When Le Loup took the stage for DC Does SXSW at Cream—a vintage clothing store that, like every commercial outlet in Austin, puts together a juryrigged stage for the festival, in this case on the back parking lot—about 15 people were watching. But by the time the District-based eight-piece had finished its surprisingly tight-sounding outdoor set, an audience of 60 people or so had assembled. Even some tough-looking, bleary-eyed banditos from the notorious Hole in the Wall next door had ventured out on the backyard patio to cross their arms, tap their boots, and nod their heads.

The party was sponsored in part by the Digital Freedom Campaign, an organization that advocates for "the rights of artists, innovators and consumers to use digital technology free of unreasonable government restrictions." I'm pleased as punch to drink a free Lone Star tallboy and see some great bands from the District represent—but wouldn't the Digital Freedom message be better served through the participation in the various panels surrounding Southby?

"It's just music industry people going to the panels, whereas here we're reaching out to the consumer," says Nancy Tarr-Wager, the group's artists and label outreach liaison. Reaching out to the consumer—or preaching to the choir?

It seems that any successful advocacy for artists' rights will involve striking an agreement with the music industry or, barring that, appealing to legislators. After all, there is already a massive base that uses new technology for the dissemination of music and other digital media. It's the widespread appeal of the message Digital Freedom supports that drew the attention of government and industry in the first place. Artists and fans have absorbed the message.

Meanwhile a quick glance at the panels schedule reveals any number of topics that would seem to tie in to support for open digital borders. Two subjects up for discussion over the next 24 hours are performance royalties and webcasting fees. There's a real opportunity in my mind to connect those topics with a broader understanding of the music industry as having shifted from product-oriented to service-oriented. It's a tectonic shift, and making it work for artists involves convincing legislators and lobbies it's a tectonic shift that's already taking place. Appealing to artists and fans seems to suggest that musicians need to organize for this looming shift when, in fact, it's a done deal and major labels are merely recalcitrant holdouts. (Albeit powerful holdouts.)

I, for one, am abundantly sympathetic to seeing free performances by great District bands while soaking up the sun (and the free Lone Star tallboys). Southby's all about these sorts of day parties, the message notwithstanding. Meanwhile there's also a convention going on that offers significant opportunities for networking and message crafting. Sometimes the DIY ethic that drives so many innovative musicians really doesn't translate so well into successful political action.