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Sunday, March 18, 2007
SXSW’s defining moment: the Stooges
There is nothing, nothing, nothing in rock ‘n’ roll more powerful than when the Stooges open a show with “Loose.” The bass line is full-on, frantic Motor City madness and then comes Ron Asheton’s riot-in-the-streets guitar and vein-covered Iggy Pop running all over the stage and doing body contortions in time to the beat.
The guy next to me at the Stooges’ jam-packed show at Stubb’s Saturday night said the band would almost certainly open with a song from their new album. “That’s what they’re here to promote,” he said, but you’ve never seen a guy so happy to be wrong. For me, “Loose” was THE defining moment of SXSW, as the world’s first alternative rock band (the grassroots Rolling Stones) put pushing product way behind frying neck hairs on the priority list.
Such new songs as “Trollin’” from “The Weirdness” would come later, but first Iggy and the Stooges had to establish themselves as the undisputed kings of the fest. And guess what? Everyone in line with a badge eventually got in by the time a corny “No Fun,” which had a stage full of ridiculously grinning fans “dancing,” ended the set at the 45-minute point.
How’s this for an opening trilogy? After “Loose,” the Stooges did “I Wanna Be Your Dog,” with Iggy diving into the crowd, followed by “T.V. Eye,” Ron Asheton’s greatest guitar moment.
A couple of disappointments: 1) it appears that the Stooges play to taped augmentation. This was revealed when the bass line for “Skull Ring” kept pumping while bassist Mike Watt was working amp problems with his sound tech. It’s OK to use the canned help, but never let the audience know. 2) Asheton’s guitar wasn’t as loud as it should’ve been. I saw a better Stooges show in New Orleans about three years ago and the guitar and Iggy’s voice were on equal footing. Saturday night posed Iggy as the focal point, and he is a star, but the ugly beauty of the Stooges was when Iggy flailed in the feedback of chaos coming from stage left.
SXSW review: Au Revoir Simone
Act: Au Revoir Simone
Hometown: Brooklyn, NY
Venue: Copa, 12 a.m. Saturday
Pre-show buzz: Their MySpace songs have an intriguing juxtaposition of electronica and sweet pop female harmonies.
High point: Pretty voices.
Low point: The harmonies showed little development or variation from song to song and quickly lost their novelty, and the singers’ detachment made for a static performance as well.
Post-show buzz: Major attrition after a few songs.
Afterthoughts: Watching the band wasn’t as much fun as watching the body language of couples first growing restless, then tentatively sharing their interest in possibly leaving, and finally slipping resolutely away together.
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SXSW review: Perry Farrell’s Satellite Party
Act: Perry Farrell’s Satellite Party
Hometown: Los Angeles, Calif.
Venue: La Zona Rosa, 12:30 a.m. (started 12:51 a.m.) Saturday
Pre-show buzz: Non-existant. Only a few people in the audience even knew who was going to perform.
High point: When Farrell took us 30somethings in the audience back to the first Lollapollooza by playing “Stop” and “Mountain Song.” I taught myself how to play bass partially by learning the infectious bass line on “Mountain Song.” The audience erupted with those gifts.
Bonus points: Coming back out for an encore. The “Satellite Party” song was quite beautiful; it’s middle-eight speed metal bridge was nothing short of awesome.
Off-the-scale coolness points: Perry Farrell announced from the stage at the end of the show that he would be available in La Zona Rosa’s patio to discuss ideas about how the 6 billion people on Earth can — and how they should — save the planet. He noted that the “Solutionist Movement” idea came about in the garage while his band was rehearsing. “I want to get to know you,” he said with his patented child-like sincerity.
And true to his word, shortly after 2 a.m., Farrell came out to talk with his fans about solutions.
Funniest bit of between song banter: Farrell spoke about death between songs, multiple times: “I heard that in hell they make you stand on your head in doo-doo.”
Post-show buzz: “The new songs were actually good.”
Afterthoughts: It doesn’t make any sense for one of Austin’s best venues to be virtually empty on a Saturday night during SXSW. If Farrell’s new band was no good — maybe. But they were good. And the Jane’s Addiction/Porno For Pyros/creator of Lollapalooza is actually a living legend in rock ‘n’ roll. It would have made more sense to have his band playing at Stubb’s with the Stooges.
The Polyphonic Spree
Act: The Polyphonic Spree
Hometown: Dallas
Venue: La Zona Rosa, 11 p.m. (actually 11:20 p.m.) Saturday
Pre-show buzz: Only die-hard fans even knew the orchestral, “Up With People”-esque band was playing. SXSW listed them as “thee spree” in the Saturday night schedule. Who is “thee spree”?
High point: The revisionist version of “It’s The Sun,” complete with acoustic intro. Band visionary Tim DeLaughter was in his typical awesome form.
Low point: La Zona Rosa was virtually empty. No musician enjoys playing to an empty room, no matter what they might say.
Post-show buzz: The band’s fans in attendance appeared to enjoy the new songs.
Afterthoughts: Something went horribly wrong. One of Austin’s best venues was empty on a Saturday night of SXSW at 11 p.m. And the few people there weren’t even sure who was playing until the harp appeared on stage. Polyphonic Spree deserved better.
Mew
Act: Mew
Hometown: Copenhagen, Denmark
Venue: La Zona Rosa, 9 p.m. Saturday
Pre-show buzz: Although the venue was nowhere close to being full, most everyone there had come to see Mew.
High point: The entire set was a high point. Mew played grandiose, proggy, indie rock that’s ready-made for arenas.
Bonus points: To drummer Silas Graae, for setting up on stage left. It’s a bold move, but it’s always nice when someone is brave enough to do it.
Post-show buzz: Mew made a few new fans for life, including me.
Afterthoughts: I think Mew’s singer is a spot-on ringer for Yes vocalist Jon Anderson, although the person standing next to me disagreed. These dudes have been playing together since they were in middle school, and it shows in their tightness. Mew plays majestic, guitar heavy, spacey indie rock. Until Radiohead picks up their guitars again, check out Mew live or pick up one of their albums. They’ve got all the same influences and are equally as talented. It’s a big claim, but it’s true.
