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The 2002 South By Southwest Music Festival was all about hard choices. Even with what some saw as a dearth of big name acts on this year’s lineup, each night afforded a wealth of musical possibilities from Swedish rock to Britpop to Japanese bubblegum and from hip hop to roots rock.

Wednesday March 13

The first night of the festival is traditionally dominated by Austin acts but a few out of town bands are allowed to join the fun as well. The night is a good one to allow SXSW neophytes like myself to ease into things and get our bearings navigating the stretch of clubs that extend mostly along Austin’s 6th Street with a few scattered in points beyond in areas like the Warehouse District. Our night began at 8 pm at a club called Emo’s. The Austin band cruiserweight took the stage with their own brand of No Doubt-like punk-pop and got things off to a good loud start for us.

From there, we were in and out of what seemed like a half dozen other clubs before happening upon a terrific band out of New York called The Pasties plying their wares at the Hard Rock Café. Their music bears a resemblance to ‘80s Squeeze-style pop but with a modern sheen and sensibility to the lyrics. Singer Devon Copley has a versatile voice that allows him to glide around the pretty melodies of songs like the wonderfully metaphoric “The Wreck of You And Me.” “But we knew, since the day that we set sail, when we worked in shifts at bailing out the inundated engine room: the tiny ship was doomed,” Copley sings. “The tide receding, revealing the shattered vessel – it’s a miracle anyone survived the wreck of you and me.” The band has recorded a CD called Platonica on Soapstar records. It’s one to look out for.

Thursday, March 14

Thursday was really the night when the difficult choices began. But during the day, we were able to solve a potential conflict for Friday. One of the festival’s headliners, Neil Finn, was set to perform Friday night at Austin Music Hall but in order to see him we would have needed to get there early and stay through his 11 pm set, potentially missing lots of other acts. So it was fortunate that during a visit to Austin’s Waterloo Records on Thursday, we learned that Finn would be playing an in-store show later that day. And quite a terrific little show it was. The former Crowded House/Split Enz singer performed songs from his new live album 7 Worlds Collide as well as the forthcoming studio release One All (a different version of which is already available in the rest of the world). Finn sings about the fragility of life on “Anytime,” which seems to have added resonance after the events of last year (“There’s nothing safe about this life,” he sings), although it was recorded a long time before September 11th. “Last to Know” and “Driving Me Mad” are two other strong highlights from those albums that Finn performed for Waterloo shoppers. There were also old favorites like “Pineapple Head” from the last Crowded House studio album. Finn was ably backed by a band that included violinist/keyboard player/guitarist Lisa Germano and guitarist Wendy Melvoin (of Prince’s Wendy & Lisa fame). And despite the large crowd at Waterloo, it was still a more intimate performance than the one we would have likely seen at the cavernous Music Hall on Friday night.

Thursday night was highlighted by a set by singer/songwriter Ron Sexsmith at Buffalo Billiards. Sexsmith performed solo acoustic renditions of songs from a forthcoming record called Cobblestone Runway, named for a rough landing at Heathrow Airport in London, where the album was recorded. “God Loves Everyone” had a wicked ironic twist and Sexsmith described “Coming Up the Road” as a front porch song. There were also a few songs from last year’s Steve Earle-produced Blue Boy (“Just My Heart Talkin’,” “Cheap Hotel”), 1999’s Whereabouts (“Seem to Recall”), 1997’s Other Songs (“Strawberry Blonde”), and his 1995 self-titled debut (“Speaking With the Angel”). Sexsmith’s songwriting abilities and self-effacing performances only get stronger.

After that I was ready to head off in search of some good rock and roll. The best possibility sounded like a set by Athens, Georgia’s Drive-By Truckers at Antones. On a bill following ex-Whiskeytown fiddler Caitlin Cary (who has an excellent new solo record herself), the DBTs would undoubtedly be performing songs from last year’s brilliant Southern Rock Opera, which attempted to explain the whole “southern thing” by invoking icons like Lynyrd Skynyrd, George Wallace, and Bear Bryant. Unfortunately, as you can probably imagine, DBTs are a pretty big draw in Texas and the line for Antone’s was around the corner.

But it being South By Southwest, there were other musical options nearby. The Ruta Maya club had an intriguing lineup of singer-songwriters including Portland, Oregon’s Jeff Trott. I had followed Trott’s career from his stints with Wire Train and World Party to his work backing up Sheryl Crow, and I was curious to learn what he was up to on his own. Since there is usually a pretty quick turnaround between bands at these sort of festivals, it usually isn’t a good idea to bring along tons of equipment to hook up in that fifteen minute interval between sets. But there Trott was, surrounded by two banks of keyboards squeezed onto the tiny stage. A half-hour late starting his show due to sound problems, you’d think Trott might have punted and done an acoustic set. Once things finally did get underway, we understood why he didn't. The songs were heavily reliant on those keyboards for atmosphere and groove. It’s an interesting direction for Trott, but a little too lacking in melody to be truly worthwhile.

Friday, March 15

Most of the bigger names at SXSW are crammed into Friday and Saturday nights, usually all at the same time at different venues, which makes things exceptionally challenging. A must see on my list for the weekend though was Philadelphia’s Marah, who when they’re on top of their game can be a smoking live rock and roll band. The band was sporting a new rhythm section and a one time only keyboard player in place of lap-steel ace Mike “Slo-Mo” Brenner. Led by brothers Dave (vocals, guitar) and Serge (guitar, vocals) Bielanko, Marah have been busy in Wales recording a new CD called Float Away With the Friday Night Gods with producer Owen Morris (The Verve, Oasis) for release in June. Although the jury is still out based on the new songs performed live, the album reportedly sees the band moving away from their garage rock, Springsteen meets the Stones sound toward more arranged and electronically-enhanced textures. Songs performed at their Stubbs Bar-B-Q show included “Revolution,” “Soul,” “People of the Underground,” and “For All We Know We’re Dreaming.” They also ripped through a rushed version of “Catfisherman” from 2000’s Kids In Philly and a slightly truncated version of the longtime concert favorite “Reservation Girl.”

From Stubbs, it was a short walk to Empanada Parlour to catch a set by Anniston, Alabama’s Owsley. His solo debut in 1999 was one of my favorite records of the last few years. And this was a great opportunity to hear some songs from the long in the works follow-up. A master of crunchy pop melodies on par with Matthew Sweet, Jason Falkner and onetime bandmate Ben Folds, Owsley sounded great on songs that may be titled “She’s the One,” “No Way to Treat A Dude,” and “Rise.” There were also tunes from the debut like the excellent “Oh No the Radio,” “Coming Up Roses,” and “I’m Alright.” Will Owsley is a scorching guitarist who can play amazingly melodic leads. The band behind him is certainly competent but not quite on the level of his artistry. Still, Owsley will be one to keep an eye on once he does get around to releasing that next album.

For my money, you can’t have too much power pop in one night, so from there it was on to the Chile Pepper for a set by Austin’s own Cotton Mather. They’re a band that has seen more success across the pond than here at home, garnering raves in the British press and even opening for Oasis. Those feudin’ Gallagher brothers reportedly said Cotton Mather’s 1997 album Kon Tiki was an album they wished they’d recorded. Their latest record The Big Picture, which is still awaiting a U.S. release, may be even better. Singer Robert Harrison may have the last name of another Beatle but he sounds uncannily like John Lennon on effortlessly catchy gems like “Monterrey Honey,” “Panama Slides,” and the propulsive “AMPs of Sugarland.” The band behind him includes excellent guitarist Whit Williams, drummer Dana Mizer and bassist Josh Gravelin. Cotton Mather put on a great show. Now if Austinites and their fellow Americans would only pay attention to what they have under their noses.

I had intended to end my Friday night with a relaxing set by Nashville’s Josh Rouse at Gingerman. The singer’s new record is one of the highlights of the year so far, loosely telling the tale of a couple struggling through life in the South during the 1950’s. Horns, strings and keyboards color his melancholy melodies. Alas, it was not to be. Arriving at Gingerman, I was greeted with a Who concert-like crush of people trying to get into the club’s backyard stage area. I remember seeing this guy as an opening act in nearly empty clubs.

Of course, as we’ve learned, at SXSW there are always options. So it was back to Ruta Maya to catch alt-country diva (and sometime Mekon) Sally Timms. Her set included folksy numbers from 1999’s Cowboy Sally’s Twilight Lament like the Jeff Tweedy-penned “When the Roses Bloom Again” as well as a surprising dose of disco-like sequencer-enhanced songs.

Walking back to our car, my girlfriend and I stopped in the parking lot behind Gingerman, where Josh Rouse was still onstage. As Josh and his band struck up “Dressed Up Like Nebraska,” we danced under the moonlight there in the parking lot.

Saturday, March 16

Saturday night began early with a 7 pm set from LA’s The Eels. The band’s latest record Souljacker finds leader Mark Everett (or E as he’s known) continuing to showcase his Beck-like genre-hopping songs with a very dark outlook. This is a much heavier sounding version of the Eels than some previous incarnations of the band with longtime drummer Butch and guitarist Joe Gore supplying much of the power infusion live. Some of the new album’s tracks show the influence of hip-hop and hard rock but Everett is at his best when he leavens the dystopian alienation with sweet melodies as on “Woman Driving, Man Sleeping” and “Fresh Feeling.” His set also included the surprisingly pretty “It’s A Mother****er” from 2000’s brilliant Daisies of the Galaxy, “Going to Your Funeral Pt. 1” from 1998’s Electro-Shock Blues, and a rocked up version of “My Beloved Monster” which besides appearing on 1996’s Beautiful Freak also turned up in Shrek last year. There was also a cover of Missy Elliott’s “Get Ur Freak On” and a no holds barred, thoroughly self-indulgent take on “Not Ready Yet” which found the enigmatic, impenetrable beard shrouded Everett with his back to the audience for a good deal of the song. It’s one thing to sing about life’s ordeals in your music and another to make your audience suffer. Fortunately, The Eels came back strong in a four-song encore that included “Mr. E’s Beautiful Blues.”

After that dose of darkness, I was ready to reconnect to humanity and I could think of no better way to do that than to catch honey-voiced alt-country singer Kelly Willis at Austin Music Hall. After winning kudos for 1999’s What I Deserve, Willis took some time off to have a baby with husband Bruce Robison. But she’s ready to return this year with a follow-up that includes songs co-written with Jayhawk Gary Louris and others. Here in Austin, Willis was backed by an excellent (if much too loud) band that included ace guitarists Chuck Prophet and Mark Spencer.

With that I was ready to join the party at the Bloodshot Records bash at Mother Egan’s. The Yayhoos had already taken the stage when I arrived. The alt-country pseudo-super group is led by ex-Georgia Satellite Dan Baird and guitar slinger/producer Eric “Roscoe” Ambel. The band shone brightly on their fun cover of Abba’s “Dancing Queen” and on originals like “Oh Chicago.”

After the raucous atmosphere there, I thought I would end my Saturday night on a fairly quiet note. Deciding to brave the crowds again at Gingerman, I caught an engaging set of mostly new material by thoughtful Kansas City, Missouri singer-songwriter Jeff Black and some entertaining honky-tonk by veteran Nashville songwriter Jim Lauderdale who was decked out in a cool iridescent pink Nudie suit just for the occasion.

But the night was not over yet as it turned out. I made my way back to 6th Street to meet up with friends just as things were winding down at the clubs. The scene was loud, cacophonous, and dizzying, like most nights in the French Quarter. We decided to head over to one of the very exclusive SXSW “after parties” hosted by Spin magazine. The Manchester, England band Elbow (who’ve been compared to Radiohead) and London’s South (who have been called the next Stone Roses) were among those scheduled to perform. Unfortunately, upon arriving, we learned just how exclusive the party was, as long lines and overzealous police kept us out for more than 90 minutes. Standing in line to get in however, we ran into Devon Copley of the Pasties who chatted with us about the godlike qualities of Jellyfish and Fountains of Wayne. The line to get in was way more fun than the party inside as it turned out.

Sunday, March 17

Following an afternoon at the annual SXSW barbecue and softball tournament, we had one more musical experience that nicely book-ended our time in Austin. Pastie Devon Copley had agreed to make an in-store appearance at the record store our friend manages. His solo acoustic set included nice versions of originals like the aforementioned “Wreck of You and Me” as well as a cover of “They’ll Need A Crane” by They Might Be Giants, another band that had performed at SXSW way back on Wednesday night. It left us wondering about all the roads not traveled at this year’s South By Southwest. Well, there’s always next year.

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