AUSTIN, Texas -- This year's South by Southwest features music acts from every continent except Antarctica (those penguins aren't as musical as you've been lead to believe). Here's some of the international flavor I sampled this week:
The panel session at SXSW 2012 was titled with a question -- "Do Music Moguls Know a Secret About K-Pop?" -- but the non-insider query is simpler: Do you know what K-pop is?
It's a genre of hyper-produced, often sugary sweet pop music mostly out of South Korea. It's got its own Billboard chart, and in December launched its own festival (K-Pop World, Dec. 7 in Seoul). According to the moderator of this industry panel, it's "a huge thing across Asia and other parts of the world," and it's about to invade the states.
Earlier in the year, I suggested 2012 might have a more worldly sound, including more K-pop. Already in the United States, South Korean idol Kim Hyun-a has attracted media attention, and when K-pop acts tour this country it's not just their music that turns American heads.
"People often are stopping because of how many people show up" to these concerts, said Flowsion Shekar, founder of Koreaboo, a Korean news blog.
David Zedeck, a booking agent at Creative Artists Agency, said he's selling out 1,700 to 2,500-capacity venues with K-pop, even in interior cities like Atlanta, Kansas City and Denver. The group Girls Generation announced via Twitter that they would premiering a new video at a New York Best Buy. "We had 1,500 kids show up on a school day -- from a tweet," he marveled. "This is bigger than anyone thinks it is."
Other prominent K-pop acts include Bigbang, JYP, the Wonder Girls and SMTown.
"Even though it comes from Korea, it's not of or for Korea anymore," said Jeff Yang, the Tao Jones columnist for the Wall Street Journal ("It wasn't my idea," he said sheepishly of his column's name). "It's become a world music. There are more people who don't understand Korean listening to K-pop than in Korea."
Yang predicted K-pop could develop in America one of two ways: It could become like Latin music, a cultural identifier for Asian-American communities, or it could establish itself as a platform like hip-hop, inviting collaboration and eventual evolution into something larger.
Some of the latter already is happening. Kanye West previously worked with the trio JYJ (rapping on the single "Ayyy Girl") and has said he plans to do more with the group. Snoop Dogg recently appeared on a track by Girls Generation, and DJ Swizz Beatz says he's hoping to help bring K-pop acts like Bigbang (currently atop the K-pop charts, No. 1 and 2) to America.
In addition to performing his own and Woody Guthrie's song immediately before Bruce Springsteen's keynote address at SXSW 2012 -- one of his first English-language performances -- Colombian singer Juanes has been making multiple appearances at the festival all week. He discussed his upcoming May album, "Juanes MTV Unplugged," during a Friday panel session, then performed during the Latin rock showcase later that night.
In an AP interview, he celebrated the cultural smorgasbord that is SXSW: "It's such a great opportunity to interact together and exchange culture. I just feel the world now and the world is absolutely sick, you know, so I just see music and culture and art in general as a great idea to change at least our own environment and just connect people to the music. You can just go and walk around the street and you can see bands from I don't know, wherever, and they can sing in Chinese if you want. You just have the opportunity to connect with somebody else you didn't know, and that's good."
The sheer volume of music at SXSW makes random discoveries possible, probable and the payoff is often good. Thursday night I stopped for stir-fry at one of Austin's better food trucks downtown near Fifth and Brazos. On the corner a trio of Austrian vagabonds was playing to anyone who'd stop and listen. They're called Bensh, and they don't sound like a sidewalk band. Good-spirited pop with flourishes of electronics and gypsy bounce, Bensh's fluid, well-crafted pop caused me to scribble a seemingly bizarre list of comparisons in my notebook: Luka Bloom, Deathray, Syd Barrett, Animal Collective, the Monochrome Set. Much spunkier live than on record, Bensh still made a great impulse download that was perfectly dreamy in the earbuds during a pedicab ride home.
A showcase of musicians from Israel, sponsored by the Israeli Consul, ran all day Friday in a downtown park. I caught an acoustic set by Noa Margalit, from the rock band the Car Sitters. Listening to her stoic personal songs, you'd never guess how energetic the Car Sitters usually are. Tel Aviv's Margalit -- breathy, barefoot, bar-chording the heck out of her guitar -- played things close to the vest, at least sonically. Lyrically, she was raging about politics and quality of life, lamenting (or marveling?) that "it doesn't take much to survive."
Later, J. Viewz, aka Grammy-nominated and Brooklyn-based producer Jonathan Dagan, let loose some throbbing beats with a soulful vocalist and great live drums.
... and there's more SXSW 2012 coverage here!