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.