With Prince a no go, Justin Timberlake a pipe dream and an overload of fantastic rock and roll making up the vast majority of my SXSW Music experience (and how!), it wasn’t the obvious choice to go see The Smashing Pumpkins, either. I also wasn’t overly willing to stand through a pile of pop acts at the Perez Hilton party just to catch Macklemore and Ryan Lewis. So, I went for something a bit more relaxed. A chance to sit down after a week of dancing, moshing, and an overall nine day experience that made me want to cut off my sore, sore feet. Yes ladies and gentleman, on the night that everyone who was anyone was performing in the city of Austin, I went to Church.
But this wasn’t to pray for an entry to the Prince show – by now I’d seen so much amazing music that an experience with a legend like that would have merely been icing on the cake, rather than a stand out moment from nine days of music and film. So I went for icing that included the one and only Devendra Banhart and Iron and Wine. Yes, playing in a church, at the always exquisitely programmed Central Presbyterian Church, where in past years we have caught artists such as James Blake and Band of Horses. Doesn’t sound so bad, does it? A contrast to everything else happening in the city, sure, but a welcome change and arguably a fitting end to what was an absolutely manic week; not to mention an incredible musical opportunity in its own right.
I got their early enough to see two additional artists, which was nice given how few “unknown” artists I’d seen that week at SXSW. And isn’t that what the festival is all about after all? The first went by the name of WALL., a three piece from London, though the project is that of a solo female producer who performs under said pseudonym. Backed by two male members who jumped between guitars and keys, WALL. was our ethereal female vocalist, who orchestrated additional keys and effects and even the guitar at times, proving herself the ever-so-talented performer.
The set included a cover of Karen Dalton’s “Something On Your Mind”, a new track in “Only Human” and “Shoestring” to close things out, which was a highlight of the beautiful set, and certainly the most memorable. No surprise therefore that the track is the newest single, and the title of her new EP, out on April 2nd.
Next up were Los Angeles duo The Milk Carton Kids, whose mix of two guitars and vocal harmonies were seemingly inspired by Simon and Garfunkel (perhaps by default), with a slightly stronger country/folk tinge to it – and one extra guitar (both of whom proving themselves fantastic players). There was highly entertaining banter between the tracks that included “Honey, Honey”, “Snake Eyes”, “Michigan (Don’t Send Her My Way)”, the highly entertaining “Memoirs of an Old Dog” and the set closer “I Still Want A Little More”. The band received a well deserved standing ovation for their performance, which was an instant highlight of the festival for me. Their music is simply stunning, their banter and performance reaches a level of entertainment something that few bands can achieve and all of this in the confines of the church really made it something extra special. Definitely check these guys out.
Devendra Banhart (pictured above) followed, performing solo with his electric guitar, admitting early on that he was only here to “fill the time” before Iron and Wine took to the stage. He was, like the rest of us, a huge fan. He opened with “Golden Girls” and played a good cross-section of his catalog, that included two songs in Spanish, “Daniel”, “At The Top”, “My Dearest Friend”, “Never Seen Such Good Things”, “Cristobal Risquez” and “Won’t You Come Over” which finished things up.
Devendra played a loose set tonight; laughing and joking as he played some wonderful music. One thing that especially struck me – particularly during the songs he sung in Spanish – is how emotive he is as a performer, constantly using his hands (when possible) to accentuate his words. He’s a terrific performer, and though this stripped back set wasn’t the sort you’re used to from his full band performances, it was still ever the gripping – and in this particular case, unique – experience that we’ve come to know from the celebrated performer.
But OK, so Devendra admitted it and I have to say it was the same for myself as well – I was there to see Iron and Wine, as much as I love Mr. Banhart. So as the clock struck midnight and Sam Beam took to the stage, it was in front of a very full room, and to wild applause. Performing solo and acoustic, he kicked things off with two new tracks, “Caught In The Briars”, “Low Light Buddy of Mine” and “Grace for Saints and Ramblers”. He then opened the setlist up to the fans in the crowd, and soon had the whole Church calling out for songs. It seemed that anything would be possible tonight, and indeed he played quite a few songs that have been absent from his sets for quite some time.
The setlist went on to feature, at the bequest of the crowd, “The Trapeze Swinger”, Jesus The Mexican Boy, “Fever Dream”, “Such Great Heights” (!!!!!), “Woman King” and “Lion’s Mane”, which was the final track of the evening. There is little that needs to be said about Sam’s live show. His voice is absolutely impeccable. To see him perform in the acoustics of a Church was something too special an opportunity to pass up, and it was just about every bit as perfect as you could imagine. His voice sat beautifully in the room, and his songs had never sounded better. I was covered in goosebumps from start to finish, and even as I write this I’m getting chills. Putting it simply, and without hyperbole: it was wonderful.
And with that, my 2013 SXSW experience had come to an end… well, so I had thought. On my way back to the hotel I managed to catch the last few songs of headlining band Vampire Weekend at Stubb’s, who ended things with “Giving Up The Gun” and then The Pharcyde at Club De Ville, who played “Drop” early enough to bid the night adieu in a timely manner. It was well after 2am by this point and let’s just say it had been a LONG nine days in Texas. There couldn’t have been a better way to have ended it…
You’ve outdone yourself this year SXSW. Until next year. Until next year.
