OPB At SXSW 2018, Wednesday: Wye Oak, Bully And 2 Jazz Marathons

White Reaper

I'm convinced that White Reaper came out of a time capsule from 1975, and I mean that in a good way. Taking influence from Van Halen, Cheap Trick and Thin Lizzy, this Kentucky-based band delivers American rock music at its finest. They had the partially intoxicated crowd jumping at Container Bar shoving, banging their heads and screaming for more. — Mike Baden, opbmusic

Natalie Prass

Natalie Prass shared sparkly new songs from her forthcoming album, "The Future and the Past," with a tightly packed crowd at the Pledge House. Her music is uplifting and jazzy, supported by an impressive band that had the room dancing. Prass' new album is out in June. — Mike Baden, opbmusic

Jazz Re:Freshed - Moses Boyd Solo X, Ashley Henry Trio, Nubya Garcia, Zara McFarlane, Ezra Collective

Adam Moses is a great hype man for jazz. The founder of Jazz Re:Freshed and curator of this SXSW showcase was on stage at The Main II before the music started and got the crowd buzzing by telling everyone it was time to pay attention to England. He talked about the fluidity of the scene in London and that tonight they'd get to bear witness to that sound. He was correct on all counts. From the first downbeat of Moses Boyd Solo X project to start the night, this showcase proved, yet again, that jazz is the most vibrant music on the planet.

The night was one long perfect mixtape of jazz. The percussion pyrotechnics of Boyd were followed by the piano trio of Ashley Henry who dropped a hip hop groove on the crowd.

Henry's sound melded into the fierce spiritual jazz of saxophonist Nubya Garcia. Her playing roared through the building and her smile soared as she danced to the rhythm of her band.

And suddenly, we were transported to the warm waters of the Caribbean with Zara McFarlane's impossibly gorgeous voice showing us that jazz lives everywhere.

Next stop: Africa. Femi Koleoso's afrobeat-influenced project, Ezra Collective, blew the roof off The Main II.

Hello America, the frontline of the UK Jazz Revolution let SXSW know what's what. Damn. — Derek Smith, KMHD

Bully

Bully proved to be more than just a '90s revival post-punk band. Alicia Bognanno commanded the stage at Container Bar and held the praise of an outdoor audience captive through their entire set, which frankly, could've gone on longer without any complaints. — Mike Baden, opbmusic

Twain

Faced with competing sonically against a loud band in the next room, Twain (aka songwriter Matt Davidson) went low, opening with a nuanced song that matched his baritone voice to muted drums and cello. The competition between two adjacent rooms forced each band in Barracuda's indoor space to adjust, separated only by a wall from a rock band outside. In the break after the first song, Davidson said, "I can hear two drum kits up here," and motioning to the drummer behind him, "this is the one to listen to." That wasn't hard to do, as his drummer drove the set into darker sonic territory with interesting polyrhythms played with mallets and sticks. A sax player joined them on stage. Davidson sang about addiction, reincarnation and the Holy Mother, his voice shaking with emotion, moving from soft baritone to sweet falsetto. I came expecting a songwriter set drenched in reverb and reflection and got something totally unexpected. This was my favorite set so far in Austin. — David Christensen, opbmusic

Next Bop's Jazz For The Masses - Madison McFerrin, The Whale, Graham Reynolds and Golden Arm Trio

The longest running day party devoted solely to jazz returned to SXSW, taking over Lazarus Brewing on the east side of Austin. Our good friend at KRTU, Anthony Dean-Harris, curated another stellar lineup featuring several Texas jazz bands as well as some goodness from both coasts. Madison McFerrin opened the noon hour with ethereal sounds using her voice as a springboard for experimentation. The Whale, a trio from San Antonio, dropped the audience back into earthy sounds as Kory Cook on drums and Eddie Vasquez on saxophone launched an inside outside attack that lit a blue flame in the crowd. Austin's own Graham Reynolds and Golden Arm Trio took the stage at 3 p.m. with a songbook full of heft. Reynolds' piano playing was ferocious, while his homespun manner introducing songs was all charm. This party was a genuine celebration of the different sounds of jazz and paired beautifully with the big beers on tap and the radiant sunshine above. — Derek Smith, KMHD

Lomelda

I was enchanted last year by Lomelda's song "Out There," with its twisty, slurry melody and searching lyrics. Like Twain earlier in the day, singer Hannah Read was taken aback by the noise coming in from outside of the Barracuda, and especially every time the door was opened. She proceeded gamely, at one point saying, "I don't know what's inside me and what's outside me." That also described the way her songs — each a personal exploration of self and relationship — landed on my ears. — David Christensen, opbmusic

Hembree

New Kansas City band Hembree treated their indoor set at Stubbs like a speed date, ripping through four high-energy fist pumpers with four vocalists and enthusiastic, well-rehearsed arrangements. It was loud, fast and fun, one song rolling into the next and capped by the lead singer directing the last song while standing on the drum kit. They'll have a debut album in 2018. — David Christensen, opbmusic

Tank and the Bangas

The New Orleans group plays the crowd better than anybody else, exhorting them to dance, shout and at one point, get on the ground. So several thousand concertgoers in a gravel courtyard, turn and feel the ground behind them, and then sit down or kneel while the band lays down on stage and continues playing. When Tank tells you what to do, you go with it. And of course you and everybody else cheer when the band jumps back up and plays out the final chorus of their last song. — David Christensen, opbmusic

Wye Oak

Mnkybsnss

Noah Slee

Syml

Hop Along