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T R IBE Z A
d e pa rtm e nt s
The Open Road
50 The Playlist 56 KUTX: A Jukebox Full of Stories 64 The Locals' Guide to SXSW 70 The Road to Psych Fest 74 Room With a Beat 80 The Up and Comers 86
on the cover: R ya n b i n g h a m ; p h oto g r a p h y b y d a n w i n t e r s + styling by nicole schneider
Behind the Scenes
Exposed: James Minor
Things We Love
My Austin: Wheeler Brothers
Arts & Entertainment Calendar
Our Little Secret
CLOCKWISE FROM TOP LEFT: Album cover courtesy of mondo; ryan bingham photo by dan winters; shakey graves photo by wynn myers; jane mirkin-earley & lisa hickey photo by jessica pages; feathers photo by wynn myers; illustration by joy gallagher.
Editor’s Letter Legendary photographer Dan Winters and musician Ryan Bingham spent the day along the LA River shooting the March Music Issue cover.
hen Ryan Bingham told his wife Anna Axster that he loved her “more than rainbows” in his Best Original Song acceptance speech at the 2010 Oscars for writing “The Weary Kind,” featured in the film Crazy Heart, we were smitten with the soulful singer/songwriter. Last year, he released his new record Tomorrowland
on his and his wife’s own label, Axster Bingham Records, staying true to his independent wanderer roots. This month, you can catch the cosmic cowboy live on stage at Gruene Hall on March 13. We are thrilled to feature Bingham on the cover of our March Music Issue, which also marks TRIBEZA’s 12th anniversary. The scheduling stars aligned when we were able to get Bingham and legendary photographer Dan Winters together for a photo shoot. They shot along the LA River for a beautiful result, as seen on page 50 in “The Open Road.” Winters can usually be found shooting for the likes of the New Yorker, New York Times Magazine, GQ, Rolling Stone and
TIME, and we at TRIBEZA are continually honored and humbled to feature his stunning images in our pages. The most significant thing happening in music this month is the SXSW Music Festival, so we sat down with its General Manager James Minor, who oversees the booking and production for the over 2,000 bands playing the Festival, for the Exposed profile on page 34. And for more SXSW pre-coverage, we asked Austinites to give us their picks for which shows not to miss and where to grab a late night bite in “The Locals’ Guide to SXSW” on page 70. From super stylish girl band Feathers to the one-man show Shakey Graves, we compiled our line-up of some of the most exciting local acts for the feature “The Playlist.” Writer Jacqueline Rangel toured the KUTX studios where she found a “jukebox full of stories” about the beloved radio station’s legacy and future as an “all-music, all-the-time” channel. As we look back on TRIBEZA’s 12-year history of capturing the best in Austin’s arts and culture, it’s with an overwhelming will continue our pursuit to find Austin’s most intriguing, untold stories and always hope to surprise you with something you read in our pages. The mission that fuels our staff is to make TRIBEZA a place of discovery for our readers. Thank you for supporting us over the past 12 years.
Lauren Smith Ford firstname.lastname@example.org march 2013
Ryan bingham photos by anna axster.
excitement for how far our city has come and for all that’s awaiting Austin and its proud citizens. With great enthusiasm, we
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A u s t i n a r t s + c u lt u r e
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Events + Marketing Coordinator
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Adrienne Breaux Phillip Pantuso Jackie Rangel Lisa Siva Karen O. Spezia
Cody Hamilton Jody Horton Jenni Jones Wynn Myers Jessica Pages John Pesina Matthew Rainwaters Annie Ray RBO Photography Bill Sallans Jay B Sauceda Chad Wadsworth Dan Winters
mailing address 706a west 34th street austin, texas 78705 ph (512) 474 4711 fax (512) 474 4715 www.tribeza.com Founded in March 2001, TRIBEZA is Austin's leading locally owned arts and culture magazine. Copyright @ 2013 by TRIBEZA. All rights reserved. Reproduction, in whole or in part, without the express written permission of the publisher, is prohibited. TRIBEZA is a proud member of the Austin Chamber of Commerce.
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Contributors da n w i n t e r s Photographer
Dan Winters began his career in photography as a photojournalist in Ventura County, California. After winning several regional awards for his work, he moved to New York City and began working as an editorial photographer. Winters is known for the broad range of subject matter that he is able to interpret. He is widely recognized for his unique celebrity portraiture, scientific photography, drawings, collages and photojournalistic work. Dan has, in his career, been the recipient of over 100 national and international awards for his work. He received a World Press Photo Award in 2003. In 1998, he was awarded the Alfred Eisenstaedt Award for Magazine Photography. He was honored by Kodak in 2003 as a photo “icon” in their biographical “legends” series. His photos have appeared in The New Yorker, The New York Times, GQ, Rolling Stone, TIME and many other national and international magazines. He has had four solo exhibitions of his work in galleries in New York and Los Angeles. In 1999, his first book, Dan Winters Photographs, was published in conjunction with his first solo exhibition, held at the Saba gallery in New York. In 2009, a book of his magazine photography entitled Dan Winters: Periodical Photographs was published by Aperture. His third book, Last Launch, was published in 2012 by the University of Texas Press. Winters has photographs in many private and public collections, such as the National Portrait Gallery in Washington DC, The Harry Ransom Center at the University of Texas at Austin, The Museum of Fine Arts Houston and The Wittliff Collection at Texas State University in San Marcos. This month, Dan photographed Ryan Bingham for the cover and feature, The Open Road."
j oy g a l l ag h e r Illustrator
Joy Gallagher is an independent designer and illustrator living in Austin, a magical city catering to her cycling whims and record-shopping sprees. In addition to the monthly articles in TRIBEZA, her work can be found around the country in Whole Foods Market stores, Four Seasons Hotel Austin and, recently, in the InHowse Design Annual. She loves to spend time with her son, husband and two delightful boxers. She has been illustrating Kristin Armstrong's monthly column since 2007. Gallagher says: "I am always inspired by Kristin's articles. I love taking that inspiration and turning her words into a visual concept."
J ac k i e Ra n g e l Writer
A Corpus Christi native, Jackie Rangel took the East Coast route to Austin. After graduating from Princeton, she launched her editorial career at Harper's Bazaar in New York and has since written for a number of outlets including PSFK, GOOD and CultureMap. She's now combining her love of magazines, music and all things digital as C3's Managing Editor, overseeing editorial content and strategy for the array of C3 festivals. Rangel says: "Since moving to Austin from New York two years ago, KUT has been a big part of my daily routine, so I was excited to get an early look at the new all-music KUTX."
w ynn myers Photographer
Wynn Myers' love of photography began when a friend introduced her to the high school darkroom. After attending the University of St. Andrews in Scotland, she relocated to New York City, where she worked for fashion designer Zac Posen and attended the International Center of Photography. In 2006, Myers graduated from the Maine Media Workshops’ Professional Certificate Program. Currently, she is pursuing her BA at St. Edward’s University and working for I Love Texas Photo. Her recent accolades include photographing for the Nature Conservancy, being chosen for American Photography 28 and syndication of her work through Art + Commerce via Vogue Italia. This month, TRIBEZA enlisted Myers to photograph the up and coming musical acts to watch for "The Playlist."
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1 Ann & Rob Lowe might be the most styling and talented brother-sister in town. He's in the band Balmorhea, who is setting out on a European tour this month, while Ann runs her design business (annlowedesign.com). Look for a profile on Ann in the April Style issue.
Matthew Genitempo is a designer at Public School and his twin brother Drew is currently a resident doctor at Brackenridge Hospital. Matthew is hoping to catch a screening of the new Evil Dead at SXSW Film.
Billy Reid x Sam Hill Pop-Up
Billy Reid hosted a fashionable evening of vintage menswear curated by Sam Hill. Guests explored a unique collection of clothing and collectibles from across the country, while a vibrant lineup of musicians, from Jesse Woods to Jazz Mills, provided a lush soundtrack for the event.
Billy Reid x Sam Hill: 1. Ann Lowe & Rob Lowe 2. Kara Holekamp & Megan Carney 3. Anna & Tyler Crelia 4. Keith Davis Young & Lane Edwards 5. Christina Clark & Adrian Larriva 6. Anna Ibay & Tiva Allan 7. Kristen Vanderveen & Phil Harrison 8. Amy Byrd & Dave Mastronardi 9. Drew Genitempo & Matt Genitempo 10. Kim Howerton & Callie Hernandez
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Icons of Photography: Dan Winters
The Austin Center for Photography hosted an evening with renowned portrait photographer Dan Winters during the annual Texas Photo Roundup. Winters presented a lecture and signed copies of his latest book, Last Launch, a breathtaking visual chronicle of Americaâ&#x20AC;&#x2122;s space program, featuring photographs of shuttles Discovery, Endeavor and Atlantis.
AIGA Fellow Award Gala
Members of Austin's graphic design community convened at Mercury Hall to celebrate the many achievements of 2013 Fellow Award recipient Lowell Williams. Early in his career, Williams worked in LA with legendary designer and filmmaker Saul Bass. In 1994, he opened Pentagram's Austin office. This is the chapter's third Fellow Award.
Dan Winters: 1.Kathryn & Dan Winters 2. Cory Ryan, Lisa Hause & Sophie Parott 3. Jennifer Whitney, Alyssa Coppelman & Amanda Gorence 4. Meg Mulloy & Walker Pickering 5. Kelly Lynn James & Sarah Sudhoff 6. Bill Sallans AIGA: 7. Lana McGilvray & Gretchen Hicks 8. Barrett Fry & Megan Webber 9. Jenn Buch & Megan Mead 10. Marc Burckhardt & Corey Carbo
P h oto g r a p h y by j o h n p e s i n a
Travis County Medical Alliance Gala
Austinites gathered at the elegant home of Dr. John Hogg and Mr. David Garza for A Swanky Affair, the Travis County Medical Alliance’s annual gala. Nestled in the hills of Westlake, guests enjoyed a sumptuous evening benefiting Family Eldercare, Hospice Austin, LifeWorks, Saint Louise House and the Volunteer Healthcare Clinic.
Guess Who's Coming to Dinner?
At 27 homes across the city, Project Transitions held Guess Who’s Coming to Dinner?, one of the most anticipated dinner parties of the year. From a Casablanca-inspired affair to an Arabian Nights soiree, each gathering celebrated fine cuisine and conversation, culminating in a reception at Nest Modern. The evening benefited Project Transitions’ efforts to support those living with HIV and AIDS.
The One Party Cocktail Kick-Off
Laura and Morris Gottesman opened their home to supporters of JDRF, the leading global organization in type 1 diabetes research. Guests enjoyed canapés and cocktails, as they toasted to the upcoming One Party, an all-day golf tournament benefitting JDRF to take place in April.
Medical Alliance: 1. Kimberly & Mark Chassay 2. Tom Flinn & Ronda Mackey Guess Who: 3. Jeffery Lane & Ayn Massa 4. Brandon Latham & Jeff Tippens 5. Tanuj & Nidhi Nakra 6. Greg Underwood & Trey Pike 7. Adam Curry & Micky Hoogendijk-Curry The One Party: 8. Amy Deane, Craig & Robyn Malloy 9. Tracy Anderson, Marnie Bear, Gay Clifton 10. Hillary & Ryan Squires 11. Kristen Alexander, Gay Clifton & Shannon Windham
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Power of the Purse Luncheon
The Women’s Fund of Central Texas presented its ninth annual Power of the Purse Luncheon at the Four Seasons Hotel. Featuring guest speaker Gigi Edwards Bryant, founder of the Write to Me Foundation, the afternoon celebrated this year’s Women’s Fund grant recipients and their philanthropic efforts to better the Austin community.
An Evening with Lonn Taylor
In anticipation of Texas Furniture from Ima Hogg’s Winedale Collection, an upcoming exhibition at The Bob Bullock Texas State History Museum, noted curator Lonn Taylor held an evening of hors d’oeuvres, cocktails and stories of Texas furniture at the home of Dr. John Hogg and Mr. David Garza.
Power of the Purse: 1. Patty Hoffpauir & Mary Yancy 2. Christine Marks & Lucy Smith 3. Donna Stockton-Hicks & Suzanne Deal-Booth 4. Lynn Meredith & Deborah Green 5. Becky Beaver & Melanie Barnes 6. Kate Dorflinger & Jordan Breal 7. Susan Finfer, Gigi Bryant & Sun Connor 8. Erika Stojeba, Jennifer Wijangco & Kerri Holden Lonn Taylor: 9. Vicki & Mark Eidman 10. Craig & Susan Lubin 11. David Garza & John Hogg 12. Karen Gilbert, Kristen Nesbitt & Leila Bergquist
P h oto g r a p h y by j o h n p e s i n a
1 February cover models Connie Mobley and Justin Kitchen stopped by.
February Issue Release Party
When Matthew Redden isn't styling hair at Peacock Salon, you might find him starring in a production at ZACH Theatre. Lauren Dewalt is a senior stylist at Paloma Salon.
We celebrated the release of our February Love Issue at Nannie Inez during an evening with some of the most innovative minds in Austinâ&#x20AC;&#x2122;s wedding scene. Guests handcrafted Valentines with The Creative Parasol and enjoyed stunning dĂŠcor by Loot Vintage Rentals and Rosehip Flora, while a photo booth designed by The Confetti Committee captured the festivities.
February Issue Release: 1. Connie Mobley & Justin Kitchen 2. Tara Moon & Amanda Witucki 3. Ashley Kelsch & Christy Curcuru 4. Caroline Huddleston & Meredith Sanger 5. Rhoda Brimberry, Anna Crelia & Nicole Depalma 6. Anne Elizabeth & Joaquin Avellan 7. Elena & Andrew Slaton 8. Matthew Redden & Lauren Dewalt 9. Chelsea Fullerton & Clare Wood 10. Michael Yates & Tomoko Kuwahara
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Sweet Harmony BY K R I STI N ARMSTRO N G I llu s tr ation by Joy G a ll ag h er
I recently had one of those days I didn't want to end, ever.
Normally, my first-born, efficiency mindset has me caught up in a mode of to-doing and checking the time, thinking about next and how to prepare for it. Occasionally, a day will come along that catches me in its tide and holds me captive with the flow. I treasure those days—you have no idea the respite or the relief they provide my weary, type A soul. A particular Sunday meandered like this: church, followed by country roads out to Wimberley, pause for wine tasting, veer for lunch and a cold beer with a thick wedge of lime. We spent the afternoon at a beautiful ranch, sitting on the porch of an unfinished cabin, talking about unfinished dreams. We drove dune buggies (I nearly killed us) and sat forever in the middle of a field, watching clouds like a silent film. The wind picked up, and since I’m afraid of wind, it was time to go, and on the way home, the sunset glowed hot pink and violet like God was showing off. We pulled over onto gravel on the side of the highway, sat on the back of the truck and watched until the sun winked and disappeared somewhere behind the hill country. Every song that came on the radio was good, and we weren’t quite ready to go home yet, because going home means the weekend is over, and it’s back to work and kids and weekdays. So we stopped one more time. I’m not going to tell you the name of the place, because the experience was so holy that I’m afraid if I share it, it will suddenly become overcrowded with people seeking miracles and visions. We stopped in with no expectations other than a cold beer and some good conversation at a picnic table under the full moon. We ordered
at the bar and could hear some live music out back, our great evening perfected by serendipity. We found a seat and settled in. A group stood with guitars in the middle of the patio, maybe four or five people at first: a woman wearing a f lowing shirt, a couple cowboys, a Willie lookalike and a short man with scuffed tennis shoes, a ball cap and f lecks of paint on his forearms. A frat boy with f lip f lops and a visor sat off to the side, strumming, waiting for the courage or the right moment to join in. They took turns, one person starting off while the others strummed and tuned and picked their way into the melody, until everyone was together, voices and strings in sweet harmony. The night air was crisp, but the chills on my arms were from awe, not cold. When one song ended, the small audience clapped and whooped as the next in line started their tune and so on and so on. Dogs played between tables, and the group grew, adding more cowboys, a hippie woman with long hair and a resonant voice, an executive type with a Crocodile Dundee hat and a large man who dwarfed the mandolin he held in his giant hands. Frat boy got bold and got in. A quiet-looking guy with a dark lock of hair hanging in his eyes came alive on his turn. There were no music stands, no speakers, no playlists, no official order of anything, just people with a profound love of music sharing the community of their passion. And then, by silent consensus, it was done and disbanded almost like it never happened at all. That night shines for me still. The sunset, the glow of the moon and the sparkle of the unexpected. Sometimes, music is a backdrop to a great scene. Other times, music becomes the scene itself and wraps around you and holds you as you transcend.
i l lu s t r at i o n by j oy g a l l ag h er For a limite d- e dit i on p r int , c onta c t jo ygall agh e r@g m ail .c om .
James Minor Gener al manager, sxsw music festival
ames Minor is the consummate music man. Over the course of his career, he has been the guitarist for Brooklyn-based Blacklist, managed a club on New York’s Lower East Side and booked shows at Emo’s— “basically anything and everything possible, as long as it was remotely tied to music,” he laughs. A native of Wisconsin, Minor found himself drawn to Austin over a decade ago, when indie bands like American Analog Set and Stars of the Lid were first exploding onto the local music scene. He immersed himself in the city’s live music community, booking tours for bands such as Explosions in the Sky and Her Space Holiday, but the turning point in his career came when he was handed an unassuming Voxtrot demo while serving as a booker at Emo’s. “I fell in love with it and did everything I could to help the band out,” Minor says, as he recalls managing the band from small shows at Emo’s to packed stages in Europe. Today, as General Manager of the SXSW Music Festival, Minor continues to ensure that the festival is an extraordinary experience for the musicians themselves, as well as for the festival-goers. “I’m genuinely concerned and protective of artists,” he says, “and I want to do my best to make SXSW worthwhile for them.” Though he now oversees the booking and production for over 2000 bands, Minor maintains the same approach he did when managing just one: “The bottom line is that it has to be something I believe in.” l. siva
8 Questions for James
Where and when are you the happiest? I am happiest in those rare moments when you're watching a band or artist and find yourself completely lost in moment. Who was your favorite musician in high school? In high school, I was a bit Depeche Mode obsessed. I saw them play on the Violator tour and bought a bootleg cassette of the show afterwards. The whole concert was amazing, but there was a really great moment where Martin Gore came out
and played "I Want You Now" acoustic. I wore that part of the cassette out. What is your most treasured possession? My rhoomba. If you could see one musician, living or dead, perform live, who would it be? That would be a tie between The Comsat Angels and Scott Walker. What is your favorite decade? How obvious is it if I say the 80s? Who or what most inspires you? Traveling and experiencing other countries and cultures is always humbling and inspiring.
Who are your favorite bands right now? The artists getting the most play on my iPod in the last week: Andy Stott, Suede, Feathers, Outfit, Love, The Mary Onettes, Merchandise, Trust, Bat For Lashes and Rangleklods. Right now, Austin has a really creative underground synth scene that's starting to get a lot of attention. Some of my favorite acts coming out of that group are Silent Diane, S U R V I V E, Boan, Sleep ∞ Over, Missions and Ssleeperhold. What are you most proud of? I'm proud that I'm able to live in a city that I love, and somehow also have a job that I enjoy going to every morning. P h oto g r a p h y by jay b s au c eda
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march Calendars arts & entertainment
Entertainment Calendar Music The lettermen
March 1, 7 & 9:30pm One World Theatre Texas heritage songwriters
March 3, 6:30pm ACL Live at the Moody Theater Eric Bibb & habib koite
March 6, 7pm Stateside at the Paramount ben kweller
March 7 The Continental Club starfker
March 7, 7pm The Mohawk March 8-9 The Long Center SXsw
March 12-17 Various Local Locations Eric Clapton
March 17, 7:30pm Frank Erwin Center yes
March 20, 6:30pm ACL Live at the Moody Theater the song remains the same
March 20, 7:30pm The Long Center
Jeffrey Jeff walker
March 23, 8 pm Paramount Theatre march 2013
March 24, 7pm McCullough Theatre
March 25, 6:30pm ACL Live at the Moody Theater Deftones
March 29, 6:30pm ACL Live at the Moody Theater Austin Urban Music Festival
March 29-30 Auditorium Shores
March 29-30 Stubb’s
The House Jacks
Dafnis Prieto: Si o Si Quartet
March 29, 8pm Stateside at the Paramount
Film Wonder women! The untold Story of American Superheroines
March 5, 7-9pm Windosr Park Branch Library Sxsw Film
March 8-16 Various Local Locations Code 2600
March 20, 7pm Stateside at the Paramount
Theatre Intimate Apparel
March 1-9 Oscar G. Brockett Theatre
The Joffrey ballet: Rite of Spring
March 5-6 Bass Concert Hall dancebrazil
March 6, 8pm Paramount Theatre Tru
Through March 10 ZACH Theatre Othello
Throught March 17 The City Theatre
casablanca gala An evening with samantha bee
March 22, 8pm Paramount Theatre Andy haynes
March 27-30 Cap City Comedy Club Tomas Kubinek
March 28, 8pm Paramount Theatre
March 2, 6-11pm Hyatt Regency Austin
zilker park kite festival
March 3, 10am-5:30pm Zilker Park
Texas medal of arts awards
March 4-5 The Long Center
Bazaarvoice social summit
March 4-6 Hilton Austin
Erth: Dinosaur Petting Zoo
Star of texas fair & rodeo
Monty Python’s Spamalot
Ballet austin’s snow white
Cult of Color: Call to color
The rainbow fish
March 21-22 McCullough Theatre
March 22-23 The Long Center
March 28-April 7 Butler Dance Education Center
Comedy Jim jefferies
March 1, 8pm Paramount Theatre Natasha Leggero
Through March 2 Cap City Comedy Club
March 1-3 The Long Center
Through March 3 Butler Dance Education Center March 9, 12pm One World Theatre
Yo Gabba gabba
March 17 Bass Concert Hall
Through March 22 ZACH Theatre
Tim Harmston & Mary Mack
Austin Subaru’s Wagathon Walkathon
The Crystal ball
March 6-9 Cap City Comedy Club March 21-23 Cap City Comedy Club
March 24th Hill Country Galleria
March 2 Palmer Events Center
March 8-23 Travis County Exposition Center March 8-12 Various Local Locations Jodi Picoult
March 19, 6pm LBJ Auditorium
Fashion for Compassion
March 22, 6:30-10pm Saks Fifth Avenue
Might Texas dog walk
March 23, 10am Auditorium Shores
Big hair country fair
March 23, 6:30pm The Salt Lick
Rare & Fine wine auction
March 23, 6-9pm Four Seasons Hotel BANDANA BALL
March 23, 6-11pm Wild Onion Ranch
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arts & entertainment
C A l e n da r s
Arts Calendar Tracey Harris Reception 6-8pm Throught March 30
Yard Dog Folk Art
Ryan Cronin Through March 31
March 3 B. Hollyman Gallery
Thomas Benton Hollyman: Chromes Reception, 6-8pm Through April 14 March 9 Davis Gallery
Abstraction: Take 3 Reception, 7-9pm Through April 13 March 23 Lora reynolds Gallery
Richard Foster and Ewan Gibbs Through May 11
Ongoing AMOA-ARTHOUSE AT Jones Center
Maarten Baas: Sweepers Clock SCREEN Through March 6
BLANTON MUSEUM OF ART
Restoration and Revelation Through May 5 Through the Eyes of Texas Through May 19 Dragonfly Gallery
Liz Hill: "Figuratively-Today" Through March 29
A Certain Reality Through March 30
Harry Ransom Center
Arnold Newman: Masterclass Through May 12 LORA REYNOLDS GALLERY
Coldby Bird: A Selection of House Lamps Through March 9 Carl Hammoud: A Zone of Reduced Complexity Through March 16 MExic-arte
Austin's Mexico-A Forgotten Neighborhood Through March 10 Masked: Changing Identities Unmasked: Lucha Libre Through May 5 RED SPACE GALLERY
Jenny White By appointment through March 17 Visual Arts Center
Diego Bianchi: Into the Wild Meaning Overlapping Impressions New Prints 2012 Zoe Berg: Til sjøs Through March 9 Lead Pencil Studio: Diffuse Reflection Lab Through May 11 Women & Their Work
Wendy Wagner: Look to the Left Through March 14
EVENT p i c k
Texas Film Hall of Fame Awards Thursday, March 7, 6pm Austin Studios 1901 E. 51st St. austinfilm.org
he Austin Film Society has a lot to celebrate this year: between the 10 Texas films showcased at Sundance Film Festival and the AFS’s upcoming Austin Studios expansion, Austin is making its mark on the film industry. It’s in this spirit that the AFS will host the 13th annual Texas Film Hall of Fame Awards, honoring the state’s vibrant community of cinematic artists. Held at the former National Guard Armory and the future site of the AFS’ state-of-the-art production facility for emerging filmmakers, the awards gala is dedicated to the past and present luminaries of the Texas film industry. The evening begins with an unforgettable red carpet entrance, followed by a live auction and the highly-anticipated awards ceremony. Among the recipients of this year’s Hall of Fame awards are Robin Wright, Henry Thomas, Annette O’Toole, Stephen Tobolowsky and Richard Linklater’s seminal Austin film, Dazed and Confused. The ceremony will also celebrate the film’s twentieth anniversary with a reunion of cast and crew, including Parker Posey and Linklater himself. “Linklater has been so supportive of other artists throughout his career,” AFS Associate Artistic Director Holly Herrick notes. “This year, when so many Texas filmmakers are breaking out, it seems a perfect moment to honor his directorial achievement.” Afterward, guests are invited to a sparkling After Party—tickets are available for $30 each or two for $50—complete with an open bar, decadent treats and music by noted DJ el john Selector, composer Graham Reynolds, Grammy award-winning Adrian Quesada and Jim Eno of Spoon. As guests dance into the night and toast to the stars, proceeds from the evening will benefit the Austin Film Society’s educational and artistic programs. For tables, tickets and more information, visit austinfilm.org/tfhof. D. Vega
photo courtesy of texas film hall of fame awards.
March 2 Wally Workman Gallery
Mar 28 - Apr 7 AustinVentures StudioTheater ~ 501 W 3rd Street
The Art of Trenton Doyle Hancock One of Ballet Austinâ&#x20AC;&#x2122;s most innovative collaborations. Trenton Doyle Hancockâ&#x20AC;&#x2122;s fantastical characters intrigue and enthrall with humorous, original choreography by Artistic Director Stephen Mills and an equally outrageous and inventive score from composer Graham Reynolds.
For tickets starting at $15, visit balletaustin.org
The Nutcracker Underwriter
arts & entertainment
museums & galleries
Art Spaces Austin Children’s Museum
201 Colorado St. (512) 472 2499 Hours: Tu 10–5, W 10–8, Th–Sa 10–5, Su 12–5 austinkids.org AMOA-Arthouse The Jones Center
nlike his contemporaries, late photographer Arnold Newman rarely saw the inside of a professional studio. Forgoing the “sterile world” of conventional settings and backdrops, he instead sought to capture his subjects in their most natural of surroundings and create portraits that were raw, arresting and honest. A pioneer of environmental portraiture, Newman photographed some of the world’s most eminent politicians and artists in their own, evocative spaces, from Salvador Dali before his canvas to Igor Stravinsky hunched over his piano. For nearly seven decades, Newman experimented with the boundaries of his craft, producing an astounding oeuvre that represents his rigorous lighting and cropping techniques, together with his eye for geometry and movement, as well a fascination with his subjects and their work. Above all, Newman stressed, he was not simply photographing people and their spaces, but rather developing a compelling portrait of their psychological and emotional landscape. “I need to get out; be with people where they’re at home,” he said. “I can’t photograph ‘the soul’ but I can show you something fundamental about them.” This spring, the Harry Ransom Center is hosting Arnold Newman: Masterclass, the first posthumous retrospective of the photographer’s work, featuring 200 framed vintage prints. The exhibition pays tribute to Newman not only as a photographer but also as a dynamic teacher, showcasing his work alongside his insights into photography. “Photography is very unreal,” reads one of Newman’s displayed quotes. “You take a three-dimensional world and reduce it to two….and you arrest the flow of time…You must recognize this, and build on it, and then maybe you’ll have art.” Arnold Newman: Masterclass is available for viewing through May 12. M. Riley
700 Congress Ave. (512) 453 5312 Hours: W 12-11, Th-Sa 12-9, Su 12-5 arthousetexas.org AMOA-Arthouse Laguna Gloria
3809 W. 35th St. (512) 458 8191 Driscoll Villa hours: Tu–W 12-4, Th-Su 10–4 Grounds hours: M–Sa 9–5, Su 10–5 amoa.org Blanton Museum of Art
French Legation Museum
802 San Marcos St. (512) 472 8180 Hours: Tu–Su 1–5 frenchlegationmuseum.org George Washington Carver Museum
1165 Angelina St. (512) 974 4926 Hours: M–Th 10–9, F 10–5:30, Sa 10–4 ci.austin.tx.us/carver Harry Ransom Center
300 E. 21st St. (512) 471 8944 Hours: Tu–W 10–5, Th 10–7, F 10–5, Sa–Su 12–5 hrc.utexas.edu LBJ Library and Museum
2313 Red River St. (512) 721 0200 Hours: M–Su 9–5 lbjlibrary.org
200 E. MLK Jr. Blvd. (512) 471 7324 Hours: Tu– F 10–5, Sa 11–5, Su 1–5 blantonmuseum.org
419 Congress Ave. (512) 480 9373 Hours: M–Th 10–6, F–Sa 10–5, Su 12–5 mexic–artemuseum.org
The Bob Bullock Texas State History Museum
O. Henry Museum
1800 Congress Ave. (512) 936 8746 Hours: M–Sa 9–6, Su 12–6 thestoryoftexas.com Elisabet Ney Museum
304 E. 44th St. (512) 458 2255 Hours: W–Sa 10–5, Su 12–5 ci.austin.tx.us/elisabetney
409 E. 5th St. (512) 472 1903 Hours: W–Su 12–5
Umlauf Sculpture Garden & Museum
605 Robert E. Lee Rd. (512) 445 5582 Hours: W–F 10–4:30, Sa–Su 1–4:30 umlaufsculpture.org
image courtesy of the harry ransom center
arts & entertainment
Galleries Art on 5th
1501 W. 5th St. (512) 481 1111 Hours: M–Sa 10–6 arton5th.com The Art Gallery at John-William Interiors
3010 W. Anderson Ln. (512) 451 5511 Hours: M–Sa 10–6, Su 12–5 jwinteriors.com Artworks Gallery
1214 W. 6th St. (512) 472 1550 Hours: M–Sa 10–5 artworksaustin.com
Austin Art Garage
2200 S. Lamar Blvd., Ste. J (512) 351-5934 Hours: Tu–Sa 11–6, Su 12–5 austinartgarage.com Austin Art Space Gallery and Studios
7739 North Cross Dr., Ste. Q (512) 771 2868 Hours: F–Sa 11–6 austinartspace.com capital fine art
1214 W. 6th St. (512) 628 1214 Hours: M-Sa 10-5 capitalfineart.com champion
800 Brazos St. (512) 354 1035 By Appt. Only championcontemporary.com Creative Research Laboratory
2832 E. MLK Jr. Blvd. (512) 322 2099 Hours: Tu–Sa 12–5 uts.cc.utexas.edu/~crlab
837 W. 12th St. (512) 477 4929 Hours: M–F 10–6, Sa 10–4 davisgalleryaustin.com Flatbed Press
2830 E. MLK Jr. Blvd. (512) 477 9328 Hours: M-F 10-5, Sa 10-3 flatbedpress.com Gallery Black Lagoon
4301-A Guadalupe St. (512) 371 8838 Hours: Sa 1-5 galleryblacklagoon.com Gallery Shoal Creek
2905 San Gabriel St., #101 (512) 454 6671 Hours: Tu–F 11–5, Sa 11–4 galleryshoalcreek.com grayDUCK gallery
608 W. Monroe Dr. (512) 826 5334 Hours: W 11-6, Th 4-8, F-Sa 11-6, Su 12-5 grayduckgallery.com Jean–Marc Fray Gallery
1009 W. 6th St. (512) 457 0077 Hours: M–Sa 10–6 jeanmarcfray.com La Peña
(512) 474 1700 Hours: M–Sa 10-6 lotusasianart.com
Hours: Tu–Sa 11–5 (512) 236 1333 studiotenarts.com
The Nancy Wilson Scanlan Gallery
6500 St. Stephen’s Dr. (512) 327 1213 Hours: M-F 9-5 sstx.org Okay Mountain Gallery
1619 E. Cesar Chavez St. Sa 1-5 or by appointment (512) 293 5177 okaymountain.com
Wally Workman Gallery
1202 W. 6th St. (512) 472 7428 Hours: Tu–Sa 10–5 wallyworkman.com
Women & Their Work
1118 W. 6th St. (512) 472 1831 Hours: M-Sa 10-5, Su 12-4
1710 Lavaca St. (512) 477 1064 Hours: M–F 10–6, Sa 12–5 womenandtheirwork.org
1710 S. Lamar Blvd., Ste. C (512) 472 7707 Hours: M–F 10–6, Sa 12–4 Red Space Gallery
1203 W. 49th St. By appointment only redspacegallery.com
Russell Collection Fine Art
1137 W. 6th St. (512) 478 4440 Hours: Tu–Sa 10–6 russell–collection.com
227 Congress Ave., #300 (512) 477 6007 Hours: M-F 8-5, Sa 8-3 lapena–austin.org
Lora Reynolds Gallery
Stephen L. Clark Gallery
1319 Rosewood Ave. By appointment only sofagallerytx.com
360 Nueces St., #50 (512) 215 4965 Hours: W-Sa 11-6 lorareynolds.com
1101 W. 6th St. (512) 477 0828 Hours: Tu–Sa 10–4 stephenlclarkgallery.com
1009 W. 6th St., #101
502 W. 33rd St. (512) 453 3199 By Appt. Only fluentcollab.org
1011 West Lynn
1510 S. Congress Ave. (512) 912 1613 Hours: M–F 11–5, Sa 11–6, Su 12–5 yarddog.com
Alternative Spaces ARTPOST: The Center for Creative Expression
4704 E. Cesar Chavez St. artpostaustin.com Austin Presence
330 Bee Cave Rd., #700 (512) 306 9636 Hours: Tu–F 10–6, Sa 10–4 austinpresence.com Bay6 Gallery & Studios
5305 Bolm Rd. (512) 553 3849 By appointment only bay6studios.com
M u s e u m s & Ga l l e r i e s
5305 Bolm Rd., #12 (512) 939 6665 bigmedium.org Clarksville Pottery & Galleries
4001 N. Lamar Blvd., #550 (512) 454 9079 Hours: M-Sa 11-6, Su 1-4 Co-Lab Project Space
613 Allen St. (512) 300 8217 By appointment only colabspace.org Domy Books
913 E. Cesar Chavez St. (512) 476 DOMY Hours: Mon-Sa 12–8, Su 12–7 domystore.com Julia C. Butridge Gallery
1110 Barton Springs Rd. (512) 974 4025 Hours: M–Th 10–9:30, F 10–5:30, Sa 10–4 ci.austin.tx.us/ dougherty/gallery.htm Pump Project Art Complex
702 Shady Ln. (512) 351 8571 pumpproject.org
12971 Pond Springs Rd. (512) 219 3150 Hours: M–Tu 10–3, W–Sa 11–4 quattrogallery.com Roi James
3121 E. 12th St. (512) 524 7128 T-F 10-5 space12.org
Fredericksburg AGAVE GALLERY
208 E. San Antonio St. Hours: M-Sa 10-5 (830) 990 1727 agavegallery.com ARTISANS AT ROCKY HILL
234 W. Main St. (830) 990 8160 Hours: M-Sa 10-5:30, Su 11-3 artisansatrockyhill.com FREDERICKSBURG ART GALLERY
314 E. Main St. (830) 990 2707 Hours: M-Sa 10-5:30, Su 12-5 fbartgallery.com INSIGHT GALLERY
214 W. Main St. (830) 997 9920 Hours: Tu-Sa 10-5:30 insightgallery.com WHISTLE PIK
425 E. Main St. (830) 990 8151 Hours: M-Sa 10-5 To have your gallery considered for listing in the Arts Guide, please send a request to events @tribeza.com.
3620 Bee Cave Rd., Ste. C (512) 970 3471 By appointment only roijames.com
things we love
For over a decade, Mondo has showcased dynamic poster artwork for classic and contemporary films, though many its featured artists have recently taken up a new kind of canvas: the vinyl record. “Records are timeless,” says CEO Justin Ishmael. “We have always produced original art for things we love—and records are another medium.” From a Poltergeist soundtrack rich with haunting illustrations to a deluxe LP of the Maniac score wrapped in a vivid, blood-red jacket, each Mondo record is a gem of an album, a treasure for both the audiophile and the film buff. This year, the gallery is releasing a series of limited-edition soundtracks for out-of-print cult favorites, such as The Deadly Spawn and The Beyond, as well as for major motion pictures like Drive. “The only rule,” says Ishmael, “is that it has to be good.” For more information about Mondo and its vinyl releases, visit mondotees.com.
Things We Love
At the end of the first episode of Hardly Sound, Jeff M, the frontman for local twang wave band The Bye and Bye, is carrying a parched turtle along a riverbank, followed by director Chris Kim, who narrates their rescue mission. It isn’t your ordinary interview, but of course, Hardly Sound isn’t your ordinary music documentary series. Together with producer and former Leatherbag member Randy Reynolds, Kim weaves a seamless narrative of performance footage and band interviews, inviting the viewer into the creative process of local musicians and the city’s evolving underground music scene. The series’ only recurring character, however, is Kim himself, whose firstperson voiceover narration offers a striking, even poetic framework for the show, exploring the musician’s story as an emblem for the universal struggles and triumphs of artists of all media. “Creative people are different. We think differently, see the world differently, and most importantly, we are prone to a crippling sense of isolation,” Kim observes. “People like us need to hear from people like us. We need to be reminded from time to time that we’re not alone.” Hardly Sound airs every Monday at 11pm on KLRU-Q (18-3) and Tuesday at 10:30pm on KLRU (18-1). For more information about the show, visit hardlysound.com. L. Siva
Hardly Sound photo by Chris Kim; the beyond album design by rob jones.
For four days this festival season, Second Street will transform into The Neighborhood, a vibrant celebration of style and community in downtown Austin. Throughout the district, dynamic pop-up shops will offer the latest in menswear, shoes and accessories, while panels featuring fashion heavyweights—including designer Billy Reid, noteworthy bloggers such as Marcus Troy and fashion-tech entrepreneurs like Ari Goldberg of StyleCaster—explore the future of style across the country. Headed by former Style X co-founders Joah Spearman and Joe Pattillo, The Neighborhood aims to open up the world of fashion to all visitors, bringing together those who create and wear unique style. "There’s one thing we’ve learned from doing Style X the last two years, and it’s that people love to get closer to brands,” Spearman says. “People want to talk to designers and better understand the creativity behind the brands they’ll eventually love.” The Neighborhood will take place between March 11-14. For more information, visit avecmode.com.
spring collection 2013
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a m u s i c i a n a n d a w a n d e r e r a t h e a r t , r y a n b i n g h a m h a s t r a v e l e d t h e c o u n t r y, f r o m t h e r o d e o c i r c u i t t o t h e o s c a r s , s h a r i n g t h e s t o r i e s a l o n g t h e w a y.
ne of Bob Dylan’s most famous refrains comes on 1964’s “My Back Pages,” when the musician sings, “But I was so much older then / I’m younger than that now.” The sentiment presages Dylan’s turn from the idealistic folk troubadour who memorized Woody Guthrie to the iconoclastic fire-breather who redefined mid-60s American counterculture. He seems to be saying: these things I’ve been singing about, they’re not IT. They’re a put-on. But those early Dylan records hold up, even devoid of their context, because they conform to an archetype—that of the world-weary, much-traveled poet, the chronicler who ventures out into the big country and sings the folks’ stories and the injustices visited upon them by fate and man. Ryan Bingham is about to turn 32 years old, but he’s lived almost half his life on the road, particularly during the years after he left home at age 17 and joined a rodeo company in Del Rio, Texas. He says he’s not a protest singer; if his songs sound like coarse catharses of suffering, financial hardship, broken hearts and homelessness, it’s because that’s the life Bingham has lived. “I’ve only ever been able to write about things that have happened to me, stuff that I’ve actually lived through,” he says. His songs reflect a social awareness that feels earned. And you get the sense that the gravelly croak he sings with is not some Dylan-esque put-on, but rather the actual result of too many suppers of whiskey and Chesterfields, too many nights spent sleeping in truck beds. Bingham says that working the rodeo circuit led him to performing. The New Mexico native had started playing guitar at 17, when a friend
in Laredo taught him some old mariachi songs. “La Malagueña” was the only thing he could play for a year. But soon he started making up “one and two chord” songs to pass the time from rodeo to rodeo. “After the rodeos there’d be a lot of people hanging out at parties, and my buddies would make me get my guitar out,” he says. “I’d play these songs we’d written going up and down the road. Eventually it’d spill over into a bar later in the night, and I’d play there.” The bars started calling Bingham for gigs, and he kept writing more songs. His network expanded, and he recorded two demo records that he sold at shows. Eventually, his music caught the ear of someone at Lost Highway Records, a country label affiliated with Universal Music Group, and they released his debut album, Mescalito, in 2007. Two years later came the follow-up, Roadhouse Sun, which stuck to the same sound: hardscrabble, worn-out country and rowdy roadhouse blues. 2010’s Junky Star tilted toward roots rock and broader alt-country appeal, but Bingham achieved a higher order of fame with a song he wrote the previous year for the film Crazy Heart. “The Weary Kind” was produced by T-Bone Burnett and was the theme for a film that came from nowhere to become an Oscar heavyweight. It was named “Best Original Song” at the 2010 Academy Awards and the Golden Globes, as well as “Best Song Written for a Motion Picture, Television or Other Visual Media” at the 2011 Grammys. “It was a pretty wild ride,” Bingham says. “I met the director, Scott Cooper, out here in Los Angeles”—where Bingham now lives—“and he asked if I’d be interested in writing a song.” Next thing he knew, Bingham found himself at T-Bone Burnett’s house, writing music along-
side the Americana legend and Jeff Bridges, the film’s star. The success gave Bingham the platform to be his own boss. Last year, he started his own label, Axster Bingham Records, with his wife for the release of his fourth album, Tomorrowland. He also co-produced the record with Justin Stanley, who has engineered recordings for Beck and Eric Clapton, among others. Bingham used Twitter and Facebook to promote the album and the tour supporting it. “It got to a point where it made sense to do it on our own,” he says. While he may not have the titanic profile of some artists, like Jack White or Radiohead, who’ve struck out on their own in pursuit of creative and financial control, Bingham still believes the shifting dynamics of the industry in response to social media have made it “a lot more accessible for musicians in my position to do this ourselves.” Bingham sounds more in control on Tomorrowland, pushing beyond his limits like the cosmic cowboy he is at heart. Its thirteen songs run the sonic gamut, from the forlorn, acoustic folk with which he made his name to clamorous, quicksilver rockers designed to be jammed out live. His heart is still firmly stapled to his sleeve, though, with detailed lyrics that are more reportorial than ever. “Writing songs has always been therapy, a way to process the world around me,” he says. Looking back at his career, the songs are signposts on the winding, often-beleaguered road that’s led him here. Songwriting, he says, “can help you see the progression of your life, the growing up, the changes you go through. You get out and experience different cultures, different people, and it gives you a different insight when you make it back home.” s t y l i n g by n i cole sc hn e i d e r
From left to right: Bassist Courtney Voss, guitarist Alex Gehring, keyboardist Kathleen Carmichael and lead singer Anastasia Dimou create the fearlessly lavish, yet haunting synthpop of Feathers.
by l i sa s i va photography by wynn myers
Meet the five bands weâ&#x20AC;&#x2122;re listening to nowâ&#x20AC;&#x201D;from nineties-inspired grunge to bluesy campfire songs, these musicians play a colorful anthem for the Live Music Capital.
Though Feathers has opened for Robyn at ACL Live and played at the All Tomorrow’s Parties festival, Dimou (right) remembers the band’s first show at the Mohawk as one of
her most memorable. “Opening for Washed Out was really rewarding,” she says. “It’s amazing to see all the work you put into it, your little seed of an idea come to fruition.”
the free spirits
Nearly six years ago in a small club in New York
the frontwoman for Feathers, a band poised at
alternating guitarists Alex Gehring and Destiny
City’s East Village, Anastasia Dimou performed
the intersection of pop and dark, atmospheric
Montague, who help arrange Dimou’s songs for
her first show as lead singer of electro-rock
electronica. Citing Kate Bush, Depeche Mode
live shows. As the band looks forward to their
quintet Cruel Black Dove. “At that moment, I
and stark desert landscapes among her inspira-
showcase during SXSW and their first album
realized music was something I wanted to do,”
tions, Dimou pairs her haunting vocals with vi-
release on April 16, Dimou hopes to contin-
she says. Ready for change, however, Dimou
brant, textured synthpop, from the lush sounds
ue evolving their sound. “I’m always thinking
soon packed her bags and left New York in 2011.
of “The Land of the Innocent” to the percussive
about how I will make the next song better than
“I needed new creativity, new blood,” she notes.
“Soft.” Though Dimou loves the autonomy of the
the last,” she says. “It’s that challenge that keeps
“I wanted to see what the rest of the world had
recording process, she is most at home onstage,
me going.” For more information about Feath-
to offer, in terms of vibe and inspiration.” Di-
with bassist Courtney Voss, keyboardist Kath-
ers, visit feathers.fm.
mou found both in Austin, where she is now
leen Carmichael, drummer Jordan Johns and
shakey graves The One-Man Show
One evening during Old Settlers’ Music Festival, a stranger stumbled into Alejandro Rose-Garcia’s campsite, dazed and raving about “spooky wagons.” The oddly enchanting, folk-tale quality of the phrase inspired a host of campfire nicknames—one of Rose-Garcia’s friends adopted Spooky Wagons, while another settled on Solomon Doors. Rose-Garcia became Shakey Graves. That night, he traveled from campsite to campsite, playing songs for fellow festival-goers under his new moniker. “People would ask me my name, so I started saying, ‘Shakey Graves,’” Rose-Garcia recalls. “And then I thought, ‘well, I can handle that.’” Since then, the name has stuck, evoking the nostalgic, otherworldly character that underlies his “distorted Texas guitar music.” Rose-Garcia’s album, Roll the Bones, features rich, expansive vocals, driving percussion and bluesy riffs on a 1938 archtop guitar, which Rose-Garcia has outfitted with an electric pickup. Despite the album’s often folksy, Americana undertones, tracks like “Unlucky Skin” and “Roll the Bones” offer lyrical intimations of what Rose-Garcia calls the “the other side of the veil.” When he performs live, alone with his guitar and a kick-drum in an old Samsonite suitcase, Rose-Garcia draws the audience into a captivating world that is part folk-rock and part campfire lore—and he can’t imagine a better place than Austin to do it. “This is my hometown. It feels like a trail a lot of people have walked,” he says, “and I’m somewhere in that story now.” For more information about Shakey Graves, visit shakeygraves.com.
Alejandro Rose-Garcia, the man behind Shakey Graves, began playing the guitar after his first experience of heartbreak in middle school. “I thought she was going to come back, and I’d be really good at guitar, and she was going to be so upset that she dumped me,” he laughs. “None of those things happened, but I did really fall in love with the guitar.” tribeza.com
w ild child the wanderers
On a whim, Alexander Beggins told his profes-
scape of heartbreak, layering the warm, dreamy
sors at the University of Texas that he would
melodies of “Silly Things” and “Warm Body” with
not be attending class, packed a baritone ukule-
the strong backing beat of “Someone Else,” as the
le and found himself in a van on a cross-country
duet chronicles the quiet challenges and joys of
tour with The Migrant. Somewhere along the
romantic relationships. For their forthcoming al-
way, he and violinist Kelsey Wilson began writ-
bum, The Runaround, produced by Ben Kweller
ing a song, which would eventually become the
and set for release in June, Beggins and Wilson
third track on Pillow Talk, their debut album
are expanding their “drunk alohop” sound with
as Wild Child. “All we had was a ukulele, and
a full band. “We’re seeing how far we can stretch
we were a girl and a boy, so we wrote ukulele
the ukulele,” Wilson laughs. “And hopefully,” Beg-
love songs,” Wilson says. “They got bigger and
gins adds, “people find one of those lyrics they
bigger—but it’s always basically a ukulele, a
can hold on to—a feeling they’ve had and never
girl and a boy.” An ambitious album of 15 in-
knew how to say.” For more information about
die-folk gems, Pillow Talk wanders the land-
Wild Child, visit wildchildsounds.com.
From left to right: Violinist Kelsey Wilson, cellist Sadie Wolfe, keyboardist Evan Magers, ukelele player Alexander Beggins, drummer Carey McGraw and bassist Chris D’Annunzio are Wild Child, the folksy pioneers of their Hawaiian-meets-indie “drunk alohop” sound. tribeza.com
From left to right: Ben Redman (14), Deven Ivy (14) and Max Redman (12) are the trio behind Residual Kid, whose fearless, nineties-inspired sound Max describes as “psychedelic punk grungeness.”
r e sidua l kid t h e g r u n g e r e v i va l i s t s On a Monday night near Dripping Springs, Residual Kid is rehearsing for their upcoming show at Holy Mountain. The room fills with a hazy, grunge-infused sound, as frontman Deven Ivy samples a new verse, layered atop bassist Max Redman’s electrifying rhythms and drummer Ben Redman’s pummeling beat. It’s standard band practice fare, apart from the fact that the combined age of all three members is 40. “Musicians tend to think that all the younger kids are listening to is Justin Bieber,” says 14-year-old Ivy. “We’re trying to prove them wrong.” With their latest EP, Faces, which takes cues from the likes of Nirvana, Jesus and Mary Chain and My Bloody Valentine, Residual Kid is doing just that—challenging audiences young and old with their brand of uninhibited, nineties-era grunge, coupled with honest lyrics about their experience of adolescence, from the tongue-in-cheek wardrobe musings of “Purple Shoes” to the angsty meandering of “Lost Cause.” Over the past three years, Residual Kid has taken the stage at just about every major music venue in town, with performances at Fun Fun Fun Fest and the Blondie and Devo aftershow under their belts. But the one show they will never forget was at The Mohawk in 2010, when Dead Confederate invited the members onstage to play. “We knew then that this is what we wanted to do,” Ivy says. For more information about Residual Kid, visit residualkid.com.
A violinist by trade, Carrie Rodriguez began songwriting while touring with legendary musician Chip Taylor. “I would watch him write songs and scribble things on cocktail napkins,” she says. “It was an inspiring experience.”
c ar r ie ro d r iguez the fiddler
When Carrie Rodriguez was in high school, her
album, Give Me All You Got, co-written with
bum a distinctly Texas twang, which she traces
father, an accomplished musician, took her on
Ben Kyle, Luke Jacobs and legendary songwrit-
back to the meeting with Lyle Lovett in college
a three-week tour of Europe, where they played
er Chip Taylor. True to its name, the album is
that inspired her to trade in her classical violin.
in small clubs across the continent. “It wasn’t
a bold and expressive portrait of Rodriguez’s
Rordriguez has since continued to share her
an easy tour,” Rodriguez admits, “but I loved
reflections over the past decade, including the
passion for music around the country as a fid-
the feeling of playing good music for people ev-
sweet, folksy reminiscence of “Lake Harriet”
dler, singer and songwriter, wearing her heart on
ery night.” In fact, as she recalls her first taste
and the stomping country sound of “Devil in
her sleeve. “I really do take a journey every time I
of life on the road, Rodriguez is traveling along
Mind.” “I’ve never wanted to stick to just one
sing a song,” she says. “I give it everything I have.”
the East Coast to play a show in New York City
genre,” Rodriguez says. Nevertheless, her spar-
For more information about Carrie Rodriguez,
before heading west with her fifth and newest
kling musicianship on the fiddle lends the al-
visit carrierodriguez.com. tribeza.com
jacQUELINE rangel photoS by
march 2013 tribeza.com j ay t r a c h t e n b u r g
m at t r e i l ly
A JUKEBOX FULL OF STORIES
S t e w a r t Va n d e r w i lt
J o dy D e n b e r g
It’s “made here, played here” at the all-music, all-the time
. f you’re a fan of public radio (looking at you, Austin), then you’ve probably noticed something different in the past few months. KUT 90.5 is still serving up high-quality news and talk programming, but in order to find the treasured music shows that Austinites have come to love like Eklektikos with John Aielli, Texas Music Matters and Twine Time with Paul Ray, listeners have had to point their dials up a few notches to KUTX 98.9. Dubbing itself “The Austin Music Experience,” KUTX is the new all-music arm of KUT, and in the words of Program Director Matt Reilly, “made here, played here” is the best way to describe the music that falls within its scope. “Although local artists are a big part of our focus, we’re also about what’s coming to town—especially with SXSW, ACL and Fun Fun Fun Fest,” he says. “We’re definitely servants for the local community but at the same time very interested in who is coming to visit.” With all eyes—and ears—on Austin for an endless number of reasons this month, the station’s launch could not have come at a better time. And with a new state-of-the-art home at the University of Texas Belo Center for New Media, the KUT Public Media Studios offer plenty of spaces for visiting artists and music hosts to engage the community in exciting ways. Listeners have long invited KUT voices and playlists into their homes, cars, even headphones; however, there has always been an Oz-like wonder as to who was sending out the sounds and where exactly those programs were being produced. Now housed in a building that boasts a fresh air of transparency, KUTX hopes to pull back that curtain and interact with the community in a dynamic way.
Despite all of its technological improvements and sleek systems (of which there are many), the abundance of natural light has arguably been the most important benefit of the new building. Although a seemingly normal part of contemporary design, windows have actually been one of the most crucial additions to the station’s creative process. Whereas KUT once existed in a multi-level, partly-subterranean incarnation, now you can stroll past the studios and witness a flurry of activity on any given day. The two on-premise live music studios—the Sessions Studio and Studio 1A, KUTX’s crown jewel—invite the public to experience the small-scale intimacy of what are essentially private concerts when artists drop in for live performances. Another notable change? Open-plan seating. Far from a corporate environment complete with office-based hierarchy and unspoken bureaucracy, the layout affords these hyper-creative minds even more opportunities for spontaneous collaboration. With the Texas Music Matters team now integrated alongside the music department, there is an open line of communication should anyone have a question—or an answer. “We’re now completely interconnected; it’s like a family,” notes Matt Reilly.
Lest you think of KUTX as a shiny new establishment, Reilly emphasizes that the “quiet, but deep respect” KUT has already cultivated in its near 55 years as a public radio station can’t be minimized. In this case, a new call sign only marks a sharpened dedication to discovering and highlighting all things Austin music.
Studio 1A. This 72-seat, glass-walled space is where the live music magic happens with nearly 300 in-studio performances a year.
Jay Trachtenberg in his element, doing what he does best. “Work is fun. I look forward to going to work every day.”
eographer Jorge Sanhueza-Lyon) and one part user-generated submissions, the site is a virtual snapshot of the music moments happening around Austin at any given point. Its sleek design and user-friendly interface invite hours of cultural discovery. Try adding the hashtag “AustinMusicMap” to your next concert Instagram to participate in the dialogue. “We really wanted the map to be a way that you could play the city. The idea was that all of the stories, community photography and sound would end up being material in this big jukebox that you could play in different ways,” explains Delaney Hall, Lead Producer of the Austin Music Map. As with the fresh architectural approach to the physical studios, the Austin Music Map hopes to transform radio’s traditionally one-sided consumption model into a transparent, two-way forum. This is especially true for local communities that aren’t typically showcased because of their underground or offthe-radar status. “We’re telling stories about people who are making music for very personal reasons, cultural reasons, religious reasons…beyond just the hometown industry.” The idea of the inspired storyteller is perhaps one of the most beloved aspects of KUTX. Across the board, the station is doing so much more than sharing songs with its listeners. The music hosts are passionate about the sonic creativity they unleash upon the airwaves, and they make it their mission to reveal the stories, memories and moments behind the music. Take Air Staff Manager and On-Air Host Jay Trachtenberg for example. A 30-year music industry veteran, he is as impressed as ever by raw talent, and he respects the role he plays in the process. “One of the great parts of this job is I can sit down with [renowned jazz pianist and recent Studio 1A guest] Jason Moran for half an hour and just have a conversation with him while he plays the piano. If you ask him a question, he gives you these brilliant answers.” The same unbridled enthusiasm can be heard from the wide range of music hosts as they pick and choose their playlists, operating within the “freewheeling structure” of the KUTX parameters. Individual personalities may vary, but the station’s collective tone remains consistent. As Matt Reilly concludes, “We live in the most fun city in America and we have fun jobs. With KUTX we can convey that a little more clearly now. We can be more playful.”
the music hosts
And part of that renewed resolution is a focus on innovative music projects like the Austin Music Map, a co-production of KUTX, the Association of Independents in Radio (AIR) and the interactive designers at Cambridge-based Zeega. One of 10 Localore Grant-winning projects in the country, The Austin Music Map is at its core a transmedia project and platform aimed at rethinking the traditional methods of broadcast reporting. In other words, it harnesses the power of digital tools and an engaged community to shape a collective story as shared by individuals. So what exactly is it? One part KUTX-produced content (primarily by vid-
From pushpins to pixels, Delaney Hall (pictured) and local marketing and design firm Public School helped take the Austin Music Map from simple analog concept to sleek digital reality.
Austin music insiders on t h e i r favo r i t e v e n u e s, w h at they are listening to now a n d w h e r e to s at i s f y l at e n i g h t c r av i n g s.
james moody P r i n c i pa l , G u e r i l l a S u i t
What is your favorite Austin music venue? I have to say Mohawk. I realize itâ&#x20AC;&#x2122;s an obvious choice coming from me, but it has a very comfortable, accessible, war-tested spirit about it that is one of a kind. I think when we are in our twilight years, driving around in jumpsuits and rascals, we will look back and remember Mohawk as a very important room for Austin. What are you currently listening to? Pallbearer, Mansions on the Moon, Death Grips and Ancient VVisdom. What SX show are you most looking forward to attending? Gucci Mane at Agora. Where is your favorite place to go for a late-night bite? Hoekâ&#x20AC;&#x2122;s Death Metal Pizza. I order delicious pepperoni with a side of Sepultura. James is the principal at Guerilla Suit, whose recent projects include collaborations with Vans, Absolut, El Cosmico, Sway, Pearl, Queue and Fun Fun Fun Fest.
Andy Langer Journalist
What is your favorite Austin music venue? ACL Live at the Moody Theater. It’s modern, versatile, feels intimate and, thanks to the TV show, already has a sense of history. What are you currently listening to? Atoms For Peace, AMOK, Kacey Musgraves, Same Trailer, Different Park (3/19) and Patty Griffin, American Kid (due in May). What SX show are you most looking forward to attending? I’m fairly obsessed with Dawes, and they have a new album due in April, so I’ll be at as many of their gigs as possible to hear the new material. Where is your favorite place to go for a late-night bite? Second Bar & Kitchen serves late on weekends, and I get the Black and Bleu pizza with black truffle, bleu cheese and pork belly confit. Andy Langer does afternoons on KGSR and television reporting for YNN and is a contributing editor at Esquire. He’s also the music columnist for Texas Monthly and the Texas edition of The New York Times.
Rich Garza Principal, Giant Noise & Co-Founder, Pachanga Festival
What is your favorite Austin music venue? Tie: The Mohawk and ACL Live. Opposite ends of the spectrum but both amazing in their own ways. What are you currently listening to? Leonard Cohen. The Clash. Bavu Blakes and Como Las Movies— the new project from some of the ex-Maneja Beto guys. What SX show are you most looking forward to attending? Word on the street is Los Super Seven are going to be around. Really excited about that. If that doesn’t materialize, I’m looking forward to Tego Calderon and this band from Venezuela called Tan Frio el Verano that sounds like the Latin American Sigur Ros meets Explosions in the Sky or something. Very cool stuff. Where is your favorite place to go for a late-night bite? 24 Diner. The burger there is hard to beat.
christian helms Owner, Helms Workshop
What is your favorite Austin music venue? The Mohawk. Good folks running a great room with a lot of heart. What are you currently listening to? The past week or so, it’s been the new AC Newman album. I’m pretty sure he could read the phone book with Neko singing backing vocals, and I’d love it. I also can’t stop listening to some early mixes of the forthcoming Centro-Matic record—it’s amazing. Then, there’s the new Mountain Goats, lots of Felice Brothers, and I’m loving the point of view of that Father John Misty album. What SX show are you most looking forward to attending? The one I’m not anticipating. At least once every SXSW, I end up catching an amazing, unexpected set by a band I’ve never heard of in some random venue. I saw The Hold Steady that way years and years ago, and they leveled me. Who knows who it’ll be this time around—I can’t wait to find out. Where is your favorite place to go for a late-night bite? It sounds like nepotism, but I have to be honest and say Frank. When it’s post-show and you have a few beers in you, there is no better meal than a monster hot dog. And maybe another beer. I’m ordering a Texalina or Carolina Pork It. Christian is the owner of Helms Workshop, a nationally renowned brand design studio, and co-owner of Frank Restaurant in downtown Austin. He lives in South Austin with his wife Jenn, son Hatley and dog Scatter.
Rich is a native Austinite who ran off to the East Coast for 15 years, met the girl of his dreams and moved back home to live the dream with his own marketing agency and festival. tribeza.com
Founder, Transmission Events & Fun Fun Fun Fest
C o - O w n e r , P r otot y p e V i n ta g e D e s i g n
What is your favorite Austin music venue? Even before I started booking it, when I was at Emo’s, The Mohawk was a great room. Red 7 is also amazing since the remodel a year ago—the inside room looks and sounds great. For big shows, I’d say ACL Live at the Moody Theater.
What is your favorite Austin music venue? In terms of programming, character and staff, The Mohawk is the best venue in town, hands down. Red 7 comes in at a close second. I also love ACL Live at the Moody Theater. Their wide range of acts, plus awesome sound, lighting, decor and atmosphere make every performance a meaningful one.
What are you currently listening to? Death Grips, Kendrick Lamar. As far as locals…man, there are so many good ones. Flesh Lights are really great live.
What are you currently listening to? I’ve been listening to Beach House, Toro Y Moi, Cloud Nothings, The 13th Floor Elevators and Orthy.
What SX show are you most looking forward to attending? There are some standouts I’m definitely going to check out like Nick Cave, Thurston Moore’s new band, CHVRCHES, Delorean, Flatbush Zombies, Flume, Hieroglyphics, Love As Laughter, Merchandise, METZ, Orange Goblin, Poolside, Savages and many more!
Where is your favorite place to go for a late-night bite? Probably Kerbey Lane or Magnolia Cafe, mainly because they have a little of everything, so usually whatever I’m in the mood for is covered. Graham Williams started booking punk and indie shows in high school as a hobby, which branched into a career when he began booking the legendary venue Emo’s in the 90s. After a decade at the club, he left the room he’d helped build and started both Fun Fun Fun Fest and Transmission Events, which books a number of venues in Austin and other cities.
jazz mills musician
What is your favorite Austin music venue? The North Door is probably my favorite place to go when I’m out because they have handsome door guys! What are you currently listening to? Françoise Hardy!
Audrie San Miguel
What SX show are you most looking forward to attending? I can’t wait to see some of my favorite bands like Nick Cave and the Bad Seeds, The Black Lips and Delorean. I’m also excited about Jonathan Toubin’s DJ set and the loads of new music I discover every year. However, the SX show I’m most looking forward to is the street fashion show of freaks, tech geeks, musicians, filmmakers and fans. Where is your favorite place to go for a late-night bite? I’ve been going to Player’s on MLK for late night munchies since I moved to Austin in 1993. Even though I’m a meat eater, I always order the Gardenburger with cheese and a large order of fries...and I don’t like to share, because they’re some of the best fries anywhere! This year, Audrie San Miguel celebrates twenty years in Austin, the last eight of which she’s spent slinging vintage fashion at Prototype Vintage Design, while doing set styling for print, film and television, music videos, real estate staging, sponsor activations and special events.
What SX show are you most looking forward to attending? I always am most excited to see the random bands that drove down to Austin but didn’t actually have shows booked, so they play on the corners all over the city. We have always been so busy during the festival, so I’ve never really been able to make many plans to see shows. I just let the SXSW gods guide me to the good music! Where is your favorite place to go for a late-night bite? HEB—I can get whatever I want! I get excited just thinking about late-night grocery store snack time! Jazz Mills released her first single and music video on Valentine’s Day and will debut an EP on her birthday in June.
Photo Trevor Wiggins; Make up Ashley Hancock; Hair Melissa Frost; Wardrobe Gypsy Sun
Ow ne r , Lam b e rts Downtown Barbecue & Partner, A r ly n S t u dios
p h o t o g r ap h e r
What is your favorite Austin music venue? Other than Lamberts of course, my favorite SXSW venue is probably Club Deville. Maybe it’s because I worked there as a busboy during SX long ago or because they don’t have many shows throughout the year, but to me Deville has always captured that “in the know, anything can happen” energy that makes SX so special. What are you currently listening to? I’m pretty much just listening to all the projects currently going on at Arlyn, which would be Gov’t Mule, the Austin-based Ghost Wolves and Bushwick Bill from the Geto Boys. What SX show are you most looking forward to attending? The SX show I’m most looking forward to is the one I don’t even know is going to happen yet. To me, that’s the greatest thing about SXSW. Every year you hope to have those one or two moments when something awesome and unexpected happens, and you know, without a doubt, that you’re in the best place to be in the entire city. Where is your favorite place to go for a late-night bite? “Late night” can take on a whole new meaning during SX. La Mexicana Bakery on South 1st is open 24/7 so you can get your Mexican food fix while maintaining the reckless abandon of conventional timekeeping that SX notoriously instills. I usually get the migas and a Mexican eclair. For the last nine months, Will Bridges has been remodeling the historic 7,000 square foot Arlyn Studios space off of South Congress and just opened Studio B in early December of last year. Studio A will open in early March with a 21-foot Neve/API “super console” built for the control room. Bridges is also co-producing an EP with Riders Against the Storm.
What is your favorite Austin music venue? Mohawk, hands down. They’ve always booked the most relevant local and touring bands. Love the space, love the people and love their meatball sandwich. Ask for it. What are you currently listening to? Today, I’ve listened to Sonic Youth, Big Star and TV Torso—kind of like ordering the seafood medley at Red Lobster, only tastier. And without all the mercury. What SX show are you most looking forward to attending? The Amazing Letdowns reunion at Mohawk. Where is your favorite place to go for a late-night bite? P. Terry’s. Chicken Burger. Pro tip: if it’s after 2am, knock on the backdoor three times and tell ‘em Jim Morrison sent you. Dave Mead is an Austin-based commercial photographer with a love for electric guitars and marshall stacks. His photography career began in the mid-90s while haphazardly lugging his camera to music venues around town. He’s a longstanding stage photographer for ACL Fest, Lollapalooza and Fun Fun Fun Fest.
Courtney Trucksess D i r e c t o r o f Sp o n s o r s h i p, C 3 P r e s e n t s
What is your favorite Austin music venue? Emo’s will always be my number spot. What are you currently listening to? Heartless Bastards, Kendrick Lamar, and I always love Bob Seger. Always. What SX show are you most looking forward to attending? Nick Cave at the NPR showcase at Stubb’s. Where is your favorite place to go for a late-night bite? I can’t ever say no to Home Slice…just a slice of cheese pizza! It never disappoints. Or a giant bowl of queso from Guero’s. Heaven. Courtney has lived in Austin for 15 years and worked at C3 for nine. She and her husband Jeff love having friends over and cooking. They have an awesome cat named Nougat and are always up for a margarita.
We ’ re d o i n g s o m e thi n g d i f f e re n t , a nd p e o p le a re s e e k i n g i t o u t.
s The Brian Jonestown Massacre’s set ended at
a three-year period, we thought it would be cool if we invited some of
last year’s Austin Psych Fest, Christian Bland and
our friends’ bands to Austin for a weekend of music we love,” Bland says.
Alex Maas of the Black Angels felt as if the festi-
They decided to hold the festival a week before South by Southwest, in
val they’d founded five years before had reached
order to convince some groups already playing that festival to play theirs
a new pinnacle. “They were a big inspiration for
as well. That first year, 10 bands, including the Black Angels, played at a
our band,” says Bland. “To see them play gave us a
now-defunct venue in north Austin called the Red Barn. But it was the
pretty good feeling of accomplishment.” Two hours later, when the lights
start of something big. In a city rife with live music festivals, Psych Fest
came up and the festival was over, Bland and Maas were relieved—it was
has worked because it’s an exception—instead of booking acts across a
another successful Psych Fest. They then continued their 2012 US tour
broad spectrum of tastes and genres, Psych Fest goes for depth.
and immediately started planning the next festival with their partners in
“We focus on a specific spectrum of music, and there’s a dedicated
The Reverberation Appreciation Society, the group of four friends which
crowd that is coming from all over the world to check this out; it’s really
produces the music festival and releases music under a record label of the
exciting to see. We’re doing something different, and people are seeking
it out,” says Rob Fitzpatrick, who manages the day-to-day operations of
In 2013, Bland and Maas are staying busy as usual, with a new record from The Black Angels and a US tour in April. Their 4th album release,
Psych Fest along with James Oswald, creator of the annual concert film that documents the festival.
Indigo Meadow, is followed by the 6th annual Austin Psych Fest, which
Fitzpatrick says that in 2012, 53 percent of the pre-sale tickets to Psych
takes place from April 26-28 at the Carson Creek Ranch and promises to
Fest were sold outside Texas, with 11 percent sold internationally. By
be bigger and better than ever before.
comparison, sales outside Texas accounted for 19 percent of ticket pur-
Austin Psych Fest started in 2008, dreamed up on the road during one
chases to ACL last year, with two percent coming internationally.
of The Black Angels’ cross-country tours that found the group spread-
“Psychedelic” describes an approach to music rather than a specific
ing the gospel of 1960s psychedelic rock that inspired them to create a
sound—it’s an attempt to incorporate different studio techniques and
band. “After touring with and befriending many like-minded bands over
non-Western influences in order to sonically approximate mind-altering tribeza.com
Alex Maas and Christian Bland of The Black Angels hang out and goof off in the Shangri-La photobooth during their shoot with photographer Matt Rainwaters.
experiences. While the Beatles and the Byrds get credit for popularizing
Ballroom. This year’s site, the Carson Creek Ranch, is a scenic, 58-acre
psych-rock, its lineage can be traced back to Austin and the communi-
Eden on the banks of the Colorado River. “There’s going to be camping—
ty that gathered at a short-lived venue called the Vulcan Gas Company.
it’s gonna be like the psychedelic Bonnaroo of Texas,” jokes Maas.
Chief among them were the 13th Floor Elevators, whose frontman, Roky
As the festival has grown, the producers have expanded the group that
Erickson, is often credited with coining the term “psychedelic rock” to
creates the festival, enlisting friends from Austin and beyond to help
describe his band’s loud, distorted sound (which included the electric
create the annual event. In the process, they’ve created a strong sense
jug, an instrument that sounds like an alien awakening in the center of
of community around Psych Fest—a historical echo of Austin in the late
your brain). The moniker spread outward, absorbing everything from the
60s. “It’s a gathering of sympathetic minds,” Kirpatrick Thomas says. His
melted harmonies of the Beach Boys to the lysergic, fractured pop of early
band, Spindrift, has played Psych Fest three times.
Pink Floyd and the Eastern-influenced folk of the Incredible String Band.
“There’s a quality to the acts that attracts a certain type of crowd—the
The lineups at Psych Fest have reflected this variety, from ear-
music aficionados, the seekers,” adds Aimee Nash, of the Black Ryder,
drum-bleeding shoegaze acts to mellow freak-folk and everything in
who will make their second Psych Fest appearance this year. “There is a
between. Erickson himself played a rare show at the 2011 festival. “The
lot of good feeling and good-spirited people who genuinely appear to be
genre is really big, with a lot of different styles,” Maas says. As Psych Fest
there for love of the music.”
has grown, Maas thinks it’s gotten “more honed in. We’re now able to get
That sentiment is exactly what Psych Fest is about. When I ask Maas
more of the bands we always wanted, like Brian Jonestown Massacre and
and Bland if the festival has hit upon its perfect formula, they both tenta-
Black Rebel Motorcycle Club (who are playing this year).” They’ve hon-
tively agree. They’re not sure it should get any bigger, but that will depend
ored psych-rock’s roots, too, booking acts like electronic music pioneers
on the growth of psychedelic rock and the community that supports it.
Silver Apples, Sky Saxon of the Seeds and The Golden Dawn, another original Austin psych band. This year, bands like The Moving Sidewalks (Billy Gibbons of ZZ Top fame’s original psychedelic rock band) and international 1960s legends
come?” Maas asks. “It sounds like a nightmare to plan, but if that means we can have Beck play? Radiohead? Massive Attack, Flaming Lips, Portishead, Donovan, My Bloody Valentine?”
like Brazil’s Os Mutantes and the UK’s Kaleidoscope join contempo-
They’ll allow themselves to dream, because that’s how Psych Fest start-
rary acts like Deerhunter, Warpaint and the Black Angels. For the third
ed anyway. “The four of us will have moments where we look at each
straight year, 60-plus bands will perform over three full days of music,
other and we’re like, ‘wow, this whole thing came out of thin air,’” says
with a pre-party the day before in downtown Austin’s Red River district.
Maas. “Just like any idea—any business, anything that happens—seeing
Since its inaugural run at the Red Barn, the festival has hopped venues each year, from the Seaholm Power Plant to Emo’s East and the Beauty
“Would it be great if it got to the point where 15,000 people could
it become reality is the coolest thing.”
Th e re â&#x20AC;&#x2122; s a q ua l ity t o t h e ac ts th a t a ttrac t s a c e rta in t yp e o f c ro wdâ&#x20AC;&#x201D;th e m us i c a f i c i o n ado s, t h e s e e k e rs . tribeza.com
the road to psych fest
Dreamt up in The Black Angels tour van, Austin Psych Fest began in 2008. The single day event held during SXSW at the Red Barn started an annual tradition.
In 2009, the festival expanded to three days during SXSW at Radio Room on 6th Street, with over 40 bands performing, including the late Sky Saxon of The Seeds.
Inspired by the creative culture of the 1960s, the festivalâ&#x20AC;&#x2122;s visual identity mirrors the music with psychedelic posters and light shows.
////////////////////// 2008 ////////////////////////////////////////////// 2009 /////////////////////////////////////////////////////// 2010 //////////////////////////////////////
Poster designed for the 2nd Annual Austin Psych Fest, Day 2 lineup.
In early 2009, the group that produces and curates Austin Psych Fest, The Reverberation Appreciation Society, was officially formed.
The 3rd annual festival was moved to Red River music landmark The Mohawk and its own weekend at the end of April.
2011 brought a larger lineup and a wider variety of acts from around the world, highlighted by Austinâ&#x20AC;&#x2122;s own psychedelic godfather, Roky Erickson, and 62 other acts.
In the winter of 2010, The Reverberation Appreciation Society released their first record, the debut of Christian Bland & The Revelators.
Poster designed for the 4th Annual Austin Psych Fest Concert Film that premiered at The Alamo Draft House.
The 2012 festival moved once again, stretching across the new Emoâ&#x20AC;&#x2122;s and Beauty Ballroom in East Austin, with fans coming to the event from all over the world.
/////////////////////////////////////// 2011 //////////////////////////////////////////////// 2012 ////////////////////////////////////////////// 2013 ///////////////////////////////
2012 2012 also saw further expansion of the record label, releasing the 4th festival concert and albums from bands around the world.
The sprawling Seaholm Power Plant provided the backdrop for the 2011 festival, which was the last concert to be held within its walls before redevlopment.
The 2013 festival brings a new outdoor venue, the 58-acre Carson Creek Ranch, a bigger lineup, camping and the most ambitious Austin Psych Fest yet.
From a sprawling vinyl collection to a home music studio, these three Austinites have created musically-minded spaces to call their own.
Jack McFadden, talent buyer for ACL Live who books The Belmont, stands in front of a former coat closet that fits a cool 2000 records of his vinyl collection. The rest of his 4,000 records stylishly pile up around the South Austin house he shares with his family. tribeza.com
Rooms speak volumes about the people who inhabit them, and in the c r e at i v e s pa c e s o f m a n a g e r S am S h a h , m u s i c i a n I a n O r t h a n d ACL L i v e ta l e n t b u y e r J ac k M c Fa d d e n , m u s i c ta k e s c e n t e r s ta g e . W h e t h e r i t ’ s a c o at c lo s e t f u l l o f r e c o r d s o r a n o f f i c e l i n e d w i t h t r e a s u r e d g u i ta r s , t h e s e t h r e e m u s i c a l h av e n s o f f e r a p l a c e f o r t h e i r o w n e r s to e x p lo r e , c r e at e a n d b r i n g t h e m u s i c h o m e .
Jack McFadden hat does a former coat closet filled with 2,000 records look like? Awesome, if it’s anything like ACL Live talent buyer Jack McFadden’s vinyl collection, located at one end of a modern living room in the South Austin home McFadden shares with his wife and two children. To transform the closet into a music-worthy space, McFadden enlisted the help of Enabler, a team of local carpenters. Within two weeks, the doorway had been expanded upward, and along the walls were floating, walnut wood-fronted, steel-reinforced shelves capable of holding 300 pounds each. Around the room is a dizzying selection of albums in alphabetical order, from Abba to ZZ Top. An enthusiastic vinyl lover, McFadden started collecting at age four with the Gilbert O’Sullivan single “Alone Again (Naturally)” and continued as a teenager growing up on the Jersey Shore. His passion took root while working in the music industry in Brooklyn for over a decade
and has continued to grow since moving to Austin a year and a half ago. He adds about 10 records a week to the genre-spanning mix, but the sleek closet doesn’t fit all his vinyl finds (or his budding eight-track collection)—with over 4,000 records total, vinyl piles around his Pro-Ject Debut Carbon turntable, and more records await a listen in the couple’s guest house. Whether he listens out of nostalgia or research for work, McFadden gets the most pleasure from sharing his collection with friends. When he hears someone remark about a record they haven’t heard in years, his answer is always the same: “Well, let’s put it on!”
Ian Orth “This is the first time I’ve been able to have my own space to do what I want,” musician Ian Orth says about gaining a wife, dropping a roommate and freeing up a second bedroom two years ago. It was a career-altering transformation that allowed him to move his music gear out of an overstuffed bedroom and turn the spare room into the home studio he makes music in today. Born and raised in Austin, Orth has been playing music since age 11 and currently creates tunes under the name Orthy. He’s also the co-founder of Learning Secrets, a dance music party featuring forward-thinking DJs and bands. While brainstorming with his wife, Emily Larson Orth, the co-owner of Prototype Vintage Design, it took a few tries to find the right layout, but they finally found the perfect fit for their East Austin apartment’s second bedroom: records for Learning Secrets shows, a revolving cast of musical instruments and a desk Orth handmade with his dad are all placed an ideal distance away from the wall for sound quality. A hanging wall mural with colorful cacti by artist Steve Keene—the stage backdrop for the first ever Learning Secrets show nine years ago, when Ian was in college at Rutgers—dominates the room visually. The space isn’t perfect—it doubles as a guest bedroom during SXSW, and Ian dreams of better sound proofing, but it has already inspired success: Orthy release his first EP, Suenos, in 2011. His single, “E.M.I.L.Y.,” debuted last year, and an album of the same name is due this spring.
Surrounded by musical instruments, recording equipment, dance records and a colorful hanging wall mural, Ian Orth uses his East Austin home studio to make music under the name Orthy.
Sam Shah rom his cozy home office loft, Sam Shaw heads his music management company, General Public Management, and handles artist relations for On-Airstreaming, a music video content and promotions company. But the space also serves as the musical heart of the modern home that Shaw shares with his wife, Anne, and their new baby girl, Tesla. Completed in June of 2012, the house is a mash-up of renovated bungalow and modern addition. Designed by Kevin Alter and Tim Whitehill of Alterstudio Architects, with plenty of input from the creative couple (their previous home was featured in Dwell), the 16 by 12-foot space and adjoining bathroom are the only rooms on the second floor and take their shape from the roofline. Constantly playing music, the couple isn’t chained to the loft—through the high-tech wireless Sonos audio system Shaw has used for years, his all-digital musical library is piped throughout the house, creating a soundtrack to the life of this vibrant family. And while there are many things in the space for Sam to cherish, like a Ray LaMontagne UK platinum plaque, a framed Ray LaMontagne picture taken by Annie Leibovitz and seven guitars (including a Martin OM28 John Mayer Signature Edition), he most enjoys melding a passion for music and spending time with his family: “Music is my life. I’m very fortunate I do something that I love, and it never feels like work. Ever since Tesla has arrived, I’ve found more time to sit by her and play the guitar. It’s the coolest thing when you’ve got your baby’s attention, and she’s calm and content.”
Music manager Sam Shah sits with his daughter Tesla atop his modern South Austin home in an office filled with memories from a successful career in the music industry. A huge window frames a view of oak trees and downtown Austin in the distance.
by l aur en smith for d photogr aphy by cody hamilton
Making Wavesâ&#x20AC;&#x201D;Meet five music industry insiders to watch. march 2013
There was no more fitting place for Patrick Dentler, the digital manager for C3, to be photographed than Zilker Park, the home of the ACL Festival.
Patrick Dentler Digital Manager, C3
t the C3 offices in a high-rise on West 6th Street, it’s not uncommon to be on a conference call when your office wall starts to rattle to the bass of your neighbor’s speakers. It may be a fun work environment full of young people, but there is some serious hard work happening within these walls, where the country’s biggest festivals like ACL, Lollapalooza, Austin Food & Wine and, among others, Metallica’s Orion Music + More are produced. Patrick Dentler manages digital media and content for the festivals through social media, working with brands or bands to promote their content and performances. His big break into the music business came when he landed a gig at KUT. When production needed photos of a live broadcast, Dentler volunteered his novice photography skills, and after that first show, he was able to sit in and shoot all the shows in Studio 1A and the original ACL Studio. It was the perfect training ground before his next job at C3. “Every year I’ve worked at C3, we’ve taken on new festivals and events, which always keeps the job interesting,” he says. “Over the course of a year, our offices become production trailers situated behind stages at events across the world. So that kind of an environment creates a unique bond with your co-workers you wouldn’t get at any other job.”
What has been the best moment of your career so far? Working on the communication effort during the Lollapalooza evacuation last year is probably top on the list. When a storm was heading straight for downtown Chicago, our
partners and production team worked with city staff to make the tough decision to evacuate the entire event—somewhere near 70,000 fans, bands and staff safely exited Grant Park in less than 45 minutes. Coordinating with emergency officials, our team huddled in a hotel room and messaged to fans through push notifications on our Mobile App and social media. After 50 mile per hour wind and rain came through, the festival re-opened three hours later, all the fans returned, and music continued without a hitch, with only a handful of rescheduled sets.
Where do you see Austin’s music scene headed in the next decade? No doubt great bands and artists will continue to come out of Austin in the next decade. I look forward to more stateof-the-art spaces that cater to live music experiences, large and small. And I hope Austin continues to preserve our signature venues and the neighborhoods around them as we accommodate new growth. What has been the most memorable live show you have ever attended? Catching Arcade Fire in 2005 at the original Emo’s was maybe the best show I’ve seen in Austin. Seeing Brian Wilson perform Smile in its entirety was also a bucket list show for me. What are you listening to right now? Twine Time with Paul Ray. What SX shows are you most looking forward to attending? Kydd, Black Pistol Fire, Allen Stone, Z-Ro and Jim James will all be good shows, I hope. Quinnstorm, Austinist and Shiner always throw good parties too. Flat Stock takes a lot of my money each year. What is your go to place for late night bite place? Best Wurst—jalapeno with everything.
jr. booking agent, high road touring
hen the Butler School of Music launched its music business program, Grace Gibson promptly switched her major from vocal performance—“and I haven’t looked back since!” she says. Her first major production was an ambitious independent study, during which Gibson held a benefit show for Groundwork Music Project, coordinating an extensive lineup of local bands and sponsors. “I became much more aware of the community that is Austin music and discovered my passion for supporting the art itself,” she recalls. Today, Gibson brings that love of the city’s music scene to her work at High Road Touring, a boutique booking agency based in California. Together with the company’s Austin-based team, she helps book concert tours for artists from around the world, and for Gibson, there is nothing more rewarding than seeing those musicians take the stage. “There are few moments prouder than those spent watching an artist whom we book play live,” she says. “I work to connect artists with their fans, and witnessing that exchange first-hand is more inspiring than anything else I’ve experienced.”
What’s unique about working in the music business in Austin and Austin’s music scene in general? People in Austin are excited about live music. Austin’s enthusiasm for music isn’t limited to a specific genre, and we all love to love our local artists just as much as the touring acts coming through town. This energy is present in the local music business just as it is in the audience of a live show—our fervor
for music creates a sense of community that is completely unique to Austin.
Where do you see Austin’s music scene headed in the next decade? I see a continued admiration for our roots—the Continental Club and James McMurtry aren’t leaving anytime soon. We’ve watched the EDM wave slowly roll in and set up shop at Kingdom, and I would love to see the hip hop scene rise. I think that our musical palate will continue to grow, and in ten years, Austin will be seen as a major market for every genre of music. What has been the most memorable live show you have ever attended? LCD Soundsystem at Stubb’s in June 2010 was definitely the most memorable show that I’ve ever attended. James Murphy is a genius and one of my favorite people to watch perform. What are you listening to right now? At the moment, I am listening to the new Local Natives record. I really love the new Foxygen album, We Are the 21st Century Ambassadors of Peace & Magic, and On An On’s new record, Give In. What is your go to place for a late night bite? Without fail, I end up eating dinner much later than I should. It’s always a relief that Easy Tiger serves food until the bar closes—I love the broccoli!
Grace Gibson, a junior booking agent at High Road Touring, feels at home at Lamberts Downtown Barbeque. “The location, sound quality and laid-back atmosphere make it a nice and intimate spot for a show,” she says.
What is your advice for a recent graduate or college student wanting to get into the music business? The music business is a very tricky industry to break into. There are no guidelines or standard protocol or even very many entry level positions. The most important assets are your relationships with people in the industry, and it is crucial they see you as a person with whom they’d want to work. If you want to work in live music, you need to work hard and go to shows. tribeza.com
director of partnerships, Transmission events
rendan Hannah takes great pride in being able to say he works for the company that invented…the taco cannon. It debuted at this year’s Fun Fun Fun Fest, one of the most popular up and coming festivals in the country. “Every Fun Fun Fun feels better than the last,” he says. “It has grown in all the right ways over the years, and we have carved out a nice little niche for ourselves in a pretty crowded marketplace by doing things a little bit differently.” Hannah works in business development for Transmission, partnering with different bands who have identified music and Austin in general as a good way to build an audience and market their products and ideas. Hannah moved to Austin in 2006 as part of a team who helped start The Onion. After working for The Onion for about a year and a half, Hannah decided to move to New York. He remembers: “I put my notice in on a Friday afternoon and basically made it as far as the Mohawk. By the end of happy hour, I wasn’t going to move to New York anymore. I was going to work for Transmission. The rest is history.“
What’s the best part of working at Transmission? The people, hands down. And all the shows aren’t too bad either. What is the office culture like? Aside from everyone being busy, compared to most other jobs, it’s very laid-back and pretty much what you’d imagine for a company that’s in the business of good times. People are in good spirits. They love what they do. The context of what TE deals with on a daily basis is pretty fun compared to most other lines of work, so I think our work culture is a good reflection of that. We’re all friends as well, so it’s a nice little recipe. What’s unique about working in the music business in Austin and Austin’s music scene in general? Austin is such a special place. There’s a contagious culture here. Once you come here, you don’t want to leave. It’s obviously not a secret. Music happens to be a common thread in this town that brings people together whether you play it or just love to hear it. For me, I love the opportunity to meet and work with so many interesting, creative, hungry, passionate and motivated people over the years across all these different creative industries. What has been the most memorable live show you have ever attended? The first show I went
to was the Smoking Grooves tour in 1996 at the Marcus Amphitheater in Milwaukee, WI, with Tribe Called Quest, Fugees, Cypress Hill and Ziggy Marley. Everyone was at the top of their game that night. It was definitely a seminal moment for my live music viewing career.
What are you listening to right now? A compilation of early 70s Indonesian psych rock and funk called Those Shocking, Shaking Days, recommended to me by one of the guys at End of an Ear. It’s amazing. Everyone should own it. For new stuff, I just picked up the new Tame Impala record and love it. What SX shows are you most looking forward to attending? We’ve got a great partnership with Vans this year at the Mohawk and have some unbelievable programming lined up. The Hype Hotel is going to be huge this year, and they are in an amazing new space over on 3rd and San Jacinto in a new building called the Whitley. Spotify is going big this year as well. So are our friends at Vice. I’m really looking forward to it all. What is your go to place for a late night bite? Kebabalicious. You can’t go wrong with a standard beef/lamb kebab. Add feta and you’re good to go.
Brendan Hannah of Transmission Events wanted to be photographed at the Mohawk because “it’s the best venue in town and because I am a man of convenience (I live across the street).”
Happy Mercado takes a break from his busy schedule in the Mezzanine Gallery at ACL Live. Music photographer Scott Newton’s prints line the wall. He says: “It’s a stunning walk through ACLTV’s greatest moments in time with a long, prestigious list of alumni.”
What’s unique about working in the music business in Austin and Austin’s music scene in general? It’s so inspiring to be a part of a community working together and supporting each other as much as it does. People always say Austin is a big city with a small town feel, and I think that has a lot to do with how local-minded we are. It’s very likely you see the same familiar, friendly faces no matter what show or event you attend, and that makes it very easy to feel connected. It’s also great to be able to work with your friends on a daily basis. What have been some the best moments of your career so far? Every time I wrap up an event or festival, realizing that I survived and realizing I had a hand in all that magic. Where do you see Austin’s music scene headed in the next decade? Always up. The amount of talent in this town is staggering, and I think Austin is on a comfortably slow and steady incline. What are you listening to right now? Toro y Moi, Buke and Gase, Poolside, Dirty Projectors.
Business Development, ACL Live
or a lover of live music, it doesn’t get better than working at ACL Live. “The mind blowingness never stops,” Happy Mercado says. Bon Iver’s ACLTV taping gave him chills, and watching Yeasayer play SXSWi at ACL Live, as Microsoft transformed the space into a digital/animated forest, was unforgettable. Mercado works with a team who is responsible for procuring and maintaining sponsorships for ACL Live, as well as a handful of music festivals around country.
“My whole career so far has been on the brand/client side, and my favorite elements of my past work has been working with music festivals and events,” he says. “Working for ACL Live has been my first transition to the agency side, and being able to work at this incredible venue has been a dream.”
What’s the best part of working at ACL Live? Getting to work with our amazing sponsors and clients, working at such an incredible facility with an equally stellar team and getting to witness the remarkable talent that rolls through on a perpetual basis (of course). What is the office culture like? It’s like hanging out backstage at a music festival—everyone’s pretty hip and in the know. Like a well-oiled machine, these folks are hard-working and dedicated, but they know how to have fun.
What SX shows are you most looking forward to attending? I’m more excited about stumbling upon bands I’ve never heard of yet, but some bands I’d be happy to catch are some familiar faves: Akron/Family, Local Natives, Toro y Moi (he’s my doppelgänger, you know), Cold War Kids, Thao & The Get Down Stay Down, Bonobo, Klaxons, Major Lazer. What is your go to place for a late night bite? Spartan Pizza’s for a Zeus slice or Be More Pacific’s Longanisa Tator Tots. What is your advice for a recent graduate or college student wanting to get into the music business? Getting into this business (or any business for that matter) is all about who you know and putting yourself out there. You’ve got to put your time in, make the right friends and work your ass off—eventually it could all fall into place, but it won’t just happen. You have to make it happen.
SXSW Music Festival Programmer
t’s impossible to pick the best moment of Stacey Wilhelm’s career thus far. There was the time Daniel Johnston offered her Doritos, diet soda and a marriage proposal. Or when she helped produce Smokey Robinson’s showcase and got to briefly hang with the Motown legend himself. It could be the time she geeked out on Saul Williams…or on Thurston Moore. Putting The Cult into a 300 capacity room while actually getting to hear the entire set (from the door where she had to do line control all night) is a hard feat to top. As a SXSW Music Festival Programmer, Wilhelm works yearround on the event. “One of the most rewarding parts of this job is spending an entire year working towards this one goal and then being able to see it actualized right before your eyes,” she says. “It’s quite overwhelming.”
What does your job at SX entail? I am part of a team of programmers who vet all the band applications, seek out up and coming acts and create specialized showcases. I also help coordinate marketing and web content and work with the SXSW sponsorships team to program official sponsor and brand music activations during the festival. And lastly, I travel to other festivals and events around the world to represent SXSW Music. What was your first big break into the music business? While working in the SXSW Music Sales department, I attended The Great Escape in the UK with some coworkers. Brent Grulke, our late Creative Director of Music, offered to let me sit in on their meetings and allowed me drag him around to showcase
after showcase in return. He recognized my potential and shortly after offered me an extremely coveted place with the music festival booking staff, where I could exercise both my creative and practical minds. It truly changed my life, and to Brent I am forever grateful.
What’s unique about working in the music business in Austin and Austin’s music scene in general? Austin is such a calmly-paced city, making having a life and a career a little easier to balance. However, everyone here is still 100% committed to creative industry, so there is a lot of camaraderie amongst us all. And I’m ecstatic to live in a city where I can see a show on any given night of the week. Where do you see Austin’s music scene headed in the next decade? If we stay committed to protecting live music in Austin, I’d like to
think we can continue to be a mecca for local artists and touring acts.
What has been the most memorable live show you have ever attended? When I was young, my parents took my sister and me to see Paul Simon at the Cynthia Woodlands Mitchell Pavilion. In true Houston fashion, there was a storm, and the claps of thunder and beating of the rain on the pavilion seemed to act as guest percussionists. I was darting up and out of my seat so much that I knocked over our neighbor’s drinks, but they didn’t care at all—we were happy to share the moment, even if I was just a kid and we were strangers. What are you listening to right now? Rhye, Jacco Gardner, Mac DeMarco, Solange, Nobunny. And there are always Grape St. and New Order in my rotation.
There are a handful of venues where Stacey Wilhelm, SXSW Music Festival Programmer, is a regular, but Hotel Vegas is in her top three. She says: “The vibe is unpretentious, the people around are your friends, and the booking is awesome, with many of my favorite locals playing on any given night.”. tribeza.com
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y brothers and I were born and raised in Central Texas, just off I-35, where Brushy Creek ran through our backyard. Wheeler Brothers, though, has its roots during our high school days in Lake Travis, when we met one of our future guitarists, A.J., and would get together in my parents’ garage. On the weekends, we hacked through Phish covers and drank beer, though we never took it very seriously—it was just a few shows for fun and friends mostly. Eventually, we went our separate ways for college, which is where we met Danny. It wasn’t until we came back to Austin that we started writing our own material. Soon after, we recorded half of our first album, Portraits, and performed it live at whatever bar or venue would let us. It was then that we finally realized what we wanted to do for a living—and that Austin was the perfect place to do it. This city isn't a New York or a Los Angeles; I don't think you come here to become a superstar, but you get your foot in the door somewhere and create a name for yourself with the help of the amazing people here. Austin is a musically happening town, and along with its abundance of musicians come the enthusiasm and support of locals that keep us going. When we’re touring the country, we get to see some pretty great places, but we’re always glad to get back to Austin. A good buddy of ours is Willie Stark, the owner of HandleBar on Fifth Street. He’s the seven-foot-tall guy with a huge mustache—you can’t miss him. We met Big Willie after we decided to pull it together and get a gym membership. He became our trainer and the captain of what he liked to call the “Pain Train.” Long story short, when we found out he was going to open a bar, we had his back from the get-go. We watched the whole building process from start to finish and had many late night drinks along the way. Rumor has it Willie is going to have a Wheeler Brothers drink ready when we release the next album, together with the only prerelease copy in his jukebox. If you have never been to the HandleBar, let me be the first to tell you to bring a cab. It’s easy to get carried away in a place that has a seesaw, spring horses and jenga on the rooftop. As a mustache man himself, our drummer, Patrick, also appreciates the camaraderie amongst its mustachioed patrons and staff. We tend to like the slower pace of the weekdays but have been known to drop by during its wild and crazy weekend nights. The mood is certainly light at the HandleBar, and love is always in the air. NOLAN WHEELER Wheeler Brothers is a five-piece folk-rock outfit. The band releases its second album, Gold Boots Glitter, on April 2 with a special pre-release show on March 2 at Emo’s East before hitting the road for the spring and summer. P h oto g r a p h y by co dy h a m i lto n
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Switched On John french and chad allen's music store brings new life to austin's growing electronic music scene.
Eli Welbourne, a Switched On employee and one half of the electric pop duo, Silent Diane, sits down at one of the shop's many keybords.
Owners John French (left) and Chad Allen (right) strive to create a store that is a part of Austin's identity. The front display of the East 11th store can't be missed.
For more information about Switched On, visit switchedonaustin.com.
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Switched On specializes in instrument repair and is home to a vast array of vintage synthesizers.
t the heart of Austinâ&#x20AC;&#x2122;s burgeoning electronic music community, Switched On is more than an instrument shop. Though owners John French and Chad Allen offer repairs of all musical instruments and audio equipment and stock their shelves with keyboards, effects processors, drum machines and more, their true love is for new and vintage synthesizers. Rows of synths line their 11th Street Shop, from brand new equipment to a Farfisa organ from the mid sixties that Allen eagerly points out. "A big part of our mission is to keep these instruments alive,â&#x20AC;? he says. â&#x20AC;&#x153;Some of these instruments were not built to last, and the fact that we can continue to make them useful as a musical tools, whether in the studio or on stage, is a really important thing we contribute to the Austin community." Taking on the challenging task of repair and customization are the shop's three techs, two of whom have electrical engineering backgrounds. "It takes a certain brand of person to understand synthesis, especially at the level of designing circuit boards and keeping these instruments going," Allen notes. Aside from being on the cutting edge of synthesizer innovation, every employee is himself a musician and involved in ongoing musical side-projects. With a collective of musical creatives and technical experts alike, Switched On is quickly becoming a cultural resource for all types of musicians in Austin. A. horsley P h oto g r a p h y by b i l l s a l l a n s
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Audrie San Miguel, Owner
San Miguel picked up this 60s-inspired dress from Lovely Austin, which is “perfect for work and taking care of my sweet baby Atlee,” she says. “Add some platforms and a vintage piece of jewelry, and I’m ready to go!”
Emily Larson Orth, Owner
Orth balances the thrifted Peter Pan blouse she’s had since high school with a dramatic body-con dress from Prototype and lace-up booties. “I always love pairing sweet things with black,” she notes.
Cottrill is wearing a 1960’s cream crochet dress thrifted over a decade ago. “It’s a constant reminder that even delicate vintage pieces, if treated with love, can last for decades past their original era and remain classic to your style.” P h oto g r a p h y by jess i c a pag es
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Christina Kilgallon, Manager
Pairing a thrifted jacket and ankle boots with a collection of bangles and a Prototype cuff, Christina Kilgallon describes her signature style as “a lot of black with big, bold vintage accessories, a hat and tons of jewelry.”
Sarah Evans, Owner
Evans wears a sheer bodysuit and high-waisted skirt from Prototype, bringing the look together with a vintage belt and gold buckle. “I love to mix in metallics as an easy way to dress up an outfit,” she says.
For Heagerty, every piece of clothing tells a story, whether it’s her vintage tee from Prototype, an assortment of bangles collected along her travels or her arrowhead necklace, flint knapped by a friend. “It feels so much more valuable than any designer brand to me,” she says. tribeza.com
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Bedrock founders Jan MirkinEarley (right) of Stageside Productions and ACL Live, Lisa Hickey (left) of C3 Presents and Mellie Price (not pictured) of Source
Spring engage students in public education with their revolutionary digital fundraising platform.
With music from Alabama Shakes to Ziggy Marley, Bedrock gives the school fundraiser a modern update.
At the heart of Bedrock are the featured musicians themselves, decade ago, school fundraising meant children soliciting who work closely with the organization to develop compilation armfuls of gift-wrap and stationery around the neighalbums released each fall and spring. Bedrock’s first album feaborhood. Today, however, Bedrock is bringing the fundtured entirely local musicians, including Grupo Fantasmo and raiser into the digital age: partnering with local and nationallyExplosions in the sky, bringing the music of Austinites to Austiacclaimed musicians, the Austin-based organization offers an nites. “A lot of people are very familiar with Austin music and were innovative online platform for parents and students to sell music excited we were offering that,” Hickey says. Soon, Bedrock began and support our city’s schools. collaborating with nationally-recognized talent as well—Grammy Founded in October 2011 by music industry veterans Jan nominee John Legend and Grammy winner Gotye join local singer/ Mirkin-Earley, Lisa Hickey and Mellie Price, Bedrock aims to songwriter Kat Edmonson on Bedrock’s latest compilation, creatmake contributing to public education simple. “We were looking a colorful, eclectic album available for download from Bedrock’s ing for something that would eventually help us expand to other website. cities and work with kids of all ages,” says Hickey, the Festival “Wally [De Backer, of Gotye] approved the proposal himself and Marketing Director at C3 Presents. Unlike conventional school picked a song for us to use, and that was cool!” Hickey recalls. fundraisers, which require institutions to purchase and manage Bedrock began with nine area high schools and has since exoften unwieldy inventories, Bedrock is strictly digital: students panded to include districts in Pflugerville, Leander and Cedar Park, become their own business owners with the website’s campaign as well as partnerships with other education programs, such as The managing tool, marketing and selling Bedrock’s music albums, Ricky Williams Foundation. As the organization continues to grow, while an array of prizes—ACL tickets, vintage guitars and Bedrock’s first priority is on the students and their education. academic scholarships among them—encourage young entrepre“Our whole motto was built around the idea of students—getting neurs. At the end of the fundraising season, a remarkable 55% of them engaged and having them learn how to run mini profits return to the schools themselves, in combusinesses,” says Hickey. “Our focus is to help schools in a parison to the 3-40% from traditional fundraising Bedrock way that’s easier for them.” M. blam efforts. wearebedrock.com
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section psu dining i cbks e c ti o n
Sway 1417 South 1st St 512.326.1999 swayaustin.com
ust when I thought the dining scene on South First Street couldn’t get any hotter—boom!—it did. Welcome, Sway. Among standout newcomers like Lenoir and Elizabeth Street Café, this unconventional Thai restaurant sashayed into Austin’s burgeoning foodie district and staked its claim. Sway, which means “delicious" and “elevated” in Thai, has an unorthodox muse: Sydney, Australia. Evidently, Sydney—where some of Sway’s team spent time—is packed with cool, stylish Thai restaurants that inspired Sway’s modern meets classical cuisine. It’s a terrific restaurant: delicious food, great service, gobs of ambiance. Architect Michael Hsu has done it again, creating a space that’s open and airy, while simultaneously intimate and exotic. The single, sprawling room is filled with communal dining tables, each massive wooden square accommodating 12 diners. Though the arrangement encourages socializing and
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Complete with handcrafted golden tiles, a traditional spirit house and a theater-style kitchen, Sway is an immersive journey into the rich flavors of modern Thai cuisine.
sharing, it also allows for cozier tête-à-têtes. There are also stools along the bar and at the chef’s counter overlooking the open kitchen. And when the weather’s fine, there’s a garden patio presided over by a traditional mahogany Thai spirit house. The team behind Sway is the same as downtown’s excellent La Condesa restaurant. Chef Rene Ortiz handles the savory, and Pastry Chef Laura Sawicki oversees sweets, resulting in delicious twists on traditional and modern Thai cuisine. There are two items you must order at Sway: the first is chicken wings. Really. The generously meaty wings are coated in chili tamarind caramel, fish sauce, ginger and basil and are worth the mess. The other must-have item is dessert: Miso-White Chocolate Semifreddo looks like a work of art and is eye-rollingly good. Its combination of textures—creamy semifreddo and crispy rice—and flavors—nutty sesame and tart mango-citrus sorbet—will keep your taste buds deliciously amused. In between the appetizers and dessert is a world of delightful options. The mussels are some of the tastiest I’ve had, nestled in a
bowl of piquant crawfish, XO sauce, garlic, ginger, lemongrass, Thai chili, sweet onion and bacon bits. Tom Kha Gai soup is rich and complex, striking a perfect balance between sweet coconut and tangy lemongrass. The Son-In-Law Eggs are crazy good: deep fried then drizzled with soy and chili vinegar and served with tender braised pork shoulder. Pad Thai is traditional yet tasty. And a refreshing chicken salad is topped with unexpected garnishes like crispy lotus root, snow peas, banana blossom and coconut-chili dressing. Beef Fried Rice is glazed with tamarind and green chili paste and studded with caramelized onions and crispy garlic. Salt and Pepper Tofu is deliciously simple: pillowy cubes of tofu enveloped in a crispy coating. And spicy stir-fried green beans, Morning Glory spinach and sticky rice all make for pleasant side dishes. Sway’s beverage menu is an exceptional selection of beer, wine and sake, plus exotic offerings like kombucha, drinking vinegars and Asian coffees and teas. If most Thai restaurants in Sydney are anything like Sway, those Aussies are lucky mates indeed. And now, we are too. K. spezia P h oto g r a p h y by j o dy h o rto n
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American 24 Diner
600 N. Lamar Blvd (512) 472 5400 Open 24 hrs Su-T, Th-Sa Inspired by classic diners of the 50s, this eatery offers chef-inspired comfort food at all hours of the day and night. Top it off with a decadent milkshake or a pint of craft beer.
900 W. 10th Street (512) 322 9777 Bacon is more than a breakfast side dish here: it's the start of the show. Locally sourced and smoked in Austin, the bacon comes in a variety of seasonal flavors, including Thai spice and pumpkin.
Banger's sausage house & beer garden
79 Rainey St. (512) 386 1656 Open until 2am Th-Sa
Banger's brings the German beer garden tradition stateside with
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an array of artisan sausage and over 100 beers on tap. Dock and roll diner
1503 S. 1st St. (512) 657 8415
The decadent lobster rolls or aromatic Blue Banhette are a must!
407 Colorado St. (512) 494 6916 This is our kind of hot dog. Choose from an assortment of artisan sausages like the Jackalope with local antelope, rabbit and pork sausage, or the simple and delicious Chicago Dog.
1400 S. Congress Ave. (512) 243 7505 Hopdoddy is a prime spot for burgers and brew. Featuring fresh ingredients from Black Angus beef to baked buns and handcut Kennebec fries, Hopdoddy means serious business when cooking up burgers.
J. Black's feel good loung
710 W. 6th St. (512) 433 6954 Open until 2am
Pub fare at its best in the heart of West Sixth Street.
303 Red River St. (512) 236 9599 Innovative American comfort food in a relaxed atmosphere. The restaurant offers a variety of unique starters, including its signature "Corn Dog" Shrimp.
616 Nueces St. (512) 479 7616 Chef Kevin Williamson takes inspiration from the Gulf of Mexico to the border towns of Texas. The menu features equal parts surf and turf, whether you're in the mood for filet mignon or blackened Mahi Mahi.
1716 S. Congress Ave. (512) 441 6800
Tucked in a cozy, arboreal space, this SoCo hipster haven serves up original cocktails and modern comfort food, made fresh daily.
Asian Bar Chi Sushi
206 Colorado St. (512) 382 5557 Open until 1am Sa & Su Equal parts modern and traditional Japanese fare. The pineapple sake, a house specialty, is not to be missed. East side king
1618 E. 6th St. 1700 E. 6th St. 1016 E. 6th St. (512) 422 5884 Open until 1:45am Modern Asian comfortfood, from decadent pork belly buns to ramen noodles, by Chef Paul Qui. Elizabeth street cafĂ&#x2030;
1501 S. 1st St. (512) 291 2881
Put a Vietnamese twist in your SX plans with Elizabeth Street's aromatic offerings, including pho, pork belly buns and bĂĄnh mi. G'raj mahal
91 Red River St. (512) 480 2255 Open until 2am Fri-Sa A cozy covered patio makes this food trailer feel like your favorite neighborhood restaurant. Imagine yourself on the bustling streets of Mumbai as you dig into one of this eatery's savory, aromatic dishes. Lucky Robot
1303 S. Congress Ave. (512) 444 8081 A futuristic dining experience on Congress, inspired by the vibrant culture and cuisine of Tokyo.
1417 S. 1st St. (512) 326 1999 The culinary masterminds behind La Condes cook up Thai cuisine with a modern twist.
801 S. Lamar Blvd. With renowned chef Tyson Cole at the helm, Uchi has become synonymous with excellence in modern Japanese fare. Start off with a series of hot and cold tastings before diving into the restaurant's innovative sushi menu.
Barbecue Franklin Barbecue
900 E. 11th St. (512) 653 1187
Crowned Best BBQ Restaurant in America by Bon Appetit, Aaron Franklin's eponymous eatery is a true Austin institution. Lamberts downtown barbeque
401 W. 2nd St. (512) 494 1500
This is not your run-ofthe-mill barbecue fare. Classic meats get an Austin twist, like the ribeye glazed with brown sugar and mustard.
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Continental Annie's cafÉ and bar
319 Congress Ave. (512) 472 1884
500 W. 6th St. (512) 477 2377 A French bistro with a southern Cajun flair.
pastries before heading down to the patio for housemade sausages, classic German fare and over 30 draft beers.
Max's Wine dive
This European-style brasserie offers specialty cocktails and decadent dishes from across the continent, including steak frites and chicken fricassee potpie.
Blue dahlia Bistro
A European-style bistro on Austin's East Side.
200 Congress Ave. (512) 827 2760
This gastropub draws from across the Atlantic, offering British-inspired cuisin with a rustic American flare.
2024 S. Lamar Blvd. (512) 394 8150 The warm, pub atmostphere makes Barley Swine the perfect place to unwind after a show. Chef Bryce Gilmore emphasizes local and seasonal ingredients with a monthly rotating menu of carefully composed small plates.
800 W. 6th St. Ste. 100 (512) 436) 9633 Another unique addition to Austin's dining scene from Chef Parind Vora. A diverse and approachable menu with rice bowls, sandwiches, cioppino and more.
French fare with a global outlook, drawing from the cuisines of India, North Africa and more.
1115 E. 11th St. (512) 542 9542
Chef David Bull develops exquisite prix-fixe menus, taking cues from around the world.
EAST SIDE SHOW ROOM
1100 E. 6th St. (512) 467 4280 Open until 2am
Inspired by the eclectic cafes of Europe, East Side Show Room combines vintage cocktails and delicious cuisine.
709 E. 6th St. (512) 614 4972 Open until 2am Enjoy artisan breads and
601 W. 6th St. (512) 992 0204
1209 E. 11th St. (512) 628 0168
Part grocery store, part casual eatery, Hillside welcomes diners with its charming, 50s-inspired style. Justin's Brasserie
4710 E. 5th St. (512) 385 2900 Open until 2am
You won't find another brasserie in Austin that serves elegant French classics like steak tartare and coq au vin until 2am. Jump and a cab and head east. Lenoir
1807 S. 1st St. (512) 215 9778
207 San Jacinto Blvd. (512) 904 0111 Open until midnight M-Sa With truffled mac and cheese as well as shrimp and grits on its menu, Max's offers an elegant take on late-night comfort food.
301 E. 6th St. (512) 474 9898 Featuring an extensive raw bar and oyster menu, Parkside is a favorite among local gourmands.
Austin's only restaurant specializing in authentic Russian far.
200 Congress Ave. (512) 827 2750 Open until midnight Su-Th Open until 2am Fri & Sa Another venture from Chef Bull, Second offers a more casual bistro experience, drawing from Italian, French, and Asian cuisines. South congress cafÉ
1600 S. Congress Ave. (512) 447 3905 Whether brunch or dinner, this SoCo staple serves continental cuisine reinterpreted with an Austin flair. Trace
200 Lavaca St. (512) 542 3660
Enjoy French cuisine and prohibition-style cocktails at Austin's first absinthe bar.
Set in the W hotel, TRACE focuses on responsibly- and locally-sourced ingredients from Texan farmers and artisans.
208 W. 4th St. (512) 494 4011
307 E. 5th St. (512) 428 5442
98 San Jacinto Blvd. (512) 685 8300
This sleek space witha lovely trellised patio overlooks Lady Bird Lake from its perch in the Four Seasons Hotel.
Italian The Backspace
507 San Jacinto Blvd. (512) 474 9899 Open until midnight Chef Shawn Cirkiel fires up a taste of southern Italy with exquisite pizzas hot out of his Neapolitan brick oven. La Traviata
314 Congress Ave. (512) 479 8131 This charming eatery in the heart of the Warehouse District serves up Italian comfort food. Quattro Gatti
507 San Jacinto Blvd. (512) 476 3131
Imagine yourself overlooking the Bay of Naples as you dine on Quattro Gatti's classic Italian fare, such as Gnocchi Alla Sorrentina and Veal Scallopine.
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Elegant Italian cuisine in a warm, sumptuous atmosphere.
Italia de la Vega and Ernesto Torrealba, the husband and wife team behind El Naranjo, serve up authentic cuisine from Mexico's interior.
Delectable cocktails, tasty tacos and appetizers, all inspired by the hip and bohemian Condesa neighborhood in Mexico City.
1610 S. Congress Ave. (512) 441 6100
1315 W. 6th St. (512) 582 1027
Classic Italian fare made simply and with localy sourced ingredients.
85 Rainey St. (512) 474 2776
400 W. 2nd St. (512) 499 0300
Guero's Taco bar
This South Congress staple is a must for delicious weekend breakfast tacos.
Open until midnight Fri & Sa Nestled in a converted house on East Sixth, Papi Tino's serves up modern
1412 S. Congress Ave. (512) 447 7688
1306 E. 6th St. (512) 479 1306
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Seafood Clark's oyster Bar
1411 E. 7th St. (512) 628 4466 Open until midnight M-Sa This East Side eatery delivers bold, authentic flavors with ingredient imported straight from Mexico. Enjoy handmade cocktails al fresco in the spacious backyard.
1200 W. 6th St. (512) 297 2525 Open until midnight
Larry McGuire's latest venture offers an extensive cavier and oyster menuâ&#x20AC;&#x201D;a refreshing indulgence on Sixth Street.
Expect the freshest fish and oysters flown in daily from both coasts, carefully prepared with simple yet elegant flavors.
400 Colorado St. (512) 482 9000 Truluck's offers a rotating menu of freshcatch seafood.
1400 S. Congress Ave. (512) 291 7300
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Real Estate Marketplace Hill Country Ranch
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CHAPARRAL On the spot
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512.326.2111 | DistrictAtSoCo.com Corner of South Congress & Oltorf. 1.5 miles from downtown. SoCo’s only brand new luxury apartments. First Apartment Community in Austin to be LEED Certified Gold.
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our little secret
Sarah Edwards & Hudson Moore’s Walnut Creek Park Walnut Creek Park 12138 N. Lamar Blvd. (512) 837 4500 austinparks.org
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ne of the first things that brought us together was our mutual love for the great outdoors. In fact, our first date was at Zilker Park. It was one of those rare Texas days where the weather was just right, and we quickly fell in love beneath the beautiful spring sky. Ever since, we've spent the majority of our free time strolling around Lady Bird Lake, swimming at Barton Springs and exploring new parks around town, searching for a new "secret spot.” At the moment, our newest hidden treasure is Walnut Creek Park. Walnut Creek Park is unlike any other in town. It's located in far North Austin, just west of I-35. If you're heading out there during peak traffic hours, we suggest you take Lamar Blvd
all the way up past Braker Lane—the park entrance will be on your left. Taking this route will provide numerous opportunities to stop at an authentic and delicious Mexican taco stand, if you so please. The park is equipped with hiking trails, three softball diamonds, basketball courts, a swimming pool and a very large grass field that is sometimes used for cricket matches and other sports. The hiking area is not near as large as say, the Green Belt, but the paths wind and weave across the landscape so much that it is almost impossible to discover every single pathway—although we highly recommend you try! The majority of the trails are covered with lush trees that drape over the dirt and rock avenues, creating an environment similar to a scene out of the movie Big Fish. If you choose the right path, you'll eventually come across an opening onto an elevated mount, where you can see west for miles and catch the Austin sunset. It's absolutely gorgeous. If you're a pet owner, this is a wonderful place to walk your dog. If you're an avid runner or walker, this is a beautiful location to do so. If you're a trail biker, this is the best place in Austin! There's even a terrain park with massive dirt jumps and runs just to the right of Walnut Creek Park Road off Lamar. Just be sure to bring your helmet! If you're looking for a peaceful getaway— something different, quiet and relatively undiscovered, this is the place. We hope you enjoy Walnut Creek Park, our secret spot! hudson moore Hudson Moore is a country artist and songwriter based in Austin. Check out his new single "Doin' Just Fine," playing on the radio now. Sarah is loving her job as a Pre-K teacher.
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