Austin, Texas has become the Oz to many musicians. It is a place where they can be discovered. It has evolved into one of the nation’s Mecca’s for music like LA, Nashville and New York. This has all happened because of an annual springtime event call SXSW.

Austin is much more than this. It is a thriving city where working musicians & venues try to make a living everyday. A couple of years ago this became in danger when city sound laws changed against the musicians and venues. The music community fought back by forming the Austin Live Music Task Force.

A brave director has documented this, and the stories of some of Austin’s musicians in a new film called Echotone. Echotone provides portraits of a number of musicians including Bill Baird, Black Joe Lewis, and Cari Palazollo of Belaire. It includes some spectacular live performances, and asks the questions about where musicians work, play and live. We were fortunate to get an interview with Nathan Christ, the director. If a film like this interests you go to www.EchotoneFilm.com to find out more information & go to www.kickstarter.com if you want to put money towards it. To see the report by the Austin Live Music Task Force go to www.ci.austin.tx.us/council/livemusictaskforce.htm

FM: What did you learn while making Echotone?

NC: Mainly that the struggles the musicians in the film were facing were very similar to the challenges we faced as filmmakers. We are constantly questioning the projects we take and the directions we are headed. On one hand, we have to make a living off of what we do (in lieu of a day job) and on the other, it is very difficult to raise the funding necessary to have total carte blanche on a project, to do it on our own terms. So it's a very delicate balance that I think all artists deal with.

FM:. What was the biggest challenge making the film?

NC: At first it was a question of the story. How were all these musicians related and how did their stories relate effectively to the general story of Austin. We soon realized that the stories meshed. Then it became a matter of attaining proper funding so we could finish the vision.

FM: . What was the best experience or one that stood out while filming?

NC: Mainly the fact that most of the musicians were so receptive to us entering their lives. I mean, Bill Baird let us come to his house. Black Joe Lewis let us roll around with him in his fish truck while he made deliveries. There is a big leap of faith and trust that's necessary. I quickly realized that all these people had very profound stories to tell. I'm sure some of them saw this as their chance to transmit those stories.

FM:. What do you think the biggest lesson other cities music industries can learn from Austin's experience?

NC: Well, I will talk about it qualitatively instead of in terms of numbers. It's important for city governments and industries to realize the delicate nature of culture. Running a music venue is an enormous challenge. Clubs and venues are the incubators for musicians. It's where they go to work. Entertainment districts should be considered in every city so these institutions can be protected and not get squeezed out by the forces of gentrification.

FM:. Is having SXSW in Austin a good or bad influence for artists? Why?

NC: The 800-pound gorilla has it's beautiful and its ugly sides. On one hand, it is a chance for independent artists and promoters to show the world what ATX has to offer (even if their events aren't official SXSW showcases). It's a real carnival, SXSW, a cultural Mecca. On the other, the forces of commercialism and co modification run free in all their shameless glory. It's not something anyone can really stop. The bigger SXSW becomes, the more that stuff is at play. SXSW is also sort of known for excluding unsigned, local bands, but it's never made any claim to the contrary.

FM: .Has anything changed in Austin as a result of the Austin Live Music Task Force?

NC: The Task Force put forth its recommendations at an unfortunate time, in that the waves of the recession had just begun to hit Austin (albeit not nearly as badly as in other U.S. cities). To my knowledge most of the proposals were turned down, which is very unfortunate. It did create a fervent dialogue in the city, though, and we managed to capture most of it in Echotone, and I think that will make a difference down the road. The mayor and his staff have just requested to view Echotone, so I don't think the dialogue is over by any stretch.

FM: I was struck by the contrast of Joe Lewis (an artist looking for a big label signing) & Bill Baird (someone who had been through the big label experience). What is your opinion of the big label dream of so many artists?

NC: It's not a question I can adequately answer in that everyone is differ, though, that the stories of Black Joe Lewis, Bill Baird, and Belaire are 3 very different approaches to the same pursuit.

FM:. What one thing would you like to change about the music industry?

NC: It's a force of nature and me wishing for a change goes up against something much larger than me. I'd like artists to get paid more, always, but that's not very realistic in a time where the mass public is stealing music over the Internet. This element has effectively crippled the music industry.

FM: What is your goal for the film?

NC: I want as many people to see it as possible, I want it to lead to future project for my team and myself, and I want it to upend people's views of Texas around the world.