu
58 schedule::attendees
Location
Austin Music Hall
eventtype Music
event::about DJ Lo Down Loretta Brown aka Erykah Badu Best known for her eclectic style and cerebral music, DJ Lo Down Loretta Brown is equipped with a distinct collection of music and taste delivering a variety of party-inducing sets. Unhindered in her record selection from the newest and oldest hip-hop, classic soul, 80s, rare grooves and a concoction of everything in between, Ms. Badu commands people to the dance floor to get loose and get down. When DJ Lo Down Loretta Brown gets behind the decks, people dance until the lights come on- and even then, they don't want to go home. Erykah Badu. Universal Motown artist Erykah Badu, best known for her eccentric style and cerebral music, is a Grammy- award winning American soul singer and songwriter. Regarded as the Queen of Neo Soul, Badu's sound -- a concoction of soul, hip-hop and jazz -- cannot be contained to a single genre. Self-described as a 'mother first', Badu is a touring artist, dj, teacher, community activist, holistic healer, vegan, recycler, and conscious spirit. Baduizm, Badu's highly acclaimed debut album, was released in early 1997 went triple platinum and, along with "On & On," won Grammy Awards at the 1998 ceremony. This spring, Badu released her fifth studio album, and second installment of a two-part New Amerykah series. New Amerykah, Part 1: Fourth World War, a concept album that was digitally produced and political in tone, debuted at No. 2 on the Billboard 200 chart and Rolling Stone named it one of the year's best albums. New Amerykah, Part II: Return of the Ahnk, which features lush live instrumentation and taps into Badu's emotional side by thematically focusing on romance and relationships, made its debut at No. 5 on the Billboard 200 chart. For more information, please visit www.erykahbadu.com
event::tags All Ages
8:00 PM
to 9:00 PM
Sinai
2 schedule::attendees
Location
Austin Music Hall
8:40 PM
to 9:40 PM
10 Years
12 schedule::attendees
Location
Austin Music Hall
9:30 PM
to 10:30 PM
Rev Theory
7 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists Rev Theory
event::about Justice is more than a principle to hard rock legends-in-the-making Rev Theory. It's the sound of amplified thunder and the energy of the stage, harnessed in the studio and captured on a stunning new album that's plugged straight into the soul of America. Justice is also the title of that album, a galvanizing breakthrough that unites the group with producer Terry Date (Pantera, Deftones, Slipknot, Soundgarden, etc.) and makes Rev Theory the new standard bearer for rock that blends heaviness with heart. 'Justice means so much to us,' explains guitarist Julien Jorgensen. 'It's not just an album title. It's a call to action.' 'A lot of people are disillusioned. They've lost their jobs and their homes. They've lost faith in their leaders. We all need something to inspire us, something to make us believe again. We hope songs like 'Justice' and 'Guilty by Design' can rally people and maybe get them to believe, whether it's in themselves, in humanity or in rock 'n' roll.' Rev Theory's rallying call explodes through the title track as singer Rich Luzzi belts 'I want justice/I want you overthrown/I want courage/I wanna stand alone.' He summons a blend of indignation and pride over a pyrotechnic sea of churning guitars and pure bass/drums overdrive, offset by the fireworks of lead guitarist Rikki Lixx's edgy solo, which whistles out of the mix like a rocket. Songs like 'Hangman,' 'The Fire' and 'Loaded Gun' are destined to inspire with their strong messages about righteous retribution, identity and salvation. But what truly sets Justice apart in Rev Theory's discography - and on today's stages - is the transcendent might of their new music. 'Fire' brims with drama as a majestic spray of guitars creates a dark rainbow of sound that dissolves for Luzzi's soaring vocal arc, and then returns for the song's epic climax. And 'Hangman' is all gristle and bone, shoved along by a locomotive riff and Dave Agoglia's spike-driving snare drum. 'With Justice, we've been able to take it all - our playing, our songwriting, our focus and our sound - to a new level,' Jorgensen explains. 'We've gotten there through years of hard work, sweating it out on stage after stage, getting tighter, heavier, and stronger show by show. 'We are exactly like our fans, which chase their dreams by working hard and putting everything they have into everything they do. We have blue collar fans and we are a 100-percent blue-collar band.' For proof, check Rev Theory's eight-year history. They have toured relentlessly since Julien, Rich, Dave and bassist Matt McCloskey formed the group on Long Island in 2002. Between 2005's Truth is Currency and their initial breakthrough 2008's Light It Up - whose title track became the theme for WrestleMania XXIV and launched Rev Theory's high-profile musical relationship with World Wrestling Entertainment- the band spent hundreds of thousands of miles in a van to play roughly 250 dates each year. That trek included opening slots on tours with many of the artist's they respect, which included Avenged Sevenfold, Mötley Crüe, and others. 'What we learned from being close to all those great bands was that we needed to define our identity, to pinpoint the qualities that truly make us Rev Theory,' Julien explains. That meant drawing on their deepest roots, as both musicians and men. 'We had to be honest about the music that inspires us, from punk rock to classic metal, and grunge to pop,' he continues. 'Then we needed to discover what we were really passionate about as people, and that's honor, truth, love and respect. Those are the qualities that define each and every one of us.' Next, Rev Theory notched things up. 'We pushed ourselves harder, to really perfect our playing and our sound,' Jorgensen says. 'We opened up our melodies. Matt played a big role in that by singing more harmonies and counter-melodies with Rich, as well Matt sings leads on 'Hollow Man' which created more variety in our sound. As far as the guitars, Rikki really stepped up to the plate as a monster player. 'Everything is more of a group effort now, with contributions from all sides things really blossomed.' Working with Date completed Rev Theory's transition to the next level. 'Terry took all the elements we'd improved on and made them sound great,' Jorgensen attests. 'Our intent was to harness the energy of our live show for the album, and Terry was able to deliver it. We couldn't be more proud of this body of work.' In a sense, Jorgensen believes that Justice brings a dose of exactly that to Rev Theory. 'Everyone walking this Earth has encountered an injustice,' he explains. 'As much as we love what we're doing - and Rev Theory means everything to us - we've worked hard to find ourselves, to overcome all the challenges of the business, and the demons of life on the road. Part of the concept of justice is to be able to get what's yours. As a band we have rallied around the belief that with this album our time has come and we are going to grab it.'
event::tags All Ages
10:20 PM
to 11:20 PM
Duff McKagan's Loaded
34 schedule::attendees
Location
Austin Music Hall
11:45 PM
to 12:45 AM
Filter
55 schedule::attendees
Location
Austin Music Hall
12:30 AM
to 1:30 AM
Puddle of Mudd
30 schedule::attendees
Location
Austin Music Hall
7:15 PM
to 8:15 PM
Sahara Smith
34 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists Sahara Smith
event::about SAHARA SMITH – MYTH OF THE HEART Sahara Smith is a natural. Or as the Austin Chronicle observes, “She's the real deal all right.” Don’t take our word for it. Listen to her debut album on Playing in Traffic Records, Myth of the Heart, and you’re bound to agree with the Dallas Morning News that “Smith is a revelation.” The disc is hailed as “a gorgeous album for all lovers of carefully chosen words, rich imagery and ethereal vocals” by Texas Music magazine and “a richly impressive, intensely soulful debut album,” by the Los Angeles Times. All that and more is to be savored on Myth of the Heart. It bows with the alluring “Thousand Secrets,” which opens a window on the vulnerable places we all have, as Smith writes, “For every broken branch there is a mile of fallen leaves/But no one knows the river flows a thousand miles deep.” Propulsive churning tracks like “Are You Lonely,” “The Real Thing” and “All I Need” make feelings of longing and desire palpable, while the up-tempo title song sings about resisting the urge to love. Meditative yet kinetic auras grace Smith’s reflections on being lost within love (“Tin Man Town”), empathy (“Angel”), mortality (“The World’s On Fire”) and life’s travails (the closing cut “Twilight Red,” which Smith wrote at age 13). And such songs as “Train Man,” “Midnight Plane” and “Mermaid” embody the notion of poetry in motion with their evocative images of travel and places near and far. The album was cut in primarily live sessions in Los Angeles, produced by Emile Kelman, known for his longtime work with T-Bone Burnett, who shepherded the recordings. The players include such regular Burnett associates as drummer Jay Bellerose, bassist Dennis Crouch and guitarist Marc Ribot, whose musicality bring both a deeply-rooted feel and contemporary imagination to the album. As the Los Angeles Times describes the disc, it’s lush with “Cinemascope-like wide-screen portraits of romantic passion, loneliness and unrequited love.” “Sahara is the best young artist I have heard in many years,” notes Burnett. And what seems at first blush like preternatural musical and lyrical maturity is as much the organic result of being all but weaned on fine artistry. Add to that the ineffable quality of magic. “To ascribe [an] old-soul narrative would do a bit of a disservice to Smith, whose ethereal voice and sound comes less from a place of experience beyond her years and more, seemingly, from some other universe entirely,” posits the Austin American-Statesman. Born in Austin, Texas and raised in the nearby Hill Country town of Wimberley, Smith is the daughter of a playwright mother and a father who’s a jeweler by profession as well as a sculptor and painter. In her infancy the music of classical composers like Beethoven, Mozart and Rachmaninoff played in the home, and “my dad was singing me really strange lullabies like ‘Long Black Veil’ and ‘Lily of the West’ and ‘El Paso,’” Smith recalls. Celtic music and fellow Texas born and raised singer/songwriter Nanci Griffith were also among the musical fare she heard in her formative years. An avid reader from an early age, Smith wrote her first poem at age three. While in second grade one of her works was published in the Anthology of Poetry for Young Americans. On her eighth birthday her father got her a guitar and showed her some chords, and she was soon composing songs. At 10 years old her uncle gave Sahara a collection of Shakespeare comedies “and we would act out the parts together,” she recalls. Not long after her mother played her Simon & Garfunkel’s The Concert in Central Park while they were riding in the car, and Smith experienced an epiphany that centered the music she was creating in a realm that felt right. “I wrote pop songs before that, but that triggered me writing sort of folk songs,” Smith explains. “I’m more rooted in the folk tradition than anything else.” Then a greatest hits collection of Leonard Cohen’s early recordings “just changed everything I thought about songwriting,” recalls Smith. “It was pure poetry but it was also accessible, relatable and structured. It made me realize that you don’t have to simplify the way you express your emotions as long as it’s recognizable that there are universal elements of truth to them. I try to utilize that in my songwriting and think about what emotion a certain image will conjure and create the feeling of the song through imagery.” Her music also became informed by Tom Waits, Bob Dylan and Joni Mitchell, classic country artists like Hank Williams and Johnny Cash, and seminal Texas singer- songwriters like Townes Van Zandt and Guy Clark. Plus contemporary acts such as Radiohead, Wilco, The Shins and Tegan and Sara. “I think what I do takes all those influences into consideration,” notes Smith. In her early teens Smith started playing open mike nights at local coffeehouses and a restaurant, and quickly landed two regular weekly gigs. When she was 14, her father urged her to send a tape of her songs to “A Prairie Home Companion” for a “Talent from Twelve to Twenty” contest spotlighting young musicians. Smith was chosen to compete on the nationally aired radio show, which she confesses was “terrifying.” One thing that did still her nerves was the presence of its host. “I'd been listening to Garrison Keillor since I was really tiny,” she explains. “My parents would put on his monologues as a way to make me go to sleep. That's how soothing his voice and personality were. “I was really positive after the first round I wasn’t going to be called out again, so I put my guitar away,” recalls Smith. “When they called me back out for the second round I had to retune my guitar as I walked out onstage.” She came in second in the competition. The “Prairie Home Companion” contest also won Smith her Austin-based managers: Rosalyn Rosen and Kevin Wommack. Rosen, a close friend of Smith’s mother, heard it and then played her appearance for Wommack. Duly impressed, they caught one of Smith’s hometown gigs and eventually signed on to manage her. By her late teens Smith was meeting with and being considered by a number of record labels. “We thought about who we would want to get to produce the album and just sort of unanimously agreed that T Bone Burnett would be the best,” says Smith. “So my manager just kind of on a whim sent him my MySpace page and he asked us if we could fly up to Los Angeles so he could meet us. So we went to L.A. and recorded a couple of demos at his studio. One of his engineers, Emile Kelman, was just beginning to branch out and do some production of his own, so Emile produced the project and T-Bone oversaw the project and we used a lot of the same people from the Robert Plant [and] Alison Krauss Raising Sand album. I think it just wound up being really magical.” Music critics obviously agree. “A hybrid of folk, Americana, country and bluegrass, Myth of the Heart makes good on Smith's promise,” says the Austin American-Statesman. “Melodic and often heartbreaking, it's an assured debut, an elaborately painted canvas anchored by Smith's poetic songwriting and otherworldly voice.” The Los Angeles Times notes how from the very first song, Myth of the Heart “quickly places this 21-year-old in the Emmylou Harris-Alison Krauss camp of country-rock singers of exquisite tastefulness.” In addition to the complimentary musical comparisons, Smith’s lyrics have been likened as well by the media to such iconic poets as T.S. Eliot and Emily Dickinson. Blessed with a becoming modesty, Smith says of her songs, “What I’m trying to do is create music that anybody can listen to. And even if they don’t interpret it that same way that I do, they still interpret it in a way that’s meaningful to them.” As the Dallas Morning News insists of Myth of the Heart, “Pay attention to this one.” For it’s the first winning and assured step in what is sure to be a long and satisfying musical journey to come.
event::tags All Ages
7:55 PM
to 8:55 PM
Wagoneers
8 schedule::attendees
Location
Austin Music Hall
8:30 PM
to 9:30 PM
The Bright Light Social Hour
96 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists The Bright Light Social Hour
event::about The Bright Light Social Hour is an American rock band from Austin, Texas. Born out of a university art-rock collective, The Bright Light Social Hour has evolved into an unabashedly wide-screen rock group, melding fists-up rock and roll with muscular funk, soul, and psychedelia. Named 'Best Indie Band' at the 2010 Austin Music Awards, the Central Texas-raised young men of The Bright Light Social Hour have built their growing reputation through several EPs and exhilarating widely-acclaimed live shows, including the 2009 Austin City Limits Festival. In culmination of their long, studied development, the band is releasing their debut full-length album, simply titled "The Bright Light Social Hour." Recorded in five studios around Austin during summer 2010, the album is founded on sun-drenched optimism, raucous youth, and an innovative brew of American music of varying types - classic rock, contemporary indie, rhythm and blues, dance, and soul. Producer Danny Reisch of Good Danny's utilized the best elements of vintage and modern recording to achieve a sound both forward-looking and evocative of 1970s hi-fi. The first track, "Shanty," pairs southern rock with hard disco, featuring the searing slide licks of guitarist Curtis Roush. Following the lean, exuberant stomp of "Bare Hands Bare Feet," the band settles into the dark psychedelic-funk of "La Piedra De La Iguana," led by keyboardist A.J. Vincent's dusky vocal and Farfisa organ work. Throughout the middle of the record, the solemn rhythm and blues of "Detroit" is juxtaposed with "Back And Forth," a four-on-the-floor disco-funk romp. On "Garden Of The Gods," the album's penultimate 10-minute epic, the band evolves from stately ballroom Americana to an expansive, ensemble anthem, conjuring up their limber and unrelenting live sets. The fiery "Rhubarb Jam" closes out the record, featuring the agile, booming funk of bassist Jack O'Brien and drummer Joseph Mirasole. The Bright Light Social Hour will be touring nationwide in support of their debut album throughout 2011. Replete with their vital sound, deep brotherhood, and ever-growing facial hair, the band is steadfast in their singular aim - enduring rock and roll.
event::tags All Ages
9:10 PM
to 10:10 PM
The Bubble Puppy
27 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists Bubble Puppy
event::about The group was formed in 1966 in San Antonio, Texas by Rod Prince and Roy Cox. The name "Bubble Puppy" was taken from "Centrifugal Bumble-Puppy", a fictitious children's game in Aldous Huxley's Brave New World. The final roster for Bubble Puppy settled at Rod Prince and Todd Potter on lead guitars, Roy Cox on bass guitar, and David "Fuzzy" Fore on drums. In 1967, Bubble Puppy moved to Houston, Texas and signed a recording contract with Houston-based International Artists. Bubble Puppy scored a Top-20 U.S. hit in 1969 with their single, "Hot Smoke & Sassafras". The single peaked at number 14 on the Billboard 100 and number 15 in Canada. In 1969, Bubble Puppy released their full-length album, A Gathering of Promises. Signing Nick St. Nicholas of Steppenwolf as a manager, Bubble Puppy moved to Los Angeles. Their name was changed to Demian (after Herman Hesse's 1919 novel, at the suggestion of their manager's wife). The group signed to ABC-Dunhill Records and released one self-titled album in 1971. The members of Bubble Puppy continued to be active in the music industry. * Rod Prince - Lead Guitar / Vocals * Roy Cox - Bass Guitar / Vocals * Todd Potter - Lead Guitar / Vocals * David Fore - Drummer / Vocals
event::tags All Ages
9:50 PM
to 10:50 PM
Meat Puppets with Roky Erickson
204 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists Meat Puppets with Roky Erickson
event::about It doesn't take long after listening to the Meat Puppets' thirteenth studio album overall, Lollipop, to realize that they have boiled the essence of what the group is all about right down to its core. As a result, singer/guitarist Curt Kirkwood, bassist Cris Kirkwood, and drummer Shandon Sahm have an instant Meat Puppets classic on their hands, and an album that fits in perfectly with such mid '80s classics as Up on the Sun and the underrated Mirage (while not coming off as an attempt to recreate a certain musical era of the group). Interestingly however, the Meat Puppets did not achieve this by working out the songs' arrangements beforehand, or even extensively rehearsing together. "This one here was an experiment in just viewing the parts as Tinkertoys, and seeing the little Tinkertoy circus that needed to be built, and putting it together simply like that," explains Curt. "With just the band in the studio and the engineer, we didn't learn the songs - we just went in the studio, and went, 'OK, here's your part. Now play this good.' So we cut the stuff on acoustic guitar and drums first, and then built it. It's an interesting concept of a way to do something. It seems like it might be a stiff way to do something, by just putting it together a piece at a time like that. But I really enjoyed it. I think the overall sound of the way it came out is kind of a contradiction of the way it was recorded. To me, that's the coolest thing - to put something together like that, so you have the sum of the parts, and then the whole. The whole thing about the whole being greater than the sum of the parts. To force yourself to do it that way. We were able to keep track of the music." Produced once more by Curt, Lollipop signals the re-entry of former Puppets drummer Sahm back into the band (who previously played on the 2000 Puppets release, Golden Lies, and supporting tour). Sahm elaborates: "In October [2009], Curt called. I said, 'Aren't you supposed to be out on tour with the Stone Temple Pilots? What's up?' He said, 'Do you want to fill in and do these dates?' We only had one day to practice. That was the icebreaker. The first show was in Mobile, Alabama at BayFest. It was probably 5,000 to 10,000 people. Right afterwards, Robert and Dean DeLeo came up and said, 'You're really great in the band. You really drive the band cool. You should be in there.' And I was like, 'Well, I'm filling in for right now. It would be cool...talk to 'the boss'.' Robert goes, 'I'll talk to him.' Recorded at Spoon’s HiFi Studio’s in Austin, Lollipop is chock full of tunes that run the stylistic gamut. Case in point, the opening keyboard-laced "Incomplete" (that Curt wrote back in 1983, and envisioned as "something that I thought would be good for Elvis or Engelbert Humperdinck in the '60s") and the rocking "Hour of the Idiot," to the sunny ska of "Shave It," and such acoustic country ditties as "Baby Don't" and "The Spider and the Spaceship." And Cris certainly approves of the finished product. "The continuity that runs through Curt's work is just a trip, and how you can reference different parts. I think it's a fairly bitching effort, considering the amount of time we put into pre-work. I think it's indicative of where the band's at right now. It's a fairly fluid moment, and that's a trip, considering how long we've been at it and the band's history. Curt's been at it non-stop, and I'm pleased to be able to provide him with a stable outlet for his art." And according to Curt, the band got back to trusting their instincts once more - a major catalyst in their earlier work. "The similarity between the '80s and now is that once we started getting a lot of attention in the '90s, we brought producers in and stuff, and there was a thing that started happening - and it might sound egotistical - but this band always ran off of my intuitions. As much as songwriting or anything else. I write intuitively, and I never wanted to be a songwriter - I just got into it when I had the band. I just wanted to be in a band. So it's all been this intuition of 'This is what we need to do.' This was kind of taken away from us in the '90s, as money came in and people said, 'You need to do this.' It clouded the whole easygoing...like, 'Well, what does Curt think?' You could say it was the money or it was the thrust of popularity stuff or the Nirvana thing. But it just was like the band as a whole quit trusting that, I think. We just became more compliant, and like they say, 'Cooperation leads to corruption.' So in this way, I think the album harkens back to that." To support Lollipop, the Meat Puppets are planning on touring steadily, including the group's first substantial European tour in nearly two decades. Curt - "We took a good amount of time off in this last year and didn't do any real big tours, so we could get this record done and just cool our heels a little bit. Now, we're ready to get going again." Cris adds, "We're getting back to a place where...he and I have a bitching wavelength that we were able to get to. He so doesn't need my support in a way, but I think he appreciates it in a way, and I know I love our relationship and the music we make together." As they say, the proof is in the pudding, and Lollipop is one tasty listening experience from beginning to end.
event::tags All Ages
10:30 PM
to 11:30 PM
Mother Falcon
32 schedule::attendees
Location
Austin Music Hall
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