With the demolition of the Austin Convention Center removing the festival’s centralized location, events were parceled out in venues throughout downtown Austin for the annual South by Southwest festival from March 12-18.
The massive Austin Marriott Downtown Ballroom showcased virtual reality experience creators competing for the title of favorite experience. Festival-goers could fly over São Paulo, Brazil, experience a flood in Austria or play horror games.
Many streets were blocked off for various markets, rows of food trucks, pop-ups and performances. The markets available to badge-holders featured established companies like Zevia, Rivian and Coca Cola along with smaller brands and startups. Market attendees could get their hands on free mochi, energy bars, hats, T-shirts, tote bags, stickers and books. One of the larger vibrant markets was located on North Congress Avenue. Its location in front of the Texas State Capitol made for great photo opportunities while live music played in the background.
Rapper Don Toliver, one of this year’s headliners, celebrated the sixth anniversary of his “Heaven and Hell” album, performing hit songs “After Party” and “Cardigan.” He also gave fans an opportunity to scream the lyrics of his latest album “Octane,” opening with a slow, serene build of the album’s intro, “E85,” followed by emerging fan favorite, “Body.” The first beat drop ignited a show that rarely slowed for the hour-long set.
Highlights of the night included his performances of “FWU,” “No pole” and “Bandit,” leaving no opportunity for a dead crowd. The screen’s visuals distinguished each song, aiding in the aesthetic of each track. Fire and pyrotechnics colored the set as Toliver acknowledged the special night and his gratitude for his fans.
The All American Rejects lead singer, Tyson Ritter, opened the set at Stubb’s BBQ restaurant using an excess of profanity. When the outspoken, unfiltered Ritter was notified the show was supposed to be clean, it was like pouring water onto a grease fire. After spending a song’s worth of time mocking the clean-show decision, the vocalist said, “Turn on my fucking time machine” and began riffing into their 2005 hit “Dirty Little Secret.”
The Rejects played their classics, “Move Along,” “Swing, Swing,” “I Wanna,” and teased the release of their first new album in over 14 years by treating the crowd to unreleased songs. The set peaked with the song “Sweat,” with low red lighting, a catchy, repeatable chorus and guitar solo that spread chills through the packed venue. With spectacular crowd work and energy, surprise songs, a saxophone solo and instrumentals one could feel reverb in their chest, The All American Rejects had a rejuvenated presence.
Another rock band, The Sophs, was one of the most memorable of the week. From Los Angeles, California, The Sophs have been performing together for over 15 years and just released their first album, “GOLDSTAR,” during the festival.
“The music industry is made up of a bunch of different local scenes, which I feel like people discount,” lead singer Ethan Ramon noted. “The music industry isn’t this big overarching thing; it’s made up of a bunch of tiny factions, and it’s way more than your major cities like Los Angeles and New York.”
“It’s a bit transactional here, but I think there are a lot of good artists here regardless and a lot of people that are really earnest and hardworking about them and their art,” Ramon continued.
The Sophs performed songs off their recent album and left a striking impression at the Music Clubhouse. The band felt coordinated through the 40-minute set, with each member dancing in their own style on the same cue, never stagnant while playing their catchy rock tunes.
After a week of events featuring over 1,000 artists, SXSW begins preparing for next year’s festival.
