C. Gibbs has become almost an iconic figure in the Brooklyn scene, playing guitar among others for Modern English and Foetus back in the days, and more recently putting out records solo and with his rootsy band Lucinda Black Bear, which is still active. Here at The Deli we can’t forget that he played our very first mag benefit party in 2004! C. announced today his new project called The Droves and the debut album "Out Of Herself" which will be released officially with a live show in the back room of The Gutter in Brooklyn. Compared to Gibbs’ more recent output this sounds more electric and poppy, in an indie way of course. We detect occasional references to Pavement and Tom Petty.

My final official day at the annual SXSW closed with what felt like a 5K. Arriving at the Filter Magazine Cultural Clash party in the Cedar Street Courtyard, I once again caught Norway’s jumpsuit-wearing dance crew, Datarock, who played until they were “thrown off” the stage, followed by New Zealand’s soft alternative quartet, The Naked and Famous (top picture). An attempt to see Surfer Blood ended quickly at the first glance of the mile long line, but LA’s new wave- meets- psychedelic rock act, Superhumanoids, and Toronto’s solo electro-pop act, Diamond Rings provided a soundtrack for the ideal spring day. A trip across the Congress Bridge led to folksy sensation, Bright Eyes (picture below), at the Auditorium Shores, where thousands flocked to enjoy the mini-festival atmosphere fraught with food stands and light sabers.

The trek back to downtown landed me at the Texas Rockfest’s “Roial” stage, a chic rooftop space where Black Taxi played amongst a roster of metal bands. Around the corner at the Speakeasy, Austin’s The Frontier Brothers’ energy radiated to the crowd and dragged people out of their exhausted state and had them jumping for joy. One last hike to the “Roial” roof ended my evening with Austin’s very own hard rock trio, Chronolung (picture below). SXSW 2011 had officially come to a close.