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AUSTIN, TX- Every year, like clockwork, I find myself drawn back to Austin, Texas, for one of the most electrifying gatherings of musical talent on the planet—South by Southwest (SXSW). As a passionate music lover and dedicated journalist, SXSW holds a special place in my heart. It’s a festival that promises the discovery of the next big thing in music, a melting pot of genres and cultures that converge in an explosion of sound and creativity. For a music enthusiast like me, there’s nothing quite like it. But as the years have rolled on, I’ve found myself reflecting on the evolution of SXSW and wondering if it’s time for a bit of reinvigoration.I stumbled into my apartment with the classic symptoms of a successful trip to Austin for South by Southwest: aching feet, shoulder pain, and a desperate need for twelve hours of sleep. My week in Austin had been a nonstop blur of parties, showcases, and conversations. Finally—in the silence of my apartment—I could begin to process every epic performance I had witnessed.
But before I could even unpack, SXSW officially announced that they would be scaling back the music portion of the festival by two days in 2026. It was a gut punch. An announcement that no doubt left many festivalgoers disappointed and confused. The official reason? Renovations to the Austin Convention Center. But for anyone who has been paying attention, the writing’s been on the wall for a while. Festival veterans have noticed a steady decline in the overall “vibes” for quite some time.
The Unexpected Announcement That Rocked the Scene
I’ve been going to SXSW since 2015, and I’ve felt the shift firsthand. The enthusiasm isn’t what it used to be. The crowds, while still lively, feel less electric. And this latest change? It targets the music portion specifically—leaving film and tech untouched. That’s a hard pill to swallow. Music has always been the cornerstone of the festival’s popularity since its inception in 1987. But now, the once music-centric event has ballooned into a two-week celebration that includes film premieres, tech presentations, industry panels, corporate partnerships, and DJ sets by celebrity guests.
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Music as the Soul of SXSW
Every March, thousands descend upon Downtown Austin to participate in the chaos and camaraderie that only SXSW brings. The bars lining 6th Street and Red River transform into pop-up showcases featuring some of the best and most buzzworthy artists from around the globe. The magic of South By Southwest lies in its “choose-your-own-adventure” energy. A typical SXSW day—casually dubbed “South By”—might look like workshops in the morning, movies in the afternoon, showcases in the evening, and dancing till sunrise.
It’s an enticing hop-on/hop-off ride of possibility. You might sit in a church pew and discover the next Billie Eilish or watch an Oscar-winning film before the conversation about it has even begun. But SXSW is more than just great art. It’s a meeting ground for the entertainment industry. Artists connect with new management or touring contacts over shouted conversations at Hotel Vegas. Labels and music supervisors stumble upon their next obsessions on unexpected stages. And while the film portion has exploded over the past decade, giving indie filmmakers game-changing opportunities, tech has arguably taken over the show—fueling innovation and brand partnerships at every corner.
Artists Are Still Underpaid—And It’s Getting Old
Here’s the thing—I’ve had a blast at South By. I wouldn’t keep going back if I didn’t love it. But the festival is not without its warranted criticisms.
Let’s talk about the money.
Artists are grossly underpaid to perform. It’s a conversation that grows louder every year, and rightfully so. As an artist myself, I feel conflicted. There is no excuse for paying bands only $400 and solo artists a mere $175 to play a festival that demands airfare, lodging, and ground transport—all of which are increasingly expensive. This, at a festival where the cheapest music pass starts at $475 and climbs into the thousands. Even the more affordable music wristbands start at $120—but when you consider all the free festivities and unofficial showcases, that lower price point starts to feel moot.
Meanwhile, SXSW leans heavily on sponsorships and endorsements, boosting their profits into the millions. So when they announce they’re cutting the music portion? It feels like they’ve truly lost the plot.
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A Tale of Two SXSWs: Official vs. Unofficial
Let’s not forget that SXSW also creates an invaluable influx of tourism for the city of Austin. Small businesses thrive during the festival—lines wrap around the block for tacos, pizza slices, and overflowing margaritas. And it’s not just badge-holders who benefit. I’ve always loved that SXSW offers free shows all day for non-badge holders. Sure, you may wait longer in line or miss Benson Boone’s backflips, but you still get to be part of the party.
Unfortunately, I’ve noticed more and more cover charges on what were once free events. These changes have elevated the unofficial scene. Official artists pile on extra unofficial shows to maximize their week, while those who didn’t make it through the official gatekeepers still get the chance to shine. The playing field shifts, but the energy remains the same.
This is what makes the justified criticism of SXSW so complicated. On one hand, there’s electric, unfiltered joy for those who brave the madness. On the other, there’s blatant corporate greed. I’ve relished in the delirious bliss of not knowing where my day would take me—of simply following the sound of rattling guitars. I have cherished memories of running around Austin with my guitar on my back and ending my night playing to rowdy, drunken crowds on the rooftop of Cheers.
My Soundtrack of South By: From Cheers Rooftop to Stubb’s BBQ
That wild, uncontainable energy is what makes South By Southwest special.
My most recent week at SXSW was filled with cinematic moments. I screamed along to Jack’s Mannequin at Stubb’s BBQ. I watched a man my father’s age cry during Everclear’s performance of “Father of Mine.” I spent a day immersed in Australian garage punk, eating a sausage fresh off the grill. I capped off another night in Britain, witnessing some of the most innovative rock performances I’ve ever seen. Your contemporaries—Coachella, Bonnaroo—they could never replicate this kind of immersive, city-wide energy. SXSW turns an entire downtown into an international block party.
And yet the official statement about next year’s changes had the audacity to say they’re “leveling up” the music by cutting the music weekend.
What the Future Could—and Should—Look Like
Let’s be honest: the people in charge are out of touch. The only people who want fewer showcases are the ones who don’t want to pay more artists. The current format is perfect—two weeks of sunburnt shoulders, breakfast tacos, and spontaneous magic. The proof? It’s in the 30+ years of smiling attendees, filmmakers desperate to screen their work, and musicians hungry to earn that badge around their neck.
I want to believe that the heart of this celebration can’t be easily stifled by greedy organizers. That what makes SXSW amazing is how it brings people from all over the world together—into dive bars, alleyways, rooftops, and reverent old churches. It’s in the way strangers become friends after sharing a surprise set. In the way music cuts through the noise of algorithms and corporate influence. In the way an artist can go from an empty bar to a label deal in the time it takes to play four songs.
I hope the loudest voices moving forward are the ones pressed against the barricade at Mohawk, waiting for their favorite band. And the artists—tuning their guitars, checking the setlist one last time, ready to scream their hearts out into the Texas night.
