Seraphina Lotkhamnga on March 17th, 2012

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@Seraphina_L on Friday at SXSW:

If there’s one artist who will make aching feet, humidity and a 12-block hike more than worth it, it’s Austin’s very own Gary Clark Jr. The emcee at Waterloo Records’ outdoor stage mentioned having followed Clark since he was 15 years old, and considering Clark’s deafening buzz at SXSW this week, the size of the crowd gathered in the parking lot was not a surprise. And the so-called “the savior of blues” completely commanded the stage – all while being incredibly silent. If Clark wasn’t singing his lyrics or giving the sound guy requests for adjustments, he was sure to be as far away from the mic as possible to focus on his guitar.

Clark’s set, wedged between those by L.A.’s Howlin’ Rain and the U.K.’s the Cult, demonstrated why his 2010 EP has put him on track to be a breakout star. He darted from rock to blues to soul with aplomb, and even showed off his hip-hop tendencies as he let his drummer give him a beat and then emulated a DJ scratching a record – on his guitar.

Also notable . . .

Stubb’s is generally a place I try to steer clear of during SXSW. It’s like the main stage at Sasquatch Music Festival where I’ve overheard clueless people say “I’m staying here because this is where the best bands are … Right?” Clueless or not, it’s not worth your money to stay in one spot during a music festival, and Stubb’s typically hosts the bigger acts playing the festival at night, (which defeats the purpose of discovering bands and exploring downtown Austin). Yet, I was there. I brought my vertically challenged self to Stubb’s Waller Creek Amphitheater because I need to find out if Of Monsters and Men really were just the Edward Sharpe and the Magnetic Zeros of Iceland. I gave this six-piece the benefit out of a doubt when I walked in, and my conclusion as I walked out was only slightly different from before. No matter how enjoyable their set to a massive crowd was, Of Monsters and Men’s sound is an exact meld of what Edward Sharpe and Milo Greene are doing. It wasn’t just a couple of songs like I had hoped, and the comparison is still dead on.

Father John Misty. What a stage name, and what a persona to go with it. J. Tillman’s never been more honest, and he’s also never been funnier. Mostly known for his work in Fleet Foxes, Tillman’s album “Fear Fun” as Father John Misty is a rather morbid listen, but his stage banter almost makes it all seem ironic. Inside Waterloo Records, Tillman managed to simultaneously make people laugh and make them confused. It was hard to decipher whether he was attempting to soften the blows in his serious tunes, but Tillman was the best folk-loving, self-deprecating stand-up comedian I had seen in a long time. He randomly turned his guitar upside down for one chord and also followed one of his songs with the witty comment, “Salt is going to help your listening experience with that song.”

Santa Barbara’s Gardens and Villa have gotten used to someone obnoxiously shouting for Chris Lynch to “play your flutes!” It bothers them not a whit. The jams off their self-titled album have never sounded tighter than they did at Peckerheads at SXSW, whether Lynch’s wood flutes were involved or not. Although their label encourages you to have your own laser-engraved flute, their sound cannot simply labeled as “flute folk,” owing to its intricate arrangements and, on the album, Richard Swift’s production. Continuing to foment a concoction of funk and electro-pop, Gardens & Villa still aren’t afraid to smile while they do it.

Awesome, Austin . . .

I saw this hi-tech light structure shaped like a snake (or a lizard?) on wheels down the street from the unworthy chaos that was Clive Bar. It was just glowing beside the tables where they were serving Indian food, and it was a lot more interesting than what Grimes had to offer.

Memo to . . .

Anyone who dares to make the trek to Waterloo Records on foot (instead of taking a pedicab). 6th Street and Trinity to 6th Street and Lamar is a long ways down, so do yourself a favor by rewarding yourself to some down time at the Whole Foods Market across the street. Apparently, they have also been booking bands, so you can get your fill of healthy eats and a dose of music while you sit down in their outdoor seating area. Or you can chill inside where the AC is blasting and be amused by the store’s eclectic mixtape – which included the Lumineers‘ “Ho Hey.”

I smiled when I saw this .  .  .

On the way back to the Austin Convention Center (to charge my phone again). However, I regret not scanning the QR code and am really hoping it will still be there. Color me deliriously happy if it really takes me to a website where “Damn Gina!” was a coffee chop and all the drinks are named after Martin sayings. (Yes, I have thought about doing this. Yes, I’m serious.)