No matter how often you scour the internet for listenable DIY bands, and no matter how impressed friends are with your knowledge of the music scene, South by Southwest will, inevitably, one-up you. The annual culture trifecta's three festivals - interactive, film and music - have been taking over downtown Austin each spring since 1987 and bringing the best of the unknown to massive audiences. Despite growing numbers of attendees for the interactive and film festivals, the music festival attracts some 12,000 registrants each year, effortlessly accounting for the bulk of passes sold.

The music festival's success lies in its diversity. Even a quick glance at the line-up reveals a handful of shows you can't miss. From legendary artists to literal garage bands, SXSW's showcase remains one of the most extensive and impressive among music festivals. However, the volume of bands can be daunting and breed lazy listeners who stick to the familiar rather than branching out - and with good reason. Despite SXSW's careful screening, some artists slip through that could, essentially, be a waste of precious festival time. But who has the time to scroll through the pages of artists without name recognition and find the diamond in the rough?

Luckily, we do! We've compiled the bands to look for at SXSW showcases that haven't necessarily been at the top of everyone's list. Here are some DIY shows worth attending at SXSW 2010 on the first night of the fest, Wednesday, March 17. Check back in the next few days for more previews.

Follow That Bird! - Austin, TX
Wave - midnight
Suggested listening: "Ghosts That Wake You"

Follow That Bird! has been the quintessential non-darlings of Austin for a few years now. Lead singer and guitarist Lauren Green and drummer Tiffanie Lanmon break away from the cutesy, girl power-esque music made popular by the Donnas and revert back to Siouxsie and the Banshees-type female dominance. Their hard-hitting, tough-as-nails rock music has been a driving force in the Austin music scene, making waves and shattering female stereotypes. Follow That Bird! added bassist Mitchell Tellstrom in 2009 after their original bassist, Rachel Badger, moved to Houston. They have not yet achieved national recognition, so this show would be especially important for non-Austinites to attend, as Follow That Bird! generally tours pretty close to home. With upcoming shows opening for the Walkmen, however, it seems that the band is just on the cusp of a national overthrow.

Gadarene - Exeter, England
Saint David's Bethel Hall - 7 p.m.
Suggested listening: "The Beast"

Gadarene takes the term "folk" back to its traditional sense, carefully selecting 18th and 19th century English folk songs for their repertoire. However, this isn't a novelty renaissance revival. Gaderene takes the obscure side of English folk music and puts a modern spin on it, utilizing the same brand of dreamy, plucked string instruments as artists like Andrew Bird and adding funk beats behind it, making for chic sophistication that takes it from a period piece work to functional music. Band members Nick Wyke, Laurel Swift and Matt Norman have all spent time as champions of the traditional folk revival in their various other projects, but their latest addition, drummer Si Paull, has been completely removed from any type of folk scene and brings a fresh perspective to their delicate compositions. Paull's modernist elements do not overshadow the purpose of the band and allow their original purpose to reign, bringing traditional folk to a wider audience. Gadarene's only show at SXSW will be in St. David's Bethel Hall for the "Looking for a New England" showcase. The church's acoustics will perfectly suit Gadarene's ambience and gives atmospheric context to the music, rather than putting this kind of folk into a noisy 6th Street bar.

Headdress - Austin, TX
Encore - 10 p.m.
Suggested Listening - "The Lost White Brother"

This mysterious duo has finally been lured back to the streets of Austin by SXSW. The self-proclaimed "part-heshers, part-American nomads" prefer to keep their audiences in the dark, creating a mystique around themselves and their ambient blues. Headdress is a duo comprised of guitarist Caleb Coy and organist Ethan Cook. Their first album, Turquoise, was released as a limited-edition CDR and the recently released Lunes is limited to 1,000 copies, available on vinyl only. The duo have travelled through the country writing songs while sleeping in cars, focusing most of their songwriting on their time spent in the desert. This is apparent in their haunting psychedelic drone, with shamanistic tropes to a traditional style. Their blues-steeped metal is the perfect script for the journeys of desert wanderers and lost souls, kept in line by the able guitar work of Coy. Headdress' minimalistic marketing is an instant draw to the live shows, granted that anyone has heard of them at all. Free spirits Coy and Cook are not focused on live performances, but legend has it that the two psychedelic shamans leave audiences spellbound.

Standard Fare - Sheffield, Northwest United Kingdom
Mohawk - 8 p.m.
Suggested listening: "Fifteen"

Standard Fare has perky, jangly pop down pat. Beach style guitar-work leads the way for the trio, who will open the showcase for artists like Grass Widow and the Pains of Being Pure at Heart. Their bouncy energy is hard to resist and their single "Fifteen" is loaded with a dangerous hook that makes it one of the catchiest songs in a good while. Emma Kupa‘s casual vocal style (complete with a soaring "bah, bah, bah" section) against unequivocally energetic guitars gives Standard Fare the tools to become the United States' newest U.K. buzz band, causing a stir even before their debut album has been released. The Noyelle Beat will drop one day before their first SXSW show and will be sure to give them a boost.

Papier Tigre - Nantes, France
Wave Rooftop - 8 p.m.
Suggested listening: "Restless Empire"

This French three-piece band has raw, dance-worthy energy reminiscent of the '90s post-punk movement, but combined with modern sensibility and clever lyricism. Papier Tigre relies heavily on percussion elements, allowing the organic, insistent drumming of Pierre Antoine Parois to lead the sound. Rhythm guitarist Arthur de la Grandiere supplements the lack of a bass guitar, simultaneously playing rhythm guitar and a single drum that he beats in a tribal fashion. While many bands rely on the Internet to rise to success, Papier Tigre prefers old-fashioned means of promotion. The band keeps a constantly booked itinerary of tours around the globe, playing across Europe, the U.S., South America and Asia. Their second, most recent album, The Beginning and End of Now, was recorded in a 10-day break between Brazilian and U.S. tours. Papier Tigre understands the importance of a live performance, perfecting their live sound to reach new audiences.

We are the 45s played the closing slot at the Brainwash Cafe on this Saturday night, ringing in the evening with rough, seductive blues. The band played an intimate setting, pulling every member of the audience in with their gritty electric sounds and soulful ballads. Jake Whitting, on lead guitar and vocals, exuded an energy similar to that of Jack White through his angst-ridden vocals and his broken-heart blues guitar. Garin Anderson, on drums, played with an intense fury, creating a toe-tapping beat that broke you down in a state of comatose intoxication. All in all, the band played memorable, catchy songs that ripped you to pieces with their emotional intensity, making you feel exposed and raw in the way that only music can.

The members of the band had good chemistry and a fantastic stage presence, which ultimately enriched the performance, making the audience feel comfortable and at ease. In a time where indie pop music and hip-hop seem to reign supreme, the hard rock, down-home blues of the 45s is a breath of fresh air, offering something unique and passionate to experience. It's music that can relax you, while pulling deep down inside you and making you feel something genuine and powerful. We are the 45s are a fairly new band in the San Francisco music scene, but definitely worth checking out if you appreciate the pure emotion that comes from experiencing a gritty, feverish rock song.

"Just wasn't made for these times"

A challenging, complex record, Future Sons & Daughters offers the sophisticated ear an exceptional experience, something like an amalgamation of Beck and the Beach Boys at their best.

AM (who's the namesake of the band) worked on the disc with Charles Newman - the mix master of many Magnetic Fields albums - in his Silverlake cottage, where Elliott Smith actually used to live. A stunning songwriter and skilled vocalist, AM crafted a beautiful base for his band to build upon. Carol Kaye, a studio musician who played bass on Pet Sounds, gave lessons to AM's bassist Mark Geffen prior to the Future Sons & Daughters session. The influence is striking - a spectacular result. Butch Norton (who has played with both the Eels and Lucinda Williams) reigns down drowsy drums and a dripping conga provided by Chris Lovejoy rounds out the rhythm section. Scintillating synth and keys work by Jesse Nason deepen the tracks, finishing them with a full, luscious sound - like a more crisp, contemporary incarnation of Phil Spector's famous "Wall of Sound" effect.

The melting, modern alt-bossa nova, "It's Been So Long," feels like a reboot of Urge Overkill's cover of "Girl, You'll Be a Woman Soon." This track's duet between AM and a delicate-sounding Andrea Correa hearkens the Bangles' sultry Susanna Hoff's rendition of "The Look of Love." The bass line basks in the limelight, lending an even more lecherous feel to the sexy lo-fi sound. "Endings are Beginnings" is a beautiful song, very light and '70s in its cadence, like 10cc or Bread.

Much has been made, critically, of AM's success in television and movie song placement, from ABC's Brothers and Sisters to HBO's Big Love and MTV's The Real World. However, it's easy to offset any potential undercutting of his credibility with his performance at the 2010 Sundance Film Festival and a spring tour with the French princes of electro-pop, Air. AM's 2006 release, Troubled Times, was also named one of the best indie albums of the year by iTunes.

Brian Wilson is quoted as saying that the Beatles' Rubber Soul inspired many of the qualities of Pet Sounds, while Paul McCartney is supposed to have said that Pet Sounds influenced Sgt. Pepper's. These albums still inspire to this day - as seen in Future Sons & Daughters - but AM wears them with poise, while still preserving his own sound. (Filter US Recordings)

http://www.myspace.com/amsounds

On a Saturday night at the Triple Door in downtown Seattle, the foot-stomping, instrument-slapping, beatboxing trio known as the Senate marched on stage, looking sharp in matching black button-up dress shirts and slacks, welcoming a crowd of mostly familiar local Washingtonian fans.

The acoustic string band consisted of Nick Drummond and Oliver Franklin on guitars and Andrew Pulkrabek on the upright bass. Am I missing anything? Drums, maybe? The Senate didn't need drums. Because of the style in which they played their music, no one missed the guy in the back slamming to keep the beat. The Senate has found a unique way to maintain beat and rhythm - one line of attack was turning their bass player into a beatboxing phenomenon.

This band can't be classified into any one genre since their music is too intricate and diverse. Not only do they play a wide range of music, but one song can also consist of many different moods. They may commence in a jazz and blues state, but can end up in straight rock 'n' roll. Other times, they have a more folk or bluegrass sound that sinks into a cappella rounds or harmonies. Good thing all members of the band can sing - and sing well.

Both Drummond and Franklin led in vocals; Franklin with a deeper-toned voice and Drummond with a higher-range falsetto. All members contributed so much to the band that it was easy to forget there were only three of them. The Senate has come a long way since 2002, when they were just coming together as a band. Time has created new vision in each of them as musicians, though, and after five years as a band, they're beginning to plan to go their separate ways.

What better way to commemorate Groundhog Day and James Boyd's birthday than to bring a bunch of talented Orlando musician/friends together for a show at the BackBooth - and that's just what James Boyd did.

In one of his first public appearances, singer/songwriter Mike Hunsucker started the night off. His silky smooth vocals flowed over spirited guitar play during his short, mixed set of covers and originals.

Next up was solo keyboardist Clayton Senne. The singer/songwriter took advantage of the familiar hometown crowd and trotted out new music for the audience to savor, including a couple songs that don't even have titles yet. Senne's casual, comical stage presence and pop/soul/blues-infused music is unmatched. Between songs, and sometimes even during them, he joked with the audience, at times poking fun of himself and his playing.

Dagnese took the stage next; guitarist Mike Guzzardo joined Chris and Craig D'Agnese for the pop/rock acoustic set. Chris' impassioned vocals meshed well with the trio's lively guitar playing. Chris is an inveterate storyteller during these sets; the fans get to learn a little bit more about each of his songs as he plays.

Exit the Ride followed with a rare acoustic appearance. Their guitar-driven rock sound took on a whole new demeanor with the addition of Uncle Charles on harmonica, giving their music a distinct bluesy feel. Sam Stone's intense lead vocals do well against the masterful guitar playing of Bill Peck.

Dirty Shannon kept Uncle Charles onstage for their short, acoustic southern rock set that was quickly followed by an improvised birthday song by SugarFreeMusic, complete with washboard, spoons and cowbell.

The James Boyd Band closed out the night with a rocking full-band set. The dual guitar assault from Eric Fay and David Rankin combined with James Boyd's impassioned, powerful vocals made for the ultimate ride. They closed with their totally rocked-up version of "Dust In The Wind."

Fronted by a triad of lady vocalists, the Dirty Diamonds eased their way into the evening at Metro. Somewhere amidst pop, dance and soul, the septet's sound evoked that of the Go! Team chilled down a little. Relaxed and funky, the group brought back a glimpse of summer to the middle of the Chicago winter.

Garage rock brother/sister duo White Mystery clamored onstage next. There's a special kind of stage presence that comes with having extraordinary masses of red hair and both Alex and Francis White take full advantage of it. Miss Alex White is a cyclone of a frontwoman with a slew of bands to her name but best known for her work with the Red Orchestra. With only her brother backing her she's no less of a force to be reckoned with. Churning out a vintage breed of loud, Alex jumped around half-barking over the roughed-up blare of her Rickenbacker. Francis backed her up on vocals and pounded out the backbone to their simple but rambunctious garage tunes. Fully realized as a duo, White Mystery had enough spark between the two of them to power a full quintet.

Drawing the energy back down to a smolder, Post Honeymoon wove a noir ambience out of slinky bass lines, eerie synth and sultry vocals. Rachel Shindelman sang over keyboards while her husband Nick Kraska alternated between bass and drums. Post Honeymoon maintained a sense of subdued urgency in their compositions, a tense undercurrent that straddled trip-hop and post-punk without fully inhabiting either genre. Their discontented oddity carried the muted mystery of their songs, each one a tight little gothic drama.

Finally, Pet Lions finished off with their springy indie pop. This is one happy, charming quartet and Karl Ostby is a frontman who knows he looks great in a fedora. Onstage, Pet Lions's treble-inflected pop swelled to fill the space. This was no canned set of pop songs, but realized and fun constructions that grew in size over the amps. The bass lines especially revealed a post-punk revival influence but without any of its troubled characterization. Imagine a post-punk free of its cares and infused with a healthy dose of sunshine and pool water, then blow it up to a Metro-sized space; you'll get an idea of Pet Lions live.

At half-past nine, Sarah Cronin and Tommy Allen of Drug Rug sit hand-in-hand among the thickening crowd at the 40 Watt, waiting their turn to take the stage. They are performing as a duo tonight, without their usual bassist and drummer. Cronin turns to a fellow concert-goer and confides her concern of potential reactions to their somewhat stripped set-up.

Drug Rug takes the stage and opens up with a gorgeous rendition of the lamenting "Haunting You," proving that the two are incapable of delivering a show that is anything less than amazing. Allen, who normally plays second guitar to Cronin’s lead, subbed-in on drums. He kept in the pocket throughout the set, inviting spectators to frolic in the deep, muddy puddles of Drug Rug’s simple rhythms and dead-on, two-part harmonies. Cronin is a wunderkind - a complete badass in a skirt, if you will - taking charge with lead guitar riffs and pulling out the stops with her distinctive, raw vocals that won her the title of 2009 "Female Vocalist of the Year" at the Boston Music Awards. A guest bassist hopped on stage for a mind-numbingly vigorous performance of "Hannah, Please," undoubtedly the stand-out song of the night.

Earthy rock band Drug Rug offers something for everyone, especially through their imaginative lyrics. Cronin and Allen have been co-writing and composing most of their songs since practically their first date. Seeing the duo perform live is an enlightening experience. Cronin is one of the most breathtaking female vocalist/guitarists to witness live. Allen lets her shine, complementing her front-and-center with his cryptic yet complimentary stage presence.

Somewhere from the abyss of hopelessly mainstream and copycat music, the Bee Eaters have emerged. An instrumental quartet comprised of a blend of hammered dulcimer, five-string banjo, cello and fiddle, the Bee Eaters' purely instrumental sound is innovative and thrilling. And on this Saturday night performance, the band quickly won over the crowd with its extraordinary musicianship, richly textured compositions and immaculate harmony.

They began with a haunting rendition of the quintessential "Eleanor Rigby," with Tashina Clarridge's fiddle-playing serving as percussion. In retrospect, it was a perfect start to the evening, as it captured right from the onset the band's remarkable ability to transform and transcend musical norms. The rest of their setlist consisted of original works. One such highlight was pretty, poignant folk tune, "Alaska," and its pulsing hammered-dulcimer backbeat, which was quickly followed by sprawling "Pennsylvania" and its evocative imagery of crawling through a dark forest.

Really, the Bee Eaters seem to have no limits. And why should they? The four young performers are impeccable musicians, with accomplishments ranging from tours with nationally acclaimed bands, to five Grand National Fiddle Champion awards, to performances at Carnegie Hall. Not that they need titles to prove their musical worth - the band's vibrant, gorgeous songs speak for themselves.

The show ended at a disappointingly early hour, but closed with a memorable encore. The band invited several friends and fellow musicians onto the stage, including singer-songwriter Scott Law - whose rugged yet melodic harmonies had kicked off the night - and all together they performed a lovely cover of the Beatles' "You Don?t See Me." Still, the audience wanted more. Thankfully though, the band has recently put out a self-titled album, which will be available long after their instruments are packed away.

In a city where it's a picky decision planning a night out, I opted for a night at Bordello in downtown L.A. With its burlesque, velvet-draped inspired décor, the long history of the club took center stage in every opening conversation. Known as one of the first brothels in the city and the oldest bar downtown – formally a Mexican joint called Little Pedro's – Bordello welcomed a night of L.A.-based alternative and punk.

The first band up, 8mm, fronted by Juliette Beaven, a sexy blonde who's lyrics, "Isn't it stunning," described the way she looked on stage, also featured her husband - guitarist and producer Sean Beavan - and drummer Jon Nicholson. Their performance started the night strong with a genuine soft-rock sound. By the end of their set, the bar was filled with punks, emos, all-around rockers, bar regulars and simple L.A. Night-goers.

Mur Mur, one of two male-fronted bands of the night, hit the stage next with their Smiths-influenced sound. Following their set, Doll Patrol, led by the charming and flirty Joanna Heart, a Philadelphia native, delivered a mixture of dark pop and alternative rock. They ended their set with a cover of Tool's "Sober." They have recently released their first EP, Self Tidaled Wave.

As the night continued, the Mulhollands, a five-piece band also fronted by a sexy female, carried on the rocker vibes of the night with their pop-punk sound. The crowd showed support with their dancing, singing and positive attitude. To end the night, Fe Red, whose influences are all over the map (Caifanes, Dead Kennedys, the Doors), brought out a different tone with their space-rock sound and Spanish lyrics. They got started back in 2005 with original members Fernando Marin on vocals and Eder Padilla on guitar (both from Mexico) and have since been joined by Giovani Araiza on bass and Ernie Gonzalez on drums. They are planning to release their first EP this summer.