The camaraderie established among all the ambassadors elevated the trip exponentially. Most of us had never met each other, but I felt we all meshed well. Everyone in attendance had a vested interest in being there, and our mutual passion allowed us to connect almost immediately. After the obligatory introductions, we all hit the ground running. We conversed about the panels we attended, bands we wanted to see, and blog topics to write. To quote the iconoclastic Quentin Tarantino, our conversations lacked the “uncomfortable silence” that usually occurs when hanging around new people. When I think of SxSW 2010, I’ll remember the Stone Temple Pilots concert where Scott (Fagan, not Weiland) and I “negotiated” our way to the upper balcony for the best seats in the house. Andrea and I dancing our hearts out at the Ra Ra Riot show. Listening to metal legend Lemmy Kilmeister talk about 4 decades as a rock god with Randy and Brianda was another seminal moment. And mucho thanks to Christian for introducing me to the music of the charismatic Theophilus London.

Austin was definitely painted blue this past week. The PepsiCo presence was ubiquitous. From the Podcast Playground, to the Pepsi Refresh ads, all attendees and townies knew Pepsi was there and active. SxSW is an epicenter of innovation, and it’s important to be an early adopter in such a competitive industry. PepsiCo recognizes the need to keeps its hand on the pulse of what’s emerging within the digital media, film, and music industries. The times they are a changin’, and I’m proud to be with a company that understands that, and is being proactive about it.

A special thanks to the CONN3CT group, Pepsi social media team, and the guys at Weber Shandwick. Their coordination and insight was a helpful roadmap, and made our jobs (yes, we were working) that much easier. They took the time to fly to Dallas and put us through SxSW “boot camp”, and always answered our calls and emails – no matter the time of day. And an extra special thanks to Brian Katz, who pretty much gave up any R&R time to ensure we had everything we needed. It was comforting to know they had our backs as we dove into the mayhem that is the SxSW conference.

All in all, I feel reinvested in this company. I’ve worked enough to know that not just any employer would send me to a conference that doesn’t necessarily fit with my job function. Yet they recognized my enthusiasm for music and its culture would bring an interesting perspective to this “social experiment”. It speaks volumes about PepsiCo and the power and necessity of ERGs (employee resource groups). At previous jobs, I felt like there was a caste system where only the most senior employees got to experience the perks of the job. An experience like this informs me that I have found a home here at PepsiCo. And it is my responsibility to pay it forward. My obligation is to preach to all my coworkers about the importance to get involved. There’s a rich variety of Diversity and Inclusion groups at our disposal, and I implore everyone to join not one, but two or three. Not just to bolster one’s PDR, but to engage in new experiences, befriend your fellow coworkers, and subscribe to community service. I know firsthand that doing so will make everyone truly understand the “Performance with a Purpose” ethos that many PepsiCo employees already possess.

I hope you enjoyed the content provided throughout the week. It was a pleasure to document such an epic event. I’m already looking forward to next year.

The discussion kicked off with a rendition of Neil Young’s “This Note’s For You”, an anti-commercialism anthem which gave even more weight to the term “sellout”. The song proved to be a bit dated given that many artists are now “selling in”. The panelists began by showing clips of their respective spots, then went on to describe the process of finding and obtaining music.

Using new music is a way for companies to refresh the brand, and helps to introduce a new product into the marketplace. Advertising executives use numerous methods to find material for their clients. Sometimes they reach out to supervising companies who maintain catalogs for multiple publishers. They may hire established composers like Phillip Glass or Johnny Greenwood (of Radiohead fame). They may even spend 8-10 weeks listening to hundreds, even thousands, of submissions from artists and record companies. The goal is to find the perfect part of a song that fits with the spot. Perfect execution can successfully launch a product, add credibility for the agency, and create new revenue streams for the artist.

The execution, however, is a complex project. The first obstacle is to meet the demands of the client. Ryan Fitch of Saatchi & Saatchi shared an anecdote about one client who noticed a faint trombone sound on a track, and demanded it be removed because it sounded “too farty”. What may seem like minutiae is commonplace among clients who are very protective of their brand. The artist then has to be notified of the change that will be made, and this undoubtedly causes problems because their artistic integrity is at stake. But it’s important for the band to know that when they license the music, they are allowing their work to be reconfigured for a 30 second commercial. Yet it pays to look at the big picture. Eric Johnson (Young & Rubicam) talked of the great success it was for indie group Matt & Kim to license the song “Daylight” for a Bacardi spot. Once the commercial aired, the band saw increased blog presence, a surge in iTunes downloads of the single, and ironically, a new sponsor for their tour. Companies have recognized the value of these groups, and some have even started their own labels.

I look forward to seeing and hearing the new spots from an innovative company like PepsiCo. With so many products set to launch, I know that we will do the work necessary to find great new music, and in turn refresh our brands, and the world.

The “star” of the panel was without question Alexander Ljung, co-founder of SoundCloud.com. According to Mr. Ljung, “all music will be in the cloud”. The cloud would allow you or I to take a song we like (or don’t like) and reproduce it. Users can remix songs, or deconstruct tracks by commenting on specific chords, notes, and riffs. Moreover, fans can act as producer by submitting their own chords to the band.  Sounds cool, right? Everyone can then create DJ doppelgangers (I would be DJ Zed-O-Mite). Beyond the fan-artist interaction, the ability for artists and labels to upload content immediately appeals to many in this age of instant gratification. And rumor has it there will soon be a SoundCloud iPhone app.

The other panelists provided the perspective of the music journalist and A&R representative. Ben Perreau (@perreau), formerly of UK magazine giant NME, now with Gigulate.com, envisions the technological advancements emerging from the myriad musical formats will be the big influence. Ask someone how they listen to music and you will receive 20 different responses. A “tween” might only rely on their iPod. A millennial may utilize music subscription sites or free streaming services like Pandora.com, or you may find the boomer who only listens to vinyl. As each format enhances and markets its service, different listening habits will form. He even forecasted that terrestrial radio will get their act together, which drew collective laughter from the audience. Steve Savoca from Domino Records, backed up Perreau’s statement, and thus believes this trend will lend itself to music being consumed in such abundance, it will be like a utility bill. The concept would be that you pay a flat fee and get a combination of listening formats. Another factor which could really shake things up: the controversial Digital Economy Bill in the UK. This piece of legislation can band anyone accused –not convicted- of copyright infringement, from using the internet. Basically your personal ISP address would be on a watch list, and one false move, goodbye Internet. If such a bill crosses the pond, internet piracy could go the way of the dodo. 

Then came my favorite part of the panel: audience questions. Let me start by saying the people here are extremely candid. While most participants are unsigned, unconnected people looking for an entryway into the “music business”, they are not here to pander or always agree with the very decision makers whose attention they are seeking. One SxSw’er demonstratively voiced that in his research, the subscription model was, to use the term du jour: EPIC FAIL. Savoca agreed but insisted that the model, along with listening habits, has evolved and subscription services have learned much from previous setbacks.

Too bad this panel was only an hour, because they were many questions still to be asked. Do people really want another monthly bill in the mail?  Will the inability to pilfer songs from the internet for free increase CD sales and subscription services?

What are your thoughts? How do YOU listen to music?

Members: Rhiannon Giddens, Dom Flemons, Justin Robinson

Instruments: fiddle, banjo, jug, fyfe, kazoo, bones, guitar, snare drum

I feel giddy right now courtesy of the Carolina Chocolate Drops. This three-piece band from North Carolina just put on one of the most dazzling performances I’ve ever seen. Not to toot my own horn, but I’ve seen my share of performances. Bob Dylan and Tom Petty at ACL, Pearl Jam and Bruce Springsteen at Bonarroo, U2 in Miami, just to name a few. It may seem hyperbolic, but this band really struck a chord with me and in fact, topped the aforementioned performances.

Let’s start with the music: The sound is a blend of old-timey string, Americana, and southern folk. It’s anti-contemporary, and not even my preferred style of music. But I enjoy the fact that they “go there”. This isn’t some novelty act trying to get a quick radio hit. You can sense the passion during their performance, they bleed this music. Between songs they talk about the history of string bands, and pay homage to those that taught them, namely fiddler Joe Thompson. And that is what essentially won me over. There ability to merge music, performance art, and history seamlessly into their act.

The performance: This is a group where everyone does everything. One song had Rhiannon singing, Justin on fiddle, and Dom playing the jug (yes, literally a jug, but one of those old-school jugs you see in westerns). The next song, Dom is singing, Justin is beat boxing, and Rhiannon is dancing- and very well, I might add. During a performance of “Trouble in Your Mind”, Dom demanded the crowd participate by singing along, then assisted by teaching us the proper lines. As the 40 minute show went on, the once quiet “Day Stage Café” transformed into an afternoon “hootenanny”.

For anyone that’s a fan of eclectic music, I implore you to check this band out. Unfortunately my camera battery went dead during a fiery cover of Blu Cantrell’s “Hit’em Up Style”, but here’s a little taste of “Your Baby Ain’t Sweet Like Mine”.

Andrew Bennett, CEO of LP33.TV, an upstart website that filters and syndicates music (think Facebook meets MTV) feels everyone will succeed if they concentrate on “impressions”. For instance, a song is used on a popular television show. Conventional wisdom causes one to believe viewership of that night’s broadcast will provide applicable data. But it only tells a fraction of the story. The show may receive 8 million viewers that night, but what about the TiVo and DVR audience; or the Hulu and YouTube audience. Those numbers must be taken into account in order to understand the true promotional value. This type of information is something LP33.TV is leveraging to drive labels and artists to their site.

Remember product placement. Well, Sharon Masters, representative for Atlantic Records, discussed her company’s focus on “music placement”. Commercials, television, sports, and especially video games, all integrate music into their product. Aligning a band with a brand or event can have great financial impact for both parties. The monetary investment for the brand is minimal (at least for an indie act), which creates opportunity for significant return. While the royalty aspect may be lacking in terms of upfront money for the artist/label, the after effects can be huge. All those viewings via television and internet can transform into increased merchandise sales, bookings, downloads, etc.

Most musicians, artist managers, and upstart label heads were ecstatic about this bit of news. So how can their song show up on an episode of Grey’s Anatomy (just an example, I’ve never watched the show)? It’s all about understanding the band and their audience. Don’t get me wrong, the song matters, too; but all too often, bands are marketed to an audience wearing earmuffs. And it doesn’t matter how hot your song is, if you don’t have the right people listening, you won’t see profits of any sort. Once again, LP33.tv to the rescue. They specialize in creating nuanced demographics for bands. So its quid pro quo: you find out what kind of audience you’re looking for, they tell you where that audience is located.

In summation, it’s not all about how many you reach at one time, but who are you trying to reach, and what methods are you utilizing to find them. PepsiCo can play a huge role in this venture. We can partner with these online companies and bands to increase our own brand. If we want to use a band to help market one of our many products, we can reach out to a website that has vetted the artist and located specific markets where they are most viable. Then align that data to our own marketing strategy and the possibilities are endless.

You Must Respect the Badge – Helen Anders at the statesman.com says “the badge is the most important piece of your wardrobe”. The badge is akin to a golden ticket, granting entry into a musical utopia. It’s the ultimate accessory, an ice breaker for the introverted. Not to mention it’ll be more expensive than any piece of clothing I’ll be wearing.

To schedule or not to schedule– No brainer, right: 4 days, 1900 acts, 89 stages and panels, of course you need a schedule. But schedules are meant to be broken. It’s inevitable that you’re going to miss something. And chances are you may overhear a group waxing exuberantly about a show you passed on. But according to Mark R. Collins of the Huffington Post, “the real joy of SxSW still lies in discovering that tiny band you’ve never heard of…”, and I agree. Full disclosure – my schedule is crammed to the gills with established groups that I’ve wanted to see perform live. Yet, I have no qualms in passing them up for a lesser known band still trying to find an audience. Isn’t that what SxSW is all about – discovery? And with the emergence of licensing deals for independent artists, it’s almost certain I’ll be hearing one of the songs played this week in a future Pepsi commercial (my money’s on the Carolina Chocolate Drops).

Pace Yourself– This was probably the most oft-repeated advice I discovered. Four days of interacting, blogging, tweeting, and dancing can wipe out even the most experienced attendee. Rachel Maddux of Pastemagazine.com said it best, “take it easy…get your business done”. On that note, I’ve packed my lucky “festival” shoes and will be hydrating myself with as much Gatorade as possible.

Prepare for Crowds– This came courtesy of fellow ambassador Julia Keintz (@smeeshok). While I typically have an aversion to crowds, I plan to take a different approach at SxSW. There, I envision a crowd of like-minded patrons, who see this experience as a wise investment, and recognize the cachet that comes with being a SxSW’er. Standing in a crowded line will be the opportune time to share ideas, network, and compare schedules.

Well, the prep work is done, and it’s almost time to say goodbye Dallas. Next time you hear from me, I’ll be in the capital- laptop charged and badge around my neck –ready to be inspired!

Last year, I accompanied a friend to a CONNE3T meeting. I didn’t know much about the group, but the open food bar was a good lure. At the initial event, I had a blast and met some very engaging people. That experience perpetuated at subsequent CONNE3T functions. I began to think of the cliché – “the more you give, the more you receive” – which is strange because I am anti-cliché (I feel it’s a sign of unoriginality, but that’s for another post). But it was true, for every hour I spent with this group, I was awarded with new friends and experiences. Little did I know, the biggest surprise was yet to come. I got an email one afternoon from the Social & Digital Media team (by way of CONNE3T) with an opportunity to attend this year’s SxSW conference. To put it in perspective, this was like Comic Book Guy from ‘The Simpsons’ getting a free trip to Comic-Con. I’ve been to many music festivals, but this one has eluded me for years. Once I saw that email, I began to envision the performances, the smell of Austin BBQ, the weirdness (that’s a compliment!). Not to mention the opportunity to blog, network, and listen to thought provoking panels. Upon submitting my application, I worried if maybe I’d gotten my hopes up. After all, my function within PepsiCo had nothing to do with this sort of event. Luckily, it only took a week for an answer. Since then, I’ve been in a self-imposed “SxSW Boot Camp”. Arranging (and rearranging) my schedule, pondering which panels to attend, creating a checklist, sampling new tunes (via the excellent SxSW iPhone app), and reading blog after blog.

My goal is to give a perspective of the PepsiCo experience, one that some people may not be fully aware of. That you can go from being in your cubicle, doing your usual job one day, then the next day you’re documenting your experience at one of the most awe-inspiring conferences in the country. Hopefully, this can motivate others to get involved and recognize the importance of D&I groups and the opportunities they can provide. As for the conference, I still don’t know how I’m going to fit everything in, but I’m enjoying trying to figure it out. I look forward to sharing this experiment and experience with everyone.