By Simona Wong (Founder of Sydney Culture Eats)
SXSW (or South-by, depending on how long you’ve been following) remains one of the highlights of my October calendar, a week where Tech & Innovation, Music, Games and Screen converge to spark conversations about culture, influence, and the direction of the industry. Sydney is the stage, and while it’s far from the festival’s origins in Texas, the creativity, curiosity, and appetite for new ideas ring true on our sunny shores
Three years in, SXSW Sydney feels less like Austin’s APAC side project and more like a festival carving out its own identity. Tech clearly takes centre stage, but music and creativity are woven through the program rather than sitting on the sidelines. With over 300 talks, screenings, and activations (and an app that kept us humble), there was no chance of seeing everything, but we navigated a solid mix — from ex-Google Mo Gawdat and OpenAI’s Chris Lehane to Jaddan Comerford of Unified Records, alongside visionary creative projects from Alex Poots (The Shed, NYC) and local brand experiences from Nike, Studio Mesa, and AMEX. If last year felt like the nervous energy of a seventh-grader’s first day, this year felt more seasoned. The AI conversation in particular had shifted from “should we be worried?” to “okay, so how are we actually using this?”
AI was again everywhere, but the more interesting moments were less about tools and more about the infrastructures and systems behind them. Lehane’s breakdown of OpenAI’s $500bn STARGATE infrastructure project — tapping into the possibility of nuclear energy — put things into perspective. Suddenly those throwaway prompts don’t feel quite so free. Add in Democratic vs Autocratic AI, shaped largely by the US and China, and it’s clear AI isn’t neutral; it’s coded with the values of its creator, whether we like it or not. Gawdat’s admission that AI has compressed months of writing into minutes landed with equal parts awe and concern. Helpful? Absolutely. Uneven? Also yes. The message was consistent: AI literacy isn’t optional, and the gap between those leaning in and those opting out is only getting wider.
While Tech took centre stage, what wasn’t to be missed was the emphasis on emerging Australian talent, with a noticeable spotlight on artists from Asia. SXSW Sydney Unlocked kept several shows free and accessible, staying true to the festival’s cultural roots. Music’s Opening Night at the Johnnie Walker Black Ruby House at UTS Underground was a highlight, with Japanese math-rock band Suichu Spica transporting us to a dreamy pop-rock haze, and 2Charm opening with performative precision. While the Music pillar lacked a clear front runner, the broader mood in the Australian industry was encouraging. Comerford spoke positively about supporting artists locally while acting globally, reminding us that live performance, human connection, and artist-led experiences can’t be replaced by AI. His shout-out to Jack River taking copyright concerns to parliament was a timely example that creatives need to shape the rules before they’re written for them.
SXSW Sydney doesn’t pretend to have the answers — and that’s kind of the point. It’s where you compare notes, sanity-check ideas, and see that participation actually matters, whether you’re building tech, protecting artistic rights, or just trying to keep up. South-by showcases the leaders in the conversation and reminds us we all have a stake in it. With the intelligence age evolving at this pace, do we really have a choice to sit back?
