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SXSW Review: Avanti Patel, Alkyone, Hania Derej, March 15, Central Presbyterian Church

Posted on
22 Mar 2026
by
Gary

Over the years, Austin’s Central Presbyterian Church has been the place to go for something a bit off the beaten path, with lineups at the venue often offering up something a little more esoteric and thoughtful. On Sunday night, we headed to church to take in sets from Avanti Patel, Alkyone, and Hania Derej as part of the Pastorale showcase.

Avanti Patel

Joined by a guitarist and tabla player, Mumbai-based Hindustani classical artist Avanti Patel put on a compelling performance. A highlight of this set was a light and graceful rendition of the classical piece “Rangi Sari Gulabi Chunariya,” recently revived in Bollywood circles. While I suspect that it easily accommodates the lyrical and descriptive nature of these pieces, learning to hear long measures up to a 14-beat takes practice for me, and I wonder how that affects where hooks and melodies develop along the way. 

Alkyone

Hailing from the mountains of Northern Greece, Alkyone (who apparently got her stage name from a recurring dream in which she was a bird) alternated between traditional music and more of an indie-pop sound, singing in both Greek and English. Opening with two numbers that sounded more like European folk ballads, she then shifted into a more conventional folk/indie-pop sound. It’s a playfully rebellious style, even if it resists easy comparison – throughout her set, I was reminded of other artists, though I couldn’t quite put my finger on who. But regardless of useless descriptors, it was fun to watch her run between the stage and piano in front of the stage, sincerely trying to keep the set’s momentum going. 

Hania Derej

Up next was Hania Derej, a young Polish composer and pianist whose work sits somewhere between concert music and cinematic scoring. But like much of the new-generation piano music deemed “impressive,” it seems to rely not on structure and melody but emotional transitions, speed, loudness, and dynamic contrast with much overlay and run-on scales. Obviously from a technical perspective, it’s not easy to play, but is it memorable? Beyond the immediate impression, how much truly stays with you?

Given the artist is still very young, there is obviously much more to look forward to. Her synth stuff (largely composed during the pandemic) is more interesting in hooks and the fundamentals shine through – she is actively playing a lot of things instead of simply looping – though it’s still not always coming together cohesively into its own character. It’s beautiful at once to hear and feels ideally suited for film, television, or video game scoring.

SXSW Review: The Family Battenberg, March 15, Swan Dive

Posted on
21 Mar 2026
by
Paul

Going into The Family Battenberg‘s show at Swan Dive on Sunday night, I will admit to a bit of confusion as to whether they were actually a family band or not. My initial impression was that it was just a clever name, but upon closer inspection, the singer and guitarist for the Welsh band did kind of look alike … though it might just be the case that they both go to the same barber.

After a very basic bit of research, it appears the band members all have different last names, none of which are Battenberg (apparently, they’re named after a pastry), so yes, it would seem that they are not, in fact, related. Too bad – it would have been kind of cool to find a family band pumping out heavy psych/garage bangers.

At one point, guitarist Ethan James Duck commented on how it was a bit tight for space up on Swan Dive’s indoor stage, with singer/guitarist Elliot Jones drolly replying, “We usually play stadiums. We’re massive.” They may not quite be at stadium levels yet, but there’s no question the band’s sound is absolutely massive. Or, as my fellow Panic Manual correspondent Gary described them, “very effective.”

SXSW Film Review: Daughters of the Forest (Otilia Portillo Padua, 2026)

Posted on
21 Mar 2026
by
Gary

The moment Doña Julia called out the names and toxicity of each mushroom on the forest floor as if she was an NFL manager shopping in a draft pick, you knew it wasn’t Spanish. There was a rhythm out of a clear set of vocabulary, one that can keep you from writhing in pain or starting a heart-felt conversation with a tree frog … or both simultaneously. In their forest homes, this remains just as vital as our hollering for impending Waymo reversal into a stranger’s face. 

Daughters of the Forest does not broadcast the typical call-to-action a la “protect Mother Earth now or die horribly.” It is small-case Greenpeace meets NAACP, on the barely visible scale of mushrooms. 

Through formal scientific learning, personal graft like the picking, selling and farming of mushrooms, as well as conducting eco tourism, two women are fighting back by understanding their forests. Their Zapotec and Tlahuica heritage are at a crossroads. There is resentment about outsiders appropriating knowledge and walking away with the next wellness trend without reciprocating in kind. But there is also a sense of dread that much knowledge will be lost if not shared. 

Strictly speaking, Daughters of the Forest is not exclusively a documentary and there are a few scripted scenes. The production for the hallucinations was quite basic, but I think the director was right not to try – who can beat the real thing? Instead, more energy is spent on the interconnectedness of life using mushrooms as the metaphor. Ruminating positively, if there is such a thing. The woodwind score is quietly useful, contemplative and not intrusive.

What I like the most is the passive tone, like the forest rendered in a far longer time scale, is never bleak nor optimistic. Illegal logging, setbacks, and heartbreaks are temporary and never stopped either woman. They and their families are simply determined to make sure the land continues to work for their people. The forest still reserves its best secrets for those who care – and some of the scientific know-how might make trees stronger. And since many in our outside world already sate their psyche with fungal compounds, Daughters of the Forest could be sitting on a goldmine.

SXSW Review: Adult DVD, March 15, BME @ Palm Door on Sixth

Posted on
20 Mar 2026
by
Paul

It may have been Oscar night, but with SXSW in full swing (and with Music badge holders no longer getting secondary access to Film), the closest I came to a cinematic experience on Sunday night was Adult DVD.

No, no… not that kind of adult DVD. The Adult DVD I’m talking about is a Leeds-based six-piece band focused less on the salacious and more on making you dance, with a synth-heavy dance-rock sound that brings to mind the likes of Hot Chip, Underworld, and LCD Soundsystem.

Right before they took to the stage, BBC radio host Steve Lamacq introduced Adult DVD, singing the band’s praises not only as a great dance act that’ll help you get your steps in, but also as one with clever lyrics that might get you thinking a bit. So, in that regard, maybe they’re more like Catherine Breillat’s Romance than your standard adult DVD smut.

Once they hit the stage, I must admit I wasn’t paying too much attention to the lyrics, but I can confirm that Lamacq was right on the mark in the other regard – Adult DVD is a band that will get you moving. And with temperatures dropping considerably from earlier in the day, I was inclined to keep moving just to stay warm anyway.

So while I may have missed out on seeing the Oscars on Sunday night, watching Adult DVD on the BME stage was likely the more satisfying experience. I give this band the award for Best British Group at SXSW Making Absolute Bangers. No contest.

SXSW Review: Meg Elsier, Grrrl Gang, Girl Tones, Mikky and the Doom, Haylie Davis, CorMae, March 15

Posted on
20 Mar 2026
by
Paul

Haylie Davis @ The Lucky Duck

Sunday at SXSW was hot.

I don’t mean that in a Stefon “the hottest club is Austin is …” sense but in the literal sense – it was uncomfortably hot for much of the day. Luckily, it cooled off considerably by the evening, but in the meantime, things were scorching. And while the logical thing to do would be to skulk off to some air conditioned room somewhere, it turns out everything I wanted to see was outside. So, while I may have had to suffer through the heat, I ended up seeing some great shows. A fair enough trade-off, I guess.

Meg Elsier @ High Noon

Paste Magazine’s day parties have been a staple of SXSW for as long as I’ve been going and they always bring it with a killer lineup. This year, they were billing  it as the “Best Paste Party Ever” and while that may have been overselling it a bit (for me, the best Paste party was the year I saw The Barr Brothers, Crooked Fingers and The Lumineers back-to-back while sipping on complimentary gin and tonics), this one was pretty good.

Meg Elsier opened up the day with a set of fun indie rock peppered with a sassy, sarcastic attitude and highlighted by a song about people in New England having really nice lawns. OK, the song’s probably about something more than that, but that’s the part that stood out for me.

Grrrl Gang @ Zilker Brewing

Coming all the way from Indonesia, Grrrl Gang singer/guitarist Angeeta Sentana noted that they were feeling at home in the Austin heat. “Not gonna lie – with this heat it feels like Bali.” She was OK with that though as she said she was shivering onstage just a couple of days before. The Yogyakarta trio play a power-poppy brand of indie rock and put on a solid show for thieir early afternoon set at Zilker Brewing. They were a lot of fun live, but not quite as high energy as expected. Perhaps they were preserving their energy due to the high temperatures. If so, fair enough – they did have a show later that evening just up the street at Hotel Vegas

Girl Tones, Mikky & the Doom @ Hotel Vegas

Shifting from Grrrl Gang to Girl Tones, it was a short walk over to the aforementioned Hotel Vegas for my next stop: a set from the sister duo of Kenzie Shultz and Laila Crowe, who were playing as part of the daylong Grillo’s Pickles-presented St. Pickles Day Party.

“Do you like heavy shit?” asked Shultz partway through their set. “If you don’t that’s too bad – we’re still gonna play heavy shit.”

True to their word, Girl Tones brought the heavy shit, including a surprise cover of The Vines’ “Get Free” (well, a surprise to me anyways, as I’d kind of forgotten about that song). They rocked out while also professing their love of pickles, with Shultz sharing a quick anecdote about drinking pepperoncini juice straight from the jar as a kid. They also urged the crowd to clap along throughout, though they acknowledged it might have been a bit of a hard sell in the heat.

It was much easier to convince people to grab a free pickle, though that didn’t stop locals Mikky & the Doom from starting off their set with their own pickle theme song. Joined by some friends onstage, the band played an ode to pickles using Grillo’s slogan (“Chill out, eat a pickle”) as its chorus. Mikky is a hell of a frontwoman, and the band’s cool, sleazy rock n’ roll vibe was just as refreshing as a cold pickle on a hot day.

Haylie Davis @ The Lucky Duck

And now for something completely different.

Surrounded by all of the raging guitars and punk rock attitude that made up most of my afternoon, Haylie Davis provided a little oasis of chill, ’70s-inspired folk-pop. While the singer-songwriters of the Laurel Canyon scene are obviously a big influence on Davis, I also detected a bit of Emmylou Harris at times, maybe even a hint of Judy Collins. It’s unfortunate that many of the folks on the patio treated her set as a bit of background music for their own conversation, but those of us paying attention were treated to gems like “Young Man” and “Give Me a Rainbow” off her upcoming debut album Wandering Star.

CorMae @ Zilker Brewing

Look, there are bands that keep busy with a bunch of shows around Austin during SXSW, and then there’s CorMae. The punk quintet are from Austin, but not content to just play SXSW this week, they ventured further afield to play yet another festival – this one all the way in Arkansas. That’s dedication. Or insanity. Maybe a bit of both.

As such, they were probably all a little worn out (the singer said she’d only had about three hours of sleep) and I’m sure the heat didn’t help. Regardless, they put on a fantastic, high-energy set as the penultimate act at Peelander-Z’s Peelander Fest. And as a nod to their hosts’ predilection for over-the-top, cartoonish antics in their shows, CorMae’s bassist took to the stage wearing a full anime cat costume with a giant mascot head. Props to them for going the extra mile, especially on such a hot day.

SXSW Review: Knats, Hector Gannet, Jenna Cole, Loren Heat, March 15, BME @ Palm Door on Sixth

Posted on
19 Mar 2026
by
Gary

Loren Heat @ BME

The British Music Embassy has long been essentially our second home at SXSW. For 2026, we spent at least a little bit of time there every day and on Sunday, March 15, Gary pretty much camped out there for the afternoon, taking in sets from Knats, Hector Gannet, Jenna Cole, and Loren Heat. Here’s his take.

Knats

After checking out a bit of the Paste Party at High Noon and stopping off for some much needed lunch, I only managed to see the tail end of Knats’ set. Still, their flowy jazz sound shows a lot of promise and I will follow up with a proper listen to their album when I get the chance.

Hector Gannet

Hector Gannet may have been playing the Northern Sound showcase at the British Music Embassy, but their sound is pure Americana. When the main vocalist breaks out the harmonica for one number, it is hard to describe it otherwise. The songwriting was quite sound, with “No Money No Time” standing out in particular, though the extended “The Jetty’s End” is pretty good too. “Hector” (real name Aaron Duff) complained a few times that he would rather have the Northern British rain and fog over this heat – he might have gotten his wish just 7 hours later when the winds howled at 25mph and the temperature dropped to “jumper weather.” 

Jenna Cole

Newcastle-based R&B/Afrobeats artist Jenna Cole makes dance music that almost sounds like JLO with some Carribean influence. Or maybe I just don’t know my dance music … 

Loren Heat

In the 35°C heat – no pun intended – Loren Heat wasn’t paying attention and singed her knee on the uber-hot stage floor. Ouch.

Heat’s deeper singing voice, attitude, and volume all resembled Florence Welch, but with much less goth. However, three songs into her set, the tones began to diversify, and the melodies became more reminiscent of 2000s-era pop. Quite good, in fact.

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