Here’s a classic video from the Barfield archives. Let’s get funky now.

Levon, you will be missed.

• Simone Felice performs “Radio Song”
• Lisa Hannigan, “The Night They Drove Old Dixie Down”
• Drive-By Truckers with Megafaun, “The Weight”
• The Black Keys with John Fogerty, “The Weight”
• The Punch Brothers, Jesca Hoop, Aoife O’Donovan, “The Weight”
• Frank Turner, “The Night They Drove Old Dixie Down”
• Warren Haynes Band, “It Makes No Difference”/”The Weight”
• Bon Iver, “Ophelia”
• Megafaun, “I Shall Be Released”
• The Band of Heathens, “One More Song”
• Mavis Staples with Glen Hansard, “The Weight”
• Bruce Springsteen, “The Weight”

I was going out with an actress, that was my first mistake. She was going out with a musician, that was her first mistake. Antonio Lulic

It’s a real treat for us to have this guy here with us tonight. Alejandro Escovedo
We’ll see about that. Tommy Stinson

There is no greater performance than James Brown burning ass on the Rolling Stones at the TAMI show. I’m sorry, sorry my friends. And I fuckin’ love the Stones, but James Brown, boys and men. You were screwed. ‘I think I’ll go on after James Brown.’ ‘Oh yeah, can you put me in the schedule somewhere after James Brown.’ Fuck no! Get out, go home, save it, don’t waste it, man.
Bruce Springsteen

“Hello, my name is Bruce Springsteen.” Name badge worn by Frank Turner

Ok, if we play it will you shut the fuck up? Motion City Soundtrack, annoyed with a drunken fan adamant about his request.

‘Just try my best?’ Is that my mother back there? Bahamas

Every single person on the airplane yesterday was a folk singer. It made me feel not very special. Glen Hansard

It took me 20 years to figure out that I was in liquor sales, but I’ve taken to it. James McMurtry, on a career playing music in bars

I’ve been drinking since, well, the last 12 years have been kinda rough. Ben Nichols

Have I missed last call? Ben Nichols, a few minutes later

It’s SXSW. You’re supposed to start drinking when you wake up. Frank Turner

I went to SXSW and all I got was drunk. T-shirt

Doctor, my IV bottle has run out again. James McMurtry requesting another drink.

You’re over 21, right? Bartender, handing me a beer

It is early in the morning for me. Ben Nichols, halfway through a 1:40pm set.

I always play this too loud. Bob Mould before ripping into “Change Your Mind.” He wasn’t kidding.

Just hold off one more second. Glen Hansard, finishing a solo acoustic set as an electric band kicked in next door

We’re gonna sing it loud so that they can hear us in the Hooters parking lot. Tom Morello, signaling towards the Hooters situated up the road.

I know this looks like fun, but this is my job. Kindly do not fuck with me. T-shirt worn by a sound guy

I still do that, don’t you? Come on, you gotta check your moves! Bruce Springsteen, on playing guitar in front of a mirror

I swear I tuned this guitar before I left Canada. Bahamas, while tuning. Again.

Every year they ship the stage in from the UK, which is a mighty feat of engineering when you consider that you can get the same thing down the road in Austin. Antonio Lulic describing the stage in the venue temporarily known as the British Embassy.

How much time have I got? It’s a short set today. Fuck it. More songs. Frank Turner

Thank you very much Texas, or as I like to call you, ‘Old Mexico.’ Archie Powell

We’re playing 127 shows over the next 3 days. This is the first one and we’re off to a good start. We’ll be playing anywhere there is a pa. Bahamas

Listen up youngsters, this is how successful theft is accomplished. Bruce Springsteen, after showing how similar the riff from the Animals’ “Don’t Let Me Be Misunderstood” is to his own “Badlands”

I’m not a miserable wreck, so what do I write about? John Doe

“Loving me is like pissing in the wind.” Chorus of “Pissing in the Wind” by the Bluebonnets

“Yes I’m drunk but damn you’re ugly.” Lyric from “Red Dress” by James McMurtry

We’ve never tried this before but we’re gonna try surround sound. The Lumineers, spreading themselves throughout the church sanctuary in which they were playing

We were all ‘new Dylans.’ The old Dylan was only 30, I don’t even know why they even needed a new Dylan. Bruce Springsteen

Let that guy in, he’s my friend. (pause) I just met that guy on the street, he’s a good guy. Glen Hansard, upon seeing a guy stopped at the door by security.

If you’re from here, it’s damn good to see you again. If you’re not from here, it’s damn good to see you again. Jon Dee Graham

There are no happy accidents, only beautiful mistakes. Written on the bathroom wall at the legendary Continental Club

Click here for more Twangville coverage of SXSW.

Audio Download: Antonio Lulic, “Hey, It’s Okay”

Glen Hansard
The skills that Hansard honed while busking the streets of Dublin early in his career haven’t left him. Although claiming to be nervous standing on a stage by himself with a guitar, he performed with a confidence that demonstrated his musical and performing prowess. Hansard has a distinct way of connecting with his audience, one minute delivering a spine-tingling performance, the next minute showcasing his sharp wit with his between song banter. My only complaint? It’s been far too long since Hansard has shared new music with us! The good news is that he will be sharing a new release in June.

Barfield
The self-proclaimed Tyrant of Texas Funk lived up to the title with a raucous set that got the joint jumping. The unassuming Barfield owes as much to James Brown as he does to Bob Wills.

Audio Download: Barfield, “Ask My Baby”

Brendan Benson
Nashville by way of Detroit pop rocker Benson is about to unleash his fifth solo album. I caught Benson play a vibrant afternoon set with his band. His set included a few new tracks mixed in with the old, all boisterous power pop songs that burst with energy. I, for one, am looking forward to the new release.

The Dunwells
The stage where the Dunwells performed their official showcase could barely fit the band. Even more notable, the venue could hardly contain the youthful energy of the their music. The quintet from Leeds, England had a well-honed Americana sound made all the better by the group’s brilliant harmonies.

Audio Download: The Dunwells, “I Could Be a King”

Frank Turner
Turner is the embodiment of rock and roll, a rebellious spirit with an impeccable sense of melody. With just an acoustic guitar he captivates a room, passionately spitting out lyrics one minute then cracking jokes the next.

Gush
I only got a short glimpse of this quartet from Paris but it was enough to grab my attention. The boys are well-studied in the classics, from Neil Young to Queen to the Rolling Stones. They swapped instruments about as much as they traded vocals, making for a really fun set.

Audio Download: Gush, “Let’s Burn Again”

Click here for more Twangville coverage of SXSW.

Photo credits: 30 Days Out (Brendan Benson).

Audio Stream: Bahamas, “Caught Me Thinking”

The Lumineers
I caught two or three (it’s all a blur!) of the Lumineers Austin marathon. The first was an early-afternoon affair at a music club, the second was an evening showcase in a church sanctuary. Both were magnificent, showcasing the band’s intelligent songwriting and heart-felt playing. They engaged the crowd with their sing-along choruses, stepping into the crowd at the club and spreading around the church sanctuary to create what they deemed “surround sound.” Two venues, two equally incandescent performances.

Audio Download: The Lumineers, “Ho Hey”

Lydia Loveless
Fresh from her appearance at our Columbia showcase, Loveless and crew tore through Austin with their firebrand mix of country and rock-and-roll. I saw one critic complain about performers playing covers during their official SXSW showcases, which made Loveless’ opening cover of Fleetwood Mac’s “You Can Go Your Own Way” even ballsier.

Audio Download: Lydia Loveless, “Can’t Change Me”

Tom Morello
One might suspect that the former Rage Against the Machine guitarist, having spent time touring stadiums and arenas, would be a seasoned live performer. Seeing him do his solo thing as “The Nightwatchman” merely confirms the fact. Backed by a ferocious three-piece band, Morello unleashed a firestorm from his acoustic guitar. I caught Morello twice and each set was filled with songs of protest and rebellion, every one packing a lyrical punch yet catchy as hell. Morello typically invites the crowd onto the stage for his closing number and Austin was no exception. Far be it for me to refuse the invitation and here is my picture to prove it.

Audio Download: Tom Morello, “It Begins Tonight”

James McMurtry
The first show that I saw in Austin was James McMurtry playing to a small crowd at the Continental Gallery. I can’t imagine a better way to start the Austin experience than seeing one of the town’s talented sons play an intimate solo acoustic set. It would be easy to say that McMurtry is a favorite because of his dry and biting wit, but that just doesn’t do him justice. His songs are filled with rich story-telling and vibrant detail, often overshadowing his guitar-playing prowess. “Levelland,” a personal favorite, was played much slower in tempo, giving the song a much more somber feel.

The Biters
There are times when you want to get lost in an unbridled guitar attack. When those times arrive, seek out the Biters. The Atlanta quartet will wallop you with their guitars while simultaneously pumping you up with sugary melodies. It’s addicting!

Audio Download: The Biters, “Born To Cry”

Bob Mould
A few days before SXSW Mould announced that he had signed to Merge Records and would be releasing a new album this fall. To get everyone primed – or perhaps just to celebrate the occasion – Mould dusted off Sugar’s Copper Blue and played the album from start to finish, with a few extras thrown in for good measure. Mould, backed by bandmates Jon Wurster (Superchunk, the Mountain Goats) and Jason Narducy (Telekinesis, Robert Pollard band), cranked up his guitar and played with an intensity that left no prisoners.

Audio Stream: Sugar, “Helpless”

Click here for more Twangville coverage of SXSW.

Photo credits: John McNicholas (Tom Morello); Erica Bruce/Between Love and Like (Bob Mould).

The keynote speech was clearly geared towards the musicians in attendance. Springsteen delivered a rollicking history of rock and roll with the personal perspectives on how it influenced his music. It was filled with humor and a rock and roll attitude, plus a few acoustic guitar performances to illustrate his points.

If there was a singular message, it was that musicians need to fully commit to their craft. Without directly saying so, he cautioned that there are no shortcuts to success. He stressed the importance of studying those who came before you to learn from their experience. And he counseled that the live show matters, both to sharpen your style and build your audience.

You can view the entire Bruce Springsteen SXSW keynote speech here, courtesy of NPR.

Springsteen continued the lesson that night with a special performance with the E Street Band. The show took place at the 2,700 capacity Moody Theater (home of Austin City Limits), a much more intimate venue that the arenas and stadiums that the band usually plays. The band more than rose to the occasion with a nearly three hour show that, while heavy on songs from his newly released Wrecking Ball, included some gems from his extensive catalog.

And the special guests? Spectacular. Tom Morello reprising his contributions to two tracks from the new album plus a furious “Ghost of Tom Joad.” Jimmy Cliff, decked out in all red, joined for three of his classics (although curiously not “Trapped”). Eric Burdon, whom Springsteen had lauded earlier in the day during his SXSW keynote speech, appeared for the Animals classic “We Gotta Get Out of This Place.” And perhaps the most random moment of the evening, members of Arcade Fire suddenly appearing alongside Joe Ely, Garland Jeffries and openers the Low Anthem and Alejandro Escovedo to join Springsteen and the E Street Band for a closing rendition of Woody Guthrie’s “This Land Is Your Land.”

The exclamation point, for me at least, came just over a week later when I saw the band play at the nearly 20,000 capacity Boston Garden. Simply put, the energy was the same! Springsteen and the E Street Band brought the same fervor to a venue ten times the size of the Moody Theater.

Now that’s talent and commitment to craft. Here is an artist in his early 60s not content to rest of the laurels of his forty-year career. Rather, he throws himself into every performance with an unbridled enthusiasm, making it a mission to connect with his audience regardless of whether the venue is big or small.

Said Springsteen in the keynote, “young musicians, learn how to bring it live and then bring it night after night after night. Your audience will remember you.”

And there endeth the lesson.

• Tom Morello, “World Wide Rebel Song” from the New West day party
• Bahamas, “Caught Me Thinking”
• The Lumineers, “Gun Song” performed at St. Davids Historic Sanctuary.
• Glen Hansard performing sans microphone and amplification. Watch him roll with the punches as an electric band begins playing nearby about halfway through his performance.
• The Posies, Jody Stephens, Peter Buck and Markus Nordenstreng (of the Latebirds) paying tribute to the legendary Big Star with the band’s classic “In the Street.”
• Alejandro Escovedo and friends featuring Garland Jefferies and Bruce Springsteen taking on the Rolling Stones’ “Beast of Burden”
• Lucero, “Nights Like These”
• Bob Mould, “If I Can’t Change Your Mind”
• Lydia Loveless, “Can’t Change Me” at the Twangfest party.
• Frank Turner, “I Am Disappeared”
• Alejandro Escovedo and the Sensitive Boys and Girls, “Sally Was a Cop” from his forthcoming release.
• The Dunwells, “Elizabeth”
• Adam Duritz with Kasey Anderson, “Like Teenage Gravity” (Anderson’s song that was covered by Counting Crows on their latest release.)
• The Stone River Boys (featuring Barfield and Dave Gonzalez) performing “Love On the Dial” at Threadgills for Music Fog.
• Brendan Benson, “A Whole Lot Better”
• Tom Morello with Wayne Kramer, “Kick Out the Jams” (and, wow, did they ever!)
• Tom Morello’s complete Occupy Austin performance at 2am on the street in Austin.

Click here for more Twangville coverage of SXSW.

For me, the true harbinger of spring is the arrival of the SXSW Music and Media Conference in Austin, Texas. Or rather, spring begins for me when I arrive in Austin for SXSW. With upwards of 2,200 bands and 19,000 attendees, SXSW is the world’s premiere music conference. Even better, it is one heck of a party.

Over the next week I’ll be sharing some of my highlights from SXSW 2012.

THE MUSICAL THEMES
No Plug Required?
Perhaps the most enjoyable musical theme, for me at least, was the range of acoustic artists. I’m among the first to line up for the wash of an electric guitar but there are times when the quiet musicianship of an acoustic artist just can’t be beat. Glen Hansard and Frank Turner, artists whose between-song banter is as sharp as their songs, performed multiple stellar sets. London-based Antonio Lulic was captivating while Denver’s the Lumineers were enchanting and, with their debut album just released, are ones to watch.

And then there was Tom Morello, whose guitar reads “whatever it takes,” a mantra that he brings to life with his hard-hitting performances.

Attack of the 1980s and 1990s
I want my MTV! Artists who first established themselves in the 1980s and 1990s were out in force. Whether you desired the goth of the Cult or the Jesus & Mary Chain or the pop of Thomas Dolby or Lionel Richie (with special guest Kenny Rogers!), you could find it at this year’s event. SXSW has become as much an opportunity to announce one’s return as it is to announce one’s arrival. Other artists who appeared included Counting Crows and Bob Mould, who delivered an intense performance of his band Sugar’s debut album.

Rap, Hip-Hop and Electronic Music Make Their Mark
Two of this year’s music themes fell outside the typical Twangville fare. Rap and hip-hop have had an increased presence in previous years but came into their own this year. From up-and-comers playing a showcase to big names playing label gatherings and unofficial events, the genre made its presence known.

DJs and electronica artists also made some noise this year. 24-year old Skrillix got a lot of buzz, although I can’t say that I saw him or any artists from this genre. Maybe next year.

”THE MUSICAL EQUIVALENT OF “PLUG AND PLAY”
Many artists make their time in Austin count, performing upwards of 4-5 times in a single day. Having made the trip and with a large and captive musically-starved audience, why not? The Lumineers took this to heart and performed no less than 12 times over four days. Quipped Bahamas, “We’re playing 127 shows over the next 3 days… We’ll be playing anywhere there is a pa.” On behalf of the music fans at SXSW: thank you.

YEAR OF THE WRISTBAND
Every year I write about how the quantity of day parties gets bigger and bigger. This year was no exception. The new wrinkle this year it was the rise of the multi-day event. Many party sponsors apparently figured that one day just wanted enough. Three and four day affairs were commonplace, with many taking over stores, bars and yards in East Austin. Many of these show relied on a music venue staple – the wristband – to manage capacity. At one point I had eight bands gracing my wrist. Wristband tan anyone?

BIG NAMES, WITH AND WITHOUT CORPORATE SPONSORSHIP

Sure, Bruce Springsteen captured the spotlight, but this year was notable for the plethora of well-known and established artists who converged on Austin. Many of these were promotional appearances sponsored by companies who thumbed their noses at any global economic uncertainty as they looked to make a major splash at the event.

Doritos was the, um, big winner with a stage built a stage into the base of a 56 foot vending machine. Seriously. Snoop Dogg was among the artists featured on the stage apparently built to satisfy those with a super-sized case of the late night munchies.

But Doritos wasn’t the only brand using music to reach the masses. Red Bull built a stage on an empty lot and invited artists ranging from Erykah Badu to the Crystal Method to perform.

In some cases, big name artists bypassed the corporate sponsorship and simply threw their own parties. Notable in this camp was 50 Cent, who invited his friend Eminem to join him to perform his 2003 album Get Rich or Die Tryin.

OCCUPY SXSW
Regardless of one’s political bent, Tom Morello’s Occupy SXSW show was not to be missed. Morello, joined by Wayne Kramer (of MC5 fame) broadcast his raucous 1am showcase into the street so that the masses could enjoy it. Then, as the 2am end time approached, Morello invited club attendees to follow him into the street for a few final songs. Under a watchful police eye, Morello and the band led the crowd of several hundred people in Woody Guthrie’s “This Land Is Your Land.” Continuing on, albeit now acoustic as the power had been shut off, Morello served up his own “Worldwide Rebel Song” as the crowd joined in.

Photo credits: Teenage Kicks (Tom Morello); Matt Carney (Glen Hansard); Derek/Holidaze (Space Available); Ryan C Jones (Artist Walking).

To celebrate the release, The Mastersons will be visting Twangville for a live online Q&A and performance tomorrow. Visit Twangville tomorrow at 2:30pm et for this exclusive event.

And you can get in on the action! Have a question for the band? Post it as a comment and we’ll pose it to the band on Tuesday!

To get you in the mood, here are two special videos. The first is the Mastersons, backed by Steve Earle and the Dukes & Duchesses, performing the song “Crash Test” from the new release. The second is a video chronicling the recording of Birds Fly South.