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SXSW Day 3: Third Time's A Charm
from: billboard.blogs.com
by Jonathan Cohen (with reporting by Gary Graff)
This J.I.'s Friday in Austin got off to a slow start, with some sleep and business obligations delaying our first taste of music until an afternoon set by the Ponys at Emo's; good garage rock with Tom Verlaine-ish singing. We also enjoyed a few songs from Marnie Stern, who sounded like a one-woman Don Caballero with bad-ass guitar licks and drum machine accompaniment.
JOAN JETT came to this year's SXSW as a label executive rather than a performer, but that couldn't keep the woman who loves rock'n'roll off stage. Jett hosted a showcase at Emo's for the three bands on her BLACKHEART RECORDS label -- San Antonio's Girl In A Coma, the Dollyrots from Los Angeles and the Vacancies from Cleveland. Jett herself introduced each act, then came on stage at the end of the Vacancies' set to perform "Bad Reputation" and "Change the World," a song from her latest album, 2006's "SINNER," that was co-written with Vacancies frontman Billy Crooked. The other musicians then came on stage for renditions of Gary Glitter's "Do You Wanna Touch Me (Oh Yeah)" and "I Love Rock and Roll."
Danish band Mew was impressive over at Stubbs BBQ, blending the layered guitar work of the Cure and My Bloody Valentine into easily digestible songs. Indiana eight-piece Margot & the Nuclear So and So's played a couple of new tunes at the Jane magazine party at Fox & Hound, as at least one major-label A&R rep looked on (the group recently parted ways with Artemis). Other highlights: the orchestral rock of "Skeleton Key" and "Quiet As a Mouse."
Reliable Ohio instrumental rock group Six Parts Seven endured an unfortunate billing at Maggie Mae's that found its pastoral, heart-wrenching compositions obscured by a super loud band playing in the upstairs space. "Stolen Moments" and "Falling Over Evening" still rang out loud and clear; the group pleaded with the crowd to return for an upcoming show in Austin "when you can actually hear what we're playing."
Billboard held its SXSW showcase down the road at Bourbon Rocks, and young trumpeter Christian Scott set the mood via energetic jazz with a rock edge (the guitarist reminded us at times of Tortoise's Jeff Parker). Super Furry Animals frontman Gruff Rhys was next, offering up an everything-but-the-kitchen sink set of ramshackle pop songs that delighted the packed house.
Joined on some songs by vocalist Lisa-Jen, Wales native Rhys often conjured drum machine beats or miked a metronome to get the rhythm moving. "The Court of King Arthur," "Candylion" and a song Rhys said would translate in English as "Driving, Driving, Driving." He also expressed his amusement at the large number of big-screen TVs playing NCAA tournament games in the venue, noting, "If you need to know any scores, just ask me." The set ended with Rhys beat-boxing and looping his voice, adding toy horn toots atop the jaunty sounds. As a finale, he and Lisa-Jen gamely swallowed a pair of test-tube shots, a trademark offering at Austin bars.
Canadian singer/songwriter Ron Sexsmith mellowed out the room with soulful tracks rooted in the crooner-y side of Elvis Costello and the tasteful pop of Squeeze. Sexsmith's voice can be an acquired taste, but the music always goes down easy, especially songs like "All in Good Time" and "Dragonfly on Bay Street." Closer "Gold in Them Hills" exemplified Sexsmith's knack with melody; it's no wonder Coldplay's Chris Martin is a fan and contributed vocals to the track's studio version.
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