THE capital of the Lone-Star state, Austin, is a city utterly synonymous with music, hailed by its own inhabitants as the “live music capital of the world”. As a regular visitor to this bohemian, democrat-voting, hippy enclave of Texas, I have absolutely no hesitation in agreeing.

With its myriad venues and studios active throughout the year, it’s the perfect breeding ground for creative renegades, and the place is teeming with them. It’s the fastest-growing city in the USA with a Formula One track, escalating real estate prices and a booming technology sector. Although the motto is “Keep Austin Weird”, you’re as likely to hear, “Are you a musician? PLEASE don’t move to Austin!”

Austin City Limits, Fun Fun Fun Fest and Levitation are well-respected and popular in among other festivals throughout the calendar months, but it is the gigantic South By South West that has really put Austin on the map. Now, along with the biggest interactive and music conferences in the world, SXSW also hosts a film festival and employs vast amounts of people annually.

It is here that the world’s creative forces assemble every March to network, showcase and share ideas. It started as a stand-alone music festival in 1987 making this year the 30th anniversary of the event. For me it’s a lesser milestone of 14 years attendance in a row.

SXSW music was set up to help independent and alternative musicians, labels and media to display and discuss their wares away from the glitzy glare of Los Angeles and New York. Over the years, it has eclipsed events in those cities and become a behemoth, probably reaching critical mass in 2013 when around 2,500 acts played over five days.

2016’s event looks to be significantly smaller thankfully, although musicians still travel from all over the world to be here. Panels, seminars and interviews all collide, in a maelstrom of constantly blaring new music. To a bystander it must be like the Edinburgh Fringe with tattoos and loud guitars.

Remember, though, this is an industry that is suffering as a result of a dramatic drop in sales, and the rise of free downloading and streaming. It needs to club together. Criticism has been levied at SXSW for becoming increasingly corporate, but look at the arts as a whole. The concept of branding and sponsorship deals is now not only a necessary evil, but quite often the only option to survive.

The focus may have shifted from the independent labels to larger tastemakers. Media giants such as Tumblr, Spotify, YouTube, Hype Machine and BBC Music all host showcase nights now. It’s a coup for a young group to be given the “seal of approval” by one of them. The game has changed to an extent.

This year, SXSW hits an ultimate high with their keynote speakers too. Not only is 71-year-old Brooklyn boy and infamous David Bowie producer, Tony Visconti going to be discussing his 50-year career; but no less than President Barack Obama was set to address the Interactive festival on Friday March 11, and his wife Michelle speaks at the music event on Wednesday 16.

Having said that, Mark Mothersbaugh from Devo will also be interviewed, and punk legends John Doe of X and Mike Watt of Minutemen also take part in a Q&A. Key Indies such as Ninja Tune, Bella Union, Heavenly and Sub Pop will also be showcasing their new rosters.

Formerly the eye of the sonic storm, central 6th Street is perhaps a little too mainstream for my tastes nowadays. One has to go further east of Congress Avenue to source the DIY aesthetic, the hipster beards and real musical gems. I will be spending a lot of time at a rickety, multi-venue, complex called Hotel Vegas watching garage-rock legends Thee Oh Sees for example.

After over a decade of support organising the Scottish Showcase in Austin, Creative Scotland has withdrawn funding this year: almost certainly indicative of financial cuts, and perhaps due to outside criticism, the organisation has decided to take a year or two away from the event. Fair enough. It'll be interesting to see what Creative Scotland's new Head of Music, former Sunday Herald arts editor Alan Morrison will plan for the future.

Before travelling the epic distance to the USA, Scottish acts have to be well prepared and business-ready. I’ve seen so many bands fail dramatically, spending the best part of £10,000 into the bargain. But it would be good to see a focused Scottish music export strategy. It’s something I feel very strongly about, as I watch Iceland, Norway, Australia and Germany serve their home-grown artists far better internationally.

In 2016, 13 acts from Scotland are making the trip. The Spook School, Womps, Holy Esque and Pinact deliver the indie-rock barrage; Chvrches and Kloe serve up pure pop hooks; Edinburgh’s LuckyMe electronica collective are represented by Naked, The Blessings and Éclair Fifi; while more electronic beats come from Glasgow’s The Revenge and Sega Bodega. Scotland’s premier reggae sound-system Mungo’s Hifi will also be in attendance, as will Dundonian teenage tech-sensation Be Charlotte, who makes her second trip to the interactive event.

Whether R’n’B singer Kelly Rowland, iconic rapper Nas, techno wizard Richie Hawtin, Wildman rocker Iggy Pop; or new acts with daft names such as Death by Unga Bunga, Ghostpizza or Sexy Zebras; SXSW is the epicentre of the musical universe for 10 days, and Scotland is right here too.

The South By South West music festival runs from March 15-20. Vic Galloway presents on BBC Radio Scotland at 9pm Mondays & 11pm Thursdays www.bbc.co.uk/radioscotland Tomorrow, he is broadcasting on BBC 6Music from 7pm.

Vic’s book Songs In The Key of Fife is published by Polygon www.birlinn.co.uk/Songs-in-the-Key-of-Fife.html