A glamorous St Vincent and an apologetic Damon Albarn helped close the second night of the SXSW music festival at the NPR showcase, as elsewhere Kanye and Jay-Z delivered one of the evenings most exclusive performances. Even those with “guaranteed entry” wristbands to the event were turned away as the venue prematurely reached capacity. Unfortunately this included one of our own writers.
Not to be outdone, the NPR showcase at SXSW brings with it one of the week’s most buzzed about showcases in its own right; a mix of well-established and up-and-coming performers joining together for a night of music and celebration at Austin’s famous Stubb’s amphitheatre. This year, the night was headlined by Blur’s Damon Albarn and the incomparable St Vincent, supported by a woman trying to shake off the milkshake, Kelis alongside SXSW buzz bands Eagulls and Perfect Pussy.
Though Albarn closed the night, it was St. Vincent that attracted the biggest crowds, performing a set laden with tracks from her latest self-titled record, alongside selections from her back catalogue. But first up were New York five piece Perfect Pussy, one of SXSW’s most talked about acts. And the timing couldn’t have been better, with the group recently signing deals around the world, including Australia through Inertia.
The group produced a lot of noise, and though lead vocalist Meredith Graves admitted to being “terrified” at the beginning of the set (and again in our interview later in the week, which you’ll see online soon), her claim that we could tell was without merit. They produce loud, hard and fast punk music, in a way that makes it all a bit hypnotising and hard to ignore. But maybe it’s just because they crank their volume up to 11… and you can’t argue with their energy. It’s another level! With an average mix at the event, it’s hard to gauge how this will translate on record, but my gut tells me that while we’re not in for something wholly original here, we should prepare ourselves for a solid and youthful articulation of something that lovers of the punk genre are going to sink their teeth into in a big way. Keep your ear plugs handy… you’ll be hearing a lot more from this band.
Another buzz band, Eagulls, followed, a five piece out of Leeds in the UK. Vocally, lead singer George Mitchell has a bit of a Robert Smith vibe, though the music is much heavier than what we’ve heard over the years from The Cure. A new age version perhaps? A little bit punk? A little bit rock and roll? A whole lot of awesome. The band really grabbed me from the moment they started playing, and there’s something to be said for a band unknown like this.
“Soulless Youth”, the closer of their debut record, was a highlight of the set, while the closing song of the night was a standout as well, with a bit of a Breeders vibe. There’s a lot going here that’s difficult to get your head around in a mere 30 minute set, but in any case, the group have my attention…
After gracing the top of the pop/R&B charts with songs like “Milkshake” over ten years ago, Kelis has been fairly quiet over the last few years, as she decided on a new direction for her sixth studio album. The result of this four year process is an album called Food, a thirteen track collection of soul, funk and gospel recordings due out next month.
Produced by TV on the Radio’s Dave Sitek, the release sees her approach the market in a new way, working to create a new perception as an indie artist, from the way she’s making the music to who she’s making it with and how she’s releasing it. It’s a valiant effort, but even after her set at SXSW, I’m still not sold. It all just feels a bit too calculated. But that’s the perception she will have to work hard to shake, and knows it. It’s why she’s here at SXSW.
With over a dozen mics set up on the stage, it was clear it was going to be a big show from before anyone walked on… and indeed, as the some dozen members hit the stage – with a brass section and backing vocalists to boot – that’s exactly what we were given. A simple “hi” heralded her arrival, with an impressive cover of “Feeling Good” performed to kick things off. Tracks like “Millionaire” and “Cobbler” off the new record were well received, while past hits “Milkshake” and “Trick Me” were reworked to match the on stage production. And quite well, I might add. She added “Feeling Good” in a couple more times and ultimately produced an impressive and entertaining set; if not anything sensational. Nonetheless, I’m looking forward to hearing the record.
As mentioned earlier, tonight the night belonged to St. Vincent, who saw the venue reach capacity in anticipation of her performance. The music sounded phenomenal and had a marvelous theatrical approach – with limited but notable choreography – not to mention a great light show, all put together to create something truly memorable.
Her set up was stripped back, too, with only a backing drummer and two on the effects and the keys. It was when they gave her the guitar, though, that things really got interesting. Looking all kinds of glamorous and wonderful with white hair, St Vincent showed off her impressive guitar skills whenever she got the chance.
“Rattlesnake” opened things after after a bit of a dance, before jumping into “Digital Witness”, “Regret” and “Cheerleader” as teh set progressed. My personal highlights of the night included “Cruel”, the beautiful “I Prefer Your Love”, “Marrow”, “Huey Newton” and “Bring Me Your Loves” complete with vocaloid. Her new material is sounding phenomenal live and her live set here would go on to be the most impressive I’d see all week at the festival. St Vincent has wound up in a class of her own.
And finally, after a lengthy delay, an apologetic Damon Albarn emerged with a sting quartet, two guitarists, a drummer and a keyboardist to preview tracks off his upcoming debut solo LP, Everyday Robots, due out at the end of April. Promising to fit as much as he could into the reduced set, Damon and the band wasted no time to push through a set that included tracks from three of his projects, plus five off his forthcoming release.
DAMON ALBARN SETLIST
Everyday Robots
Lonely Press Play
Tomorrow Comes Today (Gorillaz song)
You and Me
On Melancholy Hill (Gorillaz song)
Hollow Ponds
Kingdom of Doom (The Good, the Bad & the Queen song)
All Your Life (Blur song)
Mr. Tembo
“All Your Life” was a much appreciated addition from a fan who was disappointed by Blur’s lack of an Australian visit this year, and the closing track of the night, “Mr. Tembo” was one of the highlights of the new material. For the number, he invited six backing vocalists to join the band on stage, for a song “about a little elephant”. A nice way to end the night and overall, the showcase was solid way to get the public anticipated for the new record. With the string quartet on hand and all, it sounded impressive indeed.
