Editors’ note: The opinions and ideas expressed in My Ex-Boyfriend's Band are solely those of the author and do not necessarily reflect the outlook and belief of anyone else in the Ist network.

It's been a big year for Graham Williams. Last December, he joined forces with Alamo Drafthouse to put on the inaugural Fun Fun Fun Fest, one day of indie, punk and electronic music on three stages in Waterloo Park. It was the first major event that Williams, the former head booker at Emo’s for nearly a decade, produced under his own name.

The rumors started circulating somewhere in the middle of Peaches' porn-rock extravaganza. The mini festival had frigidly yet successfully delivered the promised fun, cubed. Would Williams start putting on more diverse acts and venues? Would he continue to book Emo’s? Was he stepping out on his own?

The answers began coming this summer. First, dedicated fans and savvy scenesters swarmed to the Mohawk for secret performances by Spoon and the Decemberists. Then, bands expected to play Emo’s or the Parish—fresh indie acts like Starlight Mints—instead booked shows at the 900 block of Red River. On June 27, Transmission Entertainment, “the independent alternative to booking in Austin,” officially opened for business.

The Transmission collective includes James Moody, owner of the Mohawk, Michael Terrazas of Club de Ville, Super!Alright! Media’s Chris Butler and local booking queen Rosa Madriz. It is truly an Austin super group, and Williams is the undeniable mastermind and frontman.

When Williams started at Emo’s in the mid-90s, the storied venue was struggling to survive. A last-minute investment from South Austin car salesman Frank Hendrix did more than keep the doors open. Hendrix was impressed with the kids working at the bar, so he decided to stick to the business side of Emo’s and let them run the everyday operations.

“We were able to choose everything, from the bands playing to the art on the walls to the people we hired,” recalls Williams. With a bit of support and a lot of freedom, he booked shows that redefined Emo’s and shaped the current Central Texas music scene. “Emo’s is a brand and a culture—it's a style of music you live, not one you can teach.”

He was intensely dedicated to the venue and he describes leaving in June as a bad breakup. The original plan was for Williams to keep booking Emo’s and expand into side projects with Transmission. Unfortunately, the open relationship idea didn’t sit well with Hendrix and competing heavy-hitters. The two cut ties, and C3 Presents stepped in as Emo’s new booker.

The emergence of Transmission as the main competition for C3 has put a controversial spin on Williams’ move. Bars were initially wary to pick sides, fans feared increased costs and no one was sure if a new agency could even survive in a town dominated by Charles Attal’s powerhouse firm.

“There is this perception of the small guys versus the giants with Transmission and C3, but I see us doing two completely different things,” he said. “Their smallest shows are our biggest. We are booking from the ground up, bringing in progressive and underground acts as well as the best local shows. We want to take on under-appreciated music.”

This organic approach has proven more successful than expected. Mohawk and Club de Ville are already reaping impressive benefits from their partnership. This fall, bands like Caribou, Fujiya and Miyagi, Two Gallants and I Love You But I’ve Chosen Darkness have played the neighboring venues.

“But the goal is no longer building a bar,” Williams adds. With Transmission, he plans to keep the options flexible and the opportunities endless. “We’re putting on shows that are right for both the band and the venue.”

The second Fun Fest is a telling example of what the scene can expect from Transmission. It clearly embodied Williams’ dedication to independent music and preserved the fan-friendly focus. Driven by the full horsepower of Transmission, one day stretched into two. The headlining acts were indie goddess Cat Power, power party DJ Diplo and a reunited Murder City Devils. The diverse lineup also featured New Pornographers, Riverboat Gamblers, Battles, Of Montreal, Battles and Girl Talk. With approximately 6,000 fans attending each day, Fun Fun Fun managed to be a cross between a picnic in the park and a legitimate festival.

“Making money is great,” said Williams. “But I would rather have a show packed, have everyone enjoy it and come out smiling.”