After Dengue Fever's hot set at Emo's, I was down to my final showcase of the festival as I pedaled over to La Zona Rosa on West 4th Street for a 12:45 AM set from Pretty Lights that I figured would close out the festival in maximum party style. The Colorado rock-tronica duo have been blowing up over the past year, winning raves while opening for Sound Tribe Sector 9 at Red Rocks last summer and becoming the hot new flavor in the livetronica scene.

The club was already hopping when I arrived, with the Crystal Method wrapping up what had clearly been a hot set of their own. Pretty Lights soon hit the stage and owned the crowd from the start, as DJ/synth master Derek Vincent Smith and drummer Cory Eberhard threw down one smoking hot groove after another with a spectacularly psychedelic light show behind them.

"Sunday School” was a scintillating jam, featuring a sampled vocal of “Fuck 'em, I didn't want to go to heaven anyway” over a big trippy groove that had the whole room moving and grooving. It was a 75-minute dance party of block-rocking beats whose energy never waned as the set went right up until 2:00 AM. Some of the songs tended to sound kind of the same due to similar beats and tempos, perhaps suggesting Pretty Lights could go even higher by adding a guitarist. But there's no doubt that this duo knows how keep a psychedelic dance party rocking.

“Finally Moving” closed out the festivities with a fresh bite on “All Along the Watchtower,” showing that there's always another way to use the same three chords. Pretty Lights transformed the three-chord progression into a psychedelic down-tempo dance groove tricked out with all kinds of sonic bells and whistles for a dynamic 21st century remake of the classic groove. It was an elated crowd that wandered out into the night afterward. SXSW 2010 had just gone by in a flash, but it was hard to imagine a better ending.

Los Angeles' Dengue Fever hit the stage at Emo's main outdoor stage at 11:00 PM, with charismatic Cambodian singer Chhom Nimol battling the chilly conditions in a hoodie and skullcap. The first song seemed like kind of a warm-up, but song number two turned up the groovy funk factor to get the party started and the crowd dancing. The horns from David Ralicke provided an extra festive flavor which fit the mood perfectly with SXSW in the homestretch.

“Sober Driver” featured a duet between Nimol and guitarist/bandleader Zac Holtzman, who looks like a rabbi but rocks out with great skill. The song has a smooth groove with a mystical flavor enhanced by the saxophone and trippy keyboards from Holztman's brother Ethan. Another funky jam had the crowd grooving again as the band was definitely heating things up – Nimol soon removed her hoodie and skullcap to appear in just a pretty blue dress.

Bassist Senon Williams toasted the crowd “to a great SXSW” and “to all the fallen soldiers that can't be here tonight.” The band started into a slow bluesy intro, with Nimol emoting almost like a shaman before some funky riffs and psychedelic keys kicked in to get the dance party going again. With at least seven showcases, Dengue Fever may well have been the hardest working band at SXSW and this final performance definitely capped off their week in winning style.

I'd found The Watson Twins' Friday day party set at the Belmont to be somewhat disappointing, but was still intrigued to see their 9:00 Saturday headliner set at the Central Presbyterian Church on 8th Street. Boy, was I glad I made it. This is an incredible venue since it is, as it sounds, an actual church with otherworldly acoustics that were perfectly suited to enhance the Watson Twins' dynamic sound to a higher level. There's no booze for sale, but I took that as a sign from God that I should slow down on my drinking for an hour.

The Twins opened with “Modern Man” again, but I was now hearing the new material in a whole different light. I still find the new album to be missing the rich melodic hooks of some of their earlier material (“How Am I to Be,” “Dig a Little Deeper,” “Bar Woman Blues,” “Waves”), but hearing the new songs sparkle in this setting provided a new window into what the Twins are going for on , with jazzier and torchy soul flavors. "Harpeth River” took on a shimmering evening ambiance that was missing on Friday afternoon, and the sexy dancing between Leigh and Chandra Watson definitely enhanced the vibe. Chandra said she had enjoyed seeing Everest and Billy Bragg, as well as visiting East Austin, which she felt provided the “true Austin vibe” that some may find wanting on the more commercialized 6th Street. “Devil in You” also featured an extra shimmer with the brilliant church acoustics, with Chandra proclaiming the song as an exorcism.

Leigh donned an acoustic guitar on several tunes, including the melodic closer “U N Me,” which once again sparkled in a new way in this fantastic setting. The band jammed it out a bit and received a rousing ovation for what was most definitely a triumphant set and another top highlight of the week. The Central Presbyterian Church is a venue not to be missed at SXSW.

Kansas City funksters Antennas Up kicked off the evening showcase at Spill on 6th Street with an energetic 8:00 set that mixed homage to George Clinton's Mothership with modern electro-synth pop. Bassist/vocalist Kyle Akers is a boisterous frontman, with a thick mustache and '70s vibe that recall Ron Burgundy jamming in a San Diego jazz club. Drummer The Ryantist drives the band's sound by triggering a variety of synth samples to go along with his drumming. With Space Invaders stickers on the drum kit and astronaut helmets on the speakers, it was clear that the band is into a spacey vibe, while their funky pop rock recalled artists such as Jamiroquai and Maroon 5.

"Don't Wait” was a high-energy tune with guitarists Bo McCall and Wayne Hutcherson throwing down some funky comping, while Akers got funky. “5P4C35H1P” was another highlight with a synth-heavy and trippy dance sound that recalled the Human League's “Don't You Want Me.” Most of the band members donned the astronaut helmets during the tune about a spaceship and a girl who wants to ride it. One could wonder if the band might be able push their sound in a more dynamic direction by adding a human keyboardist to the mix instead of having all the synths triggered by the Ryantist, but there's an intriguingly funky formula going on here.

Rachel Ray's day party at Stubbs BBQ was on a roll from Jakob Dylan to Street Sweeper Social Club, then back to the main stage for She & Him. It was quite a change in vibe to downshift from the powerhouse rock of SSSC to the mellower vintage pop stylings of She & Him, but Zooey Deschanel and M. Ward rose to the occasion with a well-received set to close out the party.

The charming Deschanel has the voice of an angel and Ward seems like the perfect choice to orchestrate a band around her to maximize those talents. The Chapin Sisters were brought out to add extra harmonies as well, which was an extra treat. The band's sound pays tribute to a bygone era, but there's still a fresh vibe demonstrating that classic sounds never go out of style. Deschanel and Ward conjure a dreamy ambiance, making it feel as if the band has set up on a cloud somewhere. The final song even featured the band revving up for a big jam, with Ward rocking out some bluesy riffage on guitar, showing that the band has diverse skills at their fingertips. It's a rare actress that can hold her own musically as well as she does on screen, and Deschanel delivers.

With a second stage set up at the back end of Stubbs, there was only a momentary break after Jakob Dylan's set at Rachel Ray's in-demand day party at Stubbs BBQ before Street Sweeper Social Club launched into an incendiary set that heated up the chilly afternoon.

Guitarist Tom Morello has put his Night Watchman folk experiment on the back burner and moved back to doing what he does best, which is rocking out Rage Against the Machine-style. The band's aggressive and heavy sound clearly recalled Rage, yet with the urban flavor that only the Coup's Boots Riley can provide in the vocal slot. The opening tune featured a “Manic Depression” vibe from Morello on guitar, while the second tune seemed cut from the same cloth as some early Rage classics. The crowd was instantly enthralled, with fists in the air and cameras out to take pictures.

"You can join Street Sweeper Social Club, there's lots of ways, but they're illegal to speak of in public... Austin, you're gonna have to take the oath,” said Riley, and it seemed as if the assembled were more than ready to enlist. “The Oath” was a hard-hitting tune where Riley pledged “to get the foot off my neck” and “fight until the system is gone.” Morello played the tune with a whistle in his mouth, which he would tweet at peak moments for dramatic effect. The anthemic chorus was an absolute blast, with the crowd bouncing and eager for more.

New York City's Outernational (whose debut album has been produced by Morello) were brought out for one tune and helped SSSC rock out with a party flavor that included trumpet and accordion. SSSC continued to electrify the crowd with a slamming cover of LL Cool J's “Mama Said Knock You Out” that had the audience bouncing. Riley was in full command of Stubbs as he belted out the lyrics, with most of the crowd singing along.

“We're more than a band, we're a motherfucking social club,” declared Riley toward the end. Sign me up, Boots, because this was one of the best sets of the week.

This is where the weather gods ceased to cooperate, with a storm front moving in overnight that plunged Saturday's high temperatures into the low 50s. It was a chilly, windy day that felt more like a late autumn football Saturday in Columbus than spring equinox in Austin, but SXSW fans would not be deterred. Rachel Ray's day party at Stubbs BBQ was the place to be on Saturday afternoon. Free margaritas and bloody Marys were served, along with tasty chicken mini-quesadillas and meatball sandwiches.

Jakob Dylan played a half-hour set with the fabulous Neko Case accompanying him to create a bluesy sound with majestic Americana flavor that seemed to fit the gray afternoon perfectly. The sound was reminiscent of some of Dylan's father's recent work, blending a variety of retro flavors for an artful old-school vibe. The younger Dylan's distinctive rasp sounded great, and even more so with Case harmonizing.

The last song, perhaps titled “Shine Along,” featured some mandolin on a melodic major key tune for a more uplifting vibe. The harmonies between Dylan and Case were superb throughout the set, like two great tastes that tasted even better together. Fans can only hope that these two will continue to work together further.

6th Street was filled with delightful sonic mayhem in the midnight hour, with music coming from everywhere. A sublime moment occurred when a drum circle's thriving jam seemed to blend into the band that was rocking out at a nearby bar. Meanwhile, there was a huge line in front of the Dirty Dog Bar where Courtney Love and Hole were scheduled for a 1:00 AM set.

The Dirty Dog was jammed like a sardine can and it was amazing that a fire marshal never came in and broke it up, because there were way too many people in this place. It was apparently the place to be though, with the likes of Woody Harrelson and Matthew McConaughey watching the set from the side of the stage. Their entourage even got a security escort to the men's room, which was probably the only way to get across the packed bar at that point.

Hole opened with a Nirvana-ish tune, followed by “Doll Parts,” which sounded great. The band was tight, but Love's voice was ragged, which she unfortunately dwelled on throughout the set. The jam-packed conditions were rather uncomfortable for the first 15 to 20 minutes, until some folks gave up and left, at last creating a little elbow room. Love bitched at her guitarist for playing too loud, and harped about it being tough to sing at 1:00 am when you're a chain smoker.

It seemed like she might call the set at any moment, but she soldiered on, with “Malibu” taking the crowd back to the mid-'90s for one of the era's most memorable alt-rock hits. The new material had that powerful alt-rock vibe too, suggesting Love hasn't lost her touch. “Gold Dust Woman” was also well-received, despite Love's voice, which should have told her to quit bitching and just play through. But instead of acknowledging her voice issues and moving on, Love continued to dwell on it, constantly setting back the vibe of the set. “Worst show of my life. I'm so glad you were here to witness it, now go see a good blues band,” declared Love at the end. Her defeatist attitude and voice-ragging chain smoking sadly don't seem to bode well for Hole's big comeback.

After Muse's electrifying set, I rushed over to Buffalo Billiards on 6th Street, where San Antone's grrl power trio were rocking the upstairs hall with their trademark Tex-Mex grunge sound. Guitarist/vocalist Nina Diaz is a truly mesmerizing talent, while sister/drummer Phanie Diaz and bassist Jenn Silva form an increasingly strong rhythmic backbone behind her. The 22-year-old Nina has fronted the band since she was 13 and has added an increasing sonic complexity to her guitar playing, with some nice alt-grunge delay-harmonics on “Pleasure and Pain.” Another song was dedicated to Jeff Buckley and started off with Diaz emoting in a slow and bluesy way before the band moved into a swinging jam.

Another extra special SXSW treat occurred when the band welcomed girl rock pioneer Cherie Currie of the Runaways to the stage for a fabulous sit-in on “Cherry Bomb,” which saw the whole crowd singing along on the classic chorus. Currie looked and sounded fabulous, and the Coma girls were clearly thrilled at the chance to play with one of their idols (The Runaways' Joan Jett signed the band to her own Blackheart Records label.) “Static Mind” was also a major highlight, with the band rocking out on one of the best cuts from 2009's superb album, blending a Latina rock intro with an alt-rock surge that had the delighted crowd rocking out once more. Girl in a Coma remains a unique band poised for even bigger and better things.

This was the big semi-secret headlining slot that had been rumored throughout the week, with a blank in the Friday night Stubbs schedule hinting at a special surprise. Arena headliners Muse did indeed appear at 10 pm (filling the slot held by Metallica last year), and delivered an electrifying set that wowed the packed throng.

The Brit prog-rock power trio hit the stage with the anthemic “Uprising” and never let up throughout a furious 75-minute set that featured the band's epic laser show dazzling the audience with reflections off the trees and power lines that added an extra level of psychedelia. The band's mix of influences from Queen to Metallica and Smashing Pumpkins provided one of the hardest hitting sets of the week, yet with a melodically accessible flavor that clearly crosses over to multiple audiences.

As someone who hadn't caught the band live before, I was taken with how much heavier they sounded live than on record (and was kicking myself for having missed them at Kent State's Flashfest in 2006). "The Resistance" was another high-energy winner from the band's new album that combined their hard rock and melodic pop influences together in dynamic fashion. The heavy “Stockholm Syndrome” mixed an '80s metal flavor with a '90s grunge influence that was a sonic treat, with guitarist/vocalist Matthew Bellamy's almost operatic vocals providing an extra grandeur.

Bassist Christopher Wolstenholme and drummer Dominic Howard made a tight and powerful rhythm section, killing it all night, while Bellamy's guitar playing simply dazzled time and again throughout the set. “Knights of Cydonia” closed out the show with a galloping jam that thrilled the crowd once more, as the band capped off one of the top highlights of SXSW 2010. It was readily apparent that this is truly one of the best bands on the planet, and it was a rare and special opportunity to catch an arena level headliner in a more intimate setting.

Canada's Metric kicked off the evening at Stubbs BBQ with an 8:00 set before a big crowd that reveled in the band's power-pop prowess. The group was filling the Friday pre-semi-secret headliner slot that Silversun Pickups had occupied last year when opening for Metallica, and Metric rose to the occasion with an entertaining set that never lagged while the crowd awaited the headlining set from Muse.

Vocalist Emily Haines exuded charm and charisma while dancing around and belting out high-energy tunes like "Sick Muse" and hit single “Help I'm Alive,” which rocked the assembled with its melodic hooks and hard rocking groove. Another tune featured Haines' teasing the chorus of The Beastie Boys' “You've Got to Fight for Your Right to Party” over a big beat that had lots of sonic space. "We're just a couple of kids from Toronto and a couple of hometown kids from Texas,” said Haines in the middle of the set. “We're all just trying keep the dream alive, we're all here for music... Every day I repeat this to myself and I hope that it's true.” Haines proceeded to a sing a bit of fellow Canadian Neil Young's “Hey hey, my my, rock 'n' roll will never die... rock 'n' roll is here to stay,” striking a chord with everyone in the crowd who felt saved by rock 'n' roll, which seemed like most of those in attendance. “Stadium Love” closed out the rousing set with a big arena rock sound, and it sounded like Metric are well on their way to achieving such status.

I was so impressed with the band's headlining set at Antone's the previous night that I had to catch them again for this 6:00 day party set at Rusty Spurs on 7th Street. The band didn't get to play quite as long, but they threw down another well received hour-long set before a packed house in the little bar. The new “Oasis” received the big jam treatment here, with bassist Catherine Popper once again powering the band's jammy evolution. The mesmerizing Potter was sincerely appreciative of the positive crowd reaction throughout the set.

"There's a lot of other places you could be right now and I hope you're as glad as we are that you're here and that's what this next song is about,” said Potter in introducing a heartfelt new tune about how “all the treasures of my life are here in my hands.” The set continued to surge with Jefferson Airplane's “White Rabbit,” which built into a huge crescendo with Potter really belting it out at the end. “Medicine” soared as well, and featuring a four-way percussion jam before the band revved up for one more huge jam to close out another triumphant set. This band is quite simply and is most definitely one of the top rising acts to watch in 2010 and beyond.

After missing her the previous day, I caught up with Sass Jordan for a 5:00 set at the Canadian Blast party at Paradise on 6th Street. This was a cool little shindig with free enchiladas served up with rice and beans, and $3 drafts of Magic Hat. Jordan only had two acoustic guitarists with her as opposed to a whole band, but the rock goddess who hit it big in the early '90s did not disappoint.

Jordan sang and moved as if she had a full band behind her, making the hard rocking “High Road Easy” a definite treat. “What I Need” from Jordan's new album rocked as well, followed by breakthrough hit “Make You a Believer,” which rocked into a brief but tasty jam on Stephen Stills' “Love the One You're With” before segueing back into “Believer.” It was the type of cool musical curve ball move you might expect from Jordan and one can only hope she's back out on tour with a full band soon.

The Los Angeles-by-way-of Louisville twins' Friday day party set at The Belmont focused almost entirely on their new album , which is a bit of a departure from their debut album . There's less rock and a jazzier, torchier flavor. The dark-haired twins still sound fantastic together, although they harmonize less. This was apparently a conscious decision, as they note on their MySpace page how they chose to back each other instead of harmonize as much as they have in the past.

The new tunes weren't really grabbing me for the most part in this sunny, mid-day setting, although I suspected this might be the case since I've had a hard time getting into the new album. Tunes like “Modern Man,” “Savin' You” and “Devil in You” sounded pleasant enough, but didn't really resonate on a particularly memorable level. “Midnight” opened up into a big jam led by the keyboardist however, where the Twins briefly left the stage while the band rocked out. Still, the performance felt nothing like the September 2008 set at The Fillmore in San Francisco that had blown me away. I felt that an evening headliner slot might fit the Twins better, so I still had them on my schedule for their 9:00 showcase on Saturday night.

I hightailed it over to The Belmont on West 6th Street for a day party featuring the Watson Twins. But the party was running behind, so I was fortunate enough to hear another band that caught my ear from the moment I heard them across the street.

Sarah Borges was on stage rocking out a melodic and bluesy sound to a good crowd at the Belmont's outdoor stage, an excellent intimate venue for such a party. Based in Boston, Borges looks a bit like comedian Sarah Silverman, but she's got a dynamite voice. Borges does humor too though, noting that she was glad to know her bassist because he “looks like he's holding.” Borges and the band veered from harder rocking tunes to bluesier Americana, and did both very well. She exuded a dynamic presence throughout the set that made it hard to take your eyes off her. The band closed their set with a great cover of Texan Doug Sahm's “Walking the Streets Tonight,” with Borges projecting a charisma and talent making her one to watch going forward.

As a journalist, I was originally thinking I should really attend the panel on “Music Journalism in the Post-Print Era,” which was billed to explore the depressing economic decline in both the music and journalism industries. But as a huge Doors fan who was still buzzing off of Robbie Krieger's guest appearance with Stone Temple Pilots the previous night at the Austin Music Hall, I couldn't resist the chance to see him again on his own panel.

This 2:00 pm panel featured Doors guitarist Robbie Krieger and current Doors business manager Jeff Jampol discussing "When You're Strange," the upcoming feature documentary on the Doors set for release on April 9. Jampol said that Tom DiCillo was brought in to direct, and anyone who recalls DiCillo's brilliant indie-film satire "Living in Oblivion" has to like the choice. Jampol told of how DiCillo had marveled at the vintage footage and said the the film needed to lose all the interviews, because the vintage footage puts the viewer there in the era, but the interviews take the viewer away. So the modern interviews will now only appear on the DVD release.

Jampol said that the reaction of original Doors manager Bill Siddons was telling. “What I saw, that's what happened, you guys got it,” Siddons said after viewing the film, according to Jampol. Krieger noted that original Doors engineer Bruce Botnick did the audio engineering for film and that “the sound is amazing.” When asked about the writing of The Doors' breakthrough hit “Light My Fire,” Krieger said he went all out.

“I had to compete with Jim, so I thought I'd write about the four elements,” said Krieger. “I liked the Stones' 'Play With Fire' so I thought write about fire. I didn't want it to be a simple blues, so I said I'm gonna put in every chord I know, there are like 15 chords in the tune... and somehow it worked out.”

When asked how singer Jim Morrison wrote music for his songs when he didn't play an instrument, Krieger said that the singer “had this great pot,” and that after smoking it he heard the music in his head. Later on, Krieger said, the band would pull lyrics out of Jim's journal and this is where “Peace Frog” came from, for example.

Jampol also noted that actor Johnny Depp provides the narration for the film, including the reading of some of Morrison's poetry, which is weaved into the soundtrack by Botnick. “I was in tears when I heard it,” said Jampol. “I'm as proud of that [soundtrack] as anything we've done together.”

Queried about Morrison's general feelings about the band, Krieger said the singer was always pushing for more. “Jim was never really satisfied with how big the Doors got, he wanted to be as big as The Beatles or The Stones," said Krieger.

Asked about his favorite album, Krieger cited the band's last one, . Probably because we produced it ourselves and it was done really quickly without a lot of BS, and it was fun.”

I had one more to go over at Antone's, where Vermont's Grace Potter was scheduled to hit the stage at 12:20 AM. Things were running a little behind, but Potter and band hit the stage around 12:40 and threw down a triumphant set that went right up til 2:00. A variety of strong material from the band's upcoming new album was a treat, featuring tunes like melodic rocker “Oasis” and a reggae-ish break-up song. New single “Tiny Light” was a bluesy yet uplifting rocker and featured a huge jam powered by new bassist Catherine Popper (formerly with Ryan Adams & the Cardinals). Popper's dynamic skills provide an element that was missing from the Nocturnals before, taking the band's sound to a higher level that enables them to throw down a big jam whenever the mood strikes. This is like the Cleveland Cavaliers acquiring extra muscle with Shaquille O'Neal, and whoever spearheaded Popper's entry to the band should win an award for best musical trade of the year.

The gorgeous Potter dazzled on a wide variety of tunes, from blues to ballads to funk to full-on psychedelic jam rock. She also showed she's not just a pretty frontwoman, jamming out on both keyboards and a Flying V guitar. A cover of Jefferson Airplane's “White Rabbit” was a treat, especially following Krieger's appearance with STP. “I Got the Medicine” closed the set with another great jam, and there's no doubt that Potter's music does indeed possess medicinal properties. The encore closed out with “Nothing but the Water,” an infectious high-energy tune that rocked the packed house one more time and featured another huge jam that blew everyone away. What a killer set.

Off to the Austin Music Hall in the warehouse district, where '90s alternative heroes Stone Temple Pilots were scheduled for a full headlining set. The hall was packed and the band delivered the goods, mixing in strong material from their forthcoming new album with plenty of older classics. “Wicked Garden” sizzled, with vocalist Scott Weiland sounding great and the band firing on all cylinders. “Big Empty,” “Creep,” “Plush” and “Interstate Love Song” all rocked the house. New single “Between the Lines” rocked with the classic STP sound, mixing the hard rock with melodic lyrics, suggesting Weiland's drug days are finally behind him. A Weiland relapse is the only thing that can stop this band, because the power trio behind Weiland was on fire. Dean DeLeo dazzled on guitar throughout the night, proving a master of grunge guitar, particularly with the tight harmonics. Robert DeLeo and Eric Kretz still make a formidable rhythm section, demonstrating STP as a band ready for a second prime. The new “Huckleberry Crumble” was another winner, combining a groovy bass line with psychedelic guitar for something of a '60s feel, yet with that modern rock twist. “Sex Type Thing” and “Dead and Bloated” shook the rafters to close the set, but the best was still to come.

“We'd like to introduce someone that's part of the greatest rock 'n' roll band in history,” said Weiland at the beginning of the encore as he introduced Robbie Krieger from the Doors. The band then tore into a smoking “Roadhouse Blues,” with Weiland nailing Mr. Mojo Risin's vocals while the DeLeo brothers and Krieger got off on what may have been the best jam of SXSW 2010. The electrifying performance thrilled the assembled, with this clearly being one of those rare and special moments that you hope to be lucky enough to catch at SXSW. Krieger exited triumphantly to a standing ovation and the band then wrapped it up with one of their best tunes, “Tripping on Hole in a Paper Heart.”

At 8:00 it was over to the Auditorium Shores stage on beautiful Town Lake, which annually hosts a series of free shows during SXSW. The headliner here was LA's Ozomatli, who entertained a huge crowd with their fusion of funk, latin rock, jazz, hip-hop and even a little bit of metal. An early song of tight funk paid tribute to the “City of Angels,” while another tune mined James Brown-style funk. It was a family-friendly atmosphere, as kids ran around playing with light sabers in the gorgeous setting as the Austin skyline loomed behind the stage. The highlight of the set occurred when a funky jam suddenly segued into a “Master of Puppets” tease that drove the crowd into a frenzy, with many bouncing up and down before the Metallica segue went back into a cumbia jam.

These veteran Bay Area rockers threw down a jamming set of their melodic psych-roots rock. The band loves to play in Austin and it showed. Bassist Paul Hoagland played his custom 12-string Hamer bass for the entire set, which helped pump up the groove on dynamic tunes like “Magazine” and “Third Floor Story.” Guitarists Tim Bluhm and Greg Loiacono were in fine form, trading riffs and harmonizing vocals throughout the high-energy set, which featured one melodic rocker after another. “Time-Sick Son of a Grizzly Bear” brought the short but sweet set to a rousing conclusion with a furious assault of fuzzy riffs and pounding rhythms.

“Our whole approach to touring these days is to find cities we like to play and go there all the time,” said Bluhm, whom I interviewed at the bar earlier in the afternoon. Bluhm said the band almost broke up in 2005-06, but couldn't help but come back together. This has a been a boon for music fans, since the band's last two albums have been among the best work of their career. 2009's was recorded at Bluhm's own Mission Bells Studio in San Francisco, where he also produced the upcoming album from pal Jackie Greene.

The band also seems to be jamming a little more these days, and Bluhm said that had been a back and forth process.

“We used to jam a lot, then spent a bunch of years intentionally not jamming, trying to shake these distasteful associations we were getting. But then, we always want to change, keep evolving, so right now we are jamming out more and enjoying it, it's fun,” said Bluhm. Regarding SXSW, Bluhm said he loves to play it but finds trying to go out a bit much.

“I honestly find it's overwhelming at SXSW, and I never have the patience to stand in line,” said Bluhm when asked about what other bands he wanted to see at the festival. He did say he'd enjoyed seeing Spoon the previous night and was looking forward to Or the Whale, whom the Mother Hips would share a bill with the next day.

After a quick lunch it was over to Cheers Shot Bar on 6th Street, where Jambase was presenting Kayceman's Treehouse Day Party. This was a small stage, but out on a rooftop deck on a sunny day, very nice setting. Red Cortez out of Los Angeles rocked a two-guitar vintage sound, with vocalist Harley Prechtel-Cortez providing a gritty delivery that grabbed attention. One song sounded a bit like the Airborne Toxic Event, who Red Cortez are friends and former tour mates with. But Red Cortez has a darker and edgier overall sound.

This 2:00 panel honored the seminal jazz-rock “fusion” album from legendary trumpet player Miles Davis. The panel featured Davis' son Erin Davis; Lenny White, one of the drummers who played on the album; Vince Wilburn Jr., who played with Davis' band from 1984-87, and Steve Berkowitz, a producer for Sony's Legacy label.

“He said Jack [DeJohnette] has the sunglasses on so he's gonna play rhythm, and I want you to add colors all around. It's like a big pot and I want you to be the salt,” said White of directions from Davis on the first day of recording. “And I think that's why he called it .”

Berkowitz spoke of the incredible progression Davis' music went through during the 10 years between 1959's classic and 1969-70's . “The making of records was a different process by now [1969],” said Berkowitz. He and White both spoke of how the album was a breakthrough in many ways, including the production process.

“I'd go to Miles' house and listen to the takes, and when I heard the album, it was nothing like that... It was through editing that this new sound had come, and it was a totally different composition,” said White. He also noted that he feels “fusion” is a media term because the musicians all just thought of it as jazz rock. “ was like the germ that created the disease of jazz rock.”

White cited the album track “Miles Runs the Voodoo Down” as his biggest learning experience as a musician. He said he felt he had to go in and try to play like Davis' former drummer Tony Williams, but Davis came over and said “No, you ain't getting the chicken,” and moved White off the kit for the track.

“Basically, he wanted a real simple beat, so I wound up playing percussion instead of drums... What I learned is that instead of trying to impress somebody, you should do what they ask you to do,” said White.

This panel featured former Weather Underground leader Bill Ayers, Wayne Kramer of the MC5, Country Joe McDonald and Kent State 1970 shooting survivor Alan Canfora in a wide-ranging discussion of how music intersected with revolutionary politics and activism in the late '60s and early '70s. It was only a shame there weren't more young musicians in the audience.

“There seemed to be an agreement among everyone that something was wrong [with society],” said Kramer. “Music fit in... because we tell the stories of it... We had a zeitgeist going.”

McDonald said that it was natural for him to put political lyrics in his music because of his radical upbringing, as opposed to most of his contemporaries who were rebelling against straight parents. He said it was this upbringing that enabled him to write his famous “Fixing to Die Rag.”

“Music empowers people... My song didn't end the war, but it validated your feelings... 'Four Dead in Ohio,' wow, it releases your feelings and empowers you... It [music] is addicting, it's like a drug.”

Ayers said the stomach-turning stories of G.I.s that came home from the Vietnam War were what had energized him and his peers to become active in the anti-war movement and that music was a constant in that movement

“Whenever we came together, we sang,” said Ayers. “It brought us the courage.”

Canfora said he and his classmates never imagined they might actually get shot at in the peaceful May 4, 1970 anti-war protests that saw four students killed and himself among nine wounded.

“We always had the idea that if we kept our distance, we'd be okay,” said Canfora, labeling the May 4 shootings a “barbaric crime which still remains a grievous injustice to this day.”

Ayers called it a “horrible wake-up call to the sewer we lived in,” and went on to describe the lessons of the era. “A mass movement starts with one person, two, three in your own neighborhood... This is the lesson... You fight and lose, you fight and lose, fight and lose, and then you win one.”

Canfora said music was a key part of the activism at Kent State that he felt helped eventually end the Vietnam War.

“Our goal was a strategy to bring the war home... We helped stop a criminal, imperialist war. We rose to that task and we won and that revolution continues today, and it was inspired by music,” said Canfora, who cited Country Joe & the Fish, the MC5 and Jefferson Airplane as key influences.

A line in Jefferson Airplane's 1969 classic “We Can Be Together” was cited by both Canfora and Ayers as one of the most inspiring and on-point lyrics of of the times – “We are forces of chaos and anarchy…and we are very proud of ourselves.” Canfora cited modern punk bands the Casualties, the Unseen and Anti-Flag as current acts following in the revolutionary tradition, saying the lyrics now are much more powerful than what his generation had.

“It's still going on today... The fact that SXSW is thriving is a good example of how we have won this revolution,” said Canfora in reference to the way that rock 'n' roll has become a huge part of American culture instead of just the counterculture."

I'd passed on Spoon's headlining set at Stubbs to see Nas & Damian Marley, but the Austin-based indie rockers were still playing when the Emos' show let out, so I went back in to catch the end of the set. I've been lukewarm on the band, although they have certain tunes I dig. I guess I just don't understand their formula of playing two or three songs that are kinda blah, then throwing down a hard-hitting rocker, then two more blah, then another rocker. So the set was kind of up and down to this reporter's view, as opposed to last year's Wednesday night headliner set at Stubbs when the Decemberists captivated the crowd with a full performance of their album.

Back over to Emo's main outdoor stage for a highly-anticipated midnight set from Nas & Damian Marley, who have a new collaborative album out. The place was packed and rightfully so, for this was a truly electrifying set mixing the ace hip-hop skills of Nas with the classic reggae vibe of the Marley clan. Nas opened it up with one of his classic raps and then introduced Marley, who sang/rapped over a “One Love” groove. The duo kept mixing reggae and hip-hop throughout the set, such as on “As We Enter,” which featured a line from Nas about the duo being “real revolution rhymers.” “Only the Strong” was another strong moment from Nas, while Marley later rocked a “Road to Zion” jam with Nas proclaiming “revolutionary warfare from Damien Marley.” The crowd loved every minute of the superb 45-minute set. This pair definitely won the best new duo of SXSW award and are surely an act to watch in 2010.

I caught up with Broken Bells here at Stubbs since they followed Jones with an 11:00 PM set. The new band from the Shins' James Mercer and Danger Mouse was definitely one of the most buzzed about. This probably comes from the fact that the Shins have quite simply become one of the most influential bands of the 21st century's first decade. The Broken Bells sound a lot like the Shins, frankly, due to the distinctive voice and talent of James Mercer. But there's less guitar and more keys and samples, triggered by Mr. Mouse on drums. The band has a groovy if laid back sound that seemed to hold the crowd's attention fairly well. “Vaporize” and “Mongrel Heart” both have that classic Shins-y vocal from Mercer over a Shins-y type of groove, which seemed to resonate. The last two songs also featured more guitar, which helped build the energy some more, with Danger Mouse also playing guitar at the end over a sampled beat. It wasn't the dazzling set that SXSWers have come to expect from evening showcases at Stubbs, but this is a new band, so it's only logical that they might need some time to develop. There's definitely some potential here, though.

I had to get over to Stubbs BBQ a little early for Sharon Jones' 9:45 PM set because the line is always long to get in at this venue, which tends to host the more popular acts. The place was packed for NPR night, with the radio station broadcasting the entire evening nationally. The soul queen hit the stage with her crack band and owned the audience instantly. The band's rendition of “This Land is My Land” was surely the funkiest version ever played. A new song had an early '70s James Brown funk vibe, while another song took the crowd “back to 1965 on a soul train” and featured a big groovy jam. This stuff was retro to be sure, but with the fresh vibe that comes from top-shelf talent getting the most out of each song. It was a fantastic set.

At 9:00PM it was up the street to Club Deville for Here We Go Magic, out of Brooklyn. It was another outdoor stage with Christmas lights, which provided a festive vibe, and the place was pretty packed. The sound was crystal clear but the first couple of tunes seemed like they were building up to something that never came. The third tune got a bouncy psyche groove going, though, which started to establish some more vibe. I couldn't stay until the end of the set, but was intrigued enough to want to check them out again some time.

Ms. Zapata's name caught my eye when I saw it on the grid. It's not often you find an artist who shares a surname with legendary Mexican revolutionary Emiliano Zapata (who also begat the modern day Zapatista rebels of Chiapas.) I walked up Red River to the Red Eyed Fly and discovered that the venue has a great little outdoor stage in the back. The set was a treat, with the Los Angeles-based Zapata backed by a full band and displaying a powerful voice that at times recalled another great LA female rocker, Johnette Napolitano of Concrete Blonde. One tune started off slow and almost meditative before building into a hard-edged riff rocker with Zapata really belting it out. It's no surprise to see her album is titled , as Zapata seemed like a tortured soul at times. But watching her channel that energy into the music was compelling. “Burn” was a muted-riff rocker, while “Cowboy” also had an aggressive sound before breaking down into a deep well of bluesy feedback.

The evening showcases kicked off with Austin's own Strange Boys, who hit the stage at Emo's Jr., inside, at 8:00 pm. These guys (and one gal) have a very retro, '60s garage rock sound. They've been generating some local buzz and the room was full of onlookers. Singer/guitarist Ryan Sambol has a gritty rasp that fits the R&B-flavored tunes well, but this sound is going to be an acquired taste for some. I don't think it was quite my thing. I suspected this might be the case, so I had lined up a backup plan.

Over to the Levis/Fader Fort, which I'd seen described on Twitter the night before as a “funhouse for hipsters.” I wanted to check out Philadelphia buzz band Free Energy, and therefore braved a ridiculous 45-minute line to get in. I was rewarded with free drinks, which are often served at the sponsored day parties, but the power-pop rock quartet turned out to be a bit of a disappointment. They have catchy tunes, vintage gear, a great name and cool looks, but something seemed to be missing. The band members seemed like they were into it, but the tunes kept falling a little flat, like the musicians lacked the chops to propel the songs higher in a live setting. I wanted to love this band, but I just wasn't feeling it and the crowd seemed to feel the same way. I wanted to catch one of their other showcases to give them a second chance, but was unable to do so. The Fort was definitely a great venue though, with lots of spots to chill, beer pong, a blogger's lounge with laptops, a Korg soundlab with musical toys and more.

Walking back up Red River on this beautiful sunny day, my ear caught a Beatle-esque sound coming from Jaime's Spanish Village, a Mexican restaurant across the street from Stubbs BBQ. The Eggmen were set up on the tiny patio with a rotating lineup that included seven people at this point. The addition of fiddle and ukulele to the standard band lineup added a more exotic flavor to great renditions of “I'm Only Sleeping,” “Fixing a Hole,” “From Me to You” and “All You Need is Love.” Some kind of Beatles marathon was taking place and these tunes were a great fit on a balmy afternoon.

I tried to catch buzz band Broken Bells doing an impromptu 1:00 PM set in the Red River Street garage that was hosted by AOL Music, but the line was too damn long. I wandered up the street to see what was happening at the Mohawk, one of Austin's finest smaller clubs. This was where I made my first surprise discovery, in the form of Yukon Blonde. The Vancouver-based quartet were rocking a vibrant sound on the outdoor stage that recalled My Morning Jacket and Neil Young & Crazy Horse. Three-part harmonies elevated the tunes further and it was clear this band had both excellent musicianship and strong songwriting skills. A powerful jam at the end of their set brought things to a rousing conclusion before the appreciative audience.

The weather was perfect for the first three days, with sunny highs in the 70s and lows in the 50s, making Austin feel like Rock 'N Roll Paradise Vacation Land. I started off with the opening panel, “Successful SXSW: The Tao of the Conference” with CD Baby founder Derek Sivers. The panel seemed aimed at the musicians themselves, with Sivers encouraging them to get out and network and promote themselves. Sivers said the most essential point in SXSW networking is the follow-up after the conference. “Persistence is polite,” said Sivers, citing the tale of one label rep who said they didn't respond to anyone who didn't call at least three times first.

At 12:30 pm, I checked out the “Caution Before Signing” panel with entertainment attorneys Brian Rosenblatt and John Strohm, who went over the details of what bands should be looking for before signing contracts. The panel was run as a hypothetical scenario for a band, and it seemed like a very useful panel indeed for musicians on the verge, but less compelling if you're not in that category. One example cited of how contractual issues can become pivotal down the line was Cadillac's use of Led Zeppelin's “Rock and Roll” for a commercial on their “Break on Through” campaign a few years ago. The company originally wanted to use The Doors' “Break on Through,” but the group's band agreement required unanimous approval for such licensing and Jim Morrison's estate voted against it, feeling Jim would not approve. The role of the band manager was also discussed, with the attorneys clarifying that it is to “find ways to exploit the creative output of the artist, not to book gigs, which is an agent's job.”