March 18, 2008
SXSW.08.06 Like an anointing running down bands of hair
Thursday, March 13 was the second night of massive showcases/concerts as part of South By Southwest's Music Festival. It was both festive and high quality. I'm sure there was a mediocre showcase here or there in one of the 60+ venues hosting official showcases, but I didn't come across it. The first musical order of business for me was to catch the reunited Sixpence None The Richer. I mockingly complained to those around me in the tiny club, "There's a lot better places than this to see, huh?" We were only right in the center and about 5 feet from the stage where this legendary band was going to show us the "magic" again. It's been years since they took the stage together, but they sounded as tight and into it as if they'd been on tour all winter long. They flew through gems like "There She Goes," "Melody Of You" and "Eyes Wide Open" with a seeming ease and flawless perfection. There sound is very simple -- with just drums, piano/rhodes, bass, guitar and vocals -- but it sounds so ... so beautiful and clean. I asked my friend to choose one: Matt Slocum's guitar tones or Leigh Nash's vocals. He couldn't choose one, because they're both necessary ingredients and highlights. Of course, they played "Kiss Me," complete with a matter-of-fact confession that the song had supposedly taken their career to new heights. It was a humble admission of a fact. The time passed by quickly, but there wasn't a rushed note or a wasted one, for that matter. The sounds of "Breathe Your Name" washed over us like small waves on the beach. It was hard to beat a performance like this. In my thoughts, I figured it was 'all downhill from here,' as this was definitely a highlight of the conference.
I ducked into the Austin Convention Center for a show at the Bat Bar, which housed many live performances that were broadcast live via Direct TV. Last year a bunch of us saw The Polyphonic Spree display their wonderous audio and video experience. The satellite network transforms one giant convention center room into two separate sound stages, with attractively decorated walls a great sound mix, and several cameras. On this night the band Hanson showed that the rumors were true -- this trio of brothers had matured, both physically and sonically. No longer the "MmmBop" boy-band, they were a tight musical band of the rock variety. They've added a fourth member on bass. I refused to believe it until I heard it, but it's true. These lads can rock well. It's fairly standard melodic and middle-of-the-road rock, but it's impressive. Equally impressed were friends in the crowd, like P.O.D.'s Traa Daniels, who was in town promoting and networking for his Ryot Phoenix label and management group; as well as Scott Brinson and the crew at the Bandwagon merchandise company.
Mike Farris had a large, standing-room-only crowd at the sideways layout of the infamous Antone's club. The people were very much there to see him perform, even though the illustrious Americana Music Association bill included such luminaries as Buddy Miller, Joe Ely, and Marcia Ball. This guy finds a way to bring the whole kitchen sink on about every song (backup singers, horn section, rhodes, drums, bass, lead, acoustic guitar and sometimes tamborine), but he's got soul and all the ingredients add to that -- not distracting or becoming too busy. A big fat blusey groove in all its simplicity is so sweet and powerful. A room full of people at Antone's were certainly loving it. Playing song after song from Salvation In Lights, Farris took all the energy in the room, yet left the crowd wanting more.
I went over to La Zona Rosa early, for I didn't want to miss the Flyleaf show due to over-crowded conditions (as has happened before at every SXSW when one picks the wrong show to try attend right at showtime). Turns out I was way early, as the scheduling had changed slightly from initial lists. This allowed me to refresh with a drink of water and watch several Rock Band enthusiasts go at it with vigor on some choice flat panel tvs under a tent at the venue. Very fun. I contemplated heading out to catch Buddy Miller's or Anathallo's sets, but opted for the safe route and chilled on a lounger for a good hour. I wondered if Flyleaf would go on precisely at their posted time or not, because word had it that the band had just returned from a trip to Africa with World Vision that very same day. I happen to know how draining a trip like that can be, so I expected a possible tired or even sloppy set.
Boy, was I surprised. I don't like to throw around the phrase "anointed" too often. In fact, it's almost an embarrassing thing to state -- unless, of course, there are two or three other witnesses that will say the same thing. It's usually a very subjective thing that involves oowie-gooey emotional fluffies and not much else. Heck, when the band came out after the lights went out and the crowd sent a roar of approval, I figured it was just another rock show out of many that night. I didn't even see little Lacey Mosley enter the stage. I thought that maybe she'd make a grand entrance at just the right time, but then I heard a vocal at center stage in front of the drum riser. I guess she entered with the guys in a small cluster and got overshadowed with her entrance. She was singing the worship song "I Love You, Lord," accompanied by a swell of sound from the band. I've often thought this song should be covered by Styper, as the verses have a rest that just begs for a thundering tom smash or bass drum kick between each. I still think it'd be a good idea for the metal band. This young metal crew, however, played it slow and simple. I thought it was kind of neat, but didn't notice anything particularly powerful or special about it.
"...and I lift my voice
to worship You
oh my soul, rejoice
Take joy, my King
in what You hear
...let it be a sweet, sweet sound
in Your ear."
Then the band rocked into gear and everyone cut loose with energy and noise. The band didn't look tired. Perhaps their eyes showed a weariness, but they forced their bodies to keep moving. It seemed they weren't about to let this frenzied crowd down. It was definitely not apparent from any viewpoints that they'd just made a 20+ airplane trip. Wow. Tunes like "Fully Alive" grooved and swung with volume and power. I kept waiting for bassist Pat Seals to flatten Lacey with his spinning headstock after landing one of his hundred or so launches from his little ramp by his monitor wedge. La Zona Rosa is not a very large stage, but Flyleaf showed their veteran experience on stage by using every spare space with audience affirming glances and pacing back and forth to interact with each other. At one point a road manager came out with set lists and used a Sharpie to mark off a song on one of the guitarist's posted lists. I guess maybe they were running out of time. More than a few songs followed, though, only "I'm So Sick" not making the show. Without taking notes, I'd venture to say that they played every other song on their Octone Records self-titled debut (which just went platinum). When they ripped through "Cassie," it was hard not to think of the song's story. The band was playing it at the same speed or faster than the album's version, with Lacey's vocal cadence not pausing for effect much at all. The crowd sure knew the song, as hands and arms filled the air all through the club. By the time the band ended, it achieved what a hard rock or metal show should: the audience was attacked with sound, they responded with affirmative joy, and everyone was tired but exhilerated.
It wasn't like any sermons were preached, but I realized that during the entire set my eyes were welling up and wanting to burst with tears and my heart seemed to be poised for worship, just itching to embrace God with words of adoration and praise. I don't know if you'd call that an anointed concert or not, but wow. Someone shared with me the next day that they appreciated or liked hearing the band start off with a worship song, and that felt like one Christian telling another that the band they'd seen was "good enough" to be counted as holy, but it didn't do anything for me. What was weird, though, is that whenever I'd describe the show to anyone, I almost wanted to start balling. I actually choked up a few times (holding my emotions in check like a good macho man, of course). I guess I could chalk this up to maybe someone praying that God would show up at this show and make His presence known and/or God choosing to do just that as part of His sovereign will. All I know is how I felt then and still feel now.
I headed down Sixth Street to hear The New Frontiers at The Thirsty Nickel. It was a super tiny stage that is partitioned off with a small banister surrounding about a ten square foot area for a drumset and not much else to fit into -- yet this newly signed Militia Group outfit stuffed bass, keyboards/piano, and two guitarists into that spot. What was so refreshing about this band is how great the vocals of Nathan Pettijohn sound -- especially accompanied by his mates on BGVs. It's pretty amazing how brand new songs, like "Black Lungs" and "Walking On Stones" sounded so familiar already. They're just good, solid melodies that wrap themselves inside you quick. Even the lilting slower ballad, "Man Down," was infectious. Dang, this band is good!
It was now past 1:30 in the morning, but I was still pushing on to see one more band. It was Vedera (fka Veda) playing at a small specially crafted "venue" from a hotel meeting room as part of the Hilton Garden Inn. I went to several spots in and around the hotel only to find out later that this particular spot (Creekside EMC at Hilton Garden Inn) was locked from the inside down a hall and at the end of the building. Another guy and I pulled on the door and looked through the glass as the band set up and a small audience waited. Turns out we were honest-to-goodness "locked out" of this one. Oh well, after waiting patiently for a good 30 to 40 seconds, I turned and called it a night, beginning my mile-long march to my parked car. That was Day Two of the SXSW Music Fest, and it was good.