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SXSW 2013: Day 3 evening – a nice stay at the Hype Hotel, followed by a rave sponsored by new friends from Sheffield – 14th March 2013

By on Friday, 29th March 2013 at 2:00 pm

Today’s SXSW 2013 post has been written to remind everyone of the size and stature of the SXSW music festival. While in my 2 years of festivaling in Austin I’ve managed pretty well on a press wristband, not really ever been shut out of a showcase I was desperate to see because the place was at capacity, there comes a time (or times) in your SXSW life that you just decide you want to see a big name. But at the same time, I implore you to seek out the smaller shows too, because those might just change your life.

When Depeche Mode were announced to be celebrating the opening of a new, 900-capacity club in town, I knew as soon as I read those words, the faithful had already been queued up around the block and it was pointless to even contemplate the thought of trying to go. (Not is all lost: NPR has a complete transcript of the band’s interview with KCRW’s Jason Bentley here, if you fancy reading it.) Similar thoughts went through my mind about Vampire Weekend‘s closing out of the festival at Stubb’s; gunshy after Tuesday night’s tussle with security there and knowing the New Yorkers playing brand new songs would be a huge draw, I just thought…no, never mind.

As I had been recommended to see at least one band at Brighton Dome during the Great Escape last year (which didn’t happen…), I thought I should make it a point to see one big band. Thoughtful perusal of the SXSW music guide made this decision relatively easy: I decided on the Specials, who ironically will be touring widely in the UK when I am over in May, but don’t tour very often in America. They weren’t due to appear until 11, but with my wristband, I thought it was better to queue early, arriving a whole 2 hours before doors were set to open. A very nice Austinite named Pat saved my spot in the queue so I could get a Thai dinner in me so I wouldn’t faint from hunger later. Turns out there weren’t a huge number of badge holders who wanted in early on, so after about 100 passed into the place, we were let in.

Unlike last year’s Hype Hotel where I’d spied Oberhofer as my first SXSW band ever, the place that had oozed character with brick archways, this year’s at the Whitley was more warehouse-like and less warm. Whoever decided that this year the stage should be lowered to just an inch shorter than me should be sacked. Pretty disappointing in that regard. I don’t know, do they expect their punters to be that much taller? The stage was also far, far away from us, and it wasn’t like there were any higher-up balcony vantage points that would have made viewing any better. Free Taco Bell tacos and drinks flowed, but I was more keen on getting down the front to stake my spot.

Kodaline at Hype Hotel clapboard sm

While I was stood there waiting, I met a new friend from Toronto and tried to extol the virtues of Kodaline from my experiences seeing them twice the night before. (He has since written me and said he thought they were excellent. Yes. Job well done.) I also met a photographer for Getty Images, Andy Sheppard, who I would fortuitously run into later in the week. A delayed soundcheck and what I’m guessing was a delayed entrance time into the place for the bands themselves forced all three bands prior to the Specials to cut their sets short, and as you shall read, two took this in stride and the other, well…not so much. During the intervening time while waiting, we entertained ourselves with actual production props for the night, which was pretty cool.

Kodaline at Hype Hotel 1

Kodaline had the unenviable task of being first that evening, and I learned later that they were only in Austin for 2 days (read Wednesday night’s review for more explanation on this). Their tour manager, who was nervously puttering around the stage, stopped a moment in front of me, smiling broadly to shout to the band, “hey! The woman that came to see you twice last night is here!” That was pretty heartwarming to know I’d been remembered. While there weren’t a huge number of people who had shown up for them – remember, this is America, and they had never heard of Kodaline and probably not paid attention to the BBC Sound of 2013 like we have – I did get a sense that the four of them were overwhelmed by the size of the stage they had been asked to play.

Kodaline at Hype Hotel 2

Steve Garrigan nervously cracked jokes and I could hear myself saying “bless” to myself as they were obviously nervous. But as soon as the music started up, any delay or misgivings were soon forgotten. The sound I’d seen on the night previous that easily filled a club and a rooftop also proved to fill a much larger space with similar ease. They only got to play four songs and their stay was far too short, but ‘All I Want’ and ‘High Hopes’ soared in the surprisingly decent acoustics of the Hype Hotel. While I am sad I will miss their first visit to Washington DC in May, I have no doubt in my mind that they will use their support slot with the Airborne Toxic Event to make that name for themselves in America that I know will become huge.

Trails and Ways at Hype Hotel 1

My new Canadian friend came to the Hype Hotel that night to see Trails and Ways from Oakland, California. He explained to me that they incorporated Latin sounds with pop. Don’t know why, but the Oakland origin threw me; shouldn’t they have been from South America or something? (If you Google them, they are described as making bossa nova pop, and one of their songwriters KBB used to live in Brazil.) It all didn’t make sense in my head until they actually started playing.

Trails and Ways at Hype Hotel 2

Latin music has such a strong and beautiful reliance on percussion, and this band’s sparkling percussion with the ethereal harmonies of two boys and two girls were truly stunning. The thing though that stood out most for me during their set was their cover that KBB introduced as being from “one of the most gifted artists of our time, Miguel”. Groan. I can’t stand Miguel, but for Trails and Ways to have taken a Miguel song and make it palatable, that alone makes them stars in my book. If you like to hear them, you can get a free EP from the band from their official Web site.

Beach Fossils at Hype Hotel

The third band of the night was Brooklyn’s Beach Fossils, who endeared themselves (I guess?) to the audience as soon as frontman Dustin Payseur got fixated on thanking Taco Bell for “feeding the fucking beat!” Um…yeah. Compared to the two previous groups, Beach Fossils’ sound was decidedly edgier and punkier. Unfortunately for me, I’d lump them into the same lo-fi, laddish Peace / Palma Violets / Vaccines pile and they didn’t do a thing for me. Been there, heard that. Actually, heard that kind of sound far too much in England these days…

My opinion of them dropped further when later on how they ended their set. Evidently the band had not been told until it was far too late that their previously promised set of x songs had to be curtailed for the Specials coming on next. Payseur proceeded to throw a temper tantrum onstage, though it was unclear who exactly he was angry with: Taco Bell, the event organisers or the Specials themselves. It’s too bad because everyone I know who was at the Hype Hotel that night remembers the temper tantrum and how badly it reflected on them as performers, and not their performance.

The Specials at Hype Hotel 1

The Specials were, in a word, good. There was something about singer Terry Hall that put me off a little, but I’ve been told by others that “he’s always a little miserable” behind the microphone. Oh really. Maybe it is just his singing style, but I had envisioned this animated guy in the front. Singing has always come naturally to me and brings me a great source of joy, so to see someone who didn’t look 100% happy to be there was a little disappointing. Luckily, sound-wise they were on point.

I got chills hearing ‘A Message to You Rudy’ and ‘Too Much Too Young’ live for the first time. You don’t understand; up to this point I had been subsisting on live performances from Maida Vale via Steve Lamacq in December, for example. I explained to a couple people in Austin that when I went to uni, all the girls I knew either had posters of John Cusack as Lloyd Dobler in Say Anything, or one of the Specials. Did I ever think I would ever see the Specials gig in my lifetime? Honestly, no. This, too, is part of the SXSW magic: being in the same room with a band that has loomed so large, in near mythological proportions, in your past. I nearly had to pinch myself to remind myself what was going on before my very eyes was reality.

The Specials at Hype Hotel 2

And then there was guitarist Lynval Golding, who cracked me up nearly the entire time. In a dapper purple suit, he looked like the happiest guy on the planet, grinning constantly in my direction, and every time he mentioned “the younger crowd” who now come with their parents to see the Specials play, he kept pointing to me as an example of the younger crowd. You rock, dude. The crowd was rough and moshing but I was glad I was at the front, being able to hold on to the barrier. Hey, I survived.

Because the Specials and the whole night really went on far beyond when they were supposed to, I had to make a decision: do I call it an early night before 1 AM, or do I go see someone else? My energy was flagging – I guess the pad thai I’d eaten earlier was gone from my stomach – and I didn’t think my feet would get me the nearly 8 blocks up a hill to Hickory Street club. So I grabbed a pedicab to save my tootsies. Admittedly, it was a selfish move. But I didn’t feel like sleeping just yet. I had a date with and needed to save them for…a rave. Well, the closest thing you can find to a rave in Austin on a Thursday night. With some new friends from Sheffield.

Though it was never going to be the most highly attended show of SXSW 2013, Reverend and the Makers turned this 100 or so group of people (mostly men) in their own private party. The very energetic American bloke super dancer I’d seen yesterday afternoon at their British Music Embassy show was present as well, so I knew I was going to be in for a good time. I’m not sure what the Brit to American ratio was, but it didn’t really matter. Everyone was there to dance, and Jon McClure and company weren’t going to disappoint. I found Jon to be so incredibly nice and candid during my chat with him the day before, it seemed almost rude if I did not show up for their final official showcase at SXSW! (It also seemed awfully rude at the show to be photographing and not dance. This is why I don’t have any photos of my own from this event either.)

‘Shine the Light’, ‘Out of the Shadows’, ‘Bassline’: there are just so many corkers on their third album ‘@Reverend_Makers’ that has only just been released in America this month that I hope it’s just a matter of time that our country will take to them and their energetic set. I never would have taken McClure to be a wrestling fan, but his dedication of ‘The Wrestler’ to a fallen comrade of the sport was strangely sincere before the band laid into you with groovy beats.

Back to the audience though. An Englishwoman from an indie label amused me by continuing to drink, until she got to the point where she as walking into people in her drunken stupor and finally had to sit down next to a speaker and rest because she couldn’t speak. And she missed out on the best part of the night. During their closing number, McClure was pulling punters up on stage to dance with him, and he gestured that I should do them the honour. And I couldn’t very well say no, could I? I found out later that members of the Enemy had also turned up to Hickory Street and joined the party onstage; when else am I going to say I was dancing onstage with Reverend and the Makers and the Enemy? I was so high on life afterwards from the amazing set that I gave Jon’s wife Laura a hug, and she was beaming. When I was leaving, Jon gave me a quick peck on the cheek and said whenever I found myself in Sheffield, we all should have a drink.

There are a couple photos floating around on the internet of the mayhem (this is probably the best one) but all that’s important is I was there and I enjoyed myself immensely. Ha! It must have taken me 2 hours to get home because a pedicab driver finally took pity on me and drove me back to East Austin (Andrew, you’re a star!) but all I could think about was the amazing night I’d had. A little bit of Sheffield in Austin? Yup. And I couldn’t have been happier.


SXSW 2013: Day 2 afternoon – British Music Embassy at Latitude 30 and Blah Blah Blah Science Party at Maggie Mae’s Rooftop – 12th March 2013

By on Monday, 25th March 2013 at 2:00 pm

Probably the greatest thing about SXSW is that nearly any time of day or night – or maybe any time before 11 AM – there is someone, somewhere gigging. The numerous day parties given by blogs, magazines, labels, PR companies and anyone else with the money and the get up and go to put on a show are often free and provide an entirely different atmosphere than the evening counterparts. I mean, seriously, where else can you see a show with wonderful sunshine framing the stage? And not to make you jealous or anything, but we had 5 straight days of perfect weather: around 30 C or above and not a cloud in the sky. Many day parties are free too, making it possible to see amazing bands for absolutely nothing if you don’t have the means to buy one of those expensive badges.

On Wednesday, the festival was already in full swing, which meant there was a whole host of great parties to drop in on. The British Music Embassy’s first full afternoon line-up beckoned, and I arrived just in time to miss the complimentary fish and chips (darn) but partake in the open bar (yes!). And then I was off to an interview in the afternoon sun with Adam Kane of Cave Painting, which you can listen to here.

Man Without Country SXSW

After the interview and a quick photo op with the whole band (see photo at top), I snuck back into Latitude 30 to learn if strobes work at 2 o’clock in the afternoon. I arrived just in time to catch the second half of a set by Southern Welsh electronic outfit Man Without Country. I liked what I was hearing – dense, complex soundscapes with an occasional guitar – but I wondered if it was just too early in the day, if people were still hungover from the night before, or if there had been insufficient alcohol flowing that Wednesday afternoon, but the crowd reaction was less than stellar.

Cave Painting SXSW

Next up was something I’d been waiting for for months. It was Cave Painting’s turn on the British Music Embassy stage. This year I noticed there was much more fog being used at Latitude 30, but of all the acts I saw on that stage, it was the Brighton band’s set that used it most effectively, making for a bewitching atmosphere that fit songs from their debut album ‘Votive Live’ perfectly. Singles ‘Leaf’ and ‘Gator’ were more beautiful live than I ever could have imagined.

Sadly though, instead of staying put and relaxing with friends old and new I’d been reunited with at Latitude 30, I had to depart – and miss NZCA/Lines – in attempt #2 to catch the 1975 at the Blah Blah Blah Science party at Maggie Mae’s Rooftop. Your worst enemy at SXSW is often the clock; I had hoped I could fit in the 1975 neatly before the reinvented Charlotte Church went on back at Latitude 30. (I’m still kind of gobsmacked that we saw Charlotte sat cross-legged on the sidewalk, doing her makeup in a handheld mirror. Talk about down to earth. )

Wildcat Wildcat SXSW

Unfortunately, this plan was soon dashed. The Blah Blah Blah Science party was running an hour late, and equipment and successful soundchecks were proving difficult for all bands, including the first band I eventually saw on the rooftop, Wildcat! Wildcat! I’m not sure what the great appeal of this band was to the SXSW crowd. I know I am cynical because I hear so much music, but the rock/electro formula made famous by MGMT is starting to get stale now. I’m not a fan of male falsettos, much less falsetto harmonies. And a repeated theme throughout the week was ill-advised covers, of which Wildcat! Wildcat! became involved with trying to do a reimagined ‘Everybody Wants to Rule the World’ that Tears for Fear wouldn’t welcome. Sorry, but there is only one band – Dutch Uncles – that is allowed to cover that song. After they were done, I kept looking at my watch and getting anxious. When would the 1975 start already? There was something wrong with the adapters for their Macbook and synthesiser, so they would just have to go on without either of them. Groan. The synthesiser is a massive part of their sound…

The 1975 SXSW

However, I was buoyed by the number of punters crammed in on the rooftop to see this band, no doubt having heard the word around town that they’d killed it the night before at Huw Stephens’ UK Trade and Investment showcase (if you recall, that was the same appearance your fearless editor was stuck stood outside Latitude 30 with no hope of seeing anything from the window). Despite the technical difficulties, the 1975 looked ubercool, as a gentle breeze wafted through under the tent roof, tousling singer Matthew Healy’s hair and the band rocked out to ‘Chocolate’ and the audience-demanded ‘Sex’. Before I had to rush back to Latitude 30, I had a word with Matthew to “big up Manchester”, telling him we would be sure to catch them with their full equipment set up in DC on the 30th of March. Then I was off again.

After powwowing later in the week with new band, photographer and blogger friends, Charlotte Church was their biggest draw all week. And I missed her. Sigh. Nevertheless, I had headed back to the British Music Embassy to see a band I’d been wanting to see at last year’s Great Escape. In Brighton, I was thwarted on the third day of the Great Escape 2012 by their frontman being poorly, only to find out they’d been replaced at the Dome by Splashh. I am, of course, speaking of Sheffield’s Reverend and the Makers. There seems to be some weird disconnect with nearly every single British friend of mine who does not like this band; I don’t know how you could *not* like them. I love to dance and I love electropop, so the Rev and his crew fit me to a T.

Reverend and the Makers SXSW 1

Remember how I said that strobes didn’t work a couple hours earlier? Well, wipe that image out of your head because the crowd did a 180 when it came time for Reverend and the Makers. This was also my first encounter with a very energetic American bloke super dancer in a Hurts t-shirt who Jon McClure later in this set anointed as the best dancer in the club. (The same man later showed up at several other gigs I attended- it’s nice to know there are Americans who love British music and with such dedication as much as I do. British bands, take note: there are more of us from where I came from.)

Reverend and the Makers SXSW 2

Playing mostly from their third UK album and debut American album released this month, ‘@Reverend_Makers’, the band wowed, turning the British Music Embassy into an unlikely but an entirely enjoyable and hedonistic rave even before tea time. I can say without a doubt as an American that this was one of the most incredible shows I’ve ever been to. Equally chuffed with the American reception was McClure himself, who I nabbed after the set for a lovely chat. Listen to the interview here. It was only the second day of SXSW Music and I was already getting a delightful Northern – specifically Sheffield – vibe and I couldn’t have been happier. And that’s what SXSW is all about, isn’t it? Getting closer to the music that means so much to you in a way that you never imagined. Only the afternoon of day two, and I was already on cloud nine. You’re brilliant, SXSW.


SXSW 2013 Interview: Jon McClure of Reverend and the Makers

By on Friday, 15th March 2013 at 3:14 pm

I still don’t really understand why none of my British friends are fans of Reverend and the Makers. And when in Rome, err…Austin, you take an opportunity to speak to the Rev himself, frontman Jon McClure, to talk about the support system back in Sheffield, the band’s reception here in America and their first album release here in the States after the band’s winning performance at the Wednesday British Music Embassy day showcase at Latitude 30. Listen to the interview below.


TGTF Guide to SXSW 2013: Electronic and DJ UK artists showcasing at this year’s SXSW

By on Tuesday, 22nd January 2013 at 11:00 am

Please note: all information we bring you about SXSW 2013 is to the best of our knowledge when it posts and bands scheduled to appear may be subject to change.

We here at TGTF have already brought you the pop and pop hybrid acts list and the follow-up addendum, plus last week’s rock, metal and punk acts list. What I had envisioned this guide to be was simply a handy resource if you were wondering which acts to catch at this year’s marathon week of showcases, parties and secret shows. But even if you’re not attending the big event, I hope it’ll also introduce you to the solo artists and bands you haven’t heard of, because that’s the most exciting thing about SXSW: at any one moment, you could walk into a bar, a club, a hotel, a warehouse, wherever…and you might just discover the next big thing in music. And that isn’t limited to one place or one event. You can find new music anywhere.

This week? Part three of the genre section of the exclusive TGTF Guide to SXSW 2013 continues today with electronic and electronic-based acts and DJs. This kind of music is very near and dear to my heart; when I was younger it was dance music, music with a good beat that you could dance and forget the terrible things I was dealing with in my life. It was weirdly appropriate reading an interview with Ed Macfarlane of Friendly Fires many years later, explaining their music as escapist. I never looked at electronic music was that black and white; just like any other music, you get out of it something different than the next person. But electronic music in particular has a way of making me feel alive in a way that many other types don’t. Below is a listing of all the UK acts I’ve classed as electronic or electronic-based, or are straight DJs.

Electronic / electronic-related bands

The Adamski Kid – is it a commentary of our reliance on electronics these days that there are so many bands now that are only ‘bands’ in the live sense? In the case of The Adamski Kid, the act is Adam Karayiannis, mashing up dance and rock in crazy fashion, the way Talking Heads were crazy. Already a fave of Tom Robinson and Chris Hawkins on 6music and BBC Introducing on Radio1 with Jen and Ally, he’ll probably become a fixture in the UK soon.

Sounds like: the product if Django Django and Darwin Deez had a love child and then spray painted his face so he’d look like King Tut.

CHVRCHES – if you never thought the words ‘Scottish’ and ‘electropop’ should be in the same sentence like I did, think again. Having landed in the BBC Sound of 2013 longlist, been voted to the top of Generator’s Tipping Point Top of the Tips 2012, and receiving praise from Pitchfork, my opinion doesn’t count for much. But personally, it sounds too cartoony to me to be serious.

Sounds like: bubblegum pop’s wash put through a synth wringer

Alex Clare – 2012 was a big year in America for Alex Clare, and he has Microsoft to thank for that: the computer giant used the East Londoner’s song ‘Too Close’ on their Internet Explorer 9 adverts, firmly embedding the slow-burning, soulful love song with wub wub wubs into the American consciousness and leading to a sold out tour of North America in autumn 2012. While it’s virtually guaranteed that all of Clare’s appearances at SXSW will be rammed, for sure he won’t be playing after sundown Friday until Saturday evening: he’s an Orthodox Jew.

Chad Valley (added 10/01/13) – Oxford chillwave at its finest.

Dauwd – In an interview with the Ableton Web site, Dauwd Al Hilali describes his musical process as “[finding] a groove in something that perhaps you wouldn’t expect, for example maybe a recording of an object falling and rolling on the ground. There would be an infinite amount of detail in this, where you could isolate any part and work with the ‘natural groove/rhythm’ it creates. This would be impossible to recreate through MIDI alone, and gives a really organic sound.” Hmmm. Electronic, with a difference?

Duologue – electronic bedroom experimentalists that turned themselves into a full-fledged band playing an interesting mix of electronic and guitar rock.

Catch all of our previous coverage on Duologue here.

Eaux – this London trio – formed from the remnants of the Sian Alice Group – make music that’s too dark to be called dream pop, but nevertheless captures your imagination like snowflakes in the deepest, darkest night.

Sounds like: the xx, but more subversive; the Hundred in the Hands, but less dance; Bjork, but less oddball

Fenech-Soler (added 10/01/13) – Originally from Kings Cliffe, the synth-loving foursome that made ‘Stop and Stare’ a massive radio hit in 2010 are ready for their SXSW close-up. They’ve already made a huge stir with new single ‘All I Know’, having landed at #6 on our 10 for 2013 readers’ poll.

Read all of our previous coverage of Fenech-Soler here.

The Ghosts – wonder what happened to the other members of Ou Est Le Swimming Pool after the untimely death of their singer at Pukkelpop 2010? Ex-Ou Est… member Alex Starling is the frontman for this electronic outfit also starring New York trained jazz drummer Ian Palmer and Canadian keyboardist / violin player Rayna Ferner.

K.I.D.S. – Can anyone out there give me some more info on this band? Besides a pretty anonymous Soundcloud, there’s not much else on the net.

Little Boots – Victoria Hesketh’s most recent single releases, spring 2012’s ‘Headphones’ and ‘Every Time I Say a Prayer’, sees the former La Roux sparring partner head into a more dance – and less pop – direction for her new album, out later this year.

All of our previous posts on Little Boots are here.

Man Without Country – Southern Welsh electronic duo with an unusual writing style: you see, Ryan James and Tomas Greenhalf met in university but now live in different cities, requiring long-distance collaboration. Live, they bring in drummer Mike Monaghan, adding an extra element to the duo’s already rich-sounding soundscapes. They’ve already opened for Mute labelmate M83, so all signs are good for them to be well received at SXSW.

Read our live coverage of the duo here.

Modestep – a live dubstep (yes, those wub wub wubs) and electronic band from London. Are they really necessary? I guess we will find out, with their debut album ‘Evolution Theory’ out on the 14th of January 2013 on A&M.

The 1975 – a band from Manchester blending synth into rock? You don’t say! (I readily admit to being completely sceptical about another band from the city that gave us the legendary New Order.) Us here at TGTF actually like The 1975 a lot, especially after they ditched their old name The Big Sleep to avoid confusion with another band from New York of the same name. A number gives you uniqueness, character…something that also describes their music.

Read all of our previous coverage on The 1975 here.

NO CEREMONY/// – you may recall this mysterious Manchester act (why does it feel like I’ve been typing that phrase out umpteenth times?) by the remixes they’ve done for The Good Natured, Zulu Winter, and more recently, their fellow Mancunians the 1975. It’s not clear what those three backslashes are for – maybe they stand for three band members? – but until I physically see any of them live, I’m assuming it’s three skinny English blokes in front of synths and sequencers that together weigh more than they do. Paul Lester wants it to be Natalie Curtis channelling her late father, but I don’t have such fanciful notions…

NZCA/LINES – “A beautiful electronic ode to dislocation.”

Reverend and the Makers – Jon McClure and his merry band from Sheffield will be bringing their high energy, electro-tinged rock to SXSW and not a moment too soon. I was gutted when they pulled out of their Brighton Dome slot at last year’s Great Escape, so it’ll be cool to see them in an entirely different environment.

Read all our previous coverage on the Rev here.

Tropics (added 10/01/13) – a Southampton version of Caribou – chillwave, polyrhythmic, Afrobeat-ish.

Young Fathers – “Ol’ Dirty chose his moniker because there was no father to his bastard style. Young Fathers earn theirs by making something so fresh it doesn’t yet have a name. These are three fellas from Edinburgh who’ve been working together since they were 14, who have an elastic mind meld that mimics their fused sensibility of sound, who one day locked themselves in a dingy Scottish basement and came out with something that’d never been done — a fearless combination of beat, rap and song that smells not only of its dark and dank birthplace, but of discovery and of communion.”

Grab a free mp3 of ‘Deadline’, from their release ‘Tape One’, fom this previous MP3 of the Day post.


Bonobo – named after and not actually a chimpanzee (that much I figured, but you know how my boffin mind works…) London musician, DJ and producer who have already blown minds around the world, so expect the same in Austin.

DELS – The fastest growing genre at SXSW in recent years has been urban / hip hop, though Londoner Kieren Dickens can be described not just in hip hop terms but also on the experimental scene, mixing his loves of garage, electro, and dance. His Facebook says live he tours with three other bandmates but it remains to be seen if they will be brought over for this year’s SXSW.

DJ Abrantee – he’s the host of Choice FM’s drive time show Monday through Saturday and its Popular and Trending Afrobeats show each Saturday night, has his own Sky TV programme (since 2009, and is an actor. Afrobeats are celebratory, and I’m sure he’ll be bringing his carnival to wherever he’s dropping beats during SXSW.

DJ Edu – Kenyan-born, London-based DJ Edu should be familiar to regular BBC 1Xtra listeners, presenting the Destination Africa show, described on the BBC’s Web site as “bringing the sound of the African underground to the speakers of the UK and the world.” Anticipate the best and latest Afrobeats to be dropped.

DJ Yoda – hip hop meets turntables. FACT Magazine describes his music as “technicolour boom-bap and plenty of notable guest spots.” Make of that what you will.

Girl Unit – neither a girl, nor a unit – it’s one man, Philip Gamble, a dubstep musician and producer. Groan. His 2012 EP ‘Club Rez’ has already been reviewed – and favourably – on Pitchfork, so I think it’s not much of a guess that his SXSW appearances will be rammed.

Jackmaster – Glasgow’s Jack Revill has been DJaying now for a decade, but he’s kept himself fresh by puttin<a hrefg his hand in four labels, a club night, and a day job, besides his DJ gigs. Having DJayed all over the world and having made an appearance late last year at Manchester’s Warehouse Project, he’s more than ready for his close-up at SXSW.

Jam City – identity unknown, but he (?) is on Night Slugs with Girl Unit and interviewed him for this Hyponik feature, so my guess is that their vibes are similar. Just a random guess though.

L-Vis 1990 – James Connolly is the co-founder of Night Slugs, whose roster includes previously discussed DJ acts Girl Unit and Jam City and whose origin arose from a monthly club night he and another London DJ Bok Bok hosted. Though he’s found fame as a remixer for Orbital (grab the remix of ‘New France’ here), Passion Pit, Frankmusik and Crystal Fighters, my guess is he’ll be bringing his blend of Chicago house, drum and bass, grime and Baltimore club to Austin.

Mista Silva – is Boomboomtah you new religion? Then you’ve already heard of Mista Silva. For everyone else though, I was seriously amused by this bit from his official Web site: “Being of Ghanaian origin, Kwame Amponsa was brought up around the sounds of hi-life and its modern form hip-life where artists rapped and sung in their native tongue over hard hitting and melodic beats. Mista Silva later adapted this to Funky House and became known for blending catchy bars inhis native language with common club chants[,] e.g.[,] the crowd enticing “Kelebom, go down low!” Keen to pay full homage to his roots, Silva made the swift transition from Funky House to Afrobeats.“ And that’s all she wrote.

Redinho – London producer Tom Calvert’s formative years in America could be to blame for what he’s doing now: elevating turntablism to an art form, and mixing hip hop and electronic into his sound. He appeared at last year’s Isle of Wight and will appear at Barcelona’s Razzmatazz right before heading over to Austin, so his name, style and reputation should precede him.

Sophie – I’ve no idea what he (?) sounds like, as all I’m seeing online are remixes. But he’s signed to Huntley and Palmers’ label and keeps having shows with other London DJs, he must be doing something right.

Southern Hospitality DJs – DJs Rob Breezy and Superix founded the now infamous Hip Hop Karaoke London, the first of its kind in the UK and an event that has been a road-block every single month at the Social in central London. Recognised for this and many other dance nights their group put on by tonnes of tv and radio stations, newspapers and other media outlets in Britain, they’ve become a DJ force to be reckoned with and won’t be going anywhere anytime soon. Just shut up and dance!

Sticky – one of the UK’s leading club music producers in the height of the UK Garage scene. His distinctive sound not only made his music unavoidable in the clubs during this era, but also launched the careers of a number of the UK’s leading talents including the 2002 Mercury Prize-winning Ms. Dynamite.

TCTS – Manchester DJ and producer Sam O’Neill offers “futuristic garage with echoes of neo soul and soft whispers of classic Chicago house”.

Toddla T – and speaking of repeat nod surprises, Toddla T gets another nod from SXSW 2 years in a row too, leading me to believe that he’ll again be asked to preside over the dancey DJayed end of some night of British Music Embassy programming at Latitude 30 again. Not really my thing but if that’s what they’re looking for…

Previous coverage of Toddla T are here.

Next week here on TGTF we’ll be bringing the fourth and final genre chapter of the TGTF Guide to SXSW 2013. On Tuesday, we bring the singer/songwriters and folk artistes. Catch us then!


Live Gig Video: Reverend and the Makers perform single ‘Out of the Shadows’ at Tramlines 2012

By on Tuesday, 28th August 2012 at 4:00 pm

If you don’t have a hangover or aren’t completely exhausted from this past bank holiday weekend, I’m going to fathom the guess that you weren’t at Reading/Leeds. Reverend and the Makers have a bit of a solution. They filmed their performance at Tramlines in Sheffield last month, and since there are plenty of crowd shots in this video, you can pretend you’re down the front. Almost, anyway. Watch it below.

The band will be legging it round the UK on tour in October.



Reverend and the Makers / October 2012 UK Tour

By on Thursday, 21st June 2012 at 9:00 am

Reverend and the Makers will be going on tour in the UK in October. Tickets are on sale now.

Wednesday 10th October 2012 – Stockton-on-Tees Ku Bar
Thursday 11th October 2012 – Newcastle O2 Academy
Friday 12th October 2012 – Edinburgh Liquid Room
Saturday 13th October 2012 – Liverpool O2 Academy 2
Sunday 14th October 2012 – Manchester HMV Ritz
Wednesday 17th October 2012 – Nottingham Rescue Rooms
Thursday 18th October 2012 – Leeds University Stylus
Friday 19th October 2012 – Norwich Open
Saturday 20th October 2012 – Sheffield O2 Academy
Sunday 21st October 2012 – Birmingham O2 Academy
Tuesday 23rd October 2012 – Brighton Concorde 2
Wednesday 24th October 2012 – Portsmouth Wedgewood Rooms
Thursday 25th October 2012 – Bristol O2 Academy
Friday 26th October 2012 – London O2 Shepherds Bush Empire


About Us

There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

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