First up we caught Plants & Animals, a three-piece with a catalogue full of quick indie rock, touched by Americana. The band were quite similar to friends of Fan the Fire, Eastern Conference Champions, certainly a good thing, and new tracks debuted represented a step on from their already impressive releases to date.

The real reason to be at Galaxy Room, however, was up next, and from the minute Local Natives took to the stage, it was obvious the eclectic bunch out of Silverlake, LA, are soon to be something special. West Coast indie-rock mixed with the adventure of Animal Collective, their debut album Gorilla Manor is one of the best releases so far this year and live, they’re even more entertaining. For anyone who hasn’t seen them to date, they’re a must catch when they go on tour later this year.

One of our big hopes for this year’s SXSW, after at last grabbing some BBQ at Stubb’s, we headed to Mohawk to see Turbo Fruits. After hearing great things about the energetic three-piece, and being a fan of two of the members’ former band Be Your Own Pet, we braved the cold to catch their set. Sadly it was a bit of a letdown and Turbo Fruits could only pump out song after song of generic rock, with little individualism to their tracks.

Massively hyped across the collated press, it was fitting that The Drums were the band to close out our SXSW. Playing to a fairly packed Stubb’s outdoor stage crowd, the band’s indie-pop-surf has taken a new light since the release of breakthrough single Let’s Go Surfing. Though the band seemingly won over parts of the audience, their music certainly doesn’t warrant the billing they’re being given both at and outside of SXSW. Their live performance feels a little too curated, although they do just about pull it off, and despite a touch of Joy Division to tracks off EP Summertime!, they’re going to have to step up their game when they put out an album in the summer.

And with that it was over. Tiring, but packed with a heap of amazing bands, some forgettable, but as always, a thrilling experience. Same time next year.

There will be a full review of SXSW 2010 in the upcoming issue of Fan the Fire, out April 23rd.

Compared to the day before, our third day’s showing in Austin was therefore fairly lite. First up were Lemonade at Lovejoy’s. In the sweaty small venue, you have to hold your nose somewhat as you approached the central seating but the band put on a good show with an electro sound somewhere between MGMT and Hearts Revolution.

After Wavves stormed SXSW last year with their lo-fi charm, it was only apt that we checked out this year’s hyped lo-fi trendsetters. Dum Dum Girls though were something of a disappointment, mixing in a gothic overtone with a very full sound. Their songs though were a little nondescript, and while in the studio they might display some individuality, live, each track faded into the crowd.

After the disappointment of Dum Dum Girls we went in search of something with a little more energy, and Holy Fuck perfectly fitted the bill. Blending tracks to curate a perfect 30 minute set, their prog-electro style had the crowd in awe in minutes, and Holy Fuck are set to at last really break into the mainstream this year.

After sitting through a dreadful and grossly misplaced performance from rapper Chiddy Bang, The Young Veins finished off the day. One half of the now splintered Panic! At The Disco (with the other two members still recording under the same name), The Young Veins, led by Ryan Ross and Jon Walker, is the full-blown end result of Ross’ push toward The Beatles. Panic!’s last album, Pretty. Odd., was disappointing to some for ditching their electro punk roots to turn down the eclectic indie folk route, but The Young Veins are full on Beatles-influenced, down to the clothing and instruments. Sadly it doesn’t really work as well as Ross would have hoped, and the only semi-excitable crowd is proof already that they’re going to have to go someway to matching Panic! At The Disco when Brendon and Spencer release new material likely later this year.

Early finish, but it was necessarily to regroup for the final day.

First up where Tijuana Panthers. Seeing the three-piece from Long Beach was a long time coming, and though the sound wasn’t the best at Trailer Space Records, the band bring surf up to speed for the modern day and with tracks like Summer Fun will be breaking the mainstream before too long.

Indoor at Palm Door, Yacht were next; a heavy, dancier White Rose Movement, though they were a little heavy going, and with The Growlers due straight after, their set was a little too long.

The Growlers were worth the wait. Playing psychedelic indie rock with a Beatles-y feel, they have a great on stage presence, the lead singer especially, and their songs are up to scratch as well, pushing Tijuana Panthers all the way for performance of the day.

Delta Spirit, hadn’t played yet though. Running through a handful of old tracks at the Lustre Pearl, an old house converted into a bar, Delta Spirit’s new stuff causing equally big groundwaves. From Bushwick Blues to White Table, the crowd quickly got into the unfamiliar material, with excitement quickly building for the second album History From Below

Paying a visit to the Austin Carnaville, The Walkmen closed the day at SXSW’s unofficial playground. To a backdrop of carnival rides, their classic slow drawl was right on form, with new songs debuted to the crowd going down a storm.

Keeping an LA feel, and our first show at the huge outdoor Stubb’s venue, we caught Robert Francis to open the evenings shows. Backed by a motley band, including our friend, ex-Shys bassist Alex Kweskin, Robert play heartful country rock and it’s no surprise he’s already been snapped up by a major label, and set for a big nationwide tour later in the year.

After Robert Francis, and a quick bite to eat, we raced over to Cedar Street Courtyard for She & Him. Apart, Zooey Deschanel and M. Ward have huge reputations, one a filmstar and the other a famous solo artists, but together they’re still finding their feet somewhat, it was however, always going to be packed. After unintentionally jumping the entire queue though, we got in, but weren’t prepared for the letdown that would ensue. Putting a ‘no photos please’ notice out over the PA before they emerged and then playing in near darkness with just a couple of red lights illuminating the stage, with Zooey’s moviestar demands they killed the atmosphere, appearing 30 minutes later to then play seemingly shortened versions of their songs. Their light country folk can draw you in on their records, but live they where underwhelming.

For the final show of a packed day 2, we headed to The Phoenix for We Are Scientists. Arrived a little early we caught the band before, The Chapman Family, a British heavy rock/scream band, and nevermind going against my aim to try and avoid all British performers (as I can just see them in London) they were awful, leaving the audience praying for silence rather than their 30 minute set.

We Are Scientists, however, didn’t disappoint, and with an amazing on stage presence and charisma between frontmen Keith and Chris, the packed venue were in raptures after every song, and in every break inbetween. What’s more, their new songs are sounding great and classics from the first record and equally impressive follow-up are just as good today as they were when released.

Phew, long day.

Those who haven’t heard of SXSW, for the music industry, this is where breaking bands break and unknowns build hype. The bands you’ll fall in love with next year, were at SXSW this year.

First up were The Morning Benders at Emo’s, and similarly to last year, the first show was one of the main highlights of the whole festival. Their spritely indie-rock-pop has a bit of a Radiohead to it, minus the psychedelic edge. Their new album Big Echo is a big step on from earlier material, a lot more mature, and live, they’re full of energy and thoroughly honest and captivating.

Moving onto Red 7, Those Darlins had been getting a good deal of hype but the ¾ all-girl rockers were forgettable to say the least. The songs were bland and directionless, and while they could be a lot tighter on record, live they need to put in a bit more work.

The main attraction at Red 7 were Real Estate. A pick in our recent bands to look out for in 2010, the four-piece play slower moving, catchy indie rock, and while they aren’t instantly impactful, their music grows on your fast with a grand feel, and strong lead guitar.

Dawes opened up the evening shows at Club de Ville and easily the top pick of the official shows that night. After catching them at the Troubadour in LA the week before, which instantly catapulted them into the top 5 gigs I’ve ever been to, their SXSW opener was every bit as good with the set time a little trimmed. Their heartful slow moving indie rock debut North Hills featured in a bunch of top ten lists last year, including our own, and with good measure.

After Dawes we raced over to Wave Rooftop to catch Princeton. A fan of their album, Princeton’s light, breezy indie rock is easy to listen to though it struggled a little to stand out from the over-packed festival.

As midnight struck, Warpaint were next and the four-piece put on a great show at Emo’s Jr. The band fall somewhere in between Battles and Fever Ray, though for a SXSW set, can be hard to get into, but they definitely have something different.

One of the big hype bands in music, nevermind at SXSW, Surfer Blood were a fitting end to the first day in Austin, but they were a big disappointment. Their debut album is brilliant, but live they are underwhelming, and came across as far too arrogant for their size. They are hugely hyped, but they’re not big yet.

Long day. Filled with the magic you only get at SXSW though. Roll on the day 2.