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Filter: Antone\'s


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Big K.R.I.T.
    Wednesday March 14, 2012 9:00pm - 9:40pm @ Antone's (213 W. 5th St.)

    Imagine Kanye West being born and raised in Meridian, Mississippi. Now imagine him being produced by Organized Noize. That imagery would create music almost identical to the Crooked Letter state’s next hip-hop heavyweight, Big K.R.IT (King remembered in time). The 24-year-old rapper slash producer defied the odds of both his personal life and hip-hop’s current landscape to be the most in-demand and respected rookie on the Cinematic Music Group/Def Jam Records roster.
    Rapping since twelve-years-old and producing from age 14, KRIT personifies the term Student of the Game. Being a product of one of the smallest cities below the Mason Dixon line the young MC didn’t have the financial means required to purchase tracks and studio time. So K.R.I.T took a much more economical approach and began mastering the MTV Music Generator on his Playstation. Wanting to elevate his sonic craft he then studied local friends who were a bit more advanced in certain areas of production, or sit for hours and watch an engineer homie mix a song.
    On the lyrical side, Big K.R.I.T kept an ear bent to the cadence and profound pronunciation of great orators like the Notorious B.I.G, Tupac and Pimp C. The Mississippi eagle also bathed in the classic compositions of legendary teams like OutKast and 8ball and MJG. “These guys influenced me because they rapped about what they knew about and they kept it 100,” says K.R.I.T. “Even like an Organized Noize––they stayed true to what they did and branded a sound. So they influenced me to stay true to myself and rap about what I know about.”
    Instead of making the mistake many a young artist in search of an identity commit–– becoming a Xerox copy of their influences–– K.R.I.T developed his own sound. That he was raised on his parents’ soul music (Bobby Womack, Willie Hutch) explains why his production comes rich with rolling percussion, smooth yet potent baselines and keys that are sugar cane sweet. It’s homemade molasses in stereo.
    With a perfect self-produced score as the backdrop, K.R.I.T uses a fluid and personable flow to captivatingly give his own Merridian, Mississippi narrative, complete with entertaining quips, steely confidence and food for thought. During a time when southern MCs succeed by hanging their hat on their drug dealing history or street lord affiliation, whether authentic or fictitious, K.R.I.T.’s true-to-self approach is a courageous one. “People wanna hear relatable music––something not so far from their every day,” he says, before adding. “A lot of times people get caught up in making a hit and it isn’t timeless because it doesn’t serve a purpose. If I have a voice and the opportunity to speak to millions of people I at least have to say something important.”
    The Big K.R.I.T. formula was not only pure it was undeniable. His underground ascendance began in 2005 when an Atlanta DJ placed his song “We Gon’ Hate” on their mixtape without request. Feeling validated K.R.I.T decided to put 100% into upgrading his music dreams to reality. The next year he would drop out of Meridian Community College and move to Atlanta. In the peach state, K.R.I.T. would get a crash course in industry biz. Whether it was selling discounted beats to local artists, engineering their sessions and/or mixing their songs–––being that he was talented at more than just beat making––K.R.I.T did it to make ends meet.
    After a few years of releasing underground music K.R.I.T.’s music started to catch peoples attention, allowing him to entertain the countless music execs and managers who expressed interest in him throughout his years in Atlanta’s underground. One of those interested was Jon “Shipes” Shapiro, head of Cinematic Music Group (Sean Kingston, Nipsey Hussle). The two agreed on a deal in January 2010 and set forth to turn B.K into the next hip-hop superstar. According to Shipes K.R.I.T.’s palpability makes his market potential a no-brainer: “In real life he’s just a kid from a small town whose music is phenomenal.”
    K.R.I.T. then went to work on his Cinematic Music Group debut, the street album K.R.I.T. Wuz Here. The underground opus that birthed gems like the trunk rattler “Country Shit,” poignant “Children of The World” and irresistible Devin The Dude assisted “Moon & Stars” snatched the attention of many hip-hop heads; none more important than former 50 Cent manager and G-Unit Records President Sha Money XL. Upon receiving an early preview of K.R.I.T. Wuz Here, Sha was “blown away.” So once the veteran exec landed a position at Def Jam as Senior VP of A&R last April he made sure his first signee was K.R.I.T. Though at the time the Mississippi gem’s John Hancock was also being sought aggressively by other labels, K.R.I.T. chose the exec with the most enthusiasm for his music. “Sha just kept saying ‘I love this! I believe in it,’” tells K.R.I.T. “He was just so adamant about it.”
    Now, the rap game has received a breath of country fresh air: an artist that insists on remaining an individual and feeding his growing audience with feel-good rhythms and “rhymes with morals.” Big K.R.I.T. is in fact The Truth. Within a month of acquiring his deal he was not only critically acclaimed and courted for interviews by media giants like XXL, The Source, Rapradar.com and MTV.com, he gained fans in his own peer group–– from buzzing newbies (Wiz Khalifa, Currensy and Smoke Dza) to living legends (Ludacris, Bun B). Today whether its hip-hop lovers in the skyscraping offices of Def Jam or those in the small town of Meridian, MS, they’re all feeling the synergy being churned by the birth of rap’s next royalty. So until Mr. King Remembered In Time releases his 2011 Def Jam debut all hip-hop can do is witness a reign on the rise.

    It is rare to find an artist who has both age and wisdom on his...

    Type Band, Official
    Hashtag #sxsw #BigK.R.I.T.
    Info Y
    Tags Hip-Hop-Rap, Music
    Website http://schedule.sxsw.com/2012/events/event_MS19579





Pandora Discovery Den


Walk The Moon


Neon Trees


Chuck Mead
    Thursday March 15, 2012 8:00pm - 8:40pm @ Antone's (213 W. 5th St.)

    After leading several popular ‘80s cult bands in and around his hometown of Lawrence, Kansas, Chuck Mead landed on Nashville’s Lower Broadway where he co-founded the famed ‘90s Alternative Country quintet BR549. The band’s seven albums, three Grammy nominations and the Country Music Association Award for Best Overseas Touring Act would build an indelible bridge between authentic American Roots music and millions of fans worldwide. With BR on hiatus, Chuck formed The Hillbilly All-Stars featuring members of The Mavericks, co-produced popular tribute albums to Johnny Cash and Waylon Jennings, guest-lectured at Vanderbilt University, and became a staff writer at one of Nashville’s top song publishers. In 2009, he released his acclaimed solo debut album, Journeyman’s Wager, and toured clubs, concert halls and international Rock, Country and Rockabilly festivals with his band The Grassy Knoll Boys.

    After leading several popular ‘80s cult bands in and around...

    Type Band, Official
    Hashtag #sxsw #ChuckMead
    Tags All, Alt Country
    Website http://schedule.sxsw.com/2012/events/event_MS18833


Jonny Corndawg
    Thursday March 15, 2012 9:00pm - 9:40pm @ Antone's (213 W. 5th St.)

    Jonny Corndawg is an infectious songwriter and burgeoning country star that worships the altar of Waylon Jennings, Billy Joe Shaver, and Michael Hurley. Born in Montana, raised in rural Virginia and now residing in Brooklyn, New York, Jonny Corndawg has been touring on his motorcycle since he dropped out of school in 2001. Since then he has played shows in every U.S. state, Canada, eleven European countries, Australia, Argentina and India. But you won't find him on CMT. His music is more in the vein of that obscure '70s gay country that housewives would discover on a Bear Family reissue in twenty years. This leatherworking, airbrushing, marathon-running cowboy troubadour combines his musical influence with the lyrical whimsy of Shel Silverstein to create songs that are nearly impossible to resist. In the past year he has toured and performed alongside such artists as Deer Tick, Dawes, Middle Brother, Michael Hurley, J. Roddy Walston & the Business, The Whigs, Futurebirds, Wanda Jackson, David Allan Coe and Gene Ween.

    Jonny Corndawg is an infectious songwriter and burgeoning country...

    Type Band, Official
    Hashtag #sxsw #JonnyCorndawg
    Tags All, Country
    Website http://schedule.sxsw.com/2012/events/event_MS15518



Big K.R.I.T.


Punch Brothers




The Gourds


Pandora Discovery Den


Strand of Oaks
    Friday March 16, 2012 8:00pm - 8:30pm @ Antone's (213 W. 5th St.)

    In 2003, Tim Showalter's house burned down, his fiancée left him, and he resorted to writing songs on an acoustic guitar while living on park benches in suburban Philadelphia. Those events informed the entirety of his arresting debut, Leave Ruin, an album about loss and brokenness and lack of faith. But as affecting as it was, Showalter is leery of being stuck in the past. After all, the first word of that record's title is "leave," and one of the first thing he asks when contacted for this interview is, "Can we kind of re-do my bio? I don't want to keep being the sad sack whose house burned down."

    In 2003, Tim Showalter's house burned down, his fiancée left...

    Type Band, Official
    Hashtag #sxsw #StrandofOaks
    Tags All, Avant-Experimental
    Website http://schedule.sxsw.com/2012/events/event_MS18059



ZULU Winter



    Friday March 16, 2012 11:20pm - 11:50pm @ Antone's (213 W. 5th St.)

    Pickwick was formed in 2008 when singer Galen Disston began writing songs on his acoustic guitar while drummer Matt Emmett kept time in the background. The duo settled on the name as an homage to 'The Ostrich,' an obscure dance song written by Lou Reed and released by Pickwick Records in 1964. With the later additions of Emmett's childhood friend Cassady Lillstrom on keys, Kory Kruckenberg on vibraphone, brothers Garrett and Michael Parker on bass and guitar, the six piece began playing shows in small clubs around Seattle.
    By the beginning of 2010 the band was in a state of disarray. Frustrated by the direction the music was taking, the band began having discussions about throwing in the towel and going their separate ways. Up until that point band members had little to do with the writing process and simply added color to Disston's songs. Ultimately, the band decided to throw out all of their old material and start over from scratch with a new collaborative approach to songwriting. This rebirth allowed the band to take a new look at their individual and collective strengths, as well as look to new places for inspiration.

    To hear Pickwick tell it, their popular Myths 7-inch series was...

    Type Band, Official
    Tags All, Rock
    Website http://schedule.sxsw.com/2012/events/event_MS19428




Lost in the Trees
    Saturday March 17, 2012 1:00am - 1:45am @ Antone's (213 W. 5th St.)

    Lost in the Trees
    A Church That Fits Our Needs 
    Release Date: March 20, 2012
    Lush  clusters  of  piano,  a  mysterious  sound  that  might  be  something  being  unwrapped,  or  paper  crushed  for  kindling,  and  A  Church  That  Fits  Our Needs,  the  second  album  by  North  Carolina  group  LOST  IN  THE  TREES,  is  underway,  announcing  itself  as  a  work  of  vaulting  ambition,  a  cathedral built on loss and transformation.  In the summer of 2009 Ari Picker – writer, 
    composer,  and  architect  of  the  band  –  lost  his  mother,  an  artist  in  her  own 
    right,  when  she  took  her  own  life.    Picker  was  in  the  midst  of  releasing  his  band’s  debut  album,  All  Alone  in  an  Empty  House,  a 
    collection  of  folk‐inflected  songs  that  surprised  with  its  orchestral  arrangements,  to  an  acclaim  usually  reserved  for  seasoned 
    veterans:  “both  heart  wrenching  and  beautiful,”  said  Paste,  while  the  Huffington  Post  called  the  album  “spellbinding  in  its  musical 
    ambition,  touching  in  its  intimacy,  and  often  overwhelming  in  its  emotional  honesty.”    Picker  took  the  loss  of  his  mother  and  set 
    about transforming the events into a tribute, composing, writing lyrics, his mother’s picture above his writing desk: the same picture 
    that  now  graces  the  album’s  cover.    “I  wanted  to  give  her  a  space,  in  the  music,  to  be,  and  to  become  all  the  things  she  didn’t  get  a  chance to be when she was alive.” 

    Dense clusters of piano, a mysterious sound that might be something...

    Type Band, Official
    Hashtag #sxsw #LostintheTrees
    Tags All, Pop
    Website http://schedule.sxsw.com/2012/events/event_MS17351


The Canvas Waiting
    Saturday March 17, 2012 8:25pm - 9:00pm @ Antone's (213 W. 5th St.)
    he Canvas Waiting has garnered a host of loyal fans since their formation in
    2005. With their first release, In Search of Beginnings, the passion and talent of
    singer Nathan Medina was undeniable and captivated audiences both on the
    album and through his convincing live performances. With the addition of Josh
    Rodgers on drums, Colin Campbell on guitar, and Chris Applegate on bass, the
    group’s sound has matured into a collection of reflective and unforgettable
    melodies rooted in intelligent songwriting.

    he Canvas Waiting has garnered a host of loyal fans since their...

    Type Band, Official
    Tags All, Rock
    Website http://schedule.sxsw.com/2012/events/event_MS19857


The Gracious Few
    Saturday March 17, 2012 9:30pm - 10:15pm @ Antone's (213 W. 5th St.)
    “It was a wonderful moment,” says The Gracious Few’s chief protagonist, guitarist, and co songwriter Chad Taylor of a particular late winters 2010 day in Sausalito California. “As I loosened the grip on my guitar after that final take, I knew the past was exactly that. It can’t come back to haunt me. It can only influence me and our future as a band. Primarily because we’ve all already been there.” Typically Taylor would be back in his home state of Pennsylvania at this time of year, perhaps even shoveling snow, but most likely thinking about his feature film company or other varied business interests, certainly not music. But in that moment warmth came over him as the strings still resonated, “I looked into the control room, and the guys, and thought this very nearly didn’t happen.”
    Earlier, LIVE bassist Patrick Dahlheimer and drummer Chad Gracey were at a crossroads. Their 90’s alternative band had run its course, declaring a hiatus in July of 2009. Their guitarist, Chad Taylor, having sworn off writing music, was wrapped up in producing movies, while their singer was busy working on solo aspirations. “I told them that I had forgotten how to write music, which wasn’t far from the truth,” Taylor concedes. But Gracey was insistent. He recalled a time when they had turned their frustrations and unmet desires into a raw, powerful sound that ultimately helped them reach worldwide, multi-platinum success. “Making music was our dream and somehow we had lost our way,” Gracey said. “I knew if we were in a room without pressure, just for fun, we would find our spark. The trio gathered at Dahlheimer’s York, PA rehearsal space, lovingly called Spot.
    Within a few days, the trio had begun to unearth material that Taylor had been sequestering for several years. These ideas would soon form the sonic signature of their new band. “Only our will to create was present. We would have to begin again with a fresh approach to the music and each other,” Dahlheimer recalls from their first few jamming sessions. Slowly, the material came to life birthing songs with rhythmic and chordal complexity that reflected their ability to resonate off each other. “We knew this was something special. If felt like we were back in my garage. The biggest question was who would sing?” quips Gracey.
    With six demos in hand the trio began to assemble a wish list of singers to front the band. They knew they needed an explosive vocalist with a wide dynamic range to lend itself to the music. On the short list was longtime friend, Candlebox front man, Kevin Martin. “I knew Kevin from working with him as a drummer on a project I was producing. He had incredible timing and most important, he was a great guy to be around,” adds Taylor. After conferring with Gracey and Dahlheimer, Taylor made the call to a surprised Kevin Martin. “You don’t audition a vocalist who has sold millions of albums,” continues Dahlheimer. “This was about faith. We had to really believe that Kevin was the right guy and thankfully, he was better than any of us could have imagined. His voice is perfectly suited for The Gracious Few.”
    70’s rock bands such as Led Zeppelin, AC/DC, Black Sabbath, Pink Floyd or even the Rolling Stones influence the sound of The Gracious Few. They’ve made little attempt to mask their love for classic driving rock n’ roll. “We knew we couldn’t be contrived,” notes Dahlheimer. Martin continues, “We had to let our metaphoric hair down and let the music flow. You’ve got a world-class rhythm section playing heavy blues based songs mixed with screaming guitars. This is really raw, powerful music and I was ready to jump in!”
    With Martin in place, the band began to write new material at Spot. When a musical interlude called for a guitar solo Taylor hesitated, “I’ve never had the passion to play solos, I think we should find someone who does.” Martin recommended Candlebox sideman, Sean Hennesy, as the perfect guy for the job. Within a day, Hennesy was on a plane to join Martin and his new band. It took them only a few minutes to realize that their sound was complete. “I was just happy to get the call, thankfully, I picked up!” beams Hennesy. “I’ve been working hard, earning my musical chops but I was always the sideman. With The Gracious Few, they wanted my participation on all levels.”
    “We knew what type of album would get us excited. We were pissed off and sick and tired of the status quo. We wanted a return to music that wasn’t careful to please the masses. We had that with our previous bands. Our new songs like “Guilty Fever,” “The Rest Of You,” “Closer” and “The Few” captured our passion, pent-up fury and even sheer rage at times,” Taylor reveals.
    They also needed time to bond and let the band grow into its new sound and shared energy. “With The Gracious Few, we made a choice to write as a team. This was a first for me as I had always shouldered writing lyrics for my bands. I felt I could trust these guys and let them in on my process. I could feel that they had been holding back and were ready to break out. My role was to keep them on point and learn how to interact. They have a very guttural take on how to play music. They don’t particularly know how to sound or play like anyone else. This meant that Sean and I had to find a way to compliment that sound while adding our musical and lyrical influence,” said Martin.
    The band called upon longtime friend and mentor, Jerry Harrison to produce the album. “When Taylor called me, it was the first that I had heard of LIVE’s hiatus. With the Modern Lovers and then again with the Talking Heads, I had been through the process of growing through band changes. It’s not always an easy thing, so I could relate. I thought I could bring my experience to bear on the recording but also help them to understand that stepping outside of their comfort zone could bring about positive change. I had to carefully balance the emotion of the guys closing one chapter while pursuing the dynamics of creating a new one. I didn’t want the scars of the past to prevent them from trusting each other. You have to get to that place to make a great album. Kevin on the other hand was dealing with a different set of issues within Candlebox and had his own demons. He’s very analytical guy who brings a great deal of emotional introspection to the creative process but doesn’t particularly trust his gut as much as the other guys. I believe they found a way to balance each other. The trust level had to be pretty high to write these songs in the face of their past success. Most important, they had to deliver a very strong album.”
    The rest of the band agrees with Harrison. The album came together around a stronger sound, a deeper band connection and a more powerful energy. The majority of the eponymous release was recorded live at Studio D in Sausalito, CA. “We wanted to capture the raw, unfiltered energy of the music. The drama of the last few years really aided in their ability to capture an internal energy. It doesn’t hurt that they’ve toured the world for most of their adult lives. Karl Derfler, our engineer had his hands full as the band cut loose on many of the tracks,” adds Harrison. “Jerry had been trying to get us to record in Sausalito for years. We lived on the houseboats where Otis Redding wrote “(Sittin’ on) The Dock Of The Bay.” I regret that it took us so long to do this, it was a wonderful environment to be creative in.”
    The album opens with the hard driving “Appetite,” a song Gracey is quick to name his favorite. “I can’t get enough, the mix of bass, guitars and drums with Kevin’s vocal just kills. This is a song that will crush at our live shows.”
    “Honest Man” takes a lyrical stab at today’s headlines. “It reminds me of my father. He was a World War II veteran. He believed in the American dream with all his heart, he was the honest man of his generation. Now I turn on the television and see Americans without jobs, without food and without a chance to help themselves. This song is a wake up call to the forces of the world who would dare to stand in the way of our ability to provide for ourselves,” states M...

    “It was a wonderful moment,” says The Gracious Few’s chief...

    Type Band, Official
    Tags All, Rock
    Website http://schedule.sxsw.com/2012/events/event_MS19859




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