I am, apparently, a slow learner. Six years now I've attended SXSW and I've only just now figured out how to make sure I get to see the band(s) I want to see. Special thanks to Corey Flegel, proprietor of This Is American Music (a full-service digital record label, management company, etc., for introducing me to the SXXPress Pass. Basically, badge holders can, if they get to the convention center early enough, sign up for one of a handful of "express" passes that move you straight to the front of the line for any venue, vaulting you past even other badge holders. It's pretty rad. But more on that later.

First, my day started at noon when I attended a Diamond Rugs-curated hour-long showcase featuring a bunch of different groups all playing 15-minute "speed sets." At 12:20pm, Futurebirds went on, playing two songs, one of which was about a 7-minute cover of The Rollings Stones song "Slave" from *Tattoo You*. The fellas had probably just woken up, but the sort set was sort of a welcomed mini-jam session, compared to the structured nature of other performances. Next, A guy named Joe Fletcher, from Providence, RI, if memory serves, performed. He was sort of gravelly-voiced, solo singer-songwriter; like a Steve Earle. Very rustic lyrics. One song in particular was good, and had a funny chorus--something about being single when he's drunk. Think he dedicated that one to Ol' Possum, George Jones.

Diamond Rugs themselves played a little bit before one. And they were impressive. I already mentioned on a previous blog that the group features some players from some other great bands like Dark Lips, Dead Confederate, Los Lobos, etc. Diamond Rugs' mini set was fantastic. They played three songs, each sung by a different band member. Ian St. Pe sang an amazing song about a stripper, in his typical deadpan vocal delivery. The other two songs in the set were similarly memorable--the group sounded like a soulful Nirvana. The fella from Los Lobos and some other fella contributed horns to the set, adding a sweet, R&B panache. I hope to catch Diamond Rugs in a whole set later Saturday, but based on the short set, I can say that I'm very anxious to hear the group's debut album.

After Diamond Rugs, I caught the tailend of a Continuing Legal Education (CLE) seminar. As a entertainment attorney, I like to go to as many of those as I can every SXSW. This year, though, my schedule hasn't permitted me much time to do that. I did catch the tailend of a CLE entitled "Royalies in Digital Space," which discussed how artists can compensated for when their songs are played (streamed) online. E.g., Spotify, etc. In the case of Spotify, the answer is "not very well." Spotify is still working out some kinks, but as of right now, artists basically make nothing from the service. Anecdotal accounts abound, some of which were confirmed in the CLE, of major artists scoring "hits" on Spotify, songs that were streamed a couple million times in a week, netting the artist like, $8 in royalties. My hope is that as more people switch to the subscription service, and as deals with labels are maybe renegotiated at fairer rates, that more money can do directly to artists.

One major takeaway is that all musicians should register at both SoundExchange and the Alliance of Artists and Recording Companies (AARC). I advise all of my own clients to do both of those things. It's easy and those companies get money for you that other entities, such as Performing Rights Organizations (PROs), e.g., BMI, ASCAP, etc., can't get you (because they aren't allowed to). The panel confirmed that practice and provided me with some additional insight as to how to handle situations when there are multiple entities who own a stake in a given song.

At any rate, all that arcane stuff made me want a good ol' fashioned taco or three. So, on the recommendation of a friend, I walked to Cantina Laredo, just a couple four blocks from the convention center. Ordered some delicious tacos al carbon, ate the shit out of them, and then headed to see Dark, Dark, Dark from Minnesota. The group is signed to Supply & Demand right now, but have gotten some interest from other labels. And rightfully so. The band plays beautiful indie-folk (I hate that term, but whatever) music. Also, at their show I ran into Jesse from These United States. I told him my wife is the biggest These United States fan and he offered to pose for a picture to send to her. Nice fella. Needs a bath.

Dark, Dark, Dark was a perfect, low-key prelude to a smoking set by War On Drugs. Kurt Vile, of War On Drugs, is pretty much a bad ass, and the group's set at the Moody Theater (where they film Austin City Limits) was great. War on Drugs is a very atmospheric kind of band. Vile's guitar is effect laden, lots of echoey, reverby kind of stuff. War On Drugs' songs kind of remind me a My Bloody Valentine, just from a noise landscape perspective, and like a early Bob Dylan from a songwriter perspective. The reason for the latter comparison is that War On Drugs' songs don't really have choruses, at least not typical, bloated rock and roll choruses. Instead, Vile sings a line or two, then drops back and noodles around on his guitar. The music is a little drone-y, and in fact, that would be my only criticism of the show. The album is great, though, and the set was a highlight of the festival for me. Of course, the venue (Moody Theater) had pristine sound. Everything perfect, audible both from the pit and the balcony (I tried out both locations). Great, clean venue with a friendly staff. Wish I'd caught more shows there this year.

After War On Drugs, instead of sticking around for The Magnetic Fields, who I saw back in 2002 (underwhelming performance), I walked over to Frank's for the Merge Records showcase. Frank's was the venue I wrote on my nifty little SXXpress pass credential. When I arrived, Hospitality was about to go on, and there were about a hundred kinds in line. Usually, this is where I would panic, figuring I'd miss the whole performance. Instead, the SXXpress pass rocketed me to the front. I felt a little elitist, sure, but more than that just relieved to be having such good luck seeing the bands I want to see instead of missing everything as has happened the last five years.

Frank's is a tiny venue. Surprised Merge chose it, although the coziness of it maybe contributed to the overall we're-all-in-this-together vibe they had going on. Hospitality was awesome. The group's sound is driven by the bass player, who is good at holding down the low-end while still contributing some fills here and there (all while singing backup, mind you). Eleanor Friedberger was next (I think). I like the Fiery Furnaces, which is Eleanor and her brother, but wasn't in the mood for a solo acoustic set, so I rested my legs a little bit until The Love Language came on and basically blew everyone away. Best performance at this year's SXSW (that I've seen). The band was on fire, great energy. They played some new songs, all of which were well-received. When the set ended, everyone's jaws were pretty much on the floor. The Love Language seems poised to reach that next level of success. If you have a chance to see them live (and they tour a lot), go see them.

Crooked Fingers, a great band which holds a specia place in my heart, had the tough job of following that performance, and they did admirably. The new Crooked Fingers album is Bachmann's best in a decade. After Crooked Fingers, Imperial Teen played. I like a lot of Imperial Teen's songs, but had forgotten how, well, old the group is. They played a good set, but I was really awaiting Bob Mould, the "headliner" of the showcase. Bob Mould plays loudly. Not Dinosaur Jr. loud, but LOUD nonetheless. The venue was truly packed out by this point, but the vibe was great inside, with everyone singing along to Mould's songs. It was a great end to the night. Probably my favorite day of SXSW maybe ever. A day that sort of reinvigorated my appreciated for the experience here in Austin. I mean, where else can you eat delicious tacos and then see like 8 of your favorite bands all in a couple block radius? Hopefully Saturday lives up to Friday. More on that later.