Last month marked my third time attending SXSW, the free-for-all music conference festival with a strong indie rock base.
SXSW Global Vibe in 2005
I had attended several years ago to see what the fuss was about and to see whether the gap between global music and the hipster/indie scenes was closing. That year it was clear that the showcasing line-up was very international in scope; though many of the "non-Western" bands were simply rock or pop in another language or indistinguishable from Western indie rock bands other than their passports. That was also the year that PRI's The World launched the "All Music is World Music" Showcase, in an effort to further shine a light on global music for a crossover audience. I found "world music" participation at SXSW 2005 to be very dispersed and a tad light (though there was quite a presence of Latin rock and some Latin Alternative and roots; though a lot of that was local acts, not nationally touring ones). So I gave the conference a break for a few years.
Fast Forward to SXSW 2010
I went back again last year (2010) and had a similar feeling; that it was really tough to navigate through the thick of it all to find the global music that still maintained some tie to cultural roots (not that I was or ever only seek out "purely traditional" music; just that if it is indistinguishable from Western pop, it's not that relevant to our company rock paper scissors). But it felt like something was bubbling under the surface. There were more bands that could easily play at a "world music festival," including the thread of indie rock, hip hop, and electronic acts that did maintain connections to cultural roots. Though I had discovered Balkan Beat Box years before, their packed, curfew-busting closing showcase at Beauty Bar was great evidence that the core SXSW audience had warmed up to world-inflected melodic structure, beats, and a mohawked Israeli raggamuffin strutting and chanting over Central European horns and North African beats. Further evidence was The Fader Fort, where Chico Mann and The Very Best played a stage surrounded by an open bar, a Levi's shanty village, a chainsaw artist, and a packed crowd of dancing hipsters in an old railroad yard; hipsters who had waited on at least two hour-plus long lines after RSVPing days in advance. Something was afoot. Was the global musical preence going to grow at SXSW?
Bi-Polar Music: South By-Sexuals Emerge as Global Gets Even Bigger at SXSW 2011
So I went back this year, this time armed with a groundswell-supported anti-panel titled "Breaking Out of the World Music Ghetto" as a meeting point for globalistas. Sure enough: global roots and shoots came up in bigger numbers at SXSW 2011. The bi-polar convergence of traditional music from near and afar (glocal?), and the globalization of indie rock continues to manifest; bringing to mind a new category of SXSW festival attendees: South By-sexuals; people with one foot in tradition and one foot in emerging sounds. While it was still tough to navigate the seemingly-infinite showcase venues, parties, and line-ups, there were more and better-publicized performances of globally-rooted (and shooted) artists; the types of artists you might find at WOMEX or Lotus Festival or globalFEST, but also some edgier ones that would be less likely at those festivals, especially Latin Alternative ones. There were showcases put on by PRI's The World, WOMEX, and National Geographic as well as specific Brazilian and Colombian nights. The Fader Fort included Khaira Arby and Spoek Mathambo (globalizing their indie rock, hip hop, DJ core, as usual). NPR's showcase included Khaira Arby and TuneYards (as well as circular-breathing, wailing sax player Colin Stetson; and by the way, NPR's showcase had a line one block long, evidence that NPR.org and All Songs Considered is not your mama's NPR and is reaching another generation). ONErpm held a Latin alternative showcase and Nomadic Wax sponsored an international hip hop showcase. Paste's party included Mexican-influenced retro-folk group David Wax Museum. Just to mention a few.
There still were few panels where you could find globalistas clustered together, though Ben Herson of Nomadic Wax and Ngozi Odita of Society HAE did a panel called "Music is the Weapon: Empowering Communities Through Music." And did I mention my anti-panel? ("Yes, you did.") So do not expect WOMEX- or APAP-style networking at SXSW, except at a few of the "world music"-specific showcases. If there are people you must meet there, schedule those meetings in advance. Having a couple of group meals planned in advance is a great way to make sure to get face time with colleagues, friends, etc. (Invite me!) And the food in Austin is very good. I spent less time running around trying to get in long lines to get the last serving of Tex-Mex food than seeking out some great restaurants (such as Carmelo's, Manny's, East Side Show Room, Z'Tejas, the Vietnamese place Judy brought me to, and that signless gourmet wood-fired pizzeria that Sebastien from M is for Montreal brought me to).
rock paper scissors Clients Showcasing at SXSW 2011
Khaira Arby. Actually the list of artists I saw at SXSW is a little shorter because I followed Khaira around who had several performances including NPR, The World, and National Geographic (hats off to Windish Agency for all that air time). Bands reading this: if you go to SXSW, try to pull a Khaira. All of her gigs were full and having so many shows allows presenters several opportunities to schedule you in. She kills it every time with a wicked band. And that guitarist! He's the Hendrix of Mali. And his interplay with Khaira is magical on stage.
Debo Band. I saw them once before at APAP and here they played The World's showcase. Debo is the next Antibalas, except this time with an Ethiopian vibe. Their lead singer Bruck Tesfaye has a beautiful voice and is a class act, dancing with the crowd, showing that men in tuxedo pants can have chilling vibrato. Band leader Danny's sax combined with the trombonist's riffs and solos were top notch. I found out why the violinist was so wicked: she's an American who moved to Ethiopia... for the music. So though she has to travel far for American gigs... she doesn't need a visa.
Cambodian Space Project. Their first gig at the Australian BBQ had rough sound bleed from next door; but they got a well-attended great set in at National Geographic, where they rounded out the band with members of a local TexMex band for a once in a lifetime musical meld. Those who know Dengue Fever will find a familiar sound, though this, while staying with a retro rock sound, leans toward a more organic sound. Lead singer Srey Thy performs beautifully as the group revives a '60s rock style at once Cambodian and appealing to western ears.
Tidal Waves. For their live show at Flamingo Cantina, Tidal Waves brought out a strong reggae show to a packed and enthusiastic audience. Tight band. Great melodies.
Other Artists I Saw Play at SXSW 2011
TuneYards. Whenever I kept refering to TuneYards people would then say "her" and "she" so I guess TuneYards is Merrill Garbus. I only could run into her show in a church for a few tunes, but she has a gorgeous voice building cool layers with some live digital loops and a percussionist on stage with her. I first heard her on my local community radio station WFHB, a rare case where I have to call the DJ wondering why I hadn't heard this mbira-toting singer already. Definitely one of the current indie-meets-world crossovers with a bunch of buzz likely to build. Album being released in the US by Beggars Group, the same entity that put out Vampire Weekend.
Chico Trujillo. I don't know anything about them. Timo said, "Go to it." "Cumbia from Chile? OK." I went to it. It was good. I danced and danced.
Colin Stetson. This was a random find. I showed up for Khaira at NPR and there was this blue backlight and some dude wailing like an old steam pump blowing into a big ass saxophone, smoke coming from his ears. He sang, played, and was doing circular breathing all at once. His fingers were frenetic. But they followed a pattern. It worked. It worked deep into the soul. One of those SXSW-sleep-deprived where-the-fuck-am-I moments where clarity arrives abruptly. Until the music stops.
Locos por Juana. I missed their show at The World, but caught them at the packed Prague. And I am glad I did because Prague was packed with people ready to dance. I remember horns and dread locks and guitars and percussion and it was good. A little Afrobeat thrown in there for good measure.
Janka Nabay. This is definitely one of my SXSW discoveries and is like nothing else I have ever seen. Janka, from Sierra Leone, says he plays Bubu music, which I see online is played on 20 bamboo wind pipes. But there was no bamboo in sight. This was a trippy locale, a backyard juke-joint looking place with a makeshift bar; very South By. Janka chants and sings in a rough sort of way; very engaging and effusive. He was wearing a soccer shirt and warm up pants and dances energetically and wildly. The band, which included Elliot from Nomo on sax, are not Africans. A wicked keys/organ player hitting all the right grooves. But the stand out player was the drummer, who was playing a kit of electric pads which had the sonic pallette of an old casio, but the rhythms were intricate and fast with an agogo style bell like sound. It kind of sounded like a crappy bootlegged street cassette come to life in a very compelling, danceable and musical way. People were digging it and so was I.
Shabazz Palaces. What? A hip hop band in Seattle on Sub Pop? With mbira and hand percussion? The emcee is "Butterfly" (Ishmael Butler) from Digable Planets? His partner in crime is the son of Dumisani Maraire, the Zimbabwean who brought the mbira and marimba to America's Pacific Northwest. Sound was rough for this showcase, but it leveled out and after a few songs, the groove kicked in... just in time for the showcase to end. But before that happened we got a snapshot of two-woman hip hop duo THEESatisfaction, who impressed. We'll be seeing more and hearing more of Shabazz. They may just be putting Seattle's emerging hip hop scene on a national map.
Herencia de Timbiqui. One of my SXSW musical highlights. Picture Toto La Momposina's band with a big fat horn section and a hot young marimba player on fire. This guy was off the radar (reminded me of the Afro-Colombian Keletigui Diabate, from Habib Koite's band). Vocals were shared by a couple of guys; no barefooted matron. Definitely worth checking out.
Taj Weekes. In a sea of reggae, St. Lucia's Taj Weekes stands out for his sweet high voice and tight sound. He and his band delivered a great set in a packed reggae-ready crowd.
Spoek Mathambo. I was pretty distracted with news from home of a two-year old son throwing up a dozen times in a day. But I vaguely remember a raw, upbeat rapper over an electronic bed of beats. It was at Fader Fort, so I drowned my woes with a free ice cream. And even that barely registered on my happy meter.
Francisca Valenzuela. Timo said, "Go to it." So I did. I saw possibly the best performer at all of SXSW. Just a woman and her keyboard singing her heart out to a light crowd. California born and Chilean raised. She was obviously a masterful stage performer. In spite of not having her usual full band and a small turnout, she performed as if it was her most important gig ever. She made tons of alluring eye contact with the audience, told charming stories, thumped out a bass drum beat stomping on the floor, and made those keys her army of sound. The songs were very poppy; too poppy for me. But I am glad I saw her. It was a rare feeling to be enjoying myself so much -- really taking pleasure in her amazing performance -- with music that didn't match my taste.
James Blake. I had never heard of him, but I found out that he was all the buzz. The stage was crowded with cameras. He's got a beautiful, sweet girlish voice. Plays keys very gently and cooly. He has a wicked at time minimalist drum pad player and a loopy guitarist. Reminds me of The Cure or The Smiths but a little more raw, more downtempo. I'd buy it. Another Fader Fort find.
Abigail Washburn. I'm already a fan of hers, since her Uncle Earl days and her Chinese bluegrass mash up. This was something different. More of an indie thing. I haven't warmed up to it... yet. Though I think it is cool she is stretching her sound.
David Wax Museum. I missed them at The World's showcase, but caught them at Paste's party. Something funny happened with the sound here. I am not sure the players could hear each other or maybe it was just too polyrhthmical for me (not possible?). They have a cool sound, great vocals, fun mix of Americana roots and Mexican and other Latin rhythms. They are big on the quijada de burro and zapateado. They know how to get the crowd going with great stage presence. They were very bold to play unplugged in the crowd, standing on the bar. I hear that's their thing. Fine with me. But I couldn't really hear them at that point.
Uproot Andy. I was hoofing back over to National Geographic to catch DJ Chief Boima's set... but we got there as he was winding up his mic. Sorry, Boima! His partner Uproot Andy had a killer global electronic set, though there was some nut in crazy pants hogging the dancefloor. Lots of material I had never heard and excellent segues.
Ximena Sariñana. I caught a tad of this. Playful singer-songwriter voice. A little too poppy for me, but friends around me were digging it.
Artists I Wish I Saw
Zuzuka Poderosa 
Los Rakas
Pedro Moraes
Awesome Tapes from Africa
Meklit Hadero
DePedro
Nickodemus
Chief Boima
Beats Antique
Rattletree Electric
...signing off, Dmitri Vietze, www.rockpaperscissors.biz
