SXSW 2016 Day 2: Photos and Recap

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SXSW 2016 Day 2: Photos and Recap

It was a muggy one in Austin yesterday, but that didn’t stop many music fans from catching an insane amount of bands, whether it was Iggy Pop and Josh Homme or the Avett Brothers, or newer favorites like PWR BTTM or Marlon Williams. Check out images from Day 2 in the gallery, and read about some of the sets we caught on Wednesday below. And of course, stay tuned for more SXSW coverage all this week.

Iggy Pop


Last night I witnessed a 68-year-old man stage-dive. That man was Iggy Pop. It was, of course, incredible, as was the rest of his set with Josh Homme. The emphasis was on material from their new album, Post Pop Depression, but there were plenty of Iggy classics like “Lust for Life,” “The Passenger,” “China Girl,” and “Nightclubbing” tossed in for good measure. Homme is the perfect musical partner for Pop, holding his own on the hits, and the new material sounded strong among the timeless stuff. Iggy seemed truly appreciative of the large crowd at the Moody—so much so that he ran about a half hour long.—Bonnie Stiernberg

Amasa Hines


It’s not every day that you catch a new band and within one song can imagine them headlining arenas or stadiums. It’s hard to even narrow down why I felt this way about Amasa Hines; anthemic chords, smooth sax solos, thundering vocals, powerful hard-rocking guitar and a driving beat join forces for a result that feels too fully-developed to be playing the noon slot at a little BBQ joint. My prediction? This band will be playing twice as many showcases this time next year—and blowing up your radio shortly after.—Dacey Orr

Marlon Williams


New Zealand’s Marlon Williams is one of my favorite finds of the year. I snatched up his debut record the day of its release, and I’ve been wearing it out since, with no signs of slowing down. I caught his set yesterday at Lamberts Downtown Barbecue (yum). It was my second time seeing him, and I was blown away all over again. With his stunning vibrato, dark and haunting lyrics and seriously powerful bluegrass band, his show is intoxicating and impossible to get enough of. It definitely won’t be my last.—Emily McBride

Noveller


Austin’s Sarah Lipstate (aka Noveller) delivered a mesmerizing instrumental set opening for Iggy Pop. It’s truly incredible the sounds Lipstate’s able to get from just a single guitar and looping pedals. Walking into her set from outside, I was sure a full band was onstage. She may have been an unusual choice to lead into Iggy Pop’s set, but she had the entire crowd wowed by her technical prowess.—Bonnie Stiernberg

Maren Morris


Texas native Maren Morris has long been blowing up streaming services with her windows-down jam “My Church,” recently introducing the catchy track to country radio and seeing rising fame there, too. I went into the performance as a fan already, but she has the voice and the stage presence to sustain the success she’s seen: opening with “Sugar,” an unreleased track from her recently announced debut LP Hero, and closing with hit “My Church,” it was as clear as the blistering hot Austin day outside that Maren has a bright future, both within the country genre and beyond it.—Dacey Orr

Marco Pavé


I headed over to Aquarium on the dreaded Sixth Street for the Catalyst PR and Third String Productions to check out emerging hip-hop artist Marco Pavé. Pavé is part rapper, part activist, addressing society’s issues through his songs in a way that all at once distressing and encouraging. He’s got a powerful voice, and he commands the room when he uses it.—Emily McBride

KLOE


KLOE’s Wednesday afternoon set at Barracuda was plagued by technical difficulties—the majority of her time onstage was spent with no vocals in her monitor, meaning she couldn’t hear herself. But the 19-year-old pop singer from Glasgow powered through, determined to deliver the best she could given the circumstances. It was enough to make you wonder just how great she is when everything’s firing on all cylinders.—Bonnie Stiernberg

Joseph


ATO Records trio Joseph already won my heart last year at SXSW, so catching them at the Spotify house was fun for two reasons: first, the sisters have expanded their stage setup, adding some additional instrumentation to their rich three-part harmonies. Second, it was amazing to see a crowd fall hard for Joseph the same way I did when they played our backyard last year. With a new crop of songs, including me few up-tempo numbers and a spectacular acapella cover of Sylvan Esso’s “Hey Mami,” the band seems more poised than ever to push the boundaries of folk and reach a new audience.—Dacey Orr

CHVRCHES


Three songs. That was all we got from CHVRCHES at the live MTV Woodies 10 for 16. It definitely wasn’t enough, but it was enough to reduce me to a spastic fangirl on the verge of tears with elation. This band destroys me, and Lauren Mayberry’s sugar sweet voice cutting through the heavy synth beats of her bandmates during “Bury It” was enough to get me full-on head-banging and scream-singing along. It wasn’t pretty. But it was wonderful.—Emily McBride

Frances


It felt odd seeing British singer/songwriter Frances in a room as small as Barracuda’s indoor area on Wednesday. Her voice is the kind that sounds like it was made for big stages—and it’s no accident that her final song was one that she told the crowd was written for Adele. The 22-year-old seems poised for a similar rise, and I wouldn’t be surprised if this time next year she’s playing much larger venues.—Bonnie Stiernberg

Rooney


Rooney is back, guys. Yes, a little bit in the nostalgic, OMG-I’m-back-in-high-school way, but also in a very real, kick-ass way. I caught their set last night at the SoHo Lounge, and they totally owned it. Starting with a little bit of the old to get the crowd fully pumped (“Play the hits, right?” frontman Robert Schwartzman joked to the crowd), they took us through their classic tracks and sprinkled in a good mix of their fresh offerings, which did not disappoint. Obviously, the crowd lost their chill during “I’m Shakin’,” but the highlight of the night happened post-2 a.m., when the venue turned off their P.A. and the band rebelliously decided to encore with a super quiet version of “When Did Your Heart Go Missing?” with a little vocal assistance from the crowd.—Emily McBride

The Avett Brothers


You know you’re in for a treat when the Avett Brothers walk out onto stage with kazoos. The band, who just announced their new record True Sadness, played plenty of classics during the hour-plus set, but they sprinkled in a few new tunes—”Divorce Separation Blues,” a yodel-esque number that wasn’t nearly the downer it sounds like, and “I Wish I Was,” a more waltzy one, were a few of the ones that stood out. Some of the older lines were sung with a kind of bravado that made it hard not to think about current events: “Head Full of Doubt, Road Full of Promise” felt particularly timely as they glossed over lyrics like “When your life doesn’t change by the man that’s elected,” and let the idea of darkness and being “frightened by those who don’t see it” hang over the crowd at the end. I saw the rest of their lyrics through that lens, as other lyrics touched on “making monsters out of men” or even took a feminist angle: “Is she not more than the curve of her hips? Is she not more than the gloss on her lips?”—Dacey Orr