By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
By Gina Tron
By Jon Solomon
"People didn't really get it yet," says Morning After Records' Dan Rutherford. "They didn't understand that South by Southwest is an important thing."
Rutherford did. He and I first met two years ago in Austin, back when he was a PR pipsqueak for Indiego Promotions. Then more of a fan than the industry player he's since become, Rutherford was in charge of his company's party. But even though Indiego was based in Denver at the time, Rutherford couldn't entice any homegrown acts to perform there. "I busted my ass that year trying to get a Denver band to come play that party," Rutherford remembers, "and no matter who I asked, nobody would come."
Rutherford returned from Austin singularly focused on increasing Denver's profile at SXSW 2005.
"Most of the bands from Denver are just as high a caliber as the people who were playing down there," Rutherford points out. "I think that's what people started to realize last year. They realized, 'You know what? We can hold our own with these people.' For some reason, we've been sworn off as some little podunk town with nothing for eight hours either way. But we've got something here, and we can actually hold our own and be viable on a national scale."
Suffice it to say, there's no shortage of bands phoning Rutherford to volunteer their services these days. And with good reason. With the help of Ben DeSoto and Matt and Allison LaBarge from the hi-dive, Rutherford's vision became reality at "Mile High Fidelity," a fully sanctioned Denver-centric day party in Austin last year that featured Munly and the Lee Lewis Harlots, Matson Jones, the Swayback and Porlolo, among others. And even as Rutherford has raised Denver's profile, his stock has risen as well. Although his burgeoning label -- two acclaimed releases have charted well on CMJ -- is obviously his top priority, he remains committed to serving as the Mile High City's quintessential emissary. This year at SXSW, he and the hi-dive crew are putting on "Mile High Fidelity II," featuring Bright Channel and Vaux (two of the top bands in the country right now, in my book), Porlolo, Dressy Bessy and the two flagship Morning After acts, Hot IQs and the Photo Atlas. Rutherford will also host a slew of other events, including a few high-profile after-hours parties (where the real action is), one of which is being co-sponsored by PureVolume.com, as well as some showcases with SpinArt and Warner Bros. Records.
Dude is committed. He's gotta be: Throwing parties at SXSW isn't cheap. Just ask Scott Campbell, who's hosting the second annual Larimer Lounge SXSW BBQ, which will feature locals Black Lamb, the Omens, Machine Gun Blues and the Funeral on a bill that also includes the Datsuns, Gogogo Airheart and the Apes.
"The event was pretty pricey to pull off this year," Campbell says. "We almost called BS on it, but at the last minute, I thought I would see if any other local businesses were interested in promoting themselves with a BBQ at SXSW, and much to my surprise, they all were."
You bet they/we were. (This fishwrap is one of the co-sponsors of the Larimer BBQ.) Because ultimately, everybody at SXSW has an agenda. For businesses, it's a chance to increase visibility and build their brands. For industry folks, it's all about scouting and networking -- which is code for drinking themselves comatose. For bands, it's all about being scouted and networking with like-minded acts or booking agents. That's no doubt what's prompting bands like Signal to Noise (which recently finalized a deal with Eyeball Records), Storytyme, Drug Under and Epilogue to make the trek to Austin for a few one-off performances.
"I tell everyone who's involved with anything that we're doing the exact same thing," says Rutherford. "All it comes down to is, get what you want to get out of it. I mean, for a band like Born in the Flood, what do they want to get out of it? They want to get bigger labels potentially seeing them for future releases. Same thing for a lot of people. In a lot of cases, you want to go to make relationships with bands from other towns. Because there's a lot of bands that are at the same level as a Swayback or a Photo Atlas or a Hot IQs that are going to be there and that are just looking for people to hang out with. And that can translate to trading shows or whatever. It's not the same as it used to be. Gone are the days of going down there and expecting Columbia to walk out and hand you a big recording contract, because it just doesn't happen anymore."