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SXSW 2019: 30 Best Artists We Saw in Austin

From Amyl and the Sniffers and the Vandoliers to Hayes Carll and Yola

Amyl and the Sniffers perform at SXSW in Austin, Texas.

Amyl and the Sniffers perform at SXSW in Austin, Texas.

A.F. Cortes

The annual South by Southwest Music Festival continues to be an overwhelming experience for both attendees and bands, as each hustle from venue to venue either in in search of the next buzzy thing or their own big break. This year, however, SXSW felt slightly more subdued, perhaps because Austin’s major schools were still in session ahead of spring break. Even so, crowds were everywhere — filling clubs on Sixth Street, parking lots on South Congress and even boats on the Colorado River — eager to hear breaking acts from the Vandoliers to Black Pumas and vets like Edie Brickell and Mavis Staples. Here’s the 30 best sets we saw.


Derrick Lee for Blurred Culture

New Nashville Riverboat Showcase

Singer-songwriter Jamie Kent has been hosting and curating this set of three-hour cruises at SXSW for years now, but in 2019 he set sail under the “New Nashville” flag, a burgeoning initiative that highlights up-and-coming Nashville-based talent. But don’t think that means just country — rather, it’s the diversity of the artists that makes this boat seaworthy. Soul powerhouse Sarah Potenza, indie-R&B duo Ni/Co, Americana songwriter Szlachetka and acid-country purveyors Banditos all helped represent the vast talent that is Music City while cruising up and down the Colorado River. Horn-driven funksters Luthi emerged as the biggest surprise, kicking off the excursion on the top deck with big hooks and sunset vibes to make the case that they’re Nashville’s next great party band. J.H.

SXSW in Austin, TX, USA on March 2019.

Koury Angelo for Rolling Stone

Black Pumas

Few artists seemed to tap the collective unease of the national moment quite like Austin’s Black Pumas did last week. The hometown six-piece’s grooves were funky in a thick, viscous way, oozing out in ambitious jams that wandered into heady territory without meandering, and made even the cavernous Convention Center Day Stage feel intimate on Friday. The apocalyptic visions of tight, radio-friendly single “Black Moon Rising” felt quaint compared to its more ambitious counterparts, but never missing a beat was the tireless, charismatic energy of singer Eric Burton, who hopped off stage and took a lap through the crowd at the end of the show. J.G.

SXSW in Austin, TX, USA on March 2019.

Koury Angelo for Rolling Stone

The Waco Brothers

“I don’t think you can get more SXSW than seeing these guys at the Broken Spoke,” said one fan of the Waco Brothers’ wild performance at the venerable Austin dance hall. Appearing as part of the annual Twangfest — a free festival within a festival — the country-punk of the Wacos energized an early-afternoon crowd, with shout-alongs like “Building Our Own Prison” and a cover of “I Fought the Law” irresistible standouts. But it was “Plenty Tough, Union Made,” off 1995’s To the Last Dead Cowboy, that continues to be the show-stealer, with leader Jon Langford, a ubiquitous presence at SXSW, and the band raising defiant fists in unison as they celebrate the struggle of the workingman and woman. J.H.

SXSW in Austin, TX, USA on March 2019.

Koury Angelo for Rolling Stone

The Chills

In a sense, Martin Phillipps and the Chills dominated SXSW 2019. A documentary entitled The Chills: The Triumph & Tragedy of Martin Phillipps premiered here on March 12th, and the Chills supported the film with a series of shows, beginning with a concert the Tuesday prior to the start of the Music portion of SXSW and concluding on Sunday, when a good portion of the conference-goers headed home. The band’s mid-evening show on the patio at Hotel Vegas on Thursday caught the band halfway through the festival, neither functioning as headliners or the focus of attention. Much of the crowd at Hotel Vegas seemed largely indifferent to that evening’s entertainment — they were there for a good time, not a show — but that disconnect between the audience and the passion of the band only made the performance more powerful. The Chills seemed immovable, secure in their majestic jangle, powered by a combination of delicate melody and muscle that can still startle. S.T.E.

AUSTIN, TX - MARCH 14:  Lead Vocalist of Midland, Mark Wystrach, performs at the Recording Academy Block Party held at the Four Seasons during SXSW on March 14, 2019 in Austin, Texas.  (Photo by Sasha Haagensen/WireImage)

Sasha Haagensen/WireImage


With SXSW raging outside, Midland headlined a block party for the Texas chapter of the Recording Academy at the Four Seasons. But the swanky digs didn’t diminish the trio’s scruffy charm or, backed by just their core band of guitarist Luke Cutcheon and drummer Robbie Crowell, their stripped-down twangy sound. Instead, Midland treated the gig as a high-society rehearsal, debuting new material like “Mr. Lonely,” a Brooks & Dunn-inspired dancer that finds vocalist Mark Wystrach playing the lothario. The denim-clad singer also celebrated life in a “21st century American honky-tonk band” in another new song, harmonizing with bassist Cameron Duddy and guitarist Jess Carson. The capper? A woozy version of Chris Isaak’s “Wicked Game,” with Duddy on drums and Cutcheon setting the mood with that famously seductive intro. J.H.

AUSTIN, TEXAS - MARCH 16: Jack Antonoff of Bleachers performs at Rachael Ray's Feedback Party during the 2019 SXSW Conference and Festival at Stubbs Bar-B-Que on March 16, 2019 in Austin, Texas. (Photo by Tim Mosenfelder/Getty Images)

Tim Mosenfelder/Getty Images

Cautious Clay

There weren’t many instruments that Cautious Clay didn’t bring with him to the Convention Center on Friday, where he rotated between sax, guitar and — a bold move that inspired far too many Ron Burgundy comparisons — a flute. Not that there was anything ostentatious about what Clay was doing, besides a nervous maximalism that seemed ready to subvert his dense, underwater grooves, which hearkened to post-punk as much as funk. Moody, textured and atmospheric, the set luxuriated like a more experimental Frank Ocean while Clay’s soft, breathy vocals rippled through with an eerie steadiness that, yes, worked in strange harmony with his flute. J.G.

SXSW in Austin, TX, USA on March 2019.

Koury Angelo for Rolling Stone

Sarah Shook & the Disarmers

Trifle with Sarah Shook at your peril. This North Carolina honky-tonk punk strikes a defiant onstage posture with a voice that goes right for the throat, a feral switchblade snarl that sometimes eases and glides but never softens. Appearing with her group the Disarmers, Shook put in nine South by Southwest appearances (including a raw Friday-afternoon set at the Yeti store), coming across as Chrissie Hynde with a drawl. Eric Peterson’s lead guitar served as anchor, expertly going back and forth with Phil Sullivan’s pedal steel. But it was hard to pay attention to much besides Shook herself as she threw out nuggets like, “God never makes mistakes/He just makes fuck-ups” – a punchline any number of troubled-boy troubadours would kill to have written. D.M.

SXSW in Austin, TX, USA on March 2019.

Koury Angelo for Rolling Stone

Brandy Zdan

“I want your trouble/how does it feel?” Brandy Zdan asked more than once over SXSW, cranking through the blisteringly brief rocker off her latest album Secretear. The Nashville-based Zdan is a guitar hero of the highest order, commanding attention during a Friday showcase at the Yeti store on South Congress with power chords and attitude to burn. She’s an interesting figure onstage, all mystery behind her aviators and long locks. But her shielded countenance doesn’t mean she’s hiding something. Rather, Zdan bares all in her lyrics, whether in the combustible “I Want Your Trouble” or the dreamy “Run Away,” both Secretear standouts that could position her as today’s Joan Jett. J.H.

AUSTIN, TX - MARCH 15:  (EDITORS NOTE: Image has been converted to black and white.) Robert Ellis performs onstage at New West Records during the 2019 SXSW Conference and Festivals at Mowhawk on March 15, 2019 in Austin, Texas.  (Photo by Chris Saucedo/Getty Images for SXSW)

Chris Saucedo/Getty Images for SXSW

Robert Ellis

Robert Ellis began his career as a pretty conventional guitar-toting troubadour (and a good one at that). But he’s gone through one of the more memorable reinventions in recent memory with his stylish new album Texas Piano Man, which could be subtitled “Captain Fantastic and the White-Suit Cowboy.” Sporting an immaculate white tux and fedora, Ellis came onstage, sat down at the piano and began to croon: “I’m fuckin’ crazy…” He couldn’t seem to stay seated as the set progressed, standing up to play even though it meant bending down to the microphone on odes to everything from passive aggression to Topo Chico. It was fantastic Elton John-style showmanship. D.M.

AUSTIN, TX - MARCH 15:  (L-R) Jonathan Pearce, Elizabeth Stokes, and Benjamin Sinclair of The Beths perform onstage at Rolling Stone during the 2019 SXSW Conference and Festivals at Native Hostel on March 15, 2019 in Austin, Texas.  (Photo by Steve Rogers Photography/Getty Images for SXSW)

Steve Rogers Photography/Getty Images for SXSW

The Beths

Hailing from Auckland, New Zealand, the Beths are heirs to that country’s rich tradition of sharp, skewed guitar-pop. The quartet is charmingly out of phase with the times: like Courtney Barnett, they seem stuck in the middle of the Nineties, preferring barbed melodies and countering their riffs with resignation, but they’re also not one for apathy. Onstage on Thursday, the band was tightly wound, pushing through their set with twitchy determination — so much so that their dreamy moments come as a relief. That sense of kinetic energy cancels out whatever retro inclinations they have: like the best rock & roll, they gain power from living in the moment. S.T.E.

SXSW in Austin, TX, USA on March 2019.

Koury Angelo for Rolling Stone

Sam Morrow

Too often, modern-day Southern rockers seem to cherish a pose over music: beards, denim and vests, the scraggly uniform that was patented in the 1970s. Sam Morrow and crew sport this outfit too — all but the drummer have facial hair — but they abandon convention in crucial ways. Morrow can growl like Gregg Allman in his prime, but his original songs are sinewy and streamlined, demonstrating a debt to Tom Petty. The quartet can rev up a Bakersfield beat so it’s as propulsive as a train, but they’re better when they get funky: “Quick Fix” is swampy in a way that is reminiscent of prime Little Feat. When the group really gets cooking, they’re swinging and strong, achieving a vigorous blend of greasy groove and song. Turning ZZ Top’s “Sharp Dressed Man” into a slow, grinding jam is a master stroke, illustrating how Morrow isn’t just part of tradition, he’s imaginative enough to play with the past too. S.T.E.

AUSTIN, TX - MARCH 15:  AJ Haynes of Seratones performs onstage at New West Records during the 2019 SXSW Conference and Festivals at Mowhawk on March 15, 2019 in Austin, Texas.  (Photo by Chris Saucedo/Getty Images for SXSW)

Chris Saucedo/Getty Images for SXSW


Being fierce sounded fun when the Seratones hit the outdoor stage at Mohawk on Friday night, thanks in large part to the full-bodied attitude of singer and guitarist A.J. Haynes. Playacting with coos and shrieks as she dipped and dived around stage (and even climbed over the side of it), Haynes got a mischievous thrill from telling off the “Sad Boys” and just plain had fun with her band’s throttling mix of punk and Louisiana soul, letting out yips of joy between her often-roaring vocals. When the whirl of noise came to a pause, she even improvised an a cappella cover of Nina Simone. J.G.