JON DEE GRAHAM AND WILLIAM HARRIES GRAHAM
News broke last Friday night that Jon Dee Graham had passed away that morning. What was already a SXSW performance highlight suddenly felt like something more. Jon Dee had battled serious health issues for years, making his reflection on the experience and performance of “I Can See Clearly Now” all the more meaningful. Even more so, the clear joy on his face while watching his son William crank out a guitar solo — a SXSW memory for the ages.
Texas country outfit Silverada, who typically play large rooms in Texas, seem to enjoy a good underplay. On Saturday afternoon they squeezed their instruments and a packed crowd into a small room dubbed the Lone Star Roadhouse for a raucous live preview of their forthcoming album. The accompanying photo tells the story — a sea of heads and raised hands that made it hard to find the band. Which, come to think of it, captures the chaos perfectly.
Joshua Ray Walker was a man about town, playing numerous gigs across the week. I caught him at the Yeti flagship store on Friday afternoon — the room packed as he worked through songs old and new (Ain’t Dead Yet, out May 29). At most other stores you’d undoubtedly get chastised for standing on a display platform. Not at Yeti during SXSW. Instead they offered to throw away my empty beer can for me.
Loveless only played a handful of songs on Sunday afternoon but she made them count. Armed with just an electric guitar, she mixed familiar favorites with new material that, with its typical depth of emotion, is already building anticipation for a forthcoming release.
Longtime SXSW regular Lee Bains III was making his return after taking last year off. The intensity that has always been his hallmark? As ferocious — and welcome — as ever.
When not fronting party rock outfit The Nude Party, Patton Magee explores the more relaxed corners of country music. His afternoon set, accompanied by pedal steel guitar, hit the spot. Longtime readers familiar with my fondness for kiss-off songs will know that I appreciated a live rendition of “To Love You Is Good (Not To Is Better)”.
It’s hard to believe that Dallas singer-songwriter Remy Reilly is only in her early 20s, yet has been releasing music for nearly a decade. Her songs are filled with catchy pop hooks but she refuses to be pinned down by genre. Her mid-day set at Long Step Ranch made the case convincingly. With just her acoustic guitar she moved effortlessly from indie pop to country and all points between.
Austin newcomers the Red-Eyed Gamblers radiate definite Allman Brothers vibes, backed by solid songs and a performance to match.
About the author: Mild-mannered corporate executive by day, excitable Twangville denizen by night.