Photo by Frank Yang

Sometimes it’s fun to hit SxSW without a plan – after all, even if you have one all it takes is one glacial lineup to toss everything out the window or, in the case of today, one completely fubar-ed day show. Things started well enough with a round table discussion at the conference portion of SxSW (yes, there’s a business side of things) amongst a number of bloggers, just talking shop and yes, it was as exciting as you’re imagining it to be. When that let out, nothing on my schedule demanded my immediate attention so I took a leisurely mosey around the bustling 6th Street/Red River corridor, popping into day shows to see what’s up but not sticking around until finding myself at Minipop’s show inside the Red-Eyed Fly.

San Francisco’s Minipop were one of my 2007 discoveries, their gauzey dream-pop falling quite squarely within the realm of “stuff I like”. But just as their showcase last year was marred by technical difficulties (at one point the power went out), this time they were battling their sound system on a few fronts, but mainly it just wasn’t sounding very loud or clear and there were random hums and buzzes everywhere. But still they fought through it and turned in some numbers from A New Hope, some presumably new material and an unexpected cover of Catherine Wheel’s “Black Metallic”. Sweet female vocals? Check. Shoegazer classics? Check. Cover songs? Check. All three rolled into one? Yes, please.

Directly across the street (I love Austin) was the broadcast centre for Free Yr Radio, which was featuring live to air sets from many of the performers at the festival. What I didn’t know was that these sets were only three songs in length and over before you knew it, which was why I only saw one song from Glasgow’s Sons & Daughters who, in This Gift, have put out one of my favourite records of the year so far. This didn’t bother me too much as I was planning on seeing the later that afternoon, but first had a date with Ms Emmy The Great in a parking garage on the far side of downtown. Get your mind out of the gutter.

The party was supposed to be thrown by NYLON and Guess Jeans and take place on the top floor of a parking garage but when I got there, the street address provided was a leasing office for an apartment building and the entrance, not marked, was on the other side of the block. Then upon getting to the top of the parking garage, I found it was barely attended either by guests, artists or staff. No one I asked had any idea of who was playing where or when and when I finally did find someone with a schedule, none of the artists listed on the flyer were there at all. It was like the most ridiculous bait-and-switch ever. Needless to say, I wasn’t impressed and found a cab to get back downtown. NYLON, I am boycotting your publication and will get my news on durable, synthetic polymers elsewhere and Guess, if I had any of your clothing I would wear it with disdain.

On the plus side, I had no trouble making it back to the Mohawk in time to see… Sons & Daughters again. This time, however, it was for a proper-length set that proved that the band is as electric live as they are on disc. Adele Bethel was an intense and magnetic frontwoman in her leopardskin tights, false eyelashes and gold glitter dress but it was guitarist/vocalist Scott Paterson who really impressed, his furious riffing and hollered vocals – to say nothing of his stylish pompadour – proving to be as crucial a part of the band’s magic as Bethel’s lead vocals and presence. Riveting stuff – the Scots are impressing at SxSW this year – and certainly getting me excited for their Toronto show at Lee’s Palace at the end of the month.

Now anytime I mention hip-hop, I qualify whatever I say with the fact that I don’t know anything about hip-hop, but I do know that the live shows are fun to photograph, especially when the crowd is into it, and the Mohawk was definitely anxious to see Clipse perform, and hell – I was already up front. I asked Matt from You Ain’t No Picasso for a quick Clipse primer and got back, “they’re a duo from Atlanta who sing about cocaine”. Well as it happens they’re from Virginia Beach, and while I don’t doubt that cocaine turned up in the lyrics, that wasn’t all. Or so I assume – I couldn’t really make lyrics out but am pretty sure there was more to it than odes to coke. Anyway I was into it for a while then peeled out to let someone who was actually a fan into the venue and to score some dinner.

The evening portion of Thursday began with The Brother Kite at Habana Calle 6 and I was excited to see them play in considerably lower-stress situation than my Pop Montreal showcase last October. I will hold up their last album Waiting For The Time To Be Right as one of the best guitar-pop records of this century – no hyperbole – and now having seen them play a show not marred by technical difficulties, save an oncoming cold for singer Patrick Boutwell, I will expand that praise to say they’re one of the best wholly unknown bands in America. Even with the 8PM slot at a little basement venue, the band still soared and happily, there was a good-sized crowd there to witness it and who were openly impressed by what they saw.

The next order of business wasn’t a showcase so much as to procure some food, but after grabbing some 6th St curb with a slice of pizza and Texas-sized Coke I glanced up and realized that I was outside the Wave, where The Coast were playing in about ten minutes. That is what we call a sign, and I admit I was feeling a bit guilty about not having seen a single local or Canadian act since I’ve been here so I went to root for the home team a bit. Their stage was absolutely minuscule, with barely enough room for them to stand let alone put any sort of physicality into their performance but they sounded good and gave pause for everyone trying to walk past to get to the NME party upstairs that maybe the better band to see was downstairs (and from what I heard of the rooftop performance from the street, I suspect that was true).

Though the NYLON/Guess party was a bust, I still got my opportunity to see Emmy The Great at her proper showcase at Latitude 30 and it was worth all the effort and anticipation. Together with her small band (backing singer, second guitar, violin) she put on an utterly charming performance with both old songs and newer ones that are targeted for her album. What struck me the most, and which I probably took for granted from the recordings, was her remarkable elocution while singing. The girl has excellent diction and that’s crucial for performing songs as densely wordy as hers. That may seem strange praise but it’s warranted. And she’s got a marvelous voice, gift for melody and is cute as a button but that’s all obvious. I could have happily ended the evening there (and my feet thought that was a terrific idea) but there was still much more to see.

Rob from Donewaiting convinced me to abandon my original plan of wandering aimlessly for an hour and to go see Bon Iver at the Mohawk (this is what it took – “hey, let’s go see Bon Iver”). I haven’t jumped on the For Emma, Forever Ago bandwagon as many have, but have looked at it a length and with curiosity. And while a lot of the story behind that record appears to be its origins in a log cabin in the Wisconsin wilderness (I’m paraphrasing), I found the material much more impressive live, with a band behind it. the addition of a drummer prone to fits of mad yet tasteful fills does a lot for the dynamics of the songs and is a good match for Justin Vernon’s soulful vocals. Consider me a couple steps closer to convinced.

London’s People’s Revolutionary Choir were one of those random discoveries made while cruising the SxSW listings. I was immediately taken by the grand energy of the sample song on offer and decided to dedicated the Thursday midnight slot to them because, hey – if you’re not going to take a flyer on a band at SxSW, then why even come? The venue – a hotel conference room with a stage erected in the corner – wasn’t very high on vibe but the band put on a raucous show regardless though I found what impressed over the course of one song began to sound rather unfocused over a half-dozen. Their musical manifesto cribs from 25 year of Brit-rock anthemicism but they haven’t managed to distill all that down into something new and interesting on its own merits. They still merit watching but at this point it’s unclear if they’re actually staging a revolution or are just a bunch of people taking a very loud walk.

To cap the evening, I had a number of options written down though all were of equal interest or disinterest. In the end, The Wombats’ gig on Maggie Mae’s rooftop won out because a) I’ve been in a British mood of late (if you hadn’t noticed) and b) it was on the way back to the hotel. Unfortunately I forgot that Maggie Mae’s is possibly the most painful venue in Austin to stand in, with its cobblestone floors, particularly if you’re coming off a full day of walking and standing. Of course, the band were late getting started and when they did, their youthful, high-energy fun-time rock seemed to come with the singular message of “dance!” (it helped that the band exhorted the audience to dance at every opportunity as well). Not especially deep but delivering on their mission of having a good time, The Wombats were entertaining but it wasn’t too long before the barking of my dogs was overpowering and I stumbled back to the hotel.

Only half done? Oh god.

Photo by Frank Yang

Ahhh, ATX. Once again I find myself nestled in your soft, tortilla-like bosom. Ever since I decided to attend the 2008 edition of SxSW (which was about two minutes after the 2007 edition ended), I swore that I’d do this year right – badge, downtown hotel, RSVPs to all the day parties… but of course all the RSVPs really mean is that you get to stand in line to add to your ever-burgeoning wristband collection. The first day started in one of these lines, to get access to the ever-popular Levi’s/FADER Fort – where I’d never been before. I haven’t been so diligent about RSVPs in the past.

Anyway, once wristbands were acquired, we moseyed in to have a look at what the big deal was and was greeted by the first band of the day, Los Angeles’ Mae Shi. Whenever I type that, I unconsciously want to add a “t” at the end of their name but that’s not really a reflection on what I thought. Granted, their loud, vaguely angry and spastic rock did nothing for me but that’s no reason for name-calling. They were working hard up there and working up a sweat and that’s what SxSW is all about.

Then it was off to the Donewaiting party at the Creekside Lounge – Donewaiting is a crucial SxSW reference site and this was their first-ever sponsored event, so it felt right to pay respects. Even if only for a few minutes, as I caught just the last song of Catfish Haven’s set and the one thing that stuck out to me… George Hunter has gone electric! George, say it ain’t so.

The draw at IODA’s fifth anniversary bash at Emo’s Annex was Glaswegians Frightened Rabbit but I was early enough to see Curumin, a sort of laid-back, soul/lounge/hip-hop outfit whose three members curiously set up at the back of the stage while plying their trade. Very mellowed out but quite affable and enjoyable.

And then the Rabbit – I’d read somewhere that they were shy sort of live act but that couldn’t be further from the truth. They delivered songs from their forthcoming The Midnight Organ Fight in loud and frenzied fashion as a four-piece, three of them Telecasters (pointy guitar tone yes) with low end handled by organ pedals or samples. Frontman Scott (no last names please) pogoed around the stage when he wasn’t bellowing melodic angst into the mic in his wonderfully thick Scottish brogue and as their short set was possibly the only chance I’d get to see them this week, I’m glad they impressed as much as I’d hoped. Now I hope that Organ Fight takes off when it’s released on April 15 and justifies a North American tour so I can see them play a proper-length. Maybe with labelmates The Twilight Sad? Yes please?

With that done, it was to the Mohawk for Shearwater – seeing them play Sx has become something of a tradition for me and I was eager to hear them preview material from Rook, some three months before its formal release. The set still drew mainly from Palo Santo but some Rook material was aired out, some for the first time. The latent greatness in the new stuff was evident but the arrangements still need to incubate a bit, I expect they’ll sound better when they hit the road in May with Clinic.

And closing out the day portion of the Wednesday, it was back to Emo’s Annex for the only appearance of the week from The Wedding Present. Or part of the Wedding Present, anyways. The band was represented by singer/guitarist Dave Gedge and bassist Terry de Castro and while it’s always a treat to hear Wedding Present songs (and one Cinerama tune) played, the absence of the drums and second guitar was keenly felt. Gedge was probably as aware of this as anyone and promised a proper tour in support of their new album El Rey (out in May) this September and October so as a stopgap and lead-in to dinner, the performance sufficed.

Now since it was announced, R.E.M.’s show at Stubb’s on this night was the inflexible certainty on the schedule. But seeing people start to line up at a quarter to five and with everyone I talked to opting not to even bother trying to get in since they expected to be beyond full before they got there. And while I’d complained before about how the festival had scheduled a lot of bands I wanted to see against R.E.M., it began to look like that would be a blessing since it meant a wealth of contingency options.

I started things off at The Parish for reasons that aren’t entirely clear to me now. I caught the tail end of Zambri’s set, a co-ed, electro-heavy act from New York who serve up glammy rock with a healthy dose of angst. I believe I listened to a copy of their EP a little while back and that bit of familiarity may have steered me here and, in turn, their show has encouraged me to revisit the EP. It’s the circle of life.

They were followed by Wild Light, the next in a long long of hot new bands coming out of New Hampshire. Yeah. They featured three capable singers and good musicianship but even with these ingredients, the final product came out more than a little bland. I gave them a few songs to impress me but after receiving a text message saying that the crowd at Stubb’s wasn’t too bad at all, I bolted for the amphitheatre.

And lo and behold, there was no line and I was in in no time. Contingencies be damned, we were back on plan. Of course, there was a price to be paid and that was sitting through the opening acts who were apparently hand-picked by R.E.M., something I hope isn’t entirely true. Florida’s Papercranes were almost impressively unimpressive, lacking the chops and charisma to make their dramatic goth-rock saleable. Georgians Dead Confederate fared much better with their sludgy yet surprisingly nimble stoner rock. Slow and heavy, I’m sure they’re in heavy rotation in Stipey’s iPod.

And then, it was R.E.M. It’d been some seven years since I last saw them live at the most excellent noontime show that shut down Yonge St in Toronto back in 2001 and while their recorded output since then hasn’t really grabbed me, they’ve always managed to stay in my good graces by virtue of how much they meant to me when I was younger and how those records still have a hold on me today. And while a greatest hits show would have gone over just fine, they were intent on selling Accelerate, out April 1, and reestablishing themselves as a proper rock band. And while the new material obviously didn’t resonate as much as the older material, it did seem to deliver on their promise to be louder, punchier and more concise. Of course, the older material got the best response – hearing “Second Guessing” had me bouncing around in the line to the photo pit like a little kid and “Fall On Me”, long one of my favourite songs in the world, had me singing along at the top of my lungs. I know SxSW should be about the new bands, the up-and-comers, but sometimes the veterans just bring it.

But no, I didn’t stay the whole set. I’ve still go their June 8 Molson Amphitheater gig on my calendar but don’t have any expectation that my final show of the night, Trespassers William, will be coming through town any time soon so missing their only SxSW performance would have been unacceptable. One of my favourite new discoveries of the last five years or so, they were slotted in at The Hideout, a little theatre in the back of a coffee shop that provided a nice, if exceedingly dark, atmosphere for them. Though they’ve made their name with languid space-rock led by Anna-Lynne Williams’ mournful voice and lap-style slide guitar, their live show was surprisingly dynamic, incorporating more noise, swells and crescendos than their recorded output would have ever implied. There was also a much larger electronic component to their sound that thankfully added to the appeal of their original sound rather than obscuring it. Happily, there was a full house for them as they previewed some material from their new record – due out sometime this year – and put a terrific cap on a day of music that had its ups and downs, but with the peaks thankful being much more memorable than the valleys.

Photo by Francesca Perry

Greetings from sunny Austin, Texas, and let me just say how nice it is to have some scenery besides massive snow banks to look at for a change. Mostly painless trip down here yesterday and I’m now badged, rested and ready to get on with it.

There’s no shortage of SxSW survival guides out there, but as someone going into his fourth go-around and the big Texan to-do, I feel qualified to offer some sage advice to rookies. Basically, see what you’re going to see and don’t worry about what you’re missing. Because no matter what you’re seeing, you’re missing something and probably something great. But the people who are at that something great are also missing something else great. And so on and so on. So don’t worry about those three Flaming Lips secret shows that I – er, you – missed a couple of years ago and enjoy whatever you’re at. Unless is sucks. Then just go next door and see something else. And eat whenever the opportunity presents itself, because those opportunities will be few and far between. And granola bars crammed into your pockets are your friends.

When this year’s lineup was initially announced, I was kind of let down with the number of acts I’d hoped would be in attendance and weren’t, but as I’ve put together my schedule I’ve still got way too much to choose from (though I still have way too many conflicts as well as completely empty slots). But some acts take priority over others and this year, the one I’m going to catch as much as possible (currently looking like all of two times) is Emmy The Great. I’ve mentioned her in the context of her appearance on the Lightspeed Champion record but her work under her own name has been completely beguiling as well. She’s a folksinger at the core but with a lovely voice and gift for melody coupled with a sharp eye for songwriterly detail and an acerbic wit that reminds me of Billy Bragg if he were a twenty-first century, twentysomething English girl more focused on the personal than the political. Her breakup song “Canopies And Grapes” just slays me.

There’s no album yet, just a limited edition EP that I don’t expect to find a copy of and various singles, compilation appearances and live sessions floating around the internet. Hunting down her recordings has been an elbo.ws and hype machine scavenger hunt, but that’s refreshing in a sense – like the old days when I’d roam used CD shop to used CD shop looking for that elusive import single to complete a collection. Of course, you’re at the mercy of different bit rates and dodgy meta tagging but that’s progress for you.

In addition to the samples I’ve linked below (including her contributions to the Kruger Magazine singles club), check out her Black Cab Session (whose proprieters Londonist has an interview with) and if you’re in the UK, this MTV UK session. I will have to make a point of watching that when I’m in the UK in a couple months. Yes, I’m crossing the Atlantic to watch an MTV feature. Yay me.

MP3: Emmy The Great – “Easter Parade”
MP3: Emmy The Great – “Hold On”
MP3: Emmy The Great – “Paper Trails”
MP3: Emmy The Great – “MIA” (live from Black Room Sessions)
MP3: Emmy The Great – “The Hypnotist’s Son” (live from Black Room Sessions)
Video: Emmy The Great – “Gabriel”
Video: Emmy The Great – “Easter Parade”
Video: Emmy The Great – “MIA”
MySpace: Emmy The Great

Also high on my to-see list are Scotland’s Frightened Rabbit. They’re deserving of a proper post on their own which I’ll get to post-SxSW, probably, but the elevator pitch would be The Twilight Sad as a folk band. Lovers of thick Scottish accents, line up here. Their new album The Midnight Organ Fight is out April 15.

MP3: Frightened Rabbit – “Head Rolls Off”
MP3: Frightened Rabbit – “The Modern Leper”
Video: Frightened Rabbit – “The Grey”
Video: Frightened Rabbit – “Heads Roll Off”

I feel compelled to mention that because of the sheer number of things I’ve got on the docket over the week, my coverage will be a little different than in past years – namely, look for all commentary and minimal outside linkage or media whilst I’m here. The amount of time it takes me to get all that together simply isn’t available. Instead, I’m intending to whip up an omnibus-type post after I get home that will have more MP3s, videos and photos than you can shake a stick at.

If you’re in Austin and need some assorted sundry planning tips, CBC Radio 3 (for whom I’ll also be blogging the festival over the course of the week) has a survival guide, Sched.org has been an invaluable if not quite comprehensive planning tool for official and unofficial showcases and parties, IMEEM has assembled playlists for every SxSW showcase (no mean feat), NPR has audio previews of their festival picks, Free Yr Radio endeavours to be your one-stop party reference spot, Pitchfork has a guide to goings-on, Variety also has some picks of their own. And, of course, if you get the chance on Friday and Saturday come by Club DeVille and the Mohawk for Hot Freaks – say hello, sit a spell.

And if you’re not in Austin, SxSW Baby has rounded up all of your live webcast options for the next few days. Throw some brisket on the grill, crack open a bottle of PBR, kick back and pretend you’re here.

Photo via New York Magazine

Before I leave, I would be remiss if I didn’t at least comment on the series finale of The Wire this past Sunday evening. Though a latecomer to the show – this final season was the first I watched in real-time – I’ve become something of an obsessive over the past year so I’d like to think that I’m able to celebrate and mourn the show as much as anyone who’s been along for the whole ride. Or close to it, at least.

And this is where the “SPOILERS” warning comes into effect, so if you’ve not watched it yet – Brad, I’m looking at you – walk away now.

Not that I’m going to get into too much detail. The finale, and the series, has been analyzed and dissected by many people far more insightful than I, so I’ll direct you to some of their observations below. I had the finale downloaded a few days prior to the actual air date (I don’t have cable!) but had resisted watching it, instead wanting to see it the same time as everyone else in a minor act of solidarity. I’d expressed concerns about the truncated season length all year – 10 instead of the usual 12 – and while I did find this season to be a bit rushed compared to the others, the feature-length finale felt just right. After the rush of the penultimate episode – Marlo gets got! – this one followed the fallout and gave each character their final resolutions. And, lest we forget this is The Wire, just desserts aren’t necessarily on the menu. All in all, things end on a more positive note than I’d have expected – though not shown in this ep, I was particularly glad that Poot seemed to escaped the corners – though the fate of Doukie, though predictable, was still heartbreaking. It’s a real testament to the whole crew of the show, on both sides of the camera, that I (and most other fans) were so emotionally invested in these characters.

And now it’s done, there’s naught to do but watch all 60 episodes all over again – when’s that season five DVD set come out? I’ve also intentions of getting the sister shows – The Corner and all of Homicide: Life On The Street – but I know, deep down, that it won’t be the same. “The best show on television” – an epithet that’s been repeated so many times when describing The Wire that it’s now cliche… but it’s still true.

I find the discourse surrounding the show to be almost as entertaining and interesting as the show itself and of all the media outlets covering the show’s finale, New York Magazine has been by far the most expansive. I particularly liked their scene by scene analysis of the final montage. For interviews with show creator David Simon – always a fascinating subject himself – head to The AV Club and especially What’s David Watching for the most in-depth post-mortem you’ll find anywhere. And for more reaction to the final episode, try Salon, The Kansas City Star, The Chicago Tribune and The New York Times. And for a slightly less glowing review from the paper depicted in a less than flattering light in this final season, try The Baltimore Sun. And sadly, the fascinating ongoing feature at Freakonomics where the writer watched the final season in the company of real “thugs” and “gangsters” came to an early end when the crew declined to watch the final two episodes. But even that premature final installment is worth reading.

Elsewhere…

NPR talks to Ladyhawk, who’ll be at the Horseshoe on March 22 in support of their new album Shots.

NPR also has a World Cafe session with Lightspeed Champion.

The Australian talks to Wilco’s Jeff Tweedy.

Billboard brings news from the land of Robyn Hitchcock, including a forthcoming DVD, another Venus 3 album in 2009 and a collaboration with Andy Partridge.

Anyone wondering what former Curve vocalist Toni Halliday has been up to, the answer is a) becoming very blonde and b) starting a new project called Chatelaine. Via No Rock N Roll Fun.

And now I have a plane to catch.

Photo by Frank Yang

My snow boots make for truly lousy concert-going footwear. But the 30 cm of crap dumped on the city from Friday through Saturday night made then a necessity – thankfully, I had gotten my fill of club hopping the previous two nights and with the exception of one early stop, was planning on spending the whole evening camped out at the Palace of Lee.

But first, a stop at one of the venues in town I’d never been to before – the Annex Wreckroom. I’d never graced the second-floor club with my presence because it seems to cater to the leather pant crowd rather than the cords and jeans demographic I usually roll with. It’s a surprisingly large room and every inch of available space was put to good use by the outfit I was there to see, Boys In A Band. Obviously believers in truth in advertising, the five-piece from the Faroe Islands (midway between Denmark, Scotland and Iceland) were indeed both boys and a band and, though not explicitly stated in their name, big believers in the healing power of rock music. Though the samples on their MySpace implied a moden/classic rock hybrid (no, I don’t really know what I mean by that), their live show was pure old school rock’n’roll adrenaline. They struck a fine balance between being deadly serious and deadly unserious (with a keyboardist who looks like a kimono-clad Capt. Jack Sparrow with a wireless keytar, how serious can they be?) but wholly entertaining. There were stage invasions, audience invasions, rocking out on top of the bar and group hugs. Great fun.

Photos: Boys In A Band @ The Annex Wreckroom – March 8, 2008
MP3: Boys In A Band – “Black Diamond Train”
MP3: Boys In A Band – “Beyond Communication”

Toronto’s Sunriser got the privilege of welcoming the crowd who’d braved the weather to come out Lee’s Palace and there were certainly more of them (us) than I was expecting. And they welcomed us with a set of pleasant if innocuous guitar pop of the sort you’d expect to hear over the closing credits of a WB teen drama. Their set was most memorable for the subtle but effective keyboard work and a frontman who really seemed to like the sound of his own voice – his thank yous to the crowd and club went on longer than most Oscar acceptance speeches.

Photos: Sunriser @ Lee’s Palace – March 8, 2008
MP3: Sunriser – “When You Were Me”
MySpace: Sunriser

Rock Plaza Central may be critically acclaimed and local heroes of a sort, but I’ve never gotten into them. They came around when my tolerance for big, ramshackle bands with hoarse and hollered vocals was at an ebb so they’ve stayed off my radar. But when faced with them live, I found them surprisingly enjoyable. Chris Eaton’s voice is still an acquired taste that I’ve not acquired, but the band are superb musicians and craft their joyful chaos with the most meticulous care and a genuine energy that’s impossible to resist.

Photos: Rock Plaza Central @ Lee’s Palace – March 8, 2008
MP3: Rock Plaza Central – “My Children, Be Joyful”
MP3: Rock Plaza Central – “When We Go, Where We Go, Pt 2”
Video: Rock Plaza Central – “My Children, Be Joyful”
Video: Rock Plaza Central – “Anthem For The Already Defeated”
MySpace: Rock Plaza Central

It’s just as well that I had little interest in seeing Yoav play because if I did, I would have had a lousy time. Because standing right behind be were a gaggle of drunken girls who seemed to regard the solo acoustic guitar and loop artist as akin to the sixth Backstreet Boy and spent the whole set screaming… inappropriate things. But since I didn’t really care, they were more amusing than irritating. Still irritating, don’t get me wrong, but amusingly so. There’s not denying that Yoav has talent, but his approach is interesting for a few songs but becomes exponentially more repetitive and stultifying after that. The only thing that made it all worthwhile was, after he finished and left the stage, a couple of the aforementioned girls climbed onstage and ran after him and one of them tripped and fell down the stairs. It’s okay, they were a short flight and she wasn’t hurt. But it was funny.

Photos: Yoav @ Lee’s Palace – March 8, 2008
MP3: Yoav – “Club Thing” (LaCrate remix)
Video: Yoav – “Club Thing”
Video: Yoav – “Beautiful Lie”
MySpace: Yoav

The Pigeon Detectives, looking to release their sophomore effort This Is An Emergency on May 14, are one of those bands that have been tipped as one of the next big things coming out of the UK this year (yeah, yeah) but this show seemed to have preceded any serious buzz about them on these shores. But I don’t think any British band has ever played to an empty room in Toronto so a healthy and enthusiastic audience was in place when the Leeds five-piece took the stage. Anyone looking for the next Blur or Kinks or other such band that combined a sharp songwriter’s eye on society with indelible guitar pop hooks… keep looking. But if you’re in the market for an entertaining, high energy rock band with an in-your-face frontman who has obviously spent a lot of time practicing his pogo jumping and microphone twirls, your ship has come in. The songcraft is simple but effective and the choruses made for drunken audience shoutalongs. The Pigeon Detectives could be this year’s Kaiser Chiefs – take that as you will.

Photos: The Pigeon Detectives @ Lee’s Palace – March 8, 2008
MP3: The Pigeon Detectives – “I’m Not Sorry”
Video: The Pigeon Detectives – “Take Her Back”
Video: The Pigeon Detectives – “Romantic Type”
Video: The Pigeon Detectives – “I Found Out”
Video: The Pigeon Detectives – “I’m Not Sorry”
MySpace: The Pigeon Detectives

That’s it for my CMW coverage this year. For more (thorough) coverage of the fest, hit up the minisites from eye, Chart as well as smaller bits from The Globe & Mail and Toronto Star.

And to segue CMW to SxSW – My Old Kentucky Blog has an interview with The Acorn, who by all accounts put on a great show at the Horseshoe this past Thursday night and will surely do so again when they play the second day of Hot Freaks down in Austin this coming Saturday at the Mohawk. The band has got a gorgeous new animated video for “The Flood, Pt 1” but the only place I’ve found it is at MuchMusic (what are they doing with music videos?). Go the the link there, search for “Acorn”, sit through the Gwen Stefani commercial and then enjoy. Hopefully it’ll propagate to YouTube or even their MySpace soon. Glory Hope Mountain gets an American release tomorrow and you can stream the record in its entirety at Spinner.

Stream: The Acorn / Glory Hope Mountain

And a bit more link-clearing before heading to Texas.

John Darnielle of The Mountain Goats rattles off some of his favourite songs for Harp. Harp also goes record shopping with Patterson Hood of the Drive-By Truckers, who are playing the Opera House next week on March 18.

NPR talks to Gary Louris, in town at the Mod Club on March 30.

Austin360 talks to Tift Merritt about her new one Another Country. She plays the El Mocambo April 1.

Digital Spy discusses The Seldom Seen Kid, out April 22 in North America, with Elbow frontman Guy Garvey.

Dean Wareham chooses his favourite albums from his tenures with Galaxie 500, Luna and Dean & Britta for The Boston Globe. His memoirs Black Postcards: A Rock & Roll Romance are out tomorrow.