Jordan Kleinman on March 19th, 2016

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Tele Novella, Rudy De Anda, TEE, the Parrots, Cullen Omori

Friday adventures of a SXSW first-timer:

As the old saying goes, “red skies at night, sailor’s delight. Red skies in the morning, sailor’s warning.”

While there might have been some ex-Navy folk about Austin for the festival, there definitely was no ocean to be found nearby (see: world map). However, high warnings were made to the public about massive thunderstorms moving through the city. Despite the early sunshine, heavy clouds moved in bringing thunder, lightning, and set cancellations/adjustments.

The Spider House Café, north of downtown and near the University of Texas campus, featured more than 30 of Lolipop Records’ (and associated labels’) bands on three stages during the pleasant overcast afternoon. After a retro-inspired set from Riverside’s Summer Twins inside, Austin locals Tele Novella played to a filled back patio with their bouncy yet slightly twisted tracks. With their long-in-the-works full-length album ready, the band seems tight as ever. Starting their last track with whispered harmonies, the foreboding-turned-whimsical tune moved people past their dancing hesitancy, arms were going up and down.

Rudy de Anda and band tore right into their almost-Brit-by-way-Bowery indie-rock. Singer-guitarist de Anda started the set in the crowd with the other two audience members tearing into a solo and bouncing of each other in a three-person mosh pit. By the second song the crowd had grown ten times the size, folks must have been draw by their magnetic jamming. “We’re from Long Beach,” he said as they went into an almost math-rock jam intro before rounding out into a funky groove featuring a lick reminiscent of early Television.

New York quartet TEEN was popping out bouncy and irresistible grooves to a quickly filling patio. All four members — Teeny, Lizzy, Katherine and Boshra — exhibited the grace of Debbie Harry. Starting with their album opening track “Tokyo,” the crowd was immediately hooked. Group harmonies and the use of a Moog and samplers made for a set full of surprises. For instance: After triggering a sax solo, singer Teeny and keyboardist Lizzy switched roles. If Blondie and Animal Collective hung out for an afternoon, this might be what it sounded (and looked) like. There were some great and diverse outfits as well, and there were personal touches applied to their equipment. As their lyrics proclaim, “this must feel good.” It did, ladies, it felt great. They will be in Los Angeles playing at Fais Do-do (March 26).

“This thing is like 700 dollars, come closer, come closer, get your money’s worth” said Los Loros … er … The Parrots singer as they ripped into a set of their Mediterranean-flavored surf rock. Jumping and shaking their heads about, it seemed as if they were the Lolipop bands’ favorite to watch and hang out with, perhaps due to their oh-so-cool accents and occasional banter en español.

Thunderstorms began to turn their nasty head on downtown in the late afternoon. What started as occasional lightning and thunder soon turned into a full on electrical storm, forcing many of the rooftop and outdoor venues to cancel, delay or move the shows indoors.

As the weather subsided, Cullen Omori took the stage at the Sub Pop showcase at Blackheart later than expected — but that didn’t stop a very large crowd from gathering in the not-even-dried mud. The trio (featuring double guitars and keyboards) was dressed very … Seattle, and the set, comprised from his album “New Misery,” boasted some musical elements elements seemed to tag along from his old band, Smith Westerns. He featured tunes that hit on sentimentality and head bangery, laced with catchy qualities and a psychedelic film to top it off. Throw this on when you don’t no one keeping you down.