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The creative orgy that is South By Southwest concluded in Austin late last night, and you couldn’t be blamed if you felt like no matter how hard you went, you missed out on something… somewhere. The endless scroll of surprise appearances, special guests, and private parties can make your head explode. The only proper way to manage the FOMO frenzy is to make a plan, leave yourself some wiggle room for your whims, and find peace where you are.
We scoped out as much of the festival as we could (with thousands of showcasing artists, it’s impossible to truly make a dent in it) to uncover the best and brightest. Here, we ranked our 30 faves. This list is certainly no substitute for being there, but it’ll give you a sense of the quality, variety and depth of talent that once again graced the clubs of the Live Music Capital of the World at its most liveliest and most musical.
An enjoyable local throwback outfit that merges vintage western folk with AM radio rock. Fans of She & Him should feel comfortable giving them a cursory listen.
Speaking of She & Him, the guitar-whiz “him” 50% played a short, sweet showcase at the intimate Rainey Street stage. Ward’s been in the game longer than you think, and his run through his back-catalogue (as well as new music!) was welcome.
The Austin, Texas quartet played an energetic three-hour set as a trio Thursday, featuring a bevy of covers interspersed with strong original material. Their newest single “Attack” is a fist-pumping burner that swirls Kings of Leon mixed with Gaslight Anthem.
It’s sort of unfair to rank showcase sets at The Roots and Friends Jam Session, since the whole affair played out like the best kind of live band karaoke (more on this later), but the triptych offered by the smooth and whip-smart Atlanta MC had the crowd roaring.
“You guys ready for a nice, country-themed waltz — with the Roots?” Breakout Austin star Shakey Graves asked before launching into one of the most eye-opening odd-couple pairings in recent SXSW memory. He may have outgrown most venues in his home city, but in this intimate setting, he was as lights-out as ever, with The Roots adding some funk to his arsenal of Americana.
The Miami singer-songwriter and multi-instrumentalist had the packed crowd at this small cocktail lounge enthralled and occasionally on the verge of tears with her heartfelt stories and smoking voice. An extraordinary (and Latin GRAMMY-winning) talent that, if there’s any justice in this world, should be on the verge of bigger things.
The NOLA-bred blues troubadour cycled through an impressive blend of rock, soul and gritty delta sludge at the StubHub showcase. A sturdy, cocksure stage presence with songwriting chops to match, Mr. Booker proudly travels the same enjoyable lane as guitar wunderkind Gary Clark Jr.
Life Goals: The joy on the faces of the Tupelo, Mississippi trap-house superstars as they rumbled through a slinky, soulful interpretation of “Black Beatles” with The Roots. The rest of their set was a livewire of Southern stunting and swagger.
The venerable veteran with the golden pipes had a busy festival, showcasing on her own and with her Indie brethren in the New Pornographers. A staggering talent with a consistently excellent discography, she nailed the ballads and whiskey-soaked ramblers with equal aplomb.
Back in the days of Office Space and just before the rise of Spoon, Fastball carried the torch for Austin-based affable pop-rock. Capital-P professionals who were equal parts self-deprecating and self-aware, Fastball played all the hits you know, the one hit you really, really know, and even new material that suggests the group never shrunk from their late-90s spotlight, but rather their bygone stardom was a happy accident for a vintage bar band that made it all the way.
New Jersey prep-rock band Real Estate played a swirling, hypnotic blend of standout tracks old and new — the kind of band SXSW attendees usually go gaga for. As a pure sonic experience, it’s hard to name too many in their lane who can beat their gifts for mood and melody.
The victory lap for one of the artists who truly won the week (more on that in a bit), Wisconsin-native crooner Jidenna was right at home with The Roots, playing his biggest, brightest hits in his signature style — and his one-night-only backing band matched him at every turn. A joint album between the two should be on a lot of music fans’ wishlists.
Bring ’em out. Bring ’em out. The Roots did exactly that with their endless parade of special guests, and T.I. — who low-key has one of rap’s more thrilling bodies of work in his decade-plus career — exploded onto the Bud Light-branded stage with a scorching mini-set of crowd-pleasers.
The Hampton Roads singer/rapper is an extraordinary talent, who flashed considerable vocal and lyrical muscle (as well as an endearing ear-to-ear grin) during his smooth forty-minutes of stage time. Yes, he played “Broccoli,” but the whole show featured his shape-shifting versatility and uniform excellence of lesser-known album cuts.
Multicultural, multilingual hard rock masterminds Torino Black played a searing, soaring assault on the rooftop of an Austin bar better known for being a place where college kids and bachelor parties get blackout drunk. Led by the double-barreled blast of Venezuelan-born lead singer Sisi Berry’s signature wail and Saul Arteta of Spain’s blistering guitar, the band took a tough crowd and left them sweaty and breathless.
Austin R&B up-and-comer Tameca Jones delivered the goods with a fierce, sultry set at the intimate and impeccably-decorated venue. Cozy with the microphone and comfy with the crowd, Tameca’s original style — a pilot suit! — and impossible vocal taste sets her apart from a sea of soulful also-rans. Her selection of covers included a wildly entertaining spin on Elton John’s “Bennie and the Jets,” and an interpolation of Ice Cube’s “Today Was A Good Day.” She’s already shared a stage with Leon Bridges and played ACL Festival. If Tuesday night’s romp is any indication, it won’t be long before her name gets printed much larger on festival bills.
De La Soul is not dead. Not yet. Not by a long shot. The hip-hop legends had a hell of a hustle this SXSW, dropping by at stage after stage to tear through their hits and show off their new music. Their verse trade-offs with Black Thought blew through the roof. Their silky flow and effortless charisma bled from the stage and could be felt for entire city blocks, as the throngs of folks hoping to get inside stood against barricades to gape in awe.
Admit it: It’s been a while since you’ve thought about Brandy. So when Black Thought called out her name as a surprise — and most surprising — guest at the Bud Light Jam Session (Black Thought himself said this was “straight from left field”) a lot of jaws fell to the floor. By the end of her dexterous charming five-song playback, closing with extraordinary reads of turn-of-the-millennium smashes “I Wanna Be Down” and “Baby,”they were still there. Welcome back, Brandy. We’ve been sleeping on you way too long, and you came back just in time.
Singer/guitarist Johnny Solomon calls it “Post-Folk Grunge,” bassist Adam Switlick calls it “narrative sand-rock revival.” Whatever you call it, Twin Cities Indie darlings Communist Daughter — possibly this year’s SXSW winner for best band nobody’s heard of — played an absolutely astonishing sampler of Andrew Bird-meets-The National alt-country, mope-core and synth pop. Molly Moore’s disarming vocals led the charge for the approachable, gorgeously-constructed soundscapes. And yet, the real MVP of the band could very well be Dillon Marchus, who simultaneously played note-perfect guitar, keyboards, synths and glockenspiel(?!?!) without missing a beat.
Of the showcasing artists we saw at 2016’s SXSW, two really won the week, announced themselves to the world and made their live-performance star turns: Anderson Paak and Gallant. 2017’s festival belonged to Jidenna. Whether you call him The Chief or The Classic Man, Jidenna turned the crowd of 300+ at Coppertank into a swooning, swaying mass of bliss