AUSTIN, TX — The 2024 South by Southwest (SXSW) festival, held from March 8 to 16, showcased a dynamic blend of entertainment and technology, featuring high-profile premieres and groundbreaking discussions. However, the event was also marked by significant controversy, as over 80 artists and speakers withdrew in protest against the festival’s sponsorship ties to military and defense contractors
SXSW 2024 opened with the world premiere of Road House, a reimagining of the 1989 classic, starring Jake Gyllenhaal as an ex-UFC fighter turned bouncer, and featuring Conor McGregor in his acting debut. The film, directed by Doug Liman, was later released on Amazon Prime Video on March 21, 2024.
Another major highlight was The Fall Guy, an action-comedy directed by David Leitch, featuring Ryan Gosling and Emily Blunt. The film, a tribute to Hollywood stunt performers, premiered on March 12 and received generally positive reviews for its humor and action sequences.
In television, Netflix’s 3 Body Problem, adapted from Liu Cixin’s acclaimed sci-fi novel, made its debut. The series, developed by David Benioff, D.B. Weiss, and Alexander Woo, was among the most anticipated TV events of the festival. Hulu also premiered Black Twitter: A People’s History, a documentary exploring the cultural impact of Black voices on social media.
Beyond film and television, SXSW featured discussions on emerging technologies, including virtual reality experiences focusing on historical events like the Holocaust, and panels on the therapeutic potential of psychedelics for mental health. NASA presented insights into lunar exploration and the development of robotic aids for future missions.
Despite the festival’s diverse offerings, a significant controversy emerged over its sponsorships from military and defense entities, including the U.S. Army and Collins Aerospace, a subsidiary of RTX Corporation (formerly Raytheon). These sponsors’ involvement, particularly amid the ongoing Israel-Gaza conflict, prompted widespread criticism and led to a substantial boycott.
The protest was initiated by Chicago-based artist Ella Williams, known as Squirrel Flower, who announced her withdrawal from the festival to oppose its ties to defense contractors. She stated, “I don’t believe that a music festival should include profiteers of war—I believe that art is a tool to create a better world and has no place alongside warmongers.” Following her lead, numerous artists and speakers, including Mamalarky, Proper, and Eliza McLamb, also canceled their appearances.
The boycott extended internationally, with all ten Irish acts scheduled to perform at SXSW withdrawing in protest. The Austin for Palestine Coalition reported that at least 80 artists and panelists had pulled out of the festival, citing the involvement of weapons manufacturers and agencies tied to the U.S. Department of Defense.
In response to the backlash, SXSW issued a statement expressing support for the artists’ decisions to withdraw, emphasizing the importance of free speech and diverse viewpoints. The festival defended its sponsorships by highlighting the role of defense industries in technological advancements, stating, “The defense industry has historically been a proving ground for many of the systems we rely on today.”
Texas Governor Greg Abbott reacted to the boycott with a dismissive tone, stating on social media, “Bye. Don’t come back. We are proud of the US military in Texas. If you don’t like it … .” SXSW distanced itself from the governor’s remarks, reiterating its support for the artists’ rights to protest.
The significant artist withdrawal and public criticism prompted SXSW to reevaluate its sponsorship policies. On June 26, 2024, the festival announced that it would discontinue partnerships with the U.S. Army and defense contractors, including RTX Corporation and Collins Aerospace, for future events. The decision marked a shift in the festival’s approach to sponsorships, aiming to align more closely with the values of its diverse community of artists and attendees.
As SXSW looks ahead to its 2025 edition, scheduled for March 7–15 in Austin, the festival’s leadership faces the challenge of balancing its commitment to innovation and cultural expression with the ethical considerations of its partnerships. The events of 2024 have underscored the influential role that artists and public opinion play in shaping the direction of major cultural institutions.
