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{"id":"PP1162465","track":"Culture","focus_area":null,"category":"Book Reading","event_id":"PP1162465","event_type":"panel","format":"Book Reading","genre":null,"subgenre":null,"name":"Beyond Belief: How to Break Limits and Unlock Potential","presented_by":null,"publish_at":"2025-11-03T16:30:00.000-06:00","reservable":true,"reservable_id":"PP1162465","reserved":false,"date":"2026-03-13","end_time":"2026-03-13T15:30:00.000-05:00","start_time":"2026-03-13T14:30:00.000-05:00","message":null,"image":null,"credentials":[{"name":"Platinum Badge","type":"platinum"},{"name":"Innovation Badge","type":"innovation"}],"contributors":[{"id":78873,"company":"NirAndFar","credential_types":["innovation"],"entity_id":2239843,"name":"Nir Eyal","speaker_types":[],"title":"Author","image":{"alt_text":"Nir Eyal","credit":null,"url":"https://images.sxsw.com/XPp1pgzBkR7YTODuFWK50eYWRGo=/27x0:764x737/600x600/images.sxsw.com/48/4b97b248-4daa-4dcc-9760-b292c9d24c85/pcid-573047"},"speaker_type":"Speaker","details":"Nir Eyal writes, consults, and teaches about the intersection of psychology, technology, and business. 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His research focuses on issues at the intersection of philosophy of mind and cognitive science, moral theory, and evolution. His first book was Yuck! The Nature and Moral Significance of Disgust, and he has published on a range of topics that include moral judgment, moral progress, climate change, social norms, the psychology of group membership, racial cognition, implicit bias and responsibility, cross-cultural diversity, code-switching, and David Foster Wallace and free will. While getting his PhD at Rutgers he became a founding member of the Moral Psychology Research Group, and at Purdue has taught range of courses, including classes the Foundations of Cognitive Science, Madness and the Self, and Fun and the Meaning of Life. Much of Kelly's work explores ways to apply the insights of the cognitive, behavioral, and evolutionary sciences to philosophical issues, especially those surrounding social change. 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A vivid indie-pop guitar project backed by a band, better joy fuses sparky melodies with strong guitars and pulsating bass lines, coated in lyrics that delve deep into all things vulnerable. The upcoming EP ‘at dusk’, a sister EP to her debut ‘heading into blue’, reflects a moment in her life “where I just stopped trying to please anyone or caring whether the music I wrote ‘fit’ a mold. It’s not on anyone else to define what better joy is: it’s on me”. \n\nOriginally a singer-songwriter, Bria’s route into the indie guitar scene wasn’t conventional: ‘I’m not one of those musicians who grew up on The Cure or played in guitar bands when I was a teenager: I was listening to pop and that’s about it!’. A piano player and singer from a young age, it wasn’t until uni when she sang at the piano after a night out that her friends encouraged her to consider music as a career and she started writing her own music. “I was pretty bad at first, but I just kept at it. And now songwriting is something I can’t live without: for me, it’s therapy”. It was during this period that she started to fall in love with guitar bands, from Wunderhorse and Phoebe Bridgers to 80s guitar bands like The Cure and Mazzy Star, influences that have impacted the sonic development of better joy. \n\nWith her music described by BBC Radio 6 as bright, indie pop, better joy burst on the scene in 2024 with a string of singles and successful support tours; the start of 2025 saw a sell out of vinyls of her debut EP ‘heading into blue’ and a near sold out 10 city UK and EU debut headline tour in March 2025. And 2025 isn’t slowing down: she’s the main UK & EU support for Amy Macdonald in November and February 2026. “I still can’t get my head round it, to be honest. I was playing to a Glasgow audience of 100 people in March and in December I’ll be playing to over 13,000 at the Hydro Arena: it’s a bit bonkers”.\n\nProduced by Mike Hedges (The Cure, Manic Street Preachers, U2), mixed by Caesar Edmunds (Wet Leg, Beach House) and Robbie Nelson (Rolling Stones, Gregory Porter, Beck) and recorded at Chale Abbey Studios on the Isle of Wight, the 6-track EP, ‘at dusk’ is the antidote to the previously sunny introduction to better joy, ‘heading into blue’. Where naivety and openness shone through before, ‘at dusk’ is more contemplative and vulnerable. “It’s so normal to go headfirst into something, whether it be a relationship or a situation, with positivity and excitement, then for reality to leave you a bit jaded and changed” she explains. Whilst the bright and jangly guitars still shine through, it’s lyrics like ‘I never showed you the heavy metal in my bones’ and ‘watch me push against the clouds’ that clearly mark the tonal shift. But in true better joy fashion, the whole EP is uplifting and whilst it acts as a bookend to the debut EP, it leaves the listener hopeful for what music is coming next; the EP is “closing a chapter of my life where insecurity and self-doubt dominated my everyday experience. It’s me accepting the vulnerability that I felt and kind of promising that I’m gonna back myself from now on”. \n\n‘At dusk’ dances the indie-pop line with authenticity and joy, mixing dark and light tones and sounds, with a big injection of nostalgia. The first single, ‘this part of town’ is about embracing the unknown of relationships and acknowledging the fear that comes with vulnerability: “Eurgh, I hate being vulnerable, it’s really not my bag, but then I realised it’s such a universal feeling and sometimes you just have to accept it comes with being in unknown territory”. ‘steamroller’ is a dark and haunting anthem for anyone who has ever been trampled on by a ‘steamroller’. 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On “Black’s Law”, the third body of work from Irish quintet Bricknasty, some of society’s most complex topics are explored — religion, political disillusionment, nationalism, human mentality. For mercurial frontman/guitarist Fatboy and co, it’s less about seeing the light themselves — and more pointing others in the right direction.\n\nThe winding road to releasing the nine-track project has been arduous but enriching. After forming while studying at BIMM university in Dublin, the five initial members of the band, including the aforementioned masked maverick Fatboy, production whizz Cillian McCauley and drummer Korey Thomas, released their debut EP “INA CRUELER” via FAMM (Jorja Smith, Maverick Sabre) in June 2023, turning heads critically and garnering a loyal fan base with its idiosyncratic style and soulful tonal core. \n\nTheir inaugural project was a stinging reflection of Fatboy’s life in Ballymun, the troubled North Dublin estate where he grew up, and a vivid rumination of the familial turmoil and crippling addiction he endured during his young adulthood. But the band’s follow up mixtape a year later was “just songs,” the frontman says. That’s even what they named it — or “XONGZ አስቀያሚ ጡብ” to be precise.  \n\nAlthough by no means a sub par end product, Bricknasty internally were never quite content with “XONGZ”; and the assembling of the mixtape proved a tumultuous time for McCauley and Fatboy’s personal and professional relationship, having fallen out in the process of making its predecessor “INA CRUELER”. “[XONGZ”] wasn't really a hard thing to pull off,” the latter says. “Me and Cillian, we felt like we didn't give the best account of ourselves. We didn't push ourselves as hard as we should have.” \n\nWhen it came to approaching this latest, third outing, the band hit the reset button. Both Fatboy and McCauley were working on music individually, but were struggling to progress beyond initial ideas. So the pair decided to escape from the drudgery of the everyday in order to gain some perspective, and booked a B&B in Ard Mhaca on the Irish border to tackle the starting foundations of the new work. \n\nThe process was reminiscent of the early days of their artistic partnership; a time prior to Bricknasty’s genesis when, having stumbled upon each other on Soundcloud as teens, they’d have stints making music in each other’s bedrooms until the early hours. The full circle return to this familiar DIY process rejuvenated the duo’s vision, and the roots of “Black’s Law” were born.\n\nThe entire project was made in six months — only six of those days were spent in a professional recording studio. Two of those months were spent on tour. “It was a huge amount of work that we had to get done in a tiny amount of time,” Fatboy recalls. “It was a bit too much for everyone to be honest.” With much to do, limited time and pressures high, the band hit a tipping point. Founding members — bassist Dara Abdurahman and keyboard/saxophonist Louis Younge bowed out of the collective, now replaced by Sam Healy and Chris LaMotte. \n\nDespite the difficult turn of events, the remaining Nasties plowed forward to finish “Black’s Law”, largely thanks to the symbiotic musical bond between Fatboy and McCauley. The producer holds the craft and patience to condense his frontman’s volatile creativity, chiseling his bursts of genius into a digestible palette. “I can spin my wheels until the cows come home,” Fatboy laughs. “Cillian definitely is like the Quincy Jones. He finds the right spot for the right thing. I'll come in aggressive from the out go and start dancing and moving around and just trying to find stuff.”\n\n“When it gets real sweaty,” McCauley takes over, “when it gets hot in the room, sometimes you just need to be able to see the take. That is the job.” \n\nHis counterpart interjects: “I’m in the heat of the chase. I have to make mistakes. I'm obligated to shit the bed. \n\nThe testing creative process was ultimately worth its endeavour. Rip-roaringly ambitious in its song structures, “Black’s Law” crams vast sonic and thematic themes into sharp, groove-laden, often luscious compositions that never end as they begin. The musical variety is wide-spanning — from the house-tinged varnish of “imperret illi deus \" to the wonderful Irish trad folk on “is é a locht a laghad”, and a hardcore edge on the backend of “go get that blade”. The EP plays out like a musical encyclopaedia, stunningly original with an almost competitive edge to its eclectic interior; a desire to “put the audience in the tumble-drier and stamp on their neck,” Fatboy jokes.\n\nThe frontman’s lyricism is instinctively written and delivered through pained gasps and vibrato’d whispers. His words put religion at the centre, the foundations of such narrative stemming from his own finding of God in the darkest of times. 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It forces conversations, and asks questions that often still need to be answered. On “Black’s Law”, the third body of work from Irish quintet Bricknasty, some of society’s most complex topics are explored — religion, political disillusionment, nationalism, human mentality. For mercurial frontman/guitarist Fatboy and co, it’s less about seeing the light themselves — and more pointing others in the right direction.\n\nThe winding road to releasing the nine-track project has been arduous but enriching. After forming while studying at BIMM university in Dublin, the five initial members of the band, including the aforementioned masked maverick Fatboy, production whizz Cillian McCauley and drummer Korey Thomas, released their debut EP “INA CRUELER” via FAMM (Jorja Smith, Maverick Sabre) in June 2023, turning heads critically and garnering a loyal fan base with its idiosyncratic style and soulful tonal core. \n\nTheir inaugural project was a stinging reflection of Fatboy’s life in Ballymun, the troubled North Dublin estate where he grew up, and a vivid rumination of the familial turmoil and crippling addiction he endured during his young adulthood. But the band’s follow up mixtape a year later was “just songs,” the frontman says. That’s even what they named it — or “XONGZ አስቀያሚ ጡብ” to be precise.  \n\nAlthough by no means a sub par end product, Bricknasty internally were never quite content with “XONGZ”; and the assembling of the mixtape proved a tumultuous time for McCauley and Fatboy’s personal and professional relationship, having fallen out in the process of making its predecessor “INA CRUELER”. “[XONGZ”] wasn't really a hard thing to pull off,” the latter says. “Me and Cillian, we felt like we didn't give the best account of ourselves. We didn't push ourselves as hard as we should have.” \n\nWhen it came to approaching this latest, third outing, the band hit the reset button. Both Fatboy and McCauley were working on music individually, but were struggling to progress beyond initial ideas. So the pair decided to escape from the drudgery of the everyday in order to gain some perspective, and booked a B&B in Ard Mhaca on the Irish border to tackle the starting foundations of the new work. \n\nThe process was reminiscent of the early days of their artistic partnership; a time prior to Bricknasty’s genesis when, having stumbled upon each other on Soundcloud as teens, they’d have stints making music in each other’s bedrooms until the early hours. The full circle return to this familiar DIY process rejuvenated the duo’s vision, and the roots of “Black’s Law” were born.\n\nThe entire project was made in six months — only six of those days were spent in a professional recording studio. Two of those months were spent on tour. “It was a huge amount of work that we had to get done in a tiny amount of time,” Fatboy recalls. “It was a bit too much for everyone to be honest.” With much to do, limited time and pressures high, the band hit a tipping point. Founding members — bassist Dara Abdurahman and keyboard/saxophonist Louis Younge bowed out of the collective, now replaced by Sam Healy and Chris LaMotte. \n\nDespite the difficult turn of events, the remaining Nasties plowed forward to finish “Black’s Law”, largely thanks to the symbiotic musical bond between Fatboy and McCauley. The producer holds the craft and patience to condense his frontman’s volatile creativity, chiseling his bursts of genius into a digestible palette. “I can spin my wheels until the cows come home,” Fatboy laughs. “Cillian definitely is like the Quincy Jones. He finds the right spot for the right thing. I'll come in aggressive from the out go and start dancing and moving around and just trying to find stuff.”\n\n“When it gets real sweaty,” McCauley takes over, “when it gets hot in the room, sometimes you just need to be able to see the take. That is the job.” \n\nHis counterpart interjects: “I’m in the heat of the chase. I have to make mistakes. I'm obligated to shit the bed. \n\nThe testing creative process was ultimately worth its endeavour. Rip-roaringly ambitious in its song structures, “Black’s Law” crams vast sonic and thematic themes into sharp, groove-laden, often luscious compositions that never end as they begin. The musical variety is wide-spanning — from the house-tinged varnish of “imperret illi deus \" to the wonderful Irish trad folk on “is é a locht a laghad”, and a hardcore edge on the backend of “go get that blade”. The EP plays out like a musical encyclopaedia, stunningly original with an almost competitive edge to its eclectic interior; a desire to “put the audience in the tumble-drier and stamp on their neck,” Fatboy jokes.\n\nThe frontman’s lyricism is instinctively written and delivered through pained gasps and vibrato’d whispers. His words put religion at the centre, the foundations of such narrative stemming from his own finding of God in the darkest of times. Stricken by drug and alcohol ad...","meeting_url":null,"meeting_url_live":false,"mentorly_url":null,"mobile_audio_url":null,"open_captioned":false,"playlist_tag":null,"rebroadcast":false,"recommended_ids":[],"search_conversions":null,"short_program":false,"slido_url":null,"sort":"BRICKNASTY","source":"Official","squad_up_url":null,"stream_embed":null,"stream_id":null,"stream_url":null,"strobe_warning":false,"subdiscipline":null,"summit":null,"summit_display_name":null,"tags":[],"talent_attending":null,"title_only":false,"track_display_name":null,"trailer_id":null,"trailer_url":null,"video_on_demand":null,"vimeo_id":null,"vod":false,"xr_project_type":null,"youtube_id":"gp2KENEqphA","related_sales_client":null}
{"id":"MS63233","track":null,"focus_area":null,"category":"Rock","event_id":"MS63233","event_type":"showcase","format":"Rock","genre":"Rock","subgenre":"Americana","name":"The Red Eye Gamblers","presented_by":null,"publish_at":"2025-11-11T09:58:00.000-06:00","reservable":false,"reservable_id":null,"reserved":false,"date":"2026-03-13","end_time":"2026-03-14T00:40:00.000-05:00","start_time":"2026-03-14T00:00:00.000-05:00","message":null,"image":{"alt_text":"The Red Eye Gamblers","credit":"Hanish Reddy","url":"https://images.sxsw.com/ZAYTcKJ70X0emO58VM4xXwy3EOQ=/950x633/images.sxsw.com/178/3a6d79b2-63ac-a60a-bf5e-256701f9f11f/artist-74853"},"credentials":[{"name":"Music Badge","type":"music"},{"name":"Platinum Badge","type":"platinum"}],"contributors":[{"id":74853,"city":"Austin","country":"United States","entity_id":2239789,"genre":"Rock","name":"The Red Eye Gamblers","subgenre":"Americana","state":"TX","type":"artist","artist_connection":"Label Management, Brand Partnership, Gear Endorsement, Distribution - US, Distribution - Worldwide, Other Artists to Tour With, Booking Agent - US, Booking Agent - UK/Europe, Booking Agent - Worldwide, PR/Publicity Agency, Producer/Studio Engineer, Publishing, Sync/Music Supervisors","image":{"alt_text":"The Red Eye Gamblers","credit":"Hanish Reddy","url":"https://images.sxsw.com/ZAYTcKJ70X0emO58VM4xXwy3EOQ=/950x633/images.sxsw.com/178/3a6d79b2-63ac-a60a-bf5e-256701f9f11f/artist-74853"},"details":"The Red Eye Gamblers are a psychedelic southern rock band with a uniquely Austin, Texas sound. They bridge elements of rock, bluegrass, and jammy psychedelia to create a new experience with every show.\n\nThey have a deep repertoire, and in over two years of live shows, they have never played the same set list twice. They will often venture outside of their normal 5-piece lineup featuring a saxophone, djembe, and harmonica to create an unforgettable live experience.\n\nThey released their debut single \"Let You Down Easy\" in October 2024. A fan favorite from live shows, \"Let You Down Easy\" is a fast-paced song about simply saying goodbye. In September 2025, they followed it up with their next single \"Whiskey Memories.\" \"Whiskey Memories\" is a powerful ballad about reminiscing on the past and learning to move on from the troubles it may have caused. 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