For me, the true harbinger of spring is the arrival of the SXSW in Austin, Texas. Or rather, spring begins for me when I arrive in Austin for the annual event. With upwards of 1,500 artists and tens of thousands of attendees from around the world, SXSW is the world’s premiere music conference. Even better, it’s one heck of a party.
Over the next few days I’ll be sharing some of my highlights from SXSW 2024.
CH-CH-CH-CHA-CHANGES: THE EVER-EVOLVING VENUE LANDSCAPE
This isn’t my first rodeo. I’ve been attending SXSW longer than I care to admit, which means I’ve seen how the venue landscape has re-made itself over time. Construction has played a key role – East Austin is still bohemian in spots – a great thing – but trendy apartment buildings continue to devour neighborhood blocks.
Rainey Street, which exploded into hipster existence several years ago, is already a shell of itself. What used to be quant bungalows turned into bars is now a mass of high-rise apartments and condos.
And 6th St, once the epicenter of SXSW venues, is now a musical wasteland.
So what’s remained the same?
South Congress may be gentrifying but is still maintaining its musical greatness. The Continental Club. Guero’s Oak Garden. SX San Jose. C-Boys Heart & Soul. Arlyn Studios. So much great music and character. Gotta respect the tradition.
The Red River district – anchored by Stubbs BBQ and venue – continues to be a SXSW focal point. Empire Garage and Control Room. Swan Dive. Side Bar. Mohawk. All great venues that hosted some great showcases this year.
East Austin is still an indie rock focus, with the multi-room Hotel Vegas and temporary stages at the Grackle and Zilker Brewing Company. And perhaps most indicative of how the venue scene is evolving – the Parish, long a fixture on 6th St, is now just across the highway in East Austin.
MUSICAL THEMES: PUNK AND INDIE ROCK MARK THEIR TERRITORY
Between the pandemic, wars, and the general social, political, and economic tension that have roiled the world over the past several years, it’s no surprise to find that electric guitars are getting loud and cranky. This was especially apparent at SXSW this year. There were artists like Noah and the Loners, who blasted through a set of glorious punk rock at 1am on Wednesday night, er., Thursday morning and Sean Barna, whose songs and stage presence matched the intensity of his electric guitar. Then there was Lottery Winners, whose high energy indie rock was accompanied by lyrics of positivity. How refreshing.
Indie pop, particularly from the international crowd, was also a strong presence. Norway’s Malin Pettersen and Australia’s Anna Smyrk were among the stand-outs in this category.
SUNDAY MORNING COMING DOWN
I stayed until Monday this year and particularly enjoyed a relaxed Sunday in Austin. Recurring rain put a damper on things, for sure, but it was great to wander South Congress without the admittedly self-driven intensity of the full-on fest. The SoCo Stomp at C-Boys Heart & Soul continued in full-force, featuring some of Austin’s finest, from newer acts like Restos to long-time faves like Jon Dee Graham and Shinyribs. I even sat down for a proper meal, my first of the week.
About the author: Mild-mannered corporate executive by day, excitable Twangville denizen by night.