Another year of South by Southwest (SXSW) is in the books, and in the news. The massive conference and festival — and its unofficial offshoots — are always making headlines, but this year there was a larger swirl of international discourse.

The elephant in the room, or perhaps the bulldozer, is that more than 100 artists (by the Austin for Palestine Coalition’s count) pulled out of their showcases in protest of the festival's military ties.

SXSW accepted sponsor funds from the Department of Defense, and platformed other weapons and aerospace companies (RTX, BAE Systems, and Collins Aerospace) that have had a direct hand in the Israeli Defense Forces killing more than 31,500 Palestinians and wounding more than 73,500 since October 7, 2023.

The defense contractors are not new, and neither are complaints that SXSW underpays its artists — even though it raised its pay scale since last year. As reported by KXAN when this year's application process launched in June, artists could opt either for artist credentials or monetary compensation: $350 for groups, or $150 for solo artists.

Both these issues and the usual "this used to so much better" comparisons inspired feisty feedback, both in official showcases and even an anti-SXSW festival at City Hall (more on this later). And it's not just for those plugged into the news; These were some of the most commonly overheard topics on the street downtown.

Still, it was a very personal decision to drop out, and many didn't. Was the principle worth more than the exposure? Could the platform be used to amplify a creator's views more than it lined SXSW higher-ups' pockets? Every year, the festival does bring together inspiring acts and innovators from around the world, and Austin performers and businesses alike majorly benefit from the tourist influx. Many of us are still thinking about what we learned and saw during prior years.

This is the duality of a truly massive enterprise like SXSW. Even unofficial showcases, meant to be separate from the machine, share the name and have corporate sponsors like Eventbrite. Even the Austin Chronicle, a current sponsor and the origin of the entire festival, has covered the more egregious accusations against it. Everything under the SXSW umbrella is connected.

Finally, that brings us to our list. The team this year was me — your editor — and network writer Amber Heckler. As you've seen in our ACL Fest recaps, we naturally gravitate toward local and norm-challenging art. As we probably would have done anyway (although this year, we did it with renewed vigor), we focused on panels, films, and showcases that amplified local art above all, and a global consciousness that we think makes Austin stronger.

Here are 10 things we loved and learned at SXSW:

Film screening: An Army of Women
This poignant documentary followed more than a dozen women seeking restitution after having their sexual assault cases dismissed under former Travis County District Attorney Margaret Moore and the Austin Police Department. First-time director Julie Lunde Lillesæter created a powerful narrative about what it means for a sexual assault victim to rebuild their life after being told their case “isn’t strong enough” and won’t be pursued, thus allowing their rapists and abusers to walk free. An Army of Women premiered at SXSW on March 8, and Together Films is handling sales of the film. — Amber Heckler, Network Writer

Unofficial showcase: Falasteen Streen Museum
With so many artists in town who suddenly had little to do, the Austin for Palestine Coalition sprung into action and rented out space at City Hall along with some audio equipment for its own showcase, along with some informational posters about the past hundred-or-so years in Palestine. The bands that participated spanned many styles, but my personal favorite was The Point, a local band playing a roiling, mostly instrumental blues style that reminded me and another listener of Malian and Zambian rock. Another perk: finding someone else who thinks about Zamrock. — Brianna Caleri, Editor

Film screening: Faders Up: The John Aielli Experience
The premiere of this documentary had both of these writers in tears for an indeterminate amount of time inside The Paramount Theatre (and beyond). Faders Up: The John Aielli Experience was a look back at an Austin music radio icon’s legacy as the host of the famed all-genres show Eklektikos. It was a sincere exhibit of what defined “weird” old Austin while also separating it from the not-so-weird Austin we know today. Film distribution after SXSW is not completely nailed down, but a shortened version is expected to air on KLRU on an undetermined date. — AH

Book: A Curious Mix of People: The Underground Scene of '90s Austin
Unfortunately I missed the official planel by former Austin Chronicle contributor Greg Beets and friends, "Book Your Own F*%kin’ Life: Lessons from the 90s DIY Scene." But I did buy a copy of the book. The oral history presents a simple message through some long-form writing and lots of quotes: Stop waiting for permission to get out there and play. Chronicling Austin as a small town through the folks who made it — and separating the ideas of punk and DIY music — this book reignites the version of Austin that made unofficial showcases a thing to begin with. — BC

Conference panel: Stories from Three Intersex Activist Authors
Intersex authors Pidgeon Pagonis, Alicia Roth Weigel, and Kimberly Zieselman shared their testimonies living in a society that treats intersex individuals as an exceedingly rare phenomenon. The reality is: The number of intersex people in the world – about 1.7 percent – is extremely similar to the number of red-haired people in the world. The activists explained why it is important to educate the public about the existence of intersex individuals, and advocated for protecting intersex children against medically unnecessary surgeries that are conducted without consent of the child. — AH

Musical performance: Vision Video
One of the bands that stayed on the lineup to raise hell was the Athens, Georgia-based goth rock band Vision Video. Army vet Dusty Gannon was at the helm as the lead singer and songwriter, punctuating each song with fervent anti-war rants. The band donated its earnings to the International Rescue Community, which provides support to refugees around the world in Gaza, Sudan, Ukraine, Mexico, and the United States, among other places. Sonically, this band makes a strong case for more goth clubs in Austin; The countercultural message over the danceable bass gives audiences something to be nostalgic about, and it's not just the 80s. — BC

Conference panel: Drag and the First Amendment: A Conversation with Brigitte Bandit
Local drag queen Brigitte Bandit is no stranger to defending her First Amendment rights to perform in her signature Dolly Parton wig and outfit. She described her experience testifying in front of the Texas legislature against its anti-drag bills, including one that would restrict public libraries from hosting “drag story hours” which have historically been safe events for children. Bandit’s candor during her panel was a welcome addition to a lineup of other First Amendment-centered events at the conference. She brought a hyperlocal focus to the way Austin maneuvered to embrace its drag performers while their rights are threatened by the state legislature. — AH

Series screening: Ren Faire
Silly, local, and creatively inspiring — this series that got picked up by HBO could be one of those SXSW finds that makes it out of Texas and represents its culture to a wider audience. This time, though, there's no romanticized wide-open western spaces or rock music. This docuseries — all true, but framed as a Shakespearean drama — follows the head of the Texas Renaissance Festival as he wraps up his Ren faire career in search of a romantic partner thirty years or more his junior. A sycophantic general manager and a manic businessman compete for the throne. I think this could be the next Tiger King; You can see for yourself this summer. — BC

Musical performance: Dayglow at Antone’s
Indie pop rock band Dayglow returned to Austin over the first weekend of SXSW to play an official showcase in partnership with Antone’s and The University of Texas at Austin. Lead singer Sloan Struble, a former UT Austin student, had a vibrant presence on stage and brought out all the hits that had the crowd singing or chanting along, such “Hot Rod'' from the debut album Fuzzybrain, and “Then It All Goes Away” from the 2022 album People in Motion. Struble hinted at new music coming sometime in the spring, so we’ll be waiting patiently for more new tunes to jam to. — AH

Musical performance: Golden Dawn Arkestra
Did I pay $27 for a show at the Sahara Lounge while literally surrounded by free entertainment? I sure did. But in my defense, the lineup included Walker Lukens, the Bright Light Social Hour, and Golden Dawn Arkestra — some of Austin's best rock entertainers. The evening peaked with a "Ritual to the Sun King," led by the Arkestra in psychedelic garb that was equally ready for the desert or the disco. Flute melodies and hand percussion pushed this theatrical blues and dance jam into semi-jazzy territory, and we all forgot what planet we were from. — BC