For the last few years, the Hyatt Regency on King has been NXNE central during the festival, but you’ve probably never spent any time there after registration. This year, the Northby team has created a new centre of operations that you’ll want to stick around in throughout the five-day fest.
Dubbed NXNE Hub, it’s a two-floor space created out of a condo presentation centre at 170 Spadina, just north of Queen, and it’ll bring all of the disparate parts of the festival together into one central meeting place.
Attendees will visit the first floor of the new space when registering, and special programming on the second floor — a talk with THE FADER’s Andy Cohn, stand-up comedy by Eric Andre (The Eric Andre Show, Two Broke Girls, etc.) and Tonight Show frequenter Nick Thune, and film premieres — will bring them back.
And there are new performances confirmed: Copenhagen’s HVAD, DJ Rabit, Prurient and NOW favourite Jazz Cartier have all been added to this year’s roster.
Most exciting for music fans is the Canadian premiere of Asif Kapadia’s Amy Winehouse documentary Amy at Bloor Hot Docs Cinema on June 20. Also getting a Canadian premiere is industrial music documentary Industrial Soundtrack For The Urban Decay and Jonathan Demme’s Made In Texas, which will be followed by a talk hosted by SXSW co-founder Louis Black.
And to up the CanCon, Diamond Tongues, a dramedy with an all-star cast and crew of Canadian musicians, also gets its Canadian premiere. Leah Goldstein (who you may know as Leah Fay of July Talk) and Nick Flanagan (from Brutal Knights and Wrong Hole) have starring roles, Brendan Canning is an executive producer, and Canning and Ohad Benchetrit (Do Make Say Think) scored the film.
You can also check out The National Poster Retrospecticus, a touring poster show with over 350 hand-printed pieces, including METZ, Jack White and Wilco posters and work from Toronto-based design duo Doublenaut.
NXNE runs from June 17-21. For a full schedule of events and ticket information, visit nxne.com and follow @nxne on Twitter.
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