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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 taking in 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 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.

SXSW Review: better joy, Grandmas House, March 14, BME @ Palm Door on Sixth

Posted on
19 Mar 2026
by
Paul

“This is a weekend I’ll never forget!”

So said Bria Keely, aka better joy, during her Saturday night set at the British Music Embassy, and I must admit, I appreciated her enthusiasm. It’s easy for old heads like me to get jaded about SXSW and how it’s not quite what it once was, but for younger performers making their way to Austin for the first time, it’s definitely an experience.

With their guitar-driven indie pop sound, better joy put on a solid performance, starting off the Saturday night showcase at the British Music Embassy on a high note. As she ran through catchy tunes like “steamroller” and set highlight “this part of town,” Keely proved herself to be a compelling frontwoman – she’s got a lot of charisma onstage … or, as the kids these days say, rizz.

Speaking of rizz, As I was talking along East 6th a little earlier in the day, I happened to pass by a group of folks and overheard one young woman ask a guy, “What’s your rizz like?” His reply: “My rizz is just me.” I’m not really sure what this means exactly, but I suppose it’s as good a descriptor of better joy as anything else – her rizz is just her,

Next up at BME was Bristol four-piece Grandmas House, who impressed with their heavy post-punk sound. And if I wasn’t already looking forward to their set, the glowing introduction they received from BBC host Steve Lamacq would have sealed the deal.

Waxing poetic about the city of Bristol and placing the group in the long lineage of bands from their hometown, Lamacq noted that, alongside acts like Idles and Massive Attack, Grandmas House have a certain something about them. He highlighted the “anger, emotion, and empathy” he hears in their sound – qualities also present in those other acts.

Once they took to the stage, Grandmas House proved that Lamacq’s hype was entirely justified. “I’m charming and I’m confident,” deadpanned singer/guitarist Yasmin Berndt  – and yeah, the band carries themselves with plenty of confidence, delivering an energetic performance for what, if their Instagram posts are to be believed, was their last of four shows at SXSW this year. In fact, they’re so confident they don’t even bother with the apostrophe in “Grandmas.” Now that’s some rizz.

SXSW Review: Kali Horse, March 14, Swan Dive

Posted on
18 Mar 2026
by
Paul

In Austin, everyone gets their ID checked … even grizzled rock veterans like me. And though I had my ID checked many, many times throughout the week, one encounter stands out for a particular reason.

While entering the British Music Embassy on Saturday, the security guy noted that I was coming from Canada. “I’m sorry,” he added – presumably a comment on the rising tensions between our two nations over the past couple of years – though he also threw in a little jab, joking about us being “number 51.”

It served as a reminder that, not just for Canadians, but for any of the international SXSW attendees, coming to the U.S. these days can feel a little weird. And it’s definitely having an impact. The number of Canadian acts on the bill seemed notably lower than in years past, and while Canada House was back this year after its cancellation in 2025 over tensions surrounding trade and tariffs, it appeared to be focused solely on the Film and Innovation aspects of SouthBy, leaving out the dedicated Canada House showcases and parties.

Regardless, there was still a solid contingent of Canucks in town for the event, and, much like I did last year, I made a bit of a concerted effort to check out my fellow Canadians while in Austin. Luckily, supporting the home team is easy enough to do when they sound as good as Kali Horse.

The Toronto art/psych rockers were playing the Swan Dive Patio on Saturday night as part of the Project Nowhere showcase on a bill that also featured OOZ, Ancient Greece, Spoon Benders, and CDSM and they put on a solid performance that definitely got people’s attention on Saturday night. Sam Maloney & Desiree Das Gupta are both commanding presences onstage, and the band’s trippy psych rock, often incorporating electronics, translates quite well in the live setting.

During their set, I overheard a woman telling her friend that she could watch the band “do anything.” She did qualify that by adding she was on mushrooms, but honestly, she wasn’t wrong. Kali Horse are a very watchable band.

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