Depending on the person participating, SXSW is a business conference, a raging party, or a music marathon. For me personally, it was a milestone, a mission to soak it up for all that it is worth. In these fives days exhaustively walking mile after mile up, down and across downtown Austin, writing until dawn, and waiting in long lines for the sake of live music- I learned to grab at the opportunities and surprises that appear.

The nerves fluttered in my stomach when the plane touched down in Austin as my excitement was lined with a racing thoughts of self-doubt, “What the hell am I doing here alone? How do I portray SXSW right? Can I do this?” So as I made the first of many steps alone through the airport and into downtown Austin to see the nearly 20,000 other people attending SXSW moving in all directions around me, I knew I had to let go of any hesitation. It would only be a waste energy, and SXSW is a nonstop pace with no time for apprehension.

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The best parts of SXSW were the surprises, from After Parties in the middle of nowhere to acts I never heard of before like Bad Rabbits.  I had no idea that they were the band about to fill the void I had been searching for. Finally, a hip-hop rapper who can sing soul music well with the support of a lively, tight funky dance band. When they started I was looking forward to Kidz in the Hall and was initially annoyed that I showed up too early and lost sleep because of it. Yet, when I saw these young UK guys perform their dance infused rock, with a few choreographed side steps, I was captivated especially by the singer/rapper's quick rhyming laced smoothly with a rounded R&B falsetto. I even stuck out my spot next to the amp as tall as my shoulders with the bass lines thumping through my chest, because It was just that much fun. Even better you can download their EP online

Bad Rabbits were the perfect band to line-up with Kidz in the Hall, who jokingly called themselves,"the super seniors of SXSW" because this is their 5th year attending. The duo rappers were up close and personal standing on the large amps and getting in the audiences face. Kidz in the Hall is all about raw machimos typical of rappers, but with refined edges that includes a classic R&B essence. They completely delivered on my expectations, but I was also secretly hoping Estelle may do a cameo for her duet on "Love Hangover," but the female vocals were left to the macbook and DJ Double O's samples. Yet, I did recognize the quick Daft Punk sample to which they did a brief freestyle. 

I then headed to Peckerheads and caught Beats Antique, an exotic electronica duo of live drums and electric sitar/synthesizers/samplers. They also came with belly dancers in elaborate costumes with large burlesque feathers to add to their dark other-worldy beats. Midway through the set Beat Antique became even more bizarre than the initial belly dancers when the band strapped on animal heads and proceeded with some aggressive interpretive dancing. That entailed fake fighting between the lion and horse character as well as what appeared to be cross-breeding. The music was great. The performance may have been overkill, but certainly unforgettable, which is an advantage when playing a festival with hundreds of other bands.  

The audience was still at full capacity, but I was determined to catch Rye Rye's remarkable energy level on camera.  She is a 19-year-old Baltimore born rapper and MIA protege who's voice rings like a brazen but lovable kid with amazing diction and racing rhymes. The only time her mouth stops moving is when the rest of her body kicks into high gear with extreme dance moves synced with two backup dancers. She pops, she locks, she shakes, she jumps all while wearing a beaming white smile.  Rye Rye seemed like she could go on forever at the same rate, and seemed a bit dissapointed her performance came to a close so quickly, but probably not as much as the packed house who came to see her at Peckerheads.    

As the unusually chilly Austin weather became even more frigid, I had to dig deep to withstand the biting wind until the Kings Go Forth outdoor performance. I consider myself privileged to have been front row and center for this 10-peice band who hauled a vintage hammond organ down from Milwaukee to deliver some serious funk. These guys weren't the youngest of performers at SXSW by any means, but their years of experience as a working funk band delivered a tight energized performance, led by wide-eyed dread locked front man going by the name of Black Wolf. I was so enamored, especially by the hammond organ, that i bought their early release cd - my first one in about three years.  

As good as Downtown Austin was to me, no experience can match the turn of events when I wound up at an after party on a Ranch in the middle of nowhere with The Hood Internet. Though I had assumed my last SXSW show would be at Karma dancing to mash-ups by DJ's Aaron Brink (aka ABX) and Steve Reidell (aka STV SLV), how could i resist an invitation to extend my SXSW experiences? Honestly, the circumstances were shady and entailed a black party bus pulling up at Karma with large print reading "Get Stupid" on the side. We then proceed to get dropped off somewhere we were unaware of  told the bus would return at least by dawn. Whatever man, I had enough money on me to call a taxi and get me out if needed, but I put my faith in these DJ's and rolled with it. That's what SXSW is all about.

The event was hosted by Stephen Glicken, the owner of the label Green Owl with Ninjasonik and the So-So Glows, in his less than insulated barn. Though cold, there was free beer, a bon fire, and DJ's to keep the heat up even after the police tried and failed to shut us down. The night ended for me at 6 AM the next morning, after riding back to downtown on Green Owl's own haggard school/tour bus with about 30 other pleasantly drunk SXSW conquerers. Certainly unexpected, but that's what makes SXSW stand apart from other festivals. You just never know, but I'm glad I was curious enough to find out.

Yesterday,  the SXSW karma gods shined down on me as I managed to get into several full capacity events with my camera, which I had to hide under my dress to get into Austin Music Hall for Raphael Saadiq.  Saadiq performed his classy soul repertoire with Swagger.  Wearing a crisp white button down, with striking red pants , thick rim glasses, and a black tie that he stripped off and threw into the crowd- he had the women swooning for him and he knew it. The band looked just as energized, dancing and hollering along, as the sweat rained down. 

Smokey Robinson revived some of his classics next with "Second that Emotion" and "You Really Got a Hold On Me." Though his vocal chops are not what they used to be, the audience had the melodies down pat. Strangers within the audience became a community of golden oldies fans as they swayed, cheered, and sang along. 

I left the Soul Review at Austin Music Hall to see Kid Sister and DJ Flosstradamus perform a short set at Malverde, a chic open wall venue, where the cool Austin night breezed through the packed dance floor. However, It was Kid Sister who was the Star dancer of the night. Her footwork is just as impressive especially during her song "Switchboard."  What struck me about Kid Sister was her beaming smile and the energy she put into her songs with coy faces, winks, on-point hip pops.  She also brought the dance floor on the stage as a few fans joined her in a song to get down. 

Switching gears again from Soul to hip-hop to lush scottish modern folk music, I saw Fanfarlo at the Ale House. When I got to the venue, located in a sketchy back ally, It was only discernible because of the huge line forming at the neon lit Ale House sign. It was a small venue with great balcony levels that did not go past max capacity in order to keep a certain comfort level for the patrons.  I had to wait while their set began until people filtered out as I grew antsy leaning closer to the door to hear what I could. I managed to see a majority of the songs, but I was enjoying myself with others on line in the ally within earshot of the performance. Being inside was, of course, much better so that I could really appreciate the elegant arrangements of each of their songs, which incorporated trumpet, melodica, mandolin, clarinet, and xylophone. Plus clicking on this link will get you a free download of their college radio tour.

I wasn't going to stick around for the next act, until my new friends in line convinced me that It was a must-see show. MG&V is the brand new alt-country super group and side project of John McCauley - frontman of Deer Tick, Taylor Goldsmith - frontman of Dawes and Matt Vasquez - frontman of Delta Spirit. Before you get turned off by "country," I would suggest listening.  They seemed to have been strongly influenced by a mid 50's nashville sound when Rhythm and Blues was first meshing with country to spark American Rock n' Roll. The Ale House was their first show ever, and there surprisingly tight debut performance incorporated sweet lullabies with quality vocal harmonies, to rockabilly dance beats. Though the bass amp became a bit distorted and distracting toward the end of the set, they plowed through, accepted their conditions and rocked anyway. The record comes out later this year and is sure to gain some attention within the circuit. I feel extremely lucky to have witnessed it.

Thank you SXSW Karma gods, I wonder what you have in store for me today, because my only top priority is dancing to Kidz in the Hall, Rye Rye and The Hood Internet. 

After an exhausting night and not nearly enough sleep, the morning came too quickly as I began to conquer Day 3. Surprisingly as much as I walked around, I only saw one act: Surfer Blood.

They are the buzz band this year, as panelist and music journalist Chris Weinengarten joked, "Everyone is racing to get the picture of Surfer Blood online!" Well, not only do I have the pictures, I have the video! Honestly, this music doesn't grab me like the others I have seen (Local Natives, Estelle, Sharon Jones, Broken Bells) but Moe's was jam packed for these kids who approach punk rock with a Buddy Holly interpretation.

From West Palm Beach, Florida, Surfer Blood is right out of college with their first album, Astro Coast, released just last year. The sunny and bright melodies recorded with a lo-fi ragged edge caused a stir on the radar when Pitchfork and NPR gave them favorable reviews.

I'm not jumping on the bandwagon, but to their credit, they are delivering garage-pop-punk well. They are  fully prepared for each of their 10 SXSW performance, which makes them the busiest band in Austin with one more performance than Local Natives.

Though they initially seem reserved, once the first note is struck, the keyboard player, with his consuming curly hair, and lead guitarist have moments of utter inhibition. The guitarist, Tom Fekete, used a drum stick to swirl the distortion through the amps and proceed to play the next song with his teeth. Rock n' Roll.

I can only make predictions, but  given this band is so new with so much attention on their one record, they are perched on a cliff of high expectations. However, they are at least pleasing the crowd in the moment, they can worry about the Sophomore slump later. Ride the wave, Surfer Blood, as long as the tide allows.

I chose to leave the camera home last night to avoid any issues with security at Stubb's and other venues sticklers about silly photog credentials.   However, I did see Local Natives again last night and realized they deserve an in depth post rather than a blurb:

At Emo's, Local Natives delivered again with in your face vocal harmonies that filled the entire venue.  Though that is the most obvious skill that sets the band apart, without  the steady intense rhythm section, the vocal would have nothing to stand on.

Their rolling heavy percussion, from both the drummer and auxiliary tom pounded by every band member, made the floor vibrate and send the sound waves up through my spine. It provided a much needed massage after long day downtown. The bassist also held a strong bridge connecting the melody to the beat as his fingers rolled graciously over his neck to create a low end that surrounded all other elements of the songs.

Their set reached all of my senses: the pulse of the drums through my feet. the smell of the cigarettes wafting through the dive bar.  the taste of beer showering down as it spilled during the crowd's applause.  the sight of their ragged passionate appearance as their faces contorted while they wailed. And the sound! The dynamics of this band range from sweet lullabies to passionate cries outward as they pull back away from the mic then practically swallow it to create a sonic space entirely unique to Local Natives. 

The early morning start was well worth it for scoring an express pass to tonight's Local Natives/ Rogue Wave show at SXSW's high profile venue, Emo's. The pass gets me straight to the front of the garaunteed long line and all I had to do was show up at 10 am to the Convention Center with my Music Badge. For those of you holding one, I suggest setting the alarm for the SXExpress pass. If all goes as planned it should make my night run smoothly. 

Dr. Dog

However, I have little doubt that there will be struggles as SXSW is accommodating the guest, especially registrants, rather well. The Dr. Dog show, held in a bleak conference room, was rocked by the alt-rock/slightly-country Phili Band. The sound was also immaculate, provding the perfect acoustics for pure guitar shredding and spot on vocal harmonies. I watched while recouping after a long day with a delicious free cupcake on a beanbag, which I think provided the most content moment of my trip.

Local Natives, the busiest band of SXSW, was sheer talent. Their elevated song writing with catchy hooks and moving four-part harmonies packed The Parish for another NPR showcase.

Local Natives

Smith Westerns, a garage rock band, was also on the roster. I enjoyed their rough and ready style, though I think they were dwarfed by the other bands on the roster, like Brooklyn Rider, an orchestral band who's  main component is the string quartet. They made SXSW just a little bit more classy, than night one's street picture may suggest.

 I skipped out on G-sides and Surfer Blood, who, my correspondents tell me, delivered must-see performances.  However, I tried in vein to make the hike under the interstate to see Kid Sister, who I unfortunately missed.

The body aches are setting in from marathon walking, but as my cup of coffee brews I feel resilient enough to trek on. Tonight I hope to see Broken Social Scene, Estelle, Local Natives and Rogue Wave without a hitch. Game on.

I somehow managed to get right into the NPR Showcase at Stubb's despite a minor scare when security told me I couldn't bring in my camera and I had to put it in my car. After pleading with the men that my Canon is not a pro-grade and my car is in another time zone, I got in with no wait and just a bit of clever two-stepping. In fact, I was not the only one to be faulted by their camera size, which is how I met two new friends from the Interactive conference. We shared music fanaticism, blogging tactics, and the social network frontier. I realized that there are some brilliant and insightful people in Austin this week from Interactive along side the amazingly talented here for Music, but there may be no difference between the two.

Regarding the actual music of the show, Sharon Jones and The Dap Kings stole my heart again Ms. Jones strutted out in her sequenced green cocktail dress in honor of St. Patrick's Day. The petite, 53-year-old powerhouse led her eight-piece Dap Kings through a rousing soul-revival and brought the wow factor to the night.  Hailing from Augusta, Georgia, the birth place of the legendary James Brown, Sharon Jones is continuing the lineage of R&B classics without a synth or tricked out guitar pedals.

The polar opposite to Sharon Jones and The Dap Kings is Broken Bells, who are a staple at both SXSW and The Get Down.  James Mercer and Brian Burton rest on the subtleties of their songs and deliver every arrangement just right so as to compliment but not be overbearing. It was strange to see Brian Burton appear like the average drummer holding down the rhythm as the rest of the six-piece band brought to life the studio vision of the duo  Broken Bells. In interviews, Burton and Mercer commented that they always had the intention of recreating these songs live and forming the band properly was crucial to succeeding on stage- not to worry, they did.

Spoon closed out the night with die-hards sticking around. They could clearly be picked out in the crowd for swaying, rocking and singing along to each song. As a passive Spoon listener, I only knew their single, The Underdog, and frankly they didn't win me over with their live performance. However, in Spoon's  nearly 15-year career, they developed almost a cult-like following similar to Deadheads (Spoonheads?), so I don't think they were necessarily vying for my approval.

Austin's 6th Street After Hours

Day One into Night One quickly turns into Morning Two, where I head to the early panels still riding the extreme caffeine consumption from the last 24-hour bender. Today I plan on seeing Rogue Wave's secret show, a Hood Internet panel interview and Dr. Dog at the Day Cafe in the Convention Center. I plan on it anyway, we'll see what Austin brings me. 

Austin, Texas is the Brooklyn of the South. As flannel clad bicyclists rode the city streets passing by the pedestrians on line for one of hundreds of shows occuring this weekend, I felt as if I entered an amusement park and the ride is rocking out. Though SXSW is mostly a business conference for professionals to meet and greet, music lovers dominant the pavement with a majority rule.

Yes, there are a lot of people here as one can see by the lines forming by noon. Though I was warned of the swarming crowds, everything ran as smoothly as can be hoped. There are plenty of shuttle busses, the registration process was a breeze, and southeners are living up to their reputible hospitality. 

I saw Broken Bells at their secret show in a parking garage, though i looked on through a chain link fence along with most of the line that didn't make it in, their performance was mesmerizing. Mercer's vocals, especially the flasetto, rang as clear as the Austin sky, while Brian Burton unassumingly laid down the drums, the keyboard, the guitar, and whatever other instrument was needed to bring the studio creation to life. The duo honed their craft to a tee and that performance was just the beginning for them at SXSW.

The lines appeared to be growing longer, and I was getting a bit anxious as the Austin Wi-Fi failed to keep me on the internet en route. However, I did manage to see Neon Indians, who plowed through sketchy sound tech issues, and gave a stellar performance for an attentive crowd at Red 7.

Just next door was the Beauty Bar, where i discovered energized dance hip-hop group NinjaSonik, who mc'd to the crowd, started a mosh pit, and grabbed at anyone in arms reach to literally get them involved. They were intense and they got down. 

Before I attempt to make it through tonight's portion, I had to recoup and relax, which means I may not be very close for the Stubb's show tonight. However, There's no way to do everything that I planned, but there are ways to make the most of what you come across. You also have to be doubly resilient to do all of it on a budget. More from SXSW coming soon. Keep checking the tweets.