In all honesty, this is the post I looked most forward to writing. Why? Because it's the "I didn't work today" post, which, in being actual work, is also a paradox. Working by writing about not working or writing? It's enough to wreck your brain.

Also, because I never thought I'd actually do it.

In the morning Saturday, the last "real" day of SXSW, I made a very important decision. I had, in my pockets, a notebook, two pens, and my Flip camcorder. And then I didn't. I took all that nonsense out because having them in there negated my fandom.

For the last day of SXSW, I got to be a fan. And it was awesome. It was like a lightbulb moment. I almost exclaimed, out loud on 6th St. East, "Now I know why people go to those festivals -- If you don't have any real responsibilities, they're more fun!"

First show I hit on Saturday was the last appearance Doomtree made at SXSW. Bonus: It was at the MN Music Showcase (presented by Vita.mn), and they were handing out Crispin cider and brats, beer can koozies and ear plugs. Good people, those Minnesotans.

Anyway, Doomtree killed, P.O.S. and Sims danced in the crowd with us, and everything was that much better because I wasn't taking notes or planning on interviewing anyone. After the show I chatted with Dessa and Sims, and they seemed to be of the same opinion of their SXSW experience as me: They were tired, but happy. This could, I believe, describe pretty much everyone on Saturday.

After Doomtree I high-tailed it to the Brooklyn Vegan/M For Montreal party at Barbarella. They were giving out free sweet tea bourbon, and it was a lot better than you'd think. Little Scream, set for 3, was my aim but it didn't work out the way it was supposed to. Technical difficulties, you see. But the time before the set finally started wasn't wasted. I got to spend time with LS's manager, Gillian, and Virginia Clark, who runs the Wolfe Island Music Festival.

Sidenote: If you've never been to the Wolfe Island Music Festival, go. It's exactly what you'd think a music festival -- on an island -- in the summer -- in Canada -- should be. I've gone the last two years and I'mma make it a threepeat this summer.

Anyway.

What little I saw of Little Scream -- I had to leave halfway through -- was lovely. Seeing Laurel do her thing in a live setting reinforces so much about her music. When it's fragile, watching her do it is heartbreaking and gorgeous. "The Heron and the Fox" was done so wonderfully well, a point that was hammered home when Jessica Louise Dye of Lightfoot (Washington, DC) started swaying, gently, to it.

If you don't know Lightfoot, you should, if only because Jess Dye is a total babe.

After Little Scream and Jess Dye, I hightailed it to Flatstock, the poster sale, for the last 90 minutes it was open for. I spent $140 I didn't really have and I feel no regret or remorse. My purchases were heavy on a few specific acts (Ra Ra Riot, Doomtree) and included a lovely Jenny Lewis and the Watson Twins print that is definitely going to be framed and put in my bedroom.

Let's face it, I'd be thinking about Jenny Lewis before bed anyway.

Upon walking out of Flatstock, I saw Mos Def, just walking by. SXSW is surreal, man.

This brings us to about 6 p.m. At this point I know I have to put my posters somewhere, go eat, and at least see my boy Rich Aucoin at midnight.

I walked back to Spill to put my posters in the back room (merci, tout la monde a M Pour Montreal) and ran into Stefane Campbell, whom I work with at Citeeze and for at M For Montreal. We grabbed a friend and headed to the Jackalope for dinner.

Did you know that you can, with astounding regularity, get burgers in Austin that are topped with pulled pork? Like, steaming, gooey, delicious pulled pork is, to a certain extent, a garnish? I did. Which is why I took Stef and Carola to the Jack. If you're ever in Austin, FFWD readers, please, do yourself a favour and take in an evening of cold suds and jalapeno stuffed burgers at the Jackalope on 6th. It's just an outstanding place to spend your time and money.

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The next set I saw was awe-inspiring. The Rural Alberta Advantage were playing the Central Presbyterian Church, the same venue I watched Dan Mangan in last year. The Central Presby is nice; it has astonishingly good acoustics and, let's face it, watching a show in a church almost commands you to pay attention. Not that the RAA needed any help. Nils was very funny throughout, and introduced songs from both Hometowns and Departing with aplomb. In doing so, he revealed himself to be a wonderful everyman whom everyone could connect to. Many who I was sitting near would agree with this.

The best part of the set was its end. After rocking through a great selection of their songs, and leaving, they rushed back out to do an in-the-aisle performance of "Good Night," the last track from Departing. With little to no instrumentation save for their voices and Paul Banwatt's drum, they led us into the rest of our nights with thoughtfulness and grace. I, for one, am extremely excited to see them again on their upcoming tour.

A friend I made there in the church, David Calvin Meigs (@dcmeigs), took the following video and told me to use it.

FFWD (ha!) to later...

I'm at Canada House for the Halifax Pop Explosion Showcase. I wanted to see Duzheknew on the advice of a buddy. When I get there, lo and behold, Jess Dye from Lightfoot is there, and suitably excited to see me. The room, however, was empty. Ish. It was unfortunate but the dudes from Duzheknew didn't seem to care. Their stuff is kind of noisy, psychedelic and arty. Check Duzheknew out here.

Next up: Rich Aucoin.

I don't have the words to explain how good Rich Aucoin makes you feel when you're at a show. On record, sure, it's great, but in person, it makes "great" look like an insult. Rich is the quintessential performer. He laserbeams love and energy into every bar of music he creates. And his live show, assisted by projected imagery of films like 1966's How the Grinch Stole Christmas!, is outstanding, and makes his show pop.

After Rich, I ran over to Beauty Bar to try and see the Death From Above 1979 reunion show. And, as you probably already know, that was amazing, raucous, and riotous. Literally. Cops and pepper spray and tasers, oh my!

I already wrote on this -- in fact, FFWD was the second or third outlet to have something up on the internet tubes about it -- so I'll not do so again. Here's the link to the piece I wrote on the show, so you can read about it if you haven't yet already.