We are on the eve of festival season beginning this week. Folk Alliance takes place in Toronto this coming weekend and then starting March 11th we are right into SXSW, which to me, and despite living in Wisconsin, is the true kickoff to spring/summer 2013.
Festival season - it gets better each year as more and more festivals pop up throughout the country. What a great way to discover new music. And despite it's rise in commercialism and mainstream-skewed crassness, Sixth Street in Austin, TX offers endless options to find your next favorite band. Last year SXSW gave us Alabama Shakes. The past year has been very good for The 'Shakes and two nights ago they performed on SNL. FIDLAR and Grimes were big winners last year as well. The Lumineers and Hospitality came out of SXSW as scorching, must-see acts.
We all know that SXSW is one of the most important conferences in the music industry. With over 12,000 annual registrants and as the highest revenue-producing event for Austin's economy, it's a safe assumption that those who are deadly serious about their music careers are making the trek to Austin every March. What was once a regional artist and 100% indie showcase has now become a platform for musicians, filmmakers, tech start-ups and even corporate brands to make some noise and reach key influencers across industries and in the media.
One of the problems I have with SXSW is everybody is trying to one-up somebody else. Truth be told we are spending quite a bit of money at SXSW this year. I don't think our agenda is to be the next Twitter or the next Foursquare however. We really don't want to be the next anything. We're just happy to remain under-the-radar, a cool and honorable haven for indie acts to showcase themselves while attaching to a gig or two or some other types of opportunities. So while we've put together an amazing couple of days of rogue showcases, we are going down there with modest goals in mind and a specific agenda:
1. Network. Network. Network. Network. Network. Did you get that?
2. Stalk. We target specific acts, specific panels, specific people and specific meetings.
3. Business as usual, but in a warmer and incredibly hyped environment.
4. Schedule dinners. More stalking. More networking.
5. As a fan, after midnight gigs are the best, and we hit the Taco & Fried Chicken Dives afterward.
6. Announce plans for the following year in Austin.
As a band - how do you make the most of SXSW?
Last year more than 2,000 bands were scheduled to perform -- and that's not counting the ones playing rogue showcases like ours. As SXSW continues to morph into a universal phenomenon, the landscape has become somewhat fattened and too saturated. As a performer, you have to consider if the return is ultimately worth the investment of your time and your money. The answer, quite simply, is yes, but with a pretty big caveat: Only if you temper your expectations and be realistic about what you hope to accomplish versus what you can actually accomplish.
We've asked very little of our bands in the way of a financial commitment. Travel expenses are absurd and astronomical, no doubt, and trying to find a place to stay is nearly impossible. Those are factors that are out of our control. Most bands paid $180 through Jivewired for an opportunity to play our events. Yesterday we parted ways with a band that I felt was asking for far too much of a return on a $105 investment. Yes, I said $105. $75 to sign up as a band from Wisconsin and a $30 submission fee. Better luck next year. But that raises an interesting point - what exactly are you (or your band) trying to get out of SXSW?
If you are going just to say you played SXSW -- good for you, you are on the fast track to probably getting nothing out of this opportunity. But if you want to make an impact, make sure you are fully armed with marketing material and fully prepared to pound the pavement and shake a lot of hands.
Generally, three types of bands go to SXSW: the start-ups, the under-the-radar, moderately recognized buzz bands, and those acts that are about to break into the mainstream or midstream or those that have already. Each performer - especially for those deeply buried at the bottom of the industry food chain - needs to be realistic with what they want to get out of SXSW in order to make the most out their experience and live with their rapidly depleted checkbooks. If you're looking to make industry inroads and you're new to the scene, it's probably best that you save your gas money and work on perfecting your product before hitting the conference. However, if you're a small band looking to network with other bands and build your industry resume, SXSW is the perfect place to do that.
Planning on being the next Alabama Shakes? The odds are stacked against you in an almost disgusting fashion. How many acts broke out of SXSW last year? Less than one percent. It's a crap shoot, a lottery ticket, a musician's folly. But it tempts us and lures us in because despite the long odds it still gives us the best chances of being discovered. At the very least, it puts us in the company of every music professional on the planet.
As anyone who has ever been to the festival will attest, SXSW is more about networking than it is about discovering the next big thing, and it's important that bands make as many contacts as they can while there.
- Have business cards handy.
- Have product and plenty of it.
- Have a plan/strategy.
- Practice your introductions - sometimes what you say is just as important as what you play.
- Make yourself available to media.
- Stand out.
- Play nice.
- Smile for the photo opps.
- Watch what you say - everybody is listening.
- Take detailed notes.
- Follow up in short immediately and at length when you get home.
Do NOT get obscenely drunk. Do NOT get arrested. Nobody wants anything to do with the dirty debutantes except those who can quickly exploit their sudden misfortune. Even Amy Winehouse managed to stay relatively sober at SXSW five years ago. True story.
Forming alliances with fellow musicians can lead to touring/booking opportunities that will enlarge your footprint and build national recognition. Making yourself known to industry VIP is the first step in forming mutually beneficial business relationships. Do not forget to follow up post-Austin and leverage your new contacts as soon as you get home. Don't be pushy. If you don't hear back after an e-mail or two assume they are not interested or forgot who you are.
And remember this more than anything -- SXSW is one big Drunk Fest for a lot of people. And even for those who don't drink, contact lists often become overwhelming and unmanageable in short order for everybody in attendance. Don't expect anybody to remember you the next day or the next week, let alone thirty minutes after meeting you and seeing your performance unless you leave an indelible impression. Those that do show interest, if you do not recognize their names, should be vetted for accuracy and authenticity.
As for the buzz bands, it's most important that they perfect their product before conquering Austin. That means they should be paying attention to how popular or unpopular their music has been to the demographics to which it has been exposed. Investors want a band with word of mouth value, so it's important that you first focus on how your product is being received as opposed to how many people it has reached. Learn where and when your audience is engaged -- routing a tour through Austin, prior to SXSW is a great way to do this -- and be sure to leverage and expand on these moments. Bottom line: get your product right and nurture the fans you have already. There are lots of people who can help you expand your audience, and with a perfected product, you’re more likely to meet them while in Austin.
For the bands that have already made their mark, SXSW is a great place to establish your credibility and break away from the negative connotations associated with the music industry. An established artist who plays SXSW is not only demonstrating a commitment to the craft, but also an edge that is important within an overly-saturated industry.
SXSW can be both a blessing and a curse. The conference can expose you to a large volume of the right industry contacts. It's also easy to get lost in the noise, a buzz phrase you'll undoubtedly hear more than you care to. Essentially, if you know what you want to get out of the festival, and are both realistic and strategic about it, you'll see why thousands of people flock to this music Mecca every year.
THIS WEEK'S TOP FIVE LIST
Five bands playing this year at SXSW that represent the current direction of music:
01. Allen Stone
02. Bear Ceuse
03. The 1975
04. FIDLAR
05. Waaves
THIS WEEK'S FACEBOOK FRIENDS
Instead of choosing one band we are going to link you up with everybody playing our rogue showcases at 311 Club and The Rooftop On Sixth.
NOTE: We hope that this is a final listing. In some cases bands have other commitments at SXSW or may be subject to regulations regarding official slots with the conference. If that is the case, we will ask some bands to move or relocate to another venue. We do have to follow guidelines set by the conference and make sure that bands have no conflicting gigs elsewhere.
311 Club - 311 E. Sixth Street Monday March 11, 2013
- 5:20 PM - Jet West
311 Club - 311 E. Sixth Street Tuesday March 12, 2013
- Noon - TBD
311 Club - 311 E. Sixth Street Wednesday March 13, 2013
(The Flytraps)
- Noon - Cary Morin
- 12:40 PM - Tony Memmel
- 1:20 PM - Summit
- 2:00 PM - Maddie Miller
- 2:40 PM - TBD
- 3:20 PM - Don Gallardo
- 4:00 PM - David Berkeley
- 4:40 PM - The Deer Tracks
- 5:20 PM - A Boy & His Kite
- 6:40 PM - American Flags
- 7:20 PM - Hydra Melody
- 11:20 PM - Raw Blake
- Midnight - The Flytraps
- 12:40 AM - Mr. Clit & The Pink Cigarettes
- 1:20 AM - Killmama
The Rooftop On Sixth - 403 E. Sixth Street Wednesday March 13, 2013
(unconfirmed time slots and NOT FINALIZED as this submission is still open)
(Shannon LaBrie)
- 5:00 PM - Parker Millsap
- 5:40 PM - Jonathan Blake Salazar
- 6:20 PM - TBD
- 7:00 PM - Desi & Cody (Full Band)
- 7:40 PM - Shannon LaBrie
- 8:20 PM - The Can't Tells
- 9:00 PM - New Day Dawn
- 9:40 PM - TBD
- 10:20 PM - Dimitri's Rail
- 11:00 PM - Audiowall Slot
- 11:40 PM - TBD
Vince Young's Steakhouse - 301 San Jacinto Blvd. Thursday March 14, 2013
- 5:00 PM - Desi & Cody
311 Club - 311 E. Sixth Street Thursday March 14, 2013
(Gram Rabbit)
- Noon - Maddie Miller
- 12:40 PM - The Nghiems
- 1:20 PM - David Castro Band
- 2:00 PM - Jesse Aycock Band
- 2:40 PM - Wink Burcham
- 3:20 PM - Pilgrim
- 4:00 PM - The Paul Benjaman Band
- 4:40 PM - Lee Bains III & The Glory Fires
- 5:20 PM - Raw Blake
- 6:00 PM - The Can't Tells
- 6:40 PM - Beautiful Bodies
- 7:20 PM - Bear Ceuse
- 8:00 PM - The Dustin Pittsley Band
- 8:40 PM - The Wanton Looks
- 9:20 PM - Well Hung Heart
- 10:00 PM - Gram Rabbit
311 Club - 311 E. Sixth Street Friday March 15, 2013
- Noon - TBD
- 12:40 PM - David Fagan
- 1:20 PM - The Background
- 2:00 PM - TBD
311 Club - 311 E. Sixth Street Saturday March 16, 2013
- Noon - Dr. Pants
- 5:20 PM - A Course Of Action
- 8:00 PM - Von Din
- 10:00 PM - Left Lane Cruiser
VIDEO OF THE WEEK
BOOM! The soundtrack to falling meteors is already available! You can watch Well Hung Heart and Gram Rabbit create it here, in the new show from Greta Valenti and Robin Davey!
ABOUT THE MONDAY MIX
The Monday Mix airs from 12:00PM to 5:30PM CDT each Monday and is designed to help you get through that brutal after-lunch, energy-sucking span that kicks off every work week. This particular show will be a mix of old, deep album cuts and new indie music with a lot of genre crossover. No Adele. Sorry.
What else does The Monday Mix do? Well, it helps you discover new indie music by combining some really great under the radar tracks with more established songs that were, once in fact, under the radar as well. The hope here is that the culture shock of discovering your next favorite band won't be so enormously imposing if we surround the new stuff with some of your old, familiar friends.
Jivewired supports independent musicians by paying royalties for airplay on Jivewired Radio. Please help us support indie artists by listening to our station and by purchasing indie music. Thank you.
The links on the radio player will give you download options if you really dig on the music and some of the songs are offered for free.
To listen, just press play on the radio widget to the right or use this link to open in a new window that will allow you to listen when you navigate away from this page:
Launch Jivewired Radio
MONDAY MIX PLAYLIST 02.18.2013
01. Lazarus by The Deer Tracks
02. Sing It Louder by Cary Morin
03. Hipster Kids/Sexy Beards by Dr. Pants
04. In The Dead Of Summer by Desi & Cody
05. Where It's At by Beck
06. Desperate Heart by Gram Rabbit
07. Devil by Well Hung Heart
08. Friends Of Friends by Hospitality
09. Spinnin' On This Rock by Ramsay Midwood
10. In The Dark by The Iveys
11. Gettin' Tired by Shannon LaBrie
12. Before We Run by Yo La Tengo
13. The Pursuit Of Happiness by Ben Sollee
14. The Ocean by The Dustin Pittsley Band
15. What If I Told You by Jonathan Blake Salazar
16. I'm Writing A Novel by Father John Misty
17. Cover Your Tracks by A Boy & His Kite
18. Coming For You by von Grey
19. California by Hydra Melody
20. Never There by A Course Of Action
21. Cheap Beer by FIDLAR
22. Without You by Jesse Aycock
23. Electric Daisy Violin by Lindsey Stirling
24. Dog Days Are Over by Florence + The Machine
25. Monster Truck by Ramsay Midwood
26. Everything You Took by Lee Bains III & The Glory Fires
27. Whiskey Under The Wine by Desi & Cody
28. I Could Make You New by Tony Memmel
29. Worst Side Of Me by The Wanton Looks
30. Sex by The 1975
31. Elephant by Tame Impala
32. From A Window Seat by Dawes
33. So Many Details by Toro y Moi
34. Love Is Life by Jesse Aycock
35. Don't You Ever Think I Cry by Buffalo Killers
36. Gon' Lay You Down by Wink Burcham
37. Traveling Coat by The Nghiems
38. Eyeoneye by Andrew Bird
39. Crying Tree by Fiawna Forte
40. Demons by The Wanton Looks
41. This is Not Love by Well Hung Heart
42. You're A Risk by Beautiful Bodies
43. Leaky Faucet by Shamarr Allen & The Underdawgs
44. Home by Don Gallardo
45. You Are My Everything by New Day Dawn
46. In These Shoes by The David Castro Band
47. Sinking Ships by Don Gallardo
48. Palisade by Parker Millsap
49. Easy People by Pilgrim
50. Dixie Brothers by Bear Ceuse
51. Busket by Left Lane Cruiser
52. Nobody Loves You by Cary Morin
53. My Name by Jonathan Blake Salazar
54. Whatever It Takes by New Day Dawn
55. The Only Place by Best Coast
56. Town In Oklahoma by Wink Burcham
57. Dum Dum Dah Dah by The Nghiems
58. Jackson's In A Hole by Parker Millsap
59. Bootyfest by Dr. Pants
60. Hold That Thought by Ben Folds Five
61. Entertain Me by Bear Ceuse
62. Hold On by Alabama Shakes
63. No Control by Pepper
64. Hope For Better Days by David Berkeley
65. Them Tulsa Boys by The Paul Benjaman Band
66. Lying To Myself by The Can't Tells
67. Invincible by Beautiful Bodies
68. Do It With A Rockstar by Amanda Palmer & Grand Theft Orchestra
69. Irie Eyes by Jet West
70. Eighth Avenue by Hospitality
71. I Remember A Boy by Shannon LaBrie
72. The Fool I've Been by Whitney Mann
73. Parachute by David Berkeley
74. Sunday by Jet West
75. Palm Trees & Trailer Parks by The Dustin Pittsley Band
76. Oh So Blue by Pilgrim
77. Get It by Buffalo Killers
78. Ramblin' On My Mind by Left Lane Cruiser & James Leg
79. I Got Some Devil by The Paul Benjaman Band
80. Song For Wynn by Beau Jennings& The Tigers
81. Ain't No Stranger by Lee Bains & The Glory Fires
82. Falling by The Iveys
83. Honky Tonkin' by Gram Rabbit
84. W by The Deer Tracks
85. Hands Up by The Background