RFB at SXSW 2019: Part 3

22 Mar 2019

The final installment of our SXSW round-up is here! 

Having explored 6th St’s descent into chaos late last night - and still hearing echoes of KOKOKO!’s call and response chant whilst doing so - it’s fair to say we’re a little tired as our SX journey comes to a close. It’s also cold. We’re not complaining, just thought you should know. Right, we kick things off with Montreal’s Ghostly Kisses, the project of French-Canadian singer songwriter Margaux Sauvé that features Dragos Chiriac of RFB favourite’s Men I Trust. It’s as ethereal and romantic as the name suggests, but keeps a mindful hand in the world of pop - making for an inclusive, reflective listen. Having a drink on one side of Cheer Up Charlie’s, we hear our friends in Chai begin, and even though we know SX isn’t about doubles, can’t help but make our way over to watch again. It’s an infections performance the enraptures, engages and enthuses all in attendance, drummer Yuna particularly catching our attention this time around - collectively earning their fair place as not only one of our band’s of the festival, but everyone’s. Control Top play a little out of town, but to a busy room hosted by Philly label Get Better - also home to Sheer Mag and Empath. Singer Ali Carter providing an intense performance as inspired by punk as it is disillusioned. Back at Swan Dive Emilie Khan offers just the soothing experience we need however many days we are into our Austin adventure - the dream you don’t quite want to wake up from, keep an ear out for her new record Outro - released later this year. Slow Pulp have an interesting challenge ahead of them, with their set time pushed back over an hour and the colourful approach to host Pigeons & Planes bookings meaning the DJ is currently bouncing out songs with headliner Rico Nasty in mind. The band do more than take in their stride, singer and guitarist Emily Massey climbing the speaker stack at her earlier opportunity, winning the crowd over in an instant. It’s an exceptional performance, in front of a healthy few hundred at the Empire Garage - and one that feels like it’s the beginning of something very special. We head to Esther’s Follies and catch Hala, a 21 year old from Detroit making unique moves with an underdog pop approach, the song’s are charming and the response rapturous - most definitely one to watch. At the British Music Embassy we stand on - I’m not actually sure what we were standing on - to catch a view of The Comet Is Coming whose psychedelic take on jazz has proven to be particularly popular, meaning we find ourselves outside and not in the venue again. Fortunately, it doesn’t matter - it’s infectious to anyone in earshot and just a little more to those that started the most pit, we think. NY-based producer, multi-instrumentalist and Gus Dapperton collaborator, Beshken packs out the Bungalow on Rainey St. and enthralls with his introspective, organic take on club music. Bane’s World has the midnight slot at Hotel Vegas and brings his band to share their idiosyncratic, sonically diverse approach to bedroom pop - as comfortable with garage rock as they are soul and so and and so forth. We follow some friends back into town and catch Pottery, one of the week’s most talked about new groups and it’s easy to see why - it’s a slick take on post-punk that’s impressively performed by the Montreal-based 5 piece, debut single ‘Hank Williams’ feeling particularly special. After that, we head to a house party that we’ve been sworn to secrecy about and with that in mind, will leave it there for SXSW 2019. It’s been a pleasure.

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