Every March, bands from all over the world make the trek down to Austin, Texas for the South by Southwest music festival. This year, D.C. was better represented than in years past, with many of the District’s most popular acts making their way to Austin to spread the word. There were even a number of Washington-centric showcases, including the aptly named “D.C. does TX” showcase. As anyone who has been to SXSW can tell you, the festival is full of scheduling conflicts and agonizing decisions; as a result, DCist was unable to catch each and every D.C. band that played the festival. We were, however, able to see quite a few of them, and here’s a short list of the most notable sets from this past week:

Ryan Walker (of the Beanstalk Library)
Lovejoy’s, just off the beaten path of the main 6th Street drag, is something of an in-between set haven for those in the know. The place has a decidedly divey atmosphere, a couple of pool tables in the back and house brews for $2. While Lovejoy’s is pretty much an ideal spot to hide out from the Texas sun, it’s a less than an ideal place to play a solo set of sparse, hushed tunes--especially during happy hour. So we can’t say that we envied Ryan from the Beanstalk Library (***), who was tasked with warming up the chatty bar before Jukebox the Ghost’s set. Though he could barely be heard even close to the stage and had to stop a few times to ask the audience to quiet down, his spirits still seemed high at the end of the set. “I hope you guys are having a good week,” he said. “I know I am.” If that doesn’t warrant an “A” for effort, I don't know what does.


Jukebox the Ghost
Up next were Jukebox the Ghost (***), who - despite the less than ideal conditions - dove headfirst into their set with the usual energy and good humor their fans have come to expect. Luckily, the bar quickly took notice and quieted down considerably as the band played the upbeat, piano-driven pop numbers that make up their newly released LP, Let Live & Let Ghosts. “You should come down here,” one spectator was overheard telling someone on his cell phone. “This band is playing and they sound like Ben Folds.”

Exit Clov

Much ink has been spilled on Exit Clov in the virtual pages of DCist, but outside of the Mid-Atlantic region, the band is still largely an unknown quantity. Despite this fact, they seem to attract more and more attention at every successive SXSW, so we figure it’s only a matter of time until the local five-piece hits it big. Playing their poppy blend of classical arrangements and post-punk rhythms with energy, dexterity and style, the band easily captured the attention of just about everyone who had chosen to hide out at Lovejoy’s that afternoon. And we’re quite sure that Emily and Susan Hsu’s sugary-sweet vocals and sisterly onstage chemistry didn’t hurt matters, either. Given the reception they received at Lovejoy’s on Friday, it seems that Exit Clov won’t stay a well-kept secret for long.

Le Loup
Alongside Georgie James, Le Loup (***) was one of the more buzzed-about acts at this year’s festival and they definitely didn’t make themselves scarce, playing a number of day shows and nighttime showcases. On Friday afternoon, they played a well-received set under the tent at Emo’s Annex, and despite a few technical difficulties (a buzzing banjo pickup and a missing delay pedal), managed to impress all of the neophytes in the audience who we talked to afterward. The first half of the set consisted entirely of new songs, all of which eschewed the band’s usual folky arrangements for interwoven guitar lines and more complex rhythms. While the new tunes are a bit more rock than Le Loup’s older stuff, it’s clear that the band is really starting to gel onstage and we expect that few will be disappointed. After only about 20 minutes, Sam announced that the band’s set was being cut short, resulting in a collective groan from the audience. That really says something at a festival that’s known for its speed dating-like approach to music.

Photos by Mehan Jayasuriya