MusicDish e-Journal - June 22, 2017
MusicDish Advertising Network
Search MusicDish e-Journal (Advanced)
Subscribe To MusicDish e-Journal
About | Contact | Advertise | RSS | Submit Article | Submit News | Artist Development | Premium PR Distribution
Mi2N | MusicDish*China | MusicDish Network | MusicDishTV | Urban Music News Network

SXSW 2004: Austin Translation (Day 4)
Day Four: The Trish is Back
By Linus Gelber, Home Office Records
(more articles from this author)
Comment | Email | Print | RSS

Saturday March 20, Austin, Texas: It's coming down to the WiFi here at SXSW, where Austin's 18th annual explosion of music, madness, mystique, moaning, and mastery is racing toward its afternoon finish.

This year as every year there hasn't been anywhere near time enough to go half of anywhere or taste even a fraction of what's here for the tasting. At the same time, this year as every year we're gasping thanks for the end to come, because if this went on much longer, well, let me speak just for myself: my feet would snap off somewhere around the trimalleolar, and my brain would squirt right out of my head. Splot.

There's a palpable and welcome feel of commerce here. If anything, I have the sense that the industry has shed skin to grow, sloughing off its older, stodgier hangers-on and its party-happy wave of younger limpets. Money still flies from hand to hand - Lyor Cohen's outrageous salary at the new Warner Music shows that clearly enough - but the targets are fewer, and the aim is better.

Sorry Seems to be the Easiest Word: The binge-and-repent model of business is alive and well here. It's an easy step from yesterday's fireside chat with Walter Yetnikoff to today's noontime interview with Andrew Loog Oldham, who is best known as the early producer and manager of the Rolling Stones. Yetnikoff and Oldham are both sober these days, and both made their names as conspicuous carousers.

Oldham at least may see irony in proselytizing for sobriety. He couches anti-drug comments in business terms rather than moral ones, noting that the media's intricate involvement in music today means that a star needs "a nutritionist as opposed to a dealer." He says he's glad that the industry has largely moved beyond "managing casualties" (Whitney Houston presumably excepted). Describing ways he hears about new music, he notes that "I like to keep up with my old dealers; I think it's manners."

Oldham is spry and restless, an articulated fidget with a gift for spare assessment and the pithy practical touch. He briefly covers Stones history, explaining that he first went to see them because the rail connection was handy and because "It was a Sunday, and Mother cooked," but veering clear of other less savory events. As one might at a remove of 40 years. Asked about the famous bit of lore that has him locking Mick Jagger and Keith Richards in a small room and refusing to let them out until they wrote a song, Oldham sidesteps: "You can't lock people in a room ... but you can sulk. You can be difficult." (Richards has described the room as being "about the size of a kitchen," and says they didn't get their dinner.)

MusicDish Network Sponsor

He describes Keith Richards as "my maitre d' and mentor," though later, in an aside that probably says much about this session and Oldham's two volumes of memoirs, he won't demystify that comment. "I was just pausing for breath then, and those are the two words that came out," he says. Salon has called Oldham "a raconteur and a bullshitter supreme," and I'll buy that for a dollar; we spend an hour spinning history, then, and it's fun. There's no arguing with his wrap-up of the era, though. "We were living in looneyland," Oldham shrugs.

This Year's Mettle: Tonight is a night of moving on, tapping and tasting and heading for the next venue. New York's Electric Turn To Me, which traces its history to Mars Volta via Laddio Bolocko, swirls and sways in evocative ragtag, throwing back to Siouxsie and the Banshees. Singer Silke is a gorgeous waif, but ultimately the songs are slim and not as attractive. Down the way Brooklyn's Jennifer Glass, recast as a brunette since her web site was last done, is even more stunning. She's got a supple voice and an oh-so-sexy stage manner. Her songs leave me cold, but checking her web site I see that she is a disco and dance artist performing an acoustic guitar set, which explains much.

CocoRosie is one of those damn bands. They're either from Brooklyn, or Paris. They're either sisters, or they aren't. It's either spelled Casady, or Cassidy. There's no web site. Well, whatever. They are pleasant enough, doing the twitchy alienated capital-A Art thing with electronic toys, guitar, keyboards, operatic soprano, and attitude. There's nothing here that hasn't been done before, and CocoRosie tend to treat their trappings as destinations rather than as tools, but at its most fragile the music achieves a haunting beauty. By tone, this is music for desperately unhappy people on their nights off. Strip away the gauzy coverings and there might or might not be something strong underneath.

The world was big and wide and gullible enough to encompass Moldy Peaches, so there should be room for Nottingham's Emma Louise "Scout" Niblett, who is much less pleasant and whom I like much more. Scout performs the latter part of her set solo, pounding gruesomely on an innocent drum kit and later shredding an equally-innocent electric guitar, each just an excuse for her to strut her spiky presence under the lights. The comparisons to Cat Power are inevitable, so consider them made; but when she ends her set with contorted, red-faced screaming ("I can't wait til the morning, I gotta know now") Scout is all her own, a raging child, a furious woman, spoiled and angry and urgent and frightened by a world that won't heed.

Here is how you can tell when a venue's between-set music is too loud:

Linus: That was fun!
Scout: England!
Linus: ...that too.

There's nothing on Sixth Street to follow Scout Niblett's display of viscera, so we step out of SXSW for a relaxed beer at B-Side, a sidecar club room to the Bitter End, Austin's best brewery-restaurant. They've got music going, of course, and we set a pleasant while in the company of the Dexter Romweber Duo, a psychobilly two-piece cranking out white-shirted frenzy on vintage instruments. There's some discussion that perhaps it's merely neurosis-billy, but after some web checking I think psycho will do.

The crown of the evening comes at midnight, as crowns should, high above Sixth Street in the cushy 18th-floor lounge of the Crowne Plaza hotel. Label consolidation nipped Austin's Trish Murphy in the bud a few years ago, and we the faithful have looked for Trish traces each SXSW since. She's back now, wiser and as perky as ever. Her showcase, featuring brother Darin Murphy on drums and crack locals on lead guitar, bass, and pedal steel, is a pitch through the heart of the mainstream, except smarter and sassier and much more fun.

A night listening to Trish Murphy is a night saying things like, "Well, it's kind of like Lucinda, BUT NOT, and it's kind of like Sheryl Crow, BUT NOT." What it's like, in the end, is Trish Murphy. Trish has a gift for instant hooks, and her voice is iconic. Her clear tangy wit bubbles through simple writing, and her songs are light, airy, and expressive. If there were any music at SXSW this year that I'd like to eat, it would be a meal of this stuff: I imagine it would start like brisket and finish like cake.

On stage, Trish is introducing a new song, explaining that she read a line in Dear Abby that warned that the trouble with trouble is it starts out as fun. "And I thought to myself, 'now that's a country song waiting to happen.'" And happen it did.


Andrew Loog Oldham -
CocoRosie -
Electric Turn To Me -
Jennifer Glass -
Trish Murphy -
Scout Niblett -
Dexter Romweber Duo -

Home » Insider Scoop » SXSW 2004: Austin Translation (Day 4)
Email |Print |Comment |RSS

back | top

MusicDish Advertising Network

Insider Scoop

» Analysis Of Merlin's Revenue Distributions

» Vivid Seats Reveals Summer Concert Pricing Preview

» The Changing Face of China's Music Market

» Songwriters Battle For Fair Pay From Music Streaming Services

» Why Do So Many Music Technology Startups Fail?

Insider Scoop Directory

» [2017-06-21] MusicDish Music Releases In China: SLC, HearIM, Tom Ricci, Voodoo Swing; MusicDish*China Has Been Releasing Independent Music To The Major Music Platforms, Reaching Over 90% Of Mainland Chinese Music Listeners

» [2017-06-21] ASCAP And YouTube Reach Multi-Year Agreement For US Performance Rights; The Mutual Goal Of This Agreement Is To Work Together To Ensure That ASCAP Members Get Paid More Fairly And Accurately For The Use Of Their Music On YouTube

» [2017-06-20] Supreme Court Rules Unanimously In Favor Of The Slants; Asian-American Rock Band Wins Long-running Battle With The Trademark Office Over Their Name In A Victory For Free Speech

» [2017-06-18] Longtail Music Provides An Alternative To The On-Demand Algorithm; Live Broadcasts Are Brought To The Forefront To Assist Listeners In Music Discovery

» [2017-06-16] Magna Entertainment Invests In Rock Icon Label Loud & Proud Records; Investment To Support Ongoing Artist Development, Building On The 25-Year Track Record Of Industry Veteran Tom Lipsky

» [2017-06-14] Analysis Of Merlin's Revenue Distributions; Audio Streaming Growth Outstrips Video 3-to-1 As Distributions To Independent Labels Hit $353m

» [2017-06-14] Rockwood Music Hall First Virtualized Venue To Livestream Concerts In VR; Social Music VR Platform Endless Riff Has Announced A Partnership With NYC's Rockwood Music Hall

» [2017-06-11] Vivid Seats Reveals Summer Concert Pricing Preview; Top-Selling Tours, Music Festivals And The Cost To Be There

» [2017-06-08] Nick Brodeur Wins Studio Package From ReverbNation; Laguna Beach Singer/guitarist Awarded Recording Time With Orange County Production House

» [2017-06-08] The Changing Face Of China's Music Market; The Session Examined Some Of The Major Trends Shaping The Music Industry's Transformation And Prospects For Its Future

» [2017-06-08] China Music Licensing Pioneer Mathew Daniel Moves To NetEase Cloud Music; Formerly President, International Of R2G, Mathew And His Partners Pioneered The Development Of The Music Licensing Market In China

» [2017-06-08] MusicDish Music Video Review: "CPR (Start Again)" By Metaract; "CPR (Start Again)" Is Basically About The Madness Happening In The World
MusicDish Advertising Network

follow MusicDish on
Follow MusicDish on Twitter

Mi2N Music PR

First Acts For ADE LIVE Announced: Hercules & Love Affair, Fatima Yamaha, Anna Of The North, Phlake, Vessels And More

Gospel Blues Singer/Songwriter, Kimberlee M. Leber, Reveals How To 'Fight The Good Fight Of Faith' In Her New Music Video

IndieNinja, An Artist Services Marketplace, Launches At A2IM Indie Week In NYC

Houston-Based Rapper Vile Intentionz And Guitar Instrumentalist Seismic Anamoly Release Their Latest Thought-Provoking Single "Solidz N Stripez"

'Where Is Your Heart?' From Award-Winning Album 'Pop' Released By NYC-Based Young Pals Music

Baserock Launches Immersive Bass-Frequency Backpack

GrooveShine New Album - So Cal Acoustic Funk Reggae & Instrumentals

Websites: Mi2N | MusicDish*China | MusicDish Network | MusicDishTV | Urban Music News Network
Services: Submit Article | Submit News | Submit Video | Artist Development | Premium PR Distribution

Copyright © 1997-2017 MusicDish LLC., all rights reserved.
About MusicDish e-Journal | Contact Us | Advertise | RSS | Internships