Welcome to the final installment in our coverage of the South by Southwest Music Festival, where we decided to listen to some people talk along with continuing to listen to people sing. The free food and drinks weren’t bad, either.

South by Southwest offers more live music than any other music event on Earth when you add in all the free day parties. Many of the the bands playing official evening showcases also schedule day party sets to maximize exposure and opportunity. But then you also have the panels at the Austin Convention Center, where industry veterans discuss a wide variety of music industry topics and concerns. It’s great to be able to take a rest from the parties and soak up some knowledge in whichever areas are of interest.

Ume, Lustre Pearl

Lustre Pearl was the place to be at 1 pm on Wednesday as Ume played a rocking set to get the beautiful sunny day going in the club’s back yard. Ume was recently named by Rolling Stone as one of the 16 best unsigned bands in America, and it’s not hard to see why. Singer/guitarist Lauren Larson is a dynamic force of nature, riffing and rocking out in high-energy fashion, while her husband holds down the alt-punk-grunge low end on bass. Tunes like “The Conductorâ€� find the band putting it all together with great riffage, a catchy melodic chorus and then a big rock finish. The band sounds like they could fit right into the ’90s Seattle scene. Could they be even better if they added a lead guitarist? Perhaps.

Leslie & the Badgers were due up at Lustre Pearl after Ume, but the Badgers were MIA as Leslie Stevens played solo acoustic. But with the day still young, it was nice for the ears to follow Ume’s powerful alt-rock set with some acoustic Americana stylings and the sweet soprano voice of Stevens.

Steve Poltz, West Sixth

Steve Poltz and the Rugburns played the Dogwood on West Sixth at 2:30 pm and it was a great ’90s flashback since Poltz usually tours solo these days. The Rugburns were a band that should have been big in the ’90s, but they never quite got over the hump. But Poltz has carved out a career as an endearing singer/songwriter of catchy tunes with a great sense of humor. “Me and Eddie Vedderâ€� was a highlight as always with Poltz, where he pays amusing tribute to Led Zeppelin, marijuana, LSD, the Brady Bunch and alt-rock dreams. Poltz also told an amusing story about riding his bike when he was a kid, running into a truck and needing 56 stitches in his head. He also then needed a retainer that he said became like a radio, which is what led him to start writing songs, including one about visiting Graceland and being willing to pimp out his sister to Elvis. Poltz remains one of the most unique and charming singer/songwriters in the business.

The Cloud Nothings, Mohawk Patio / Jessica Lea Mayfield, Radio Day Stage

Ohio musicians were down on the scene in the mid-afternoon as Cleveland natives the Cloud Nothings rocked the Mohawk Patio at 3:15 pm. The band has a high-energy
pop-punk sound, if that’s your thing, though they could perhaps benefit from some more dynamics in their songwriting. It was Kent, Ohio’s Jessica Lea Mayfield (below) who stole the afternoon at the convention center’s Radio Day Stage in a 4 pm set. The 22-year-old singer/songwriter is clearly an old soul, emoting in a style that seems beyond her years. Her overall vibe is sort of Midwest Americana mellow, but her songwriting keeps growing and she’s starting to incorporate a little more rock flavor into some of her tunes. She highlighted songs from her new album Tell Me, such as “Trouble,â€� which starts off slow but then picks up with a solid beat and some shimmery electric guitar elements. Lead single “Our Hearts Are Wrongâ€� is a big winner, with Mayfield at her best on the up-beat yet still laid back groove. This is the kind of tune that could guide Mayfield toward stardom.

Music panel: Juggalos to Phish-heads

The 5 pm hour featured an intriguing panel titled “Juggalos to Phish-heads: Managing Fanatical Music Consumers.â€� The panel featured discussion about super fans and how they can at times be a double-edged sword. Amy Miller from Ticketfly moderated and related the tale of how Juggalos – fans of the Insane Clown Posse – had basically assaulted the notorious Tila Tequila when she tried to perform an opening set for the band. Fans had apparently vowed to abuse her and the Insane Clown Posse had even offered to pay her not to perform, yet she chose to risk life and limb. Andy Gadiel from JamBase, famous in the Phish community for his Phish site, was quick to point out how that would never happen at a Phish show. Stories were also related by panelists about fans of Jane’s Addiction and R.E.M. In the end, it seemed apparent that Phish has the most active and benevolent super fans of all.

Eisley, The Stage

If you knew you couldn’t catch Eisley in their at the Barbarella Patio, there was another chance to see them at Paste Magazine’s party at the Stage on Sixth at 7 pm. The melodic indie-pop band from Tyler, Texas played a great set, mixing older tunes with material from their forthcoming new album The Valley. With girls on guitars and keyboards and guys on drums and bass, the band delivers a majestic sound. The harmonies on “Invasionâ€� were a treat, with guitarist Sheri Dupree-Bemis and keyboardist/sister Stacy Dupree soaring on the haunting yet catchy song. “Ambulanceâ€� was another highlight, with Stacy shining in a Tori Amos type of way. The band has been signed since 2003 and are still fairly young, maintaining what still looks like a very high ceiling.

“Treme” party, The Ghost Room

Thursday afternoon offered a “Treme” party at the Ghost Room, featuring New Orleans jazz and funk and headlined by the Dirty Dozen Brass Band. Ace piano man Henry Butler also entertained the packed club, while fans enjoyed a New Orleans buffet on the patio out back featuring dirty rice and beans, jambalaya and Crawfish Monica (a spicy macaroni and cheese with crawfish tails, mmmm.) But attending the party required missing Guns ‘n’ Roses bassist Duff McKagan delivering a solo panel back at the convention center on financial advice for musicians. This was a really tough call if you’re a fan of both G’n’R and New Orleans music.

The Joy Formidable, The Parish

English buzz band The Joy Formidable played the NPR day party at The Parish at 3:15, but the free party had a line down the street making late arrival impossible. You could still catch the band in the 5 pm hour in a party from Seattle’s KEXP at Mellow Johnny’s Bikeshop though. But for some reason, the shop had bands playing inside the shop with horrible acoustics and bad sightlines when they had an outdoor stage set up that they were only using for evening sets. The power trio did their best in a bad situation, and it was still apparent that singer/guitarist Ritzy Bryan is a star on the rise. The band’s guitar-driven sound recalls Tanya Donnelly’s ’90s band Belly, with a big sound and airy yet strong vocals from the diminutive but forceful Bryan.

Nicole Atkins, The Stage

Nicole Atkins entertained fans at the ongoing Paste party at the Stage on Sixth in a 4 pm set, with a bluesy melodic vibe highlighting songs from her new album Mondo Amore. “The Tower� closed the set in stylish fashion. Atkins started off the song singing in a torchy sort of style, before the tune evolved in a more powerful direction that saw her belting it out on the choruses and the ending jam.

Music panel: Writing about music in the 2010s

Friday had a 12:30 pm panel for the music critics titled “Writing About Music in the Twenty Tens,â€� where attendees could glean the wisdom of writers who have managed to make a living at the game. One tip was to save all your recorded interviews, because you never know when there could be a book deal down the line where the material could come in handy. Two o’clock featured a related topic with “Critics vs. Publicists: Why Must Things Be Contentious?â€� Moderator Heather West, President of Western Publicity out of Chicago, led a lively discussion on the relationship. The bottom line was that music critics and publicists need each other, so cordial and respectful behavior should be a two-way street.

The Radio Day Stage area continued to serve a key dual purpose. Bands had a chance to play afternoon sets at the convention center for badge holders who might not be able to catch them later. There were chairs up front for close-in viewing, but there was also a lounge area in the back with lots of big cushy pillows where attendees could relax and take a load off. The Felice Brothers played in the 3 pm slot and mixed a bluesy folk rock sound with a Dylan-ish vibe that was perfect for a lazy break time.

Rolling Stone party: Tennis, Surfer Blood, Stephanie Hatfield & Hot Mess

Saturday afternoon featured a Rolling Stone day party at La Zona Rosa, with barbecue, Stella Artois and tequila drinks. Tennis, Surfer Blood and the Joy Formidable all performed. Tennis had a melodic pop sound featuring waifish vocalist/keyboardist Alaina Moore. Surfer Blood out of West Palm Beach featured an anthemic guitar rock sound that recalled the Strokes to some degree, but not as hooky. It would have been great to see the Joy Formidable in a proper venue, but the 2:45 pm slot called for a trip over to Fuel on Trinity Street, where Stephanie Hatfield & Hot Mess were due. The Santa Fe band has a guitar-driven blues rock sound that serves as a canvas for the sensational vocal stylings of Ms. Hatfield, a rock goddess who can belt it out with the best of them. She went sultry, playful, mournful, anthemic; there seems to be no limit to her range. Guitarist Bill Palmer, meanwhile, was a master of six-string dynamics, always playing for the song. The band will soon release their second album and could be on the verge.

Madison House Breakfast Beats & Afternoon Treats party: Eliot Lipp, Toubab Krewe, Van Ghost, Lynx, Rival Sons

This was a treat indeed, held in the parking lot of Frontgate Ticketing’s office on South Congress and featuring free vodka drinks and Sierra Nevada Pale Ale. You don’t get a lot of jam bands at SXSW, which are Madison House Publicity’s specialty, as they tend to focus on relentless touring rather than aiming for industry connections. But Madison House put together a great little lineup for the jam crowd here. DJ Eliot Lipp threw down some tricked out funky breakbeats in the 4 pm hour to entertain the assembled. He featured analog synths and futuristic vibes that had the boys dancing and the girls hula hooping. Toubab Krewe appeared again and delivered another stellar set of groovy jams that were very well received.

Van Ghost out of Chicago mixed it up with an acoustic duo version of their bluesy Americana band, featuring singer/guitarist Michael Berg and powerful vocalist Jenn Hartswick (of Trey Anastasio Band fame.) The pair delivered some of the best harmonies of the weekend, leaving fans eager to hear the whole band. Lynx followed with her one-woman act that featured an amazing vocal jam where she beat-boxed in an impressive manner that recalled the skills of actor Michael Winslow in Police Academy. The Oakland-based artist said she developed the skill from too much time being grounded and bored. She also played some great tunes featuring call-to-arms lyrics like “Time to give the power back to the people.â€� She’s got a great message- someone get this girl a backing band.

It was only too bad that the crowd had diminished by 7 pm because the best was yet to come in the party’s final slot. Those who stayed were richly rewarded with an electrifying set by Rival Sons out of Los Angeles. The rocking quartet seems heavily influenced by Led Zeppelin and the Black Crowes, with an authentic blues rock sound that’s hard to come by these days. Guitarist Scott Holiday oozes coolness and is a riff master who’s obviously worshiped long and deep at the altar of Jimmy Page. Vocalist Jay Buchanan has clearly got the rare “itâ€� factor that makes great singers so hard to find, bringing a vocal prowess and charismatic stage presence that stand out in a crowd of 2,000 bands.

The second of our five-part series, Greg Schwartz spends five days in New Orleans, absorbing more music than one thought humanly possible, grinning ear to ear the entire time.

Ivan Neville’s Dumpstaphunk, Acura Stage
Music started at the fairgrounds in the 11 am hour, but I felt like I was doing well to make it there by 1:30 pm for the main stage set by Ivan Neville’s Dumpstaphunk. I’d caught Dumpstaphunk opening for Phil Lesh & Friends at their January 2008 Mardis Gras show in San Francisco, so I knew this was a band not to miss. Ivan is of course one of the legendary Neville Brothers, so the band’s sound is rooted in that classic New Orleans funk style pioneered by the Meters (which featured Art Neville, and later also Cyril Neville.) It was a picture-perfect beautiful, breezy sunny afternoon and hearing these funky sounds kicked things off in high style. Bassist Tony Hall, who some might recognize from his time served with the Trey Anastasio Band, was a star of the show. He laid down a bright punchy low end that made every tune bounce, and also sang with soulful flair on songs like Sly and the Family Stone’s “You Can Make it if You Try.â€�

Amanda Shaw & the Cute Guys, Gentilly Stage
The Gentilly Stage is the second biggest stage and the furthest walk from the main stage, but it still only takes five to ten minutes to get over there (as opposed to some festivals where certain stages can be much farther apart.) Local lass Amanda Shaw drew a large crowd to hear her high-energy, rootsy country rock sound as she led the band on fiddle. A spunky cover of the Clash’s “Should I Stay or Should I Goâ€� got things rocking as the charismatic Shaw sang with punk energy, but then injected Cajun-rooted fiddle runs for a unique take on the punk classic. Shaw’s instrumental talent shined brightest on an instrumental tune that closed the set with a bluesier flavor. The 19-year-old New Orleans native soloed brilliantly, while also moving and grooving with a dynamic stage presence making her one to watch moving forward.

Gov’t Mule, Acura Stage
Warren Haynes and his blues rock quartet took the main stage at 2:50 pm and rocked out for the next hour. “Broke Down on the Brazosâ€� from the band’s latest album By a Thread was an early highlight, with Haynes riffing out on the high-octane jam. “Beautifully Brokenâ€� slowed things down a bit, but sounded great on such a sunny afternoon. An instrumental jam went in a decidely Allman-ish direction, and even featured a “Blue Skiesâ€� tease that unfortunately did not fully materialize (the Allman Brothers Band had however played the festival on the previous weekend.) Haynes then sang a little bit of the Rolling Stones’ “You Can’t Always Get What You Wantâ€� before returning to the jam. Mule standard “Thorazine Shuffleâ€� cranked the blues rock back up to peak level, with Haynes throwing in a “Get Up Stand Upâ€� tease on his guitar. The man is a classic rock encyclopedia, which makes every Mule set an adventure since you never know what tune might pop up.

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The eighth annual Austin City Limits Music Festival was apparently unlike any that preceded it, due to the dates being pushed back from September to early October. This meant that temperatures were not sweltering into triple digits. The lawn at Zilker Park had also received a fresh facelift of “golf course�-quality grass, to help cut down on dust complaints. This made for an idyllic first day of the festival, when the high temperature was just above 80 degrees. But persistent rain on the second day brought a new obstacle to deal with – mud, and lots of it. Much of the park was a mucky mess by the third day, even after the rain had stopped, although without the new grass the park probably would have been one giant mud pit. No one was really complaining about the rain though, since Texas has been suffering through its worst drought in 50 years. Neither rain nor mud nor fatigue would deter 70,000 music fans from getting their fill – this is, after all, the “live music capital of the world,� due to the fact that Austin hosts more music venues per capita than any other city.

The festival featured an incredibly diverse line-up, covering just about every genre under the sun. Those with the stamina and inclination could also check out after-show parties, featuring a number of festival bands playing late night shows at clubs around town. And in one of the greatest festival amenities of all time, ACL even had a football tent that made it possible, at certain times, to watch football and music at the same time! With eight stages (if you included the Austin Kiddie Limits stage), it was a weekend of tough choices – Ghostland Observatory vs. the Dave Matthews Band, Coheed and Cambria vs. Phoenix, Medeski Martin and Wood vs. the Avett Brothers, the Decemberists vs. Sound Tribe Sector 9, Ben Harper & Relentless7 vs. Dead Weather, etc. But having too many options is all part of the fun.

Friday, October 2
School of Seven Bells, Livestrong Stage
The combo of twins Ally and Claudia Deheza with former Secret Machines guitarist Benjamin Curtis makes for a trio that puts out a big sound despite taking the stage with just two guitars and a synthesizer. The Deheza sisters deliver dreamy harmonies that resonate in majestic fashion when mixed with a variety of synthesizers, mostly up-tempo beats and lots of echo and reverb. Their voices were occasionally in danger of getting obscured in the wet sound mix, but the overall effect was impressive in the way the sisters’ voices approximated an angelic choir.

Blitzen Trapper, Dell Stage
The Portland-based sextet has been building a strong buzz over the past couple years and this drew a big crowd to check out the band’s rootsy but still rocking sound. Some of the tunes were more acoustic-flavored, while others had an Americana blues rock flavor that recalled Ryan Adams & the Cardinals or Conor Oberst. The band’s melodic hooks and soulful vocals were a hit, with “Big Black Birdâ€� making a particular impression as electric guitar, harmonica and melodic vocals combined for one of the set’s catchiest tunes.

The Avett Brothers, AMD Stage
This was the second biggest stage and while the Avett Brothers’ unique brand of Americana, melodic pop and punk energy has made them a rising buzz band, their sound didn’t seem to translate so well to such a large venue. Playing to tens of thousands of people with just banjo, upright bass and acoustic guitar is definitely a challenge. I would have ventured closer to the North Carolina band to see if that made any difference, but I couldn’t help but feel pulled away to the Livestrong Stage.

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Even those with half an ear wouldn’t mistake the Gourds for anything but a Texas band. From their sound, which is tough to describe since it has so many different elements (alt-country with creole and Tex-Mex seasoning? Hillbilly soul?), to their songwriting (with topics that run the typical Gourds subject matter weirdness: road trips, love, a guy named Thurman, unrequited love, fossils, love, Shreveport, women), this Austin-based five-piece is definitely of a place. Haymaker!, their ninth studio album, boasts more of a country sound than their last two albums, 2007’s Noble Creatures and 2006’s Heavy Ornamentals, but with the Gourds, country gets rightfully twisted to include soul, rock, swamp boogie, and a lot of the usual elements that listeners have come to expect from a Gourds album. Haymaker! thankfully is also a lot less ballad-heavy than Noble Creatures, so it naturally has a more playful feel. And while there’s nothing here as immediately stand-out as their cover of Snoop Dogg’s “Gin and Juice” – c’mon, that was 12 years ago, man! – there’s enough here for Haymaker! to be a contender for the best Gourds album yet. (Yep Roc 2009)

The Gourds MySpace page

They’ve never had a hit or sold a ton of records, but the Blind Boys of Alabama have been making beautiful music for 70 years and running, so in lieu of the sold-out week at Madison Square Garden they deserve, this DVD – filmed during an appearance at the legendary New Orleans institution Tipitina’s last spring – serves as a suitable tip of the hat to one of modern music’s most distinguished careers. Fittingly, the Blind Boys were on the road promoting a CD, Down in New Orleans, that paid tribute to the city, and the show’s location also enabled them to enlist a passel of the Crescent City’s musical finest, including Susan Tedeschi, Dr. John, and the Preservation Hall Jazz Band. The production values aren’t the best you’ve ever seen, the sound mix occasionally wavers into muddy territory – and if you’ve ever been to Tipitina’s, you know that fitting all those performers on the club’s tiny stage requires some delicate balancing – but what Live in New Orleans lacks in polish, it more than makes up for with the performers’ obvious, bone-deep commitment to the music. There’s little showmanship here, just the performers’ decades of experience, but that’s more than enough for a damn fine show. Live showcases the Blind Boys doing what they do best, and functions as a nicely priced introduction for new converts, who will also enjoy the brief BET-branded documentary bonus feature. (Saguaro Road 2009)

Blind Boys of Alabama MySpace page