Published in The Music Network
Brent Grulke isn’t brash, and he doesn’t carry an ego the size of a Texan steakhouse. But make no mistake, he’s one of the most important players in the international live music scene. As creative director for the annual South by Southwest Music & Media Conference, Grulke oversees the selection of the 2,100 bands which showcase at the music program.
A former journalist and indie label manager, Grulke joined SXSW in 1994, and has been on board throughout the Austin, Texas music and film event’s transformation into a beast which this year counted more than 16,000 delegates. Forty Australian bands and eight from New Zealand made the trip this March – a record number from these parts. Organisers will invite some 70 Australiasian bands for SXSW 2012, which will take place March 9-18. Grulke is in Australia this week for a string of speaking engagements during Melbourne Music Week.
Is SXSW still relevant?
SXSW’s relevancy isn’t mine to determine, that’s for the people who attend and utilise the event to decide. More people than ever are attending, so I do hope that SXSW is working for them. We spend a good deal of time listening to what people want and adapt to those needs as best we can – and try not to make the same mistakes twice.
You mentioned SXSW’s numbers are growing. Some delegates talk about it being “too big”. Are there plans to ever bring its scale down a notch?
On the upside, I’d like to think that more people attending means more opportunities for the artists and business people who attend SXSW. We’ve spent the last several months meeting with city officials and other members of the community to try to make sure SXSW is a safe event that people can enjoy and find useful with large numbers of people. It isn’t as if we could simply lock the doors to the city and tell people not to come, anyway. Huge numbers of musicians, fans, and companies come to Austin during SXSW that aren’t part of the official event.
Can you give some insight into how the US live scene has taken damage in recent years?
The best I can tell, the damage to the live scene is largely a reflection of the economic climate. When people have less money to spend, they cut back on entertainment. But legendary concert promoter Louis Messina, who now lives in Austin, says that the right act at the right venue at the right price will always work. I believe that, too.
You were out here in 2009. What are your thoughts on Australia’s live scene?
My experience in Australia is so limited, that I’m reluctant to make broad generalisations. I do know that there’s a deep passion for music in Australia, lots and lots of talented and hard- working artists with knowledgeable and substantial fanbases, and very competent artists representatives and labels. All recognise that Australia is too small a market to base a career for most acts, so they tend to be quite cosmopolitan.
Let’s talk about SXSW from an Australian artist’s perspective. How do you decide which acts to showcase?
Acts apply via a web application to perform at SXSW. We employ about 100 music professionals around the world to listen to and evaluate acts in the first round of evaluation. Each act gets listened to at least twice by this group of people before we bring the decision-making in-house. We’re looking, first and foremost, for outstanding music, a unique and passionate creative vision.
But we also are looking at whether or not we think it makes sense for the act to perform at SXSW and whether or not we think we can successfully showcase the act. This means that an act that’s working steadily, has generated some attention at home, has a clear plan for what they hope to accomplish at SXSW, and has at least some semblance of a team, is in a better position to be offered a showcase than an act that may make music we find equally engaging but lacks those career markers.
OK, so your band is playing SXSW. How do you stand out from the rest?
If it were easy to stand out from the rest of the acts at SXSW, everyone could do it. The fact is, coming up with a unique, creative approach for visibility during SXSW is hard. The acts that do it the best create a natural extension of what their story is and who they are, and work it well in advance of their SXSW performance. Hype starts weeks and months before the event, and those who are best able to generate it and harness it have the best opportunity to stand out.
At what stage of a band’s career should a band push for a SXSW slot?
It depends on the band and its aims, but ordinarily an act is ready for SXSW when they are ready to tour and promote themselves in the United States.
What realistic expectations should they have before heading to Austin?
If you’ve put the work in beforehand, something magical could happen. If you haven’t, you may be in for a big disappointment. But you’ll still probably have fun.