After hustling all morning to get some photos up and edited of day three, I made my way down to Sidebar where DC vs. Austin, hosted by Pop Press International and Side One Track One, was already underway. I kicked myself for missing the excellent Letting Up Despite Great Faults (although I had already caught them at our Cheer Up Charlie’s show on Day 1), and started snapping a few photos of the blazing instrumentals laid down by Bella Russia.
If feels a bit strange to call a show you host coverage of a SXSW day, but at the same time, I feel proud that our show, which ostensibly pitted bands from the nation’s capital against bands from our state’s capital, reflected many of the very things in which SXSW is rooted: comradery, global community, and hometown artists. All day, a lighthearted spirit of competition punctuated the stage banter from bands, with each side claiming victory. 
Of course, I have to say with the glimmering dream pop of Letting Up Despite Great Faults, the pummeling garage of Hundred Visions and The Bad Lovers, the textured indie-rock of Sour Notes, Dana Falconberry’s hauntingly beautiful folk, and the distorted and airy pop of Ringo Deathstarr–Austin was the clear winner.
On the DC front, Lowercase Letters delivered a soulful indie-rock performance that satisfied and the surfy pop of Shark Week sounded outstanding. But DC’s claim to fame had to be Kid Congo and the Pink Monkeybirds featuring Brian Tristan, integral member of quintessential bands such as The Cramps and The Gun Club. One of my favorite moments of the day had to be when Kid Congo informed the audience that the next song would be on the band’s forthcoming record and posed the question: “What if the killer was Phyllis Diller?” This question launched the group into an up-tempo 50’s rock inspired tune.
I took a break around mid day to swing by SPIN’s party at Stubb’s–one of the festival’s most steadfast and consistently outstanding parties. To be honest, I was a little bummed I couldn’t hang around and see the whole lineup, which delivered great artists like Chvrches, Solange, and Parquet Courts. I did get to hear Solange’s set, but stayed out of the photo pit to ensure a prime spot when Kendrick Lamar took the stage. (I must briefly say that the single Solange photo in the below gallery is from a single shot that I just took to test light settings for Kendrick Lamar, taken from several rows out of the photo pit.) Lamar performed a hard-hitting set that featured highlights from his wildly successful good kid m.A.A.d. city. I would have loved to stick around for Trinidad James, but I had to get back to hosting at Sidebar. Next year, I have to remember not to schedule anything on Friday, which should be reserved for SPIN day.
After three-and-a-half days of SXSW, the festival was beginning to take it’s toll. I had to take a few extra minutes resting and getting some food before I headed down to Auditorium Shores for Jim James and Flaming Lips. I missed the opportunity to photograph James, but heard the end of his set, which included “A New Life,” the single from his recent solo album.
Geared up to shoot the Flaming Lips for a second night in a row, I couldn’t have been more excited, especially because I assumed the large stage would provide ample space for the confetti cannons and projection screen. However, Wayne Coyne and co. decided against this for a second night in a row, leaving me with ambivalent feelings. On one hand, the set, which consisted of playing The Terror in its entirety proved amazing, emphasized by Coyne cradling a babydoll with dozens of plastic, lighted chords stretching across the stage and up around the sides of the supports. 
It was as if this child were the life force of the performance, connected to the outside listeners by a plethora of radiating umbilical chords. The spectacle marked a new visual poetry for the Flaming Lips–one defined not by joy, but by a surreal and beautiful terror. While this imagery remains potent and engaging, I fear that if the Lips have left behind the bright colors, the dancing, and the streamers, they just won’t hold the same power live. So, Wayne, I loved the set Friday night, but please, come back every once and a while to remind us how joyful life can be.
With running my first SXSW party with 14 bands and 1,000 free beers the following day facing me, I knew that I should probably head home for more rest than I’d been getting all week, so I made the decision to at least catch one act I really wanted to see before calling it an early night. Although, our writer Chris Witte covered Phosphorescent the night before, Matthew Houck’s band is one of my personal favorites, so I trudged from south of the river over to the Rainey St. district to catch the indie-folk outfit at Bar 96. I was impressed with the stage setup and didn’t have to wait long before Phosphorescent climbed onto it. The band performed several older songs such as the outstanding “Wolves” from Pride as well as quite a few from the band’s most recent Muchacho, which drops today. They sounded as wonderful as ever as they navigated slightly inebriated and mournful country rock tunes laden with piano.
Even though it could be called a short day, Friday of SXSW felt enormously full and rewarding. One more massive day to go.
All photos © Bryan Parker and Pop Press International. Click any image to open in slideshow viewer.
