Let's just continue from where we left off which is during...

**-Thursday, March 15-(Con't.)**

After enjoying Young Prisms and still not finding my friend I was looking for I split and headed back toward downtown Austin. Since I'd been shut out completely from the actual Bruce Springsteen show, attendance had been determined via a drawing and I was colored outside the line, that was going to happen at the [ACL (Austin City Limits) Live at the Moody Theater][1], I was consoled slightly by telling myself that [The Jesus & Mary Chain][2] would be my consolation prize. Even so, the chance to see The Boss in a room with only 2,700 people? Eh, oh well. Strictly speaking, I'd had three chances to see him: I'd been considered for press passes, a couple of local friends—on their own accord—got in touch with some folks in the Springsteen camp and tried to get me in and I'd entered the drawing. All three came up zero. So I took that as fate and decided that seeing The Jesus & Mary Chain at [The Belmont][3] would be the activity of the night.

But first I headed back out to The Hideout, grabbed some more coffee and stopped over by the [Central Presbyterian Church][4] where Pitchfork was having a showcase. Michelle (Gilzenrat, Flagpole music editor) was already inside watching Fiona Apple and the line, even for those with badges was around the block. So I stood around outside, texted her an irritating amount of questions and waited for the line to evaporate—which it did as soon as Apple was done doing whatever it is she does—and went in for the set by [Charli XCX][5], the 19-year-old pop goth darling from Hertfordshire, UK (huh, second act I'd see this week from there. *It's a small world after all!*) The Central Presbyterian Church is one of my favorite venues at SXSW. First, it's sitting-room-only. Second, even the non-religious adopt a respectful composure when entering. It's a gorgeous, old building—although my friend from England says, “It's not even that old!” because England's been around about two million years longer than the US so, you know, perspective and all that—and I've only ever seen goth-y, dark-rock here which I think it showcases wonderfully. And the volunteers from the church are lovely and polite and a welcome respite from the occasionally gruff doormen and staff of other venues.

Charli XCX was already a couple of song in by the time I was able to enter and she sounded great. I just checked Twitter to see what I'd said at that moment and, sure enough, I still agree with my original assessment:

http://flagpole.com/users/photos/2012/mar/21/580/

I don't have any footage from this performance but here's a couple of photos:

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By this time I had to hustle down to The Belmont to make sure I got in. That was easy enough as the line for those with badges was basically non-existent at that point. But getting there about two hours early meant I had to endure “[Award-winning Canadian band Arkells][6]” and another set by those irrepressible posi-popsters [Titus Andronicus][7], whose hype I still don't understand. They still sound just like slightly cleaner, straight ahead bar rock to me. No matter. During Titus' set I went upstairs, sat on the floor, leaned against the wall and tried to make myself as small as possible so the hundreds of drunk people piled into The Belmont wouldn't step on or bother me. Finally Titus was over and I went back downstairs, thanked the heavens for this crowd needing another drink—thereby clearing some space on the floor and moved up front. I was situated about 8 feet from the stage and that was good enough for me.

After a long delay--never explained--boom:

http://flagpole.com/users/photos/2012/mar/21/583/

The whole set was hits, baby, hits along with about 95% of the band's original feedback, 25 % of it's drunkeness and, at least in the case of singer Jim Reid, easily 70% of it's swagger. Years of destructo volume have clearly taken it's toll, though, as Reid repeatedly plugged his left ear to hear more clearly and several times during the show the band looked quizzically at each other as if they were lost in the volume and couldn't find their place. All that said, I still think it's kind of unreasonable to expect a band whose entire reputation was built on shows that were complete shambles of noise and chaos to have metamorphosed permanently into some sort of pro rock outfit. Still, I suppose since they *actually had* made the transition years ago into such a thing there would be a nit-pickers amount to complain about concerning this show. Sure, they got lost during "Taste Of Cindy" and Jim Reid had to yell at his brother William a couple of times to cut his feeding-back guitar off so he could talk to the crowd.

I dunno, seemed like old times to me albeit a much slower moving, entirely less dangerous version of those times. I mean, I never felt like I was gonna get hit with a guitar or fight with the band or anything. And even if that did come to pass I could probably run faster than them, anyway.

But I didn't mind the supposed rustiness of the band or the tuning problems or anything. I never wanted or expected the Chain to be Aerosmith. I was always drawn to them because they weren't.

At one point during the show--not sure if it was too many drugs or too many hugs--some wild-eyed 20's-ish kid managed to climb onstage, ripped off his shirt and was in the process of *removing his pants* when he was thrown back into the crowd by security. I'd imagine getting a half-naked wasted dude thrown at you during a Jesus & Mary Chain show is a memory you'd carry with you always so high-fives all around to those on the side he landed on. Hope he was OK. Looked like it hurt. (Pretty sure Gilzenrat was on that side, too. Michelle, can you confirm?)

http://flagpole.com/users/photos/2012/mar/21/584/

Two last thoughts on this show. 1) If you're ever in Austin, go check out The Belmont. Even thought it's got that big outdoor staging area it's got a swank inside. This must be where Don Draper goes to let down his hair. 2) Why hasn't anyone mentioned Jim Reid's cool Monkees T-shirt?

http://flagpole.com/users/photos/2012/mar/26/639/

Due to delays in The Chain setting up they wound up getting off the stage at 1:40 AM, i.e 40 minutes late, so I booked it out of there super fast and ran down the street to --can't remember. someplace else, though--to see [Kid Congo Powers & The Pink Monkey Birds][8]. When I got there Kid was already packing up his guitar. Slightly dejected, I still managed to talk to him for a few moments and get my photo taken with him but I won't publish that here because he looks great and I look totally stupid in it.

Got back to the hotel and Michelle, me and writer David Fitzgerald were forced to evacuate due to a, as was later determined, false fire alarm. The wind can whip up pretty quickly in Austin and had decided to do so that night so we stood around outside and talked and I think it was about an hour before we got back upstairs to the room. Oh, the drama!

http://flagpole.com/users/photos/2012/mar/23/601/

**-Friday, March 16-**

This morning was fraught with scheduling problems. I was running around trying to get through lines at two different places, pick up two different sets of passes for different events AND cover a benefit brunch for [My Music Rx][9] that was happening at the Fader Fort presented by Converse. By the time I was sorted it was noon and the brunch was headed into its second of two hours and I felt like a real stooge showing up an hour late for a benefit show so I made myself a promise that I'd make full mention of the event in any SXSW reporting I did. which is why you're reading about [My Music Rx][10] here. Seriously, I embedded that link twice now which is more than a hint that you should click through. The organization specifically [provides music therapy to very sick kids][11] through a variety of really cool ways and it's hats off to both New York's [LP][12] and Chicago's [Yawn][13] for taking the time this morning to help out. In a week packed with more "ME!ME!ME!ME!" than anyone could possibly fathom it was nice to see some folks saying "you", or rather, "them."

http://flagpole.com/users/photos/2012/mar/21/586/

I met up with a couple of friends and headed to the [Palm Door][14] for the KEXP (Seattle)/EMP (Experience Music Project) showcase and saw [Don't Talk To The Cops!][15] and [The Young Evils][16]. The first made an impression similar to being hit with a marshmallow. Cute at first but then kinda irritating. The latter was pleasant enough in a boring sort of way and I realized I'd have been just as entertained if they weren't playing at all.

My friends seemed to really like them, though, and I respect their opinion so maybe I wasn't 1) in the mood for indie pop and/or 2) was much more taken with the Palm Door's killer air conditioning to pay attention to much else.

We took off sorta in the middle of The Young Evils' set and headed out to this day party that I'm gonna feel like a real goober telling you about so I won't. Let's just say it was fairly fancy and, yet again, my entrance was purely the result of someone else's largesse. (Thanks, Nathan!) Before too long, but not until after consuming a few tasty snacks courtesy of the hostess and the party's sponsors, we headed out and split up. I went up to [Stubb's BBQ][17] for [Spin Magazine][18]'s big daytime shindig and caught [The Big Pink][19] based solely on Michelle's recommendation. She was right. They were pretty good and seeing them in the middle of the afternoon was nicer than I anticipated. Both Michelle and I left after The Big Pink and wandered back down to the other party I'd just left. By the time we arrived there's was a sizable contingent of Athens folks and the atmosphere had become slightly less stuffy and more casual. You know how it is. The first to arrive are always wary of touching anything but by the time the last folks arrive everything's been touched twice. So, I hung out there for an unreasonable amount of time. Seriously. I never should have spent upwards of three hours in one place but that's what happened.

When I left I walked past this house where a sad little old [chiweenie][20] was sitting next to the gate. When he saw me he whimpered to be petted and, even though I KNOW, you're not supposed to reach through someone's fence and pet a strange dog but I did anyway because I like to live on the edge and it was the best 15 minutes of the day. I mean, would you look at this little guy? Look at him!

http://flagpole.com/users/photos/2012/mar/21/587/

I'd found out earlier in the week that [Little Roy][21] was going to play the [UK Bass Culture showcase][22] at [The Driskill's Victorian Room][23]. I flipped at this news because it would mean I'd get to catch two reggae heroes--the first being Jimmy Cliff-- in one week which, for me, never happens. Also, it gave me a reason to go to The Driskill which I'd never really had before. So, I'd never been there but I have seen *[Giant][24]* several times and I swear this is where [Mr. and Mrs. Benedict][25] must have stayed whenever they went to Austin.

Presented by the London based [British Underground][26]--which hosted a [ton of events][27] this week--this show was specifically designed to pay tribute to the influence of bass culture (Reggae, Dancehall, Dub, et al) on British music. Since The Driskill is unfortunately located on the ass-end of 6th street near Congress I had to hustle through crowds and barely made it there in time. But I did get there just as Little Roy was taking the stage with his band. Now in his 60's, he's a long-revered figure but when he was dubbed "Little Roy" circa 1967 by none other than [Prince Buster][28] he was an up-and-comer who wound up fulfilling every bit of his promise.

His latest album, [*Battle For Seattle*][29], sounds like an awful idea on paper. A reggae album full of Nirvana covers? Please. I'll never need to hear another Nirvana song in my life. I've heard all those records a billion times and I'm sick to death of them. However, it just goes to show what a total doofus I can be because Little Roy *slays* these songs and, now that this record exists, I realize the real fact is I'll never need to hear *Nirvana's* versions of Nirvana songs but I might definitely need to keep hearing Little Roy's versions. His arrangements are so good and his vocalizations so solid and thoughtful that he breathes a completely new sense of life and depth into them. This is what I'm talking about:

He played a few tracks off the album and then a series of old hits of his dating back to the mid-1960's. I was enthralled and nearly ecstatic to be standing literally right in front of him.

I fan-boyed out and made sure to get my photo taken with him after the show but here's what he looked like conquering the stage...

http://flagpole.com/users/photos/2012/mar/21/588/

http://flagpole.com/users/photos/2012/mar/21/589/

It sucks to leave a high note for a decidedly low note but that's exactly what happened next. Reptar was playing basically across the street at Buffalo Billiards--an awful, enormous, wannabe cowboy bar that could serve drinks with a side of AXE Body Spray if it wanted to. It's part of a *chain of bars* named "Buffalo Billiards" so it might as well have been Coyote Ugly. Anyway, all I wanted to do was head over, say hello to the guys, take a few pictures and split. You'd have thought I was entering Gaza. I literally had to go through three separate checks to get inside. First, bar doormen working in pairs. Then two separate SXSW volunteers whose [RFID][30] readers weren't working (note: all badges are have an embedded RFID chip that's scan-able for authenticity) so instead of being acquiescing they gave me the stink eye and begrudgingly told me to go ahead upstairs. **WELL, THANKS LOADS!** (Note: This was the *only* time I had any issue at all with any official SXSW staff. Every other situation---from check in to closing time--was a seamless and polite experience.)

So I amble--that's what you do in a fake cowboy bar, you amble-- upstairs, catch the band setting up and say hello to William Kennedy who promptly informs me that this building was once a whorehouse (in Texas! no way!) and that it's supposedly haunted. Well, great. That makes the whole place a lot more comfortable. (Truth, though, the building was constructed in 1861 and God only know what happened between then and now except that any true bad-assery it might have once had is gone with the wind.) Anyway, I spy Jace Bartet who's been touring with the band and he runs offstage and gives me a great big bear hug and everything is automatically cool again. Until it isn't. I'm not sure how they've done it but Reptar has fans *everywhere* and there were easily a couple of hundred people packed into the top floor of this place just to see them. Then they started playing. Then the floor started shaking. Then I had to leave. Look, nothing against Reptar at all but if I'm gonna get crushed at a rock show it's certainly not going to be one at Buffalo Billiards.

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I took off and decided I was either gonna catch The Cult at the Chevrolet Sound Garage (a temporary re-branding of this place that was named “Club Crucial” last year so I really have no idea what it is during normal times) or The Ting Tings at Stubb's. I never gave a toss about The Ting Tings but figured what the hell, why not? Didn't matter anyway because they'd canceled and the line for The Cult was moving just fine. And according to the sign Athens band “Dead Confederates” had just finished. HA!

I ran into a couple of folks you might recognize just outside, too.

http://flagpole.com/users/photos/2012/mar/23/602/

I got a decent spot near the front and was surprised at how small the place was. Athenians, it's like this: take one Caledonia Lounge, put another one on top of it and you basically have this place. It's tall but fairly narrow and long. I was surprised The Cult was gonna play this joint (not to mention a *parking lot* show at Waterloo Records, too) considering they'd been booked as headliners for the Saturday night show at Auditorium Shores (big 'ol place where SXSW does these huge free shows that are open to the general public) but was happy to be up front to catch 'em.

You know, I flipped years ago for The Cult's LP *Love*--which is still a killer record; no expiration date-- flipped a little less for *Electric* and then never paid that much attention to them. Either way, I knew they'd be playing at least a moderate amount of songs I liked.

Former and current MTV VJ and host of *120 Minutes*, amongst other things, [Matt Pinfield][31] introduced the band.

http://flagpole.com/users/photos/2012/mar/23/603/

The Cult came on, sounded very much like a heavy bar rock band, albeit one with major chops and attitude, and really did a totally fine job. Billy Duffy and Ian Astbury (the two most famous and, now, only two original members left) know what they're doing.

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OK, real talk: The Cult played great. There was a certain thrill of being so close to this band who'd only been MTV acquaintances years ago and getting to watch Duffy's hands while he played the intro to "She Sells Sanctuary" solved a mystery for me, although admittedly it was probably only a mystery because I'm not much of a guitarist. And, yeah, it was probably inevitable that they'd be there but I could have really done without a couple hundred of beer-bellied, slightly-sleepy, boring old rock dudes crowding the place out. Especially when they had a better vantage point than me. One guy in particular was *playing with his phone* right in front of the band while they were playing. At first I thought he was taking photos but he never looked up or aimed his phone at the band when he was messing around with it so he couldn't have been. Still don't know why Duffy didn't give him a boot to the face.

http://flagpole.com/users/photos/2012/mar/23/606/

In a really sad showing of age, too, Astbury made multiple remarks concerning "hipsters", how many lame bands were playing, etc. Come on, dude. Why not just hold up a sign that say, **" I'm 49 years old and I have had hits. Yes, it was a while ago. Shut up. Get off my lawn" ?** Immediately before playing "She Sells Sanctuary" he delivered this quip: "This is for The Cults: Can we have our name back please?" (I'd originally quoted him on Twitter as saying "This is for Cults: can we please have our f***king name back?" but after reviewing some video I realized this was one time during the show he didn't say "fucking" but, sadly, did refer to something called "The Cults" and I can't decide which is worse.)

Before closing the show with "Love Removal Machine" Astbury laid out these pearls of wisdom:

"Thank you! We're gonna do one more song and then it's bedtime. This is for Matt Pinfield. How many of you guys know Matt Pinfield? All you little postmodern cocksuckers out there, how many of you guys know Matt Pinfield? He built the fucking road you've been riding on. You fucking pussies. 'I've got a fucking nice haircut and a keyboard and I can't even write a song!' This is for Matt Pinfield."

You know, Ian, here's some advice: Who exactly were you addressing? Didn't you see who your audience was? The majority were 50-ish men just like you who weren't--by even an unreasonable stretch of the imagination--anything close to "postmodern.". Also, if you're going to trash people in other bands as "pussies" you'd get a lot further with your argument if you don't talk about how it's your bedtime in the same sentence. In that single ill-advised bout of blather you wrecked what had been a tight, well played set of classics and made it a bitter old man moment. Look at how hard you rocked this show...

http://flagpole.com/users/photos/2012/mar/23/607/

Now, look at the songs you played...

http://flagpole.com/users/photos/2012/mar/23/608/

So, yeah. Way to ruin it.

I headed up Red River to [Hoboken PIe][32]--hands down the best slice in Downtown Austin--but before i got there I noticed this major crowd outside Swan Dive with [Tom Morello][33] standing slightly above it playing an acoustic guitar and leading the people in singing "This Land Is Your Land." I'd obviously stumbled upon this action a little late (much fuller reports [here][34] and [here][35]) and, honestly, by the time this was all happening in the streets I'm pretty sure most of the aggregate audience was just gawking at Morello and not really part of any movement or action. It was kinda scary, though, how many police officers were lined up immediately past the entirely non-threatening crowd's perimeter.

http://flagpole.com/users/photos/2012/mar/23/610/

Morello did several "mic checks" but hell if I could make any sense out of it once the info had been passed back. I did figure out he was talking about some union-busted guitar factory workers but I've no idea where or who or when. (That said, keep in mind I'm just trying to give you the narrative of *my* activity during SXSW not the intention of everybody I came across.I'm not trying to belittle anything that was said but I honestly couldn't hear it clearly.) What I did hear clearly was the responses people gave me when they asked me what was going on. One college-aged woman said, "UGH! Occupy's been going on for, like, a week! I'm SO over it." Another woman said, "Man, you know that's cool but I'm trying to find this party."

http://flagpole.com/users/photos/2012/mar/23/611/

A few occupiers tried to engage passersby as the crowd dissipated and were hit with the futility of trying to engage streams of partying drunks. Some were just dismissively polite but this one guy right in front of me was so abusively mean to the soft spoken women trying to hand him a flyer that I *knew* he was going to end up on the *Flagpole* blog. So here he is.

And that's how Friday night ended.

(Read Part 1 [here][36])

(Read Part 3 [here][37])

http://flagpole.com/users/photos/2012/mar/26/640/

[1]: http://acl-live.com/venue

[2]: http://thejesusandmarychain.co.uk/

[3]: http://thebelmontaustin.com/index.cfm

[4]: http://cpcaustin.org/

[5]: http://www.facebook.com/charlixcxmusic

[6]: http://schedule.sxsw.com/2012/events/event_MS19356

[7]: http://titusandronicustheband.blogspot.com/

[8]: http://kidcongopowers.blogspot.com/

[9]: http://mymusicrx.org/

[10]: http://mymusicrx.org/

[11]: http://mymusicrx.org/about/

[12]: http://www.iamlp.com/

[13]: http://www.yawntheband.com

[14]: http://palmdoor.com/

[15]: http://www.facebook.com/donttalktothecops

[16]: http://theyoungevils.com/

[17]: http://stubbsaustin.com/

[18]: http://www.spin.com/

[19]: http://musicfromthebigpink.com/

[20]: http://www.dogbreedinfo.com/chiweenie.htm

[21]: http://en.wikipedia.org/wiki/Little_Roy

[22]: http://www.fearlessradio.com/index.php/musicians/press-releases/4600-upcoming-sxsw-2012-bass-culture-event-inspired-by-jamaican-reggae-and-its-influence-in-the-uk-gives-london-a-sneak-peak-of-whats-to-come.html

[23]: http://www.driskillhotel.com/victorian-social-room.php

[24]: http://www.imdb.com/title/tt0049261/

[25]: http://theselvedgeyard.files.wordpress.com/2010/12/42-21541968.jpg

[26]: http://britishunderground.net/

[27]: http://britishunderground.net/blog/british-underground-at-sxsw-2012/

[28]: http://en.wikipedia.org/wiki/Prince_Buster

[29]: http://www.battleforseattle.com/

[30]: http://en.wikipedia.org/wiki/Radio-frequency_identification

[31]: http://mattpinfield.com/

[32]: http://www.hobokenpie.com/

[33]: http://en.wikipedia.org/wiki/Tom_Morello

[34]: http://www.rollingstone.com/music/news/tom-morellos-occupy-sxsw-shut-down-by-cops-20120317

[35]: http://www.rollingstone.com/videos/new-and-hot/tom-morello-responds-to-occupy-sxsw-shutdown-20120318

[36]: http://flagpole.com/weblogs/homedrone/2012/mar/20/sxsw-2012-lets-get-massive/

[37]: http://flagpole.com/weblogs/homedrone/2012/apr/01/sxsw-2012-lets-get-massive-part-3/