PHOTOS: Hot Buttered Rum at The Indy 10/4

HBRPhotos by Marc Fong // Written by Mike Frash //

Hot Buttered Rum //
The Independent – San Francisco
October 4th, 2013 //

The Bay Area’s very own Hot Buttered Rumm kept the string-based goodness going after this year’s Hardly Strictly Bluegrass (see our photos from the festival here), and Marc Fong was on the scene at one of the Bay Area’s best live music venues, The Independent, to get some snaps of the band.

Keep your calendar open near the holidays for the Nat Keefe Concert Carnival, a music-filled variety show curated by the Hot Buttered Rum frontman. This year, expect to see Tim Carbone (Railroad Earth, the Contribution), DJ shOOey, Tim Flannery (Lunatic Fringe, SF Giants), the T Sisters, Melody Walker & Jacob Groopman (Front Country), Matt Sharkey, the Coeds, and members of Hot Buttered Rum on Thursday, December 19th at The Independent.

Buy tickets to the Nat Keefe Concert Carnival here or win tickets through Showbams here.

WIN TICKETS: Wavves & King Tuff at Slim’s 10/16

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Nathan Williams and Co. bring a packed bill to Slim’s this Wednesday, and you know you wanna be a part of this thrashing good-time. Wavves, King Tuff and Jacuzzi Boys are three thrilling acts that have etched their names into the poppier side of skate punk music, full of angst, beer bottles and general rowdiness. These hard-touring giants will each present their own take on this skizzy, youthful style of rock music. Wavves continue to tour their fourth, and latest, release Afraid of Heights. Don’t sleep as this bill could possibly sell out with all the kids hoping to make their name in the pit.

Buy tickets if you know you want to go!


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Chateau Marmont’s French synths light up Richmond District

Chateau-MarmontPhotos by Mike Frash // Written by Kevin Quandt //

As funky, synthed-out disco poured onto an increasingly desolate Clement Street, passers-by could only stop and gaze quizzically up to the second floor of the newest venue in the City, Neck of the Woods. Should we go in to check it out? What is this catchy cacophony blasting through the Inner Richmond? Well, those brave enough to venture into this rarely-visited part of town were rewarded with masterful playing and serious grooves. Chateau Marmont put on a blistering live show that featured both their tremendous original songs and some improvised dance jams that got the sparse crowd moving.

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Ronald Kaufman, who performs under the name Kauf, is a name you are likely to see more of as 2013 comes to a close. This one-man show captivated the fans who could be described as “in the know”, as Kauf’s superb production coupled with live vocals generated something totally genuine. Tracks like “Relocate”, off his latest EP release titled As Much Again, displayed the artist’s knack for building loops while tastefully manipulating his delicate vocals. With a handful of dates opening for Cut Copy on Kauf’s upcoming schedule, it’s a very good likelihood that more exposure is sure to gain the attention this solo act deserves.

A few more bodies trickled in to see these underrated Frenchmen tackle a set heavy with new tunes from their newest release, The Maze. For an act that hasn’t been touring much in the past year, Chateau Marmont came out firing on all cylinders. Synthesizers, modulators and keyboards flanked the sides of the stage as the rhythm section held court in the middle, a setup that lent very well to their ‘jam’ style dance sections sandwiched between tracks. Banner songs like “Wind Blows” display a preternatural understanding of electrified pop-music, similar to the sound that aided to Miike Snow’s success years ago. For all intensive reasons, Chateau Marmont are on their way up the ladder to larger audiences, and the group showed their potential to receive international radio air-play.

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One aspect that was difficult to overlook, while the band was deep in groove, was both the use of non-traditional synth frequencies while simultaneously using said instruments to create leads that were akin to that of a lead guitar. This combination made it seem as though this act could very easily be a crossover act, enjoyed by fans of live-tronica jambands like Lotus, Particle or the New Deal. Expect to see a fair amount of stage time from these guys as they ramp things up behind the new release, so catch ‘em while they are still relatively unknown.

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WIN TICKETS: King Khan & The Shrines at Slim’s 10/13

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Arish “King” Khan is an entertainer. Whether he is gyrating wildly on stage in a speedo, collaborating with RZA on mysterious projects or crooning about food stamps and other odd subjects, basically the guy knows how to create a frenzy. Khan returns to the road with his band the Shrines, touring behind their first release together in over six years, entitled Idle No More. There are few shows that can pack the punch that Khan and his 9-person band deliver on a nightly basis, and subsequently they’ve become royalty in the garage-punk world.

Buy Tickets if you know you want to go!


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Sioux City Kid bring it on home at Great American Music Hall

Sioux-City-Kid

Photos by Dani Padget // Written by Molly Kish

Dropping their second full length album Minutes, Miles, Troubles and Trials just a few weeks back, Sioux City Kid took the stage at Great American Music Hall 9/27 for their hometown album release party. Packing the historic venue with friends, family and fans alike, the band brought an eclectic cross section of the local music scene to their feet with a rollicking show of crowd favorites and debut tracks.

A half-seated event gave way to a fully active dance floor as soon as the homegrown headliners took the stage. Rambunctious and ready for action, the audience crowded in close, providing their own soundtrack of floor stomping, hoots and hollers leading up to the band’s whimsical entrance.

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Sioux City Kid’s organist Jake Smolowe casually approached his keys as though sound checking, and he began playing a feverous rendition of “Maple Leaf Rag”. This segued into the full band entrance, where each member put their best Charleston foot forward, fingers wagging and hips shaking to the melody. With a trimmed down line up on the finishing leg of a shotgun West Coast tour, Sioux City Kid came in firing on all cylinders. Playing a bulk of the brand new album, some for the first time in a live setting, the band ate up the energy from the audience.

Soaking in the new material like an enthusiastic sponge, SCK had the audience dialed in from the sets’ opening notes. Front man Jared Griffin instructed the crowd to sing a-long, and the new material allowed ample time to both participate and actively gyrate with the characteristically elongated builds and breakdowns Sioux City Kid’s songwriting is known for. Vocals soared as both Griffin and front woman Laura Wiese commanded the stage show. They played off one another as only musical soulmates can do, all the while exchanging cheeky banter and naturally trading moments in the spotlight throughout the evening.

Griffin switched between playing both electric and acoustic guitar (with attached harmonica while Wiese wailed on her tambourine and directed the pace of the rowdy set. Equal parts musicians and performers, each member of this outfit could easily start their own solo gig, and several of them have already) — yet as a cohesive bunch, they are a force to be reckoned with. Creating a sound and overall concert experience that can both bring you to tears or cause dehydration through dance, it was an extremely intense and impulsively structured performance.

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After downing a whiskey shot delivered from the front row, Griffin ending the show by breaking into some older favorites drenched from head to toe. A few slower ballads, a new cut off of MMTT sang entirely by the ferocious Ms. Wiese and a couple choice encore tracks delighted the long term SCK fan. A prolonged standing ovation cleared the band from the stage eventually, leading into a continued post performance dance party that was initiated and included several of the band members and their sea of fans and personal acquaintances.

More of a large family gathering than a detail driven performance, Sioux City Kid accomplished their goal of truly having an album release “party” to celebrate all of their hard work. SCK proved to pick up the pace for what will undoubtedly be an exciting future of touring behind the latest album. San Francisco was treated to a special show in a venue that may not be able to handle this band the next time they come back through.

WIN TICKETS: J. Roddy Walston and The Business at The Indy in SF 10/10

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J. Roddy Walston and the Business deliver a live concert experience that every music lover needs to see once in their lifetime. However, in most cases, one time will simply not suffice, as this act brings heavy, Southern-influenced rock on a nightly basis. These American rockers have been burning down stages across this great land for over a decade, constantly upping their game with Walston’s devastatingly brutal stage presence. The lead man pounds away on an upright piano, refusing to compromise for keyboards while touring behind their latest release on ATO Records, Essential Tremors. Gringo Starr will start things off on this night at the Independent, so get down early for worship at the ‘Church of Rock’.


Win 2 Free Tickets! Enter to win if you can attend this show Thursday, October 10 at The Independent in San Francisco.

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The Festival Lawyer: What To Do if The Police Stop You at a Music Festival – Part 2

Festival-Lawyer-PART2

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Let’s face it. Sequels suck. The only exceptions are Godfather 2, Aliens (Game over man!) and Paul’s Boutique by the Beastie Boys.

On September 25th, I published an article with Showbams entitled “What To Do if The Police Stop You at a Music Festival“. If you haven’t read it you can find it here.

That original Showbams article started getting reblogged on other sites and tweeted and shared and re-shared on Facebook. Ultimately, it ended up going “viral”.

How viral? Well, the article has had over 250,000 unique views. It ended up receiving over 30 thousand Facebook likes. But I knew we were truly viral when someone in Australia asked me, “Is there an Australian version of this article that explains Australian law?”

If you’ve read this far, I know you think I am about to pull a Kanye and announce that I am now a “A Legal God” and want to be referred to as “Festival Yeezus Lawyer” from now on.

Sadly, no. I am not quitting my day job. However, I think the article went viral due to the fact that “doing whatever the police tell you” is not really what Jefferson had in mind when he came up with that whole Bill of Rights thing. And because we all recognize that the Founding Fathers wanted an educated, empowered citizenry who kept an eye on their police. And because a heck of lot folks have found that getting into a bad situation with a cop and not knowing your rights is one of the scariest things that can happen to you at a festival.

So despite the obvious danger, I really think a sequel is needed to talk about the great comments and reactions the first article generated. Wish me luck.


ADDITIONAL TIP 1: Educate yourself on how to legally record cops in your home state.

I had a LOT of lawyers in other states write me to tell me I had given bad advice about videotaping police making arrests. In particular I had several lawyers tell me that my advice was going to get someone going to Lollapalooza arrested. Their point was that Illinois had a law making it a felony to record video of an encounter with a cop. Several other attorneys pointed out that their own states had similar “wiretapping” laws.

Nice try, but when it comes to the Festival Lawyer, “There can be only one” (*Highlander theme plays*)

The actual law in this area is that in Illinois (home to Lollapalooza), the American Civil Liberties Union recently won a challenge to this law. A federal judge issued a permanent ban on enforcing the law. Also, almost every state has an exception for videotaping where there is no “reasonable expectation of privacy”.

I started to write up a little clarification of different State laws in this area and give some tips on videotaping the police. But one of the great things about this article was that it caused me to finally get to talk to the amazing Steve Silverman at www.flexyourrights.org.

Turns out he had already written a great article explaining EXACTLY what you need to know to record the police in any state and in any scenario.

However, this is an excellent reminder to always do your own research and find out the law in your home state. I am a California lawyer and your state may have very different laws. So even though I just teased them slightly, I want to thank the out of state lawyers who took the time to contact me. Please keep the comments and questions coming.


ADDITIONAL TIP 2: Recording cops? There’s an app for that.

Several people also pointed out that there are numerous apps that allow you to upload your videos to the “cloud”. (For the purposes of this article, let’s just collectively pretend that I know what the cloud is and how it freaking works rather than get ourselves bogged down in unnecessary details.) The point is that you may need to have your video of the cops instantly uploaded to a secure location so that you have it in case your phone is taken from you or damaged.

As commenter “sarahrwilson” wrote:

As to making a video recording, the key is to also stream it from the phone so regardless of what the police do to the device, there will at least be a copy of the video they can’t touch. The ACLU of NJ has an app for I-phone or Android that does exactly that.

The ACLU has provided a collection of Apps on their website that lets you upload cell phone videos to the cloud immediately.

Festival Lawyer Protégé Tip: At the same time you download your Festival’s app, download the ACLU ‘cloud’ app, just in case.


ADDITIONAL TIP 3: These are “Break Glass – Only Use In An Emergency” tips.

A few members of law enforcement wrote in to point out that taking an immediately aggressive tone could actually inflame the situation:

As a police officer, I initially read this on the assumption I was looking at another story of how to “politely disrespect” officers (LEOs). I was pleasantly surprised to see that this was, in fact, a well-written article by an educated member of our society that gives valuable information on how not to become a victim of over zealous officers. That being said, I’d like to add that all of these tactics are great if you aren’t doing anything wrong; however festivalgoers and the likes should know the reason LEOs are at these events is ensure people have a safe and fun time. If you’re actually doing wrong, these tactics only stall the inevitable and eventually, you will be arrested and face the courts for your misdeed.

Also, recording an event does set the tone (from an officer’s point of view) that you are being non compliant and confrontational. Exercise your own good judgement, and don’t get excitable. Much like the open carry activist, if you handle law enforcement with respect, they will most likely return the favor.

I mainly quoted the above comment because it makes me look good. But besides that, it makes a valuable point. If I could add just one thing to the original article it would be that these tips are essentially a “BREAK GLASS – USE IN CASE OF AN EMERGENCY” toolkit.

I think it was implied before but let’s add a step zero – be nice and treat the cop like a fellow human being. Personally, I hate when people wear “fuck the police” shirts to a concert. It’s not how I feel. And it sends a super negative vibe and message. I hold a huge amount of respect for the police and for the law. But I am also an Educated, Empowered, Positive US citizen. That means I love my Country, and want to make her better, but I don’t necessarily trust all of her employees. The comments page is FULL of real life innocent festivalgoers who ran head on into a bad situation: A sexist cop. A racist cop. An overly aggressive cop. A cop who didn’t like someone’s sexual orientation. Or a cop who just wanted to fuck with someone. (Not to get too legal or technical with you). You need to be prepared for THOSE situations.

All of that brings me to my final tip…


ADDITIONAL TIP 4: Educate and empower yourself, even if you don’t ever plan on doing “anything wrong” at a festival.

In some ways, Festivals can be kind of a clash of two worlds.

Cops see themselves as being present at Festivals to keep the peace, and to keep people safe. Festivalgoers see fests as a playground that consenting adults can attend, and the normal rules of society don’t necessarily apply. When you add in some super crazy choices we have made as a society about drug laws, there is always the potential for things to go really badly, really quickly.

That’s because there is a small percentage of cops who feel the drug war really is a war. And in wars, normal rules don’t apply. (People use the phrase “All’s Fair in Love and War” for a reason.) Added to that are police agencies who are not there to “keep the peace” at all. They are there instead to “keep the quota” and make arrests for stats. One of the many examples from the comments to the article should suffice:

Wish I had seen this a few months ago! After leaving (a music festival in an RV my husband and I were pulled over for an “Illegal lane change”. After the cop asked a bunch of questions, he nicely asked if he could take a look inside to make sure we didn’t have any “weapons or dead bodies inside”. Of course we stupidly said yes…becuz we didn’t want him to think we had either of these things inside. Upon entering the RV, he claimed that the straws in our garbage can are considered “paraphernalia” so he then had the right to search the entire vehicle. He made us stand 50-feet away while we watched him take apart the RV with an electric drill. He dumped out all my vitamins and medication into one big pile on the floor, open up all my cosmetics, went through my dirty (personal) clothes, dumped out all our food, and tore apart the lining on our RV rental. He then gave us tickets for the straws since in the state of Arkansas, “paraphernalia” is a crime. We didn’t argue or say anything, figured that was in our best interest. But because we (live out of state) we couldn’t exactly travel back to Arkansas to defend ourselves. We had to hire a local lawyer (that never met us) to defend us. My husband got the charges dropped against him, but the cop was adamant that one of us get charged with paraphernalia – so lucky, I am a mom, and had no record. I was coming from a music festival in an RV. Everyone I spoke to told me we should have NEVER let him search the vehicle, but I didn’t know my rights or the law. We were just scared.

So at this time, let’s all repeat the Festival Lawyer’s motto together:

“Better to know your rights and not need them, than to need your rights and not know them.”

More than anything I wanted to write a sequel so I could have a chance to thank you all. The idea of a legal article with zero cats in it going viral is seriously insane. But it did. And because of that, I got to meet a bunch of amazing people and had some really cool conversations. Believe me when I say I enjoyed being the “legal advice meme” for my entire 15 seconds (that’s not a typo) of internet fame.

Next Column: How to “upgrade” your entire Festival experience without spending a dime.


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WIN TICKETS: Chateau Marmont at Neck of the Woods in SF 10/10

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An exciting night of French synth-pop is approaching this Thursday at the Richmond’s newest venue, Neck of the Woods. Chateau Marmont isn’t a new band, but they certainly have been garnering serious attention in past years with high profile remixes of artists such as Royksopp, La Roux and Peter, Bjorn & John, as well as producing their own stellar releases. Invisible Eye is the latest EP from this trio, an incredibly catchy soundscape built on spacey themes and brilliant use of the vocoder. Their debut full-length album is slated for an early 2014 release and is sure to catapult this act to larger stages and more fans in no time. Do yourself a favor and catch Chateau Marmont in an intimate setting before it’s too late.


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Father John Misty launches solo tour, performs with giant iPhone

Father-John-MistyPhotos by Marc Fong // Written by Brooks Rocco //

On May 1st 2011, President Barack Obama announced that nearly 10 years after the September 11 terrorist attacks on the World Trade Center in New York, the United States had killed Al-Qaeda mastermind Osama Bin Laden. But the President did not make this announcement inside of a giant iPhone.

June 12th 1987, on the 750th Anniversary of the founding of Berlin, Germany, US President Ronald Reagan challenged Soviet Leader Mikhail Gorbachev to “Tear Down This Wall!” But this was not a proclamation made from inside a giant iPhone.

July 4th 0 A.D., Yeshua of Nazareth (later canonized as ‘Jesus’) was allegedly crucified for our sins. But on a crucifix, not an iPhone.

On Thursday, October 4 2013, at Slim’s Music Club & Bar, San Francisco, California (37.771492, -122.4132385N37° 46.2895′, W122° 24.7943’), Joshua Tillman, performing under the moniker ‘Father John Misty’, played the first night of his American solo tour inside of a giant iPhone.

Perhaps as a garish nod to today’s unconscionable habit of spending too much goddamn time photographing experiences rather than actually experiencing them, or perhaps as a sardonic ‘fuck you’ to those content wizards in charge of drawing up lines around artists that turn them into slide-show ponies on the never-ending entertainment loops we despicably adore, the giant iPhone served as an unceasing and brutal reminder of what our egoistic and poisoned humanity hath wrought, which was soon lost on Father John Misty’s nearly sold out crowd when, after a sip of tea and a knowing laugh, he strummed his guitar and began to sing.

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Playing a mixture of older tracks from his now gracefully aging Fear Fun (Sub Pop, 2012), alongside a selection of new songs likely to appear on his forthcoming record, Josh Tillman channeled his former alter-ego J, taking us all on a mellow ride down his own personal lazy river. A tender version of “Nancy From Now On”, a lushly arranged “Fun Times in Babylon”, the excruciatingly honest new ballad “Bored In The USA“, and another new one chronicling the formulation of religion, language, black holes (in souls, of course), boredom, drugs, human frailty, distress, and the beautiful futility of love set the crowd quiet, considerate, and attentive.

That said, Slim’s is not an open mic cafe filled with bohemians & bean bag chairs. It is a rock n’ roll club with a full bar, and plenty of people in attendance were undoubtedly wondering when exactly we gon’ get our whiskey shoes on. The air was filled with a simmering anticipation for the savvy and snarky theatric that Father John Misty shows have become known for — which indeed he nailed during his last stint at SF’s Fillmore. This, being the first night of the solo tour, was really just the first test in this solo experiment, and due to FJM being FJM, he’s having fun toying with the ideas and clichés of the “solo show”; of the artist-as-content; as the one-man-act-cum-singer-cum-songwriter; as the “guy you’ve all paid to see”. All in all, he seemed a little nervous, though rightly so. The tour’s only just begun, he’s not the iron-clad and confident Ubermensch that played the 10th Annual Henry Miller Memorial Library Benefit two weeks earlier to a silent, attentive, and mostly stoned crowd, sitting ‘neath the redwood trees. (see video)

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I briefly spoke to Josh before that show at Henry Miller, and he mentioned that he was nicknaming this the ‘Father John Misty Disappoints Everyone Tour’, noting that there would be plenty of people unaware that this would be just a dude with a wooden string-box sitting on a stage. Though I never got that vibe from the crowd at Slim’s — I heard no audible “HEY WHAT THE SHIT IS THIS”’s from anyone. There were occasional twinges of discourtesy when it became clear that no one was going to be dancing in this club. As a result, the stunningly graceful new tune “We Met In A Store” was more than just a little marred by talking, iPhoning, heads and minds wandering, etc., which took away from the song’s soaring climax. It’s tough to get people to pay attention when you’re just an app in an iPhone.

That said, other than a few nervous hiccups, the man’s voice absolutely soared in even this early night of the tour, and it’s only bound to get better. Ditching the band in favor of a solo tour, utilizing the name that’s been on that fast ascent to wherever-the-hell-it’s-going is a ballsy move, and the hyper-aware Josh Tillman is gearing up a truly memorable run.

To anyone put off by the lack of a backing band: rest reassured that seeing this artist open up in what is likely the most vulnerable state he’s put himself in to date is well worth the price of admission for anyone who considers themselves a fan. The old songs have matured, the new songs are sickeningly sweet, and hey, he even takes questions from the crowd!

“Why haven’t you done this sooner?” one up-fronter queried.
“Well, the market research didn’t demand it,” Josh Tillman replied, inside of a giant iPhone.

It appears the market is now demanding his iTunes.

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PHOTOS: Hardly Strictly Bluegrass 2013

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Photos by Shawn Reiss & The Bam Team // Written by Mike Frash

The tone of a festival is set at the door. Long lines and abrasive security checks are often a hefty buzzkill, reducing smiles and increasing tension. But then there’s Hardly Strictly Bluegrass, a free three day music festival in San Francisco’s Golden Gate Park with no perimeter fencing, security lines, or stress if you planned right. Police on horseback spent way more time showing off their equestrian partners than having to enforce the law.

And that’s the beauty of this fest — while there may have been upwards of 700,000 people that attended the festival October 4-6, and lines were long, and it was actually pretty hot, the community at this event makes sure that good vibes prevail. There’s a group mentality that polices itself at Hardly Strictly, and maybe it’s the laissez-faire attitude toward artist busking, alcohol & marijuana consumption and allowing freak flags to fly that actually makes it all work. In the end it’s cultural events like Hardly Strictly that endear us to the great City of San Francisco.

Take a look at these scene shots from the weekend!

Wild Belle discuss sound development and rocking the electric kalimba

Wild_Belle2Photos by Eldon Christenson // Written by Molly Kish //

I found myself standing outside The Independent trying to figure out why I felt so odd. It was a pretty typical evening, waiting to enter the venue I frequent most often, in a neighborhood filled with friends and familiar faces.

Peering at the line that was growing in size and audible volume, I noticed there was a staggering amount of females in attendance. In fact, more women than I have ever seen in one line, entering any establishment, in my entire 10 years of living in the Bay Area. Dressed to the nines and emulating the headlining act’s fashionista frontwoman Natalie Bergman, the crowd was a sea of giddy females ready to get their Wild Belle groove on. All the male counterparts seemed like an accessory, getting drowned out by the sea of estrogen.

Waiting to interview the creative duo behind Wild Belle outside the venue, I caught a glimpse of Ms. Bergman floating through the crowd. Nearly camouflaged by the abundance of doppelgangers in attendance, she remained amusingly unnoticed as she hopped in line with her crew. The self-consumed throng of fans remained completely unaware of her presence until she discreetly meandered her way to the front of the line. Even the bouncers questioned her authenticity amongst the crowd! After her failed attempt to convince the flustered male door staff to allow her guests to enter with her, she summoned her manager to come out and personally escorted both myself and her party through the door. Humbling her detractors while flashing her provocatively coy smile, we followed Natalie inside.

We were all brought backstage, where you could literally hear the band’s excitement emanating from their dressing room. The artist area was filled with uproarious laughter, enthusiastic cheering and green room banter — final set picks and details for the evening were being solidified.

As opening act Saint Rich were wrapping up their set, Natalie emerged with her brother and bandmate Elliot, vocally expressing his confusion with how early of a call time they had for that evening’s performance and apologizing for their tardiness. Natalie and Elliot Bergman joined us for a conversation before their first headlining set at The Independent in San Francisco, flashing their impeccably sunny disposition with cocktails in hand.

READ THE FULL REVIEW FROM THEIR SHOW AT THE INDEPENDENT HERE.


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Showbams: Last year we were able to catch you at Treasure Island Music Festival and Mezzanine, have you ever played The Independent before?

Natalie: This is actually our second time performing here, but our first time headlining. So it’s really exciting for us!

Elliot: It’s a great room to play and the feeling, the vibes are really great in here.

Showbams: I know that you’re brother and sister and come from a very musically inclined family of four. Both of your parents were also musicians, what kind of background did they have?

Natalie: My dad grew up with a lot of classical music. His mom was always playing that and gospel on the piano. Same with my mom, they both grew up in the church so there was lots of choral music. My mom was also really rooted in jazz, which she got both of us interested in at a young age, and we picked up piano from her.

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Showbams: You guys also played together before Wild Belle. Elliot, you had something in college, a sort of Afrobeat band that you were toying around with, which is when you Natalie came in on vocals. Was playing together in a group something you always wanted to do or a fate that naturally transpired?

Elliot: Yeah, it just kind of came together. I was in the studio working on some stuff and Natalie kept bringing in these songs, saying “hey check this out.” So we sort of started trading ideas, saying, “Oh, what about this? What if you wrote lyrics for this …” and that was kind of all how it came together. It was just kind of a natural evolution of us experimenting together in the studio.

Natalie: I think, we started recording demos at our friend’s studio in Benton Harbor called Key Club. We had a bunch of demos we were weeding through, and then once we developed an actual sound, we were excited about it. We recorded “Keep You”, which is one of our first tracks we documented and we were just excited. Then, we booked a show and we called ourselves The Runes, like the rune stones, and played a set with our songs, which was kind of the first little seed we planted with this band, and it just developed and bloomed from there.

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Showbams: Your debut album dropped in March of 2013 and you released singles leading up to it, garnishing a lot of traction showed by the following you currently have. It’s titled Isles and is said to be in reference to each track resembling its own distinct culture and sound. What drew you in about island music and made you want to incorporate such an influence into the songwriting of Wild Belle?

Natalie: Well, yes, we love island music. We love rock steady, ska and early Jamaican music. There is a whole tropical sound that we’re drawn to. We like Tropicalia from Brazil, we like Highlife from Africa and that’s just been in our book growing up. Our mother taught us about some cool African musicians, and we all just sort of branched off from there. It’s definitely in our repertoire, but making the record, we definitely weren’t thinking it was going to be island-oriented. We were just kind of like, “Alright, let’s make a rock ‘n’ roll record!” Yes, there were some reggae influences, but just as much as there was reggae, there’s also lots of soul and Motown and rock and blues and so on.

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Showbams: Included in said sound, you guys have something really unique in your band that Elliot personally came up with called the electric kalimba. Where did this idea sprout from, and how did it come to fruition?

Elliot: That was just something that … I think maybe my mom bought me my first one as a little toy thumb piano type thing, which I was always kind of kicking around the house. But then as I got a little older, I started realizing that you could electrify it and put it through effects pedals and play with it. It could sound like an electric guitar or steel drums or orchestral chimes or …

Natalie: Frogs, crickets, tigers (laughs).

Elliot: It’s a very pure sound that can be manipulated in a lot of different ways. It can even sound like a pipe organ if you want. It’s just kind of a fun way to approach making a record, you build some instruments and figure out what they sound like and where you can fit those sounds. It’s not like plugging in a drum machine and pressing play. It’s something that’s weird and broken and has different overtones than any other instrument. So, it can lend a bit of a distinct sound and is a little bit of a chance procedure, but usually yields some interesting results.

Showbams: It’s been quite a whirlwind of a past year for you, with your rigorous tour schedule where you hit tons of festivals, had a Daytrotter session, filmed numerous videos and have received tons of accolades along the way. What’s next on the agenda for Wild Belle?

Elliot: We have to make a new record! It’s funny, we really didn’t know what this would be when we started making the music at first. Now, the more we work, the more we become clearly defined, know what we want to do and the easier it is to execute things. We’re just excited to get back into the studio. To keep writing music, looking for sounds and continuing to make new things happen. I think we have another four or five weeks on the road, and then we’re planning on maybe taking a week where we don’t have to do anything. Just relax, maybe have some time to sleep and then start working on the new record. We’ll see you guys again real soon, though. This has always been one of our favorite places to play and any time we can, we’re very happy to be here.

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WIN TICKETS: Shigeto & Beacon at the Indy 10/3

Shigeto

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One of electronic music’s most respected labels is bringing a handful of their most talented acts on the road as part of the Ghostly International tour. Shigeto, Beacon and Nitemoves team up for a forward-leaning evening of beat-driven dance music. Shigeto will anchor the evening with his jazzed-up take on IDM and bass-music, and is sure to get every head in the room nodding along to his future sound. The production pair known as Beacon conjure up some seriously moody music with their juxtaposition of dark atmospheric music and sultry R&B vocals. Curious about these acts? Well, then maybe you’ll get in on us….


Win 2 Free Tickets! Enter to win if you can attend this show Thursday, October 3 at The Independent in San Francisco.

Submit your full name and email address below.
Contest ends Thursday, October 3 at Noon. Winners will be picked at random & notified by email. Your email will be kept private – we will share your email with no one. 21+ only.

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CONTEST COMPLETE

Savages heighten contrast to achieve total live music immersion

Savages

Photos by James Nagel // Written by Mike Frash

Jenny Beth embodies the ethos of Savages‘ first record, Silence Yourself. Upon taking the stage at the Independent Friday (September 27), Beth surveyed the room to the opening instrumentals of “I Am Here”, commanding the room by darting pierced looks of fury at individuals in the audience. Everyone present at the sold out performance reciprocated with compliant reverence — entering the venue we were individually told there was a cell phone ban in effect for Savages, and multiple print outs placed on every wall in the house carried a more nuanced message than the bouncers.

The sign made waves earlier this year when Savages first started enforcing a policy that proportionately reflects the group’s music and stage presence. The most informative part of the camera ban relates to the idea of immersion, and that the four members of Savages are striving to deliver a live music experience that thrives on the idea of living in the moment and being where you are. The effect of rapturous immersion wasn’t only accomplished through the denial of modern technology though — the fierce all female foursome achieved their goal of “totally immersing ourselves” through visual aesthetics and sound that center around elements of contrast.

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Beth’s stage presence exhibits traditional masculinity and is accented by her androgynous look, but it adds up to a style of hard femininity. She engrosses herself in each moment, sending vibes out to the crowd while peering out in search of response. Her moves are like a stop-start Henry Rollins, and Beth keeps the stage banter to a minimum, letting the music speak for itself.

The Savages front woman subverts traditional gender roles by wearing mens pleated pants and sporting buzzed hair, but Beth directly contrasts this message by wearing high heels, one of the biggest feminist scorns. This juxtaposition sends a mixed message of homogeneous subversion, creating an ambiguous visual aesthetic that contrasts normalcy.

Black and white, the ultimate contrast between dark and bright, is utilized masterfully by Savages through lighting and wardrobe. The lighting at the Independent was devoid of color, deferring to darkness then illuminating the room with white light during high-impact moments. All members of Savages are clad in black from head to toe, except for Beth’s light yellow heels. This draws greater attention to the faces of the performers and aids in the immersion process.

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Much like the lighting and wardrobe, Savages’ music centers itself in duality and choice. Savages lyrics delve into strong, graphic storytelling about being present in the moment, sexual exploration, & dominance vs. submission. And it’s done through poetic prose, far from being straight-forward or didactic.

“I Am Here” is a call to action, a tone-setting statement to be where you are. “Shut Up” explores the notion of the world being a “dead sorry hole” and trying to intervene, only to find rejection. “Hit Me” finds storytelling in the form of a submissive abuse — “Hit me with your hands, oh it’s the only way I ever learn.”

The driving, dynamic drum and bass is the most immersive element of Savages in a live setting. Combine this with fuzzy guitar work from Gemma Thompson that is used as a rhythmic layer more than a lead element, and it’s impossible to not be drawn in at an aural level. All four members of Savages are constantly moving, leading by example, showing the engagement level that they expect from their audience.

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“No Face” was the first big highlight of the night. The song ends in a fury, and it brought about a huge response, prompting Beth to say “I was waiting for you.” “Husbands” was aborted after a couple measures so drummer Fay Milton could launch into an the explicit “Hit Me” before giving “Husbands” it’s proper play. The false-start to “Husbands” made the song even more enjoyable when it came back around. “Fuckers”, a song that doesn’t appear on Silence Yourself, encouraged that you “don’t let those fuckers get you down.” Opener Duke Garwood joined the headliners for an elongated and intense “Marshall Dear”.

Overall, Savages curate an immersive live music experience while contrasting with the rest of contemporary music — they’ve blasted through the doors of homogeneity and aren’t looking back. And that is a damn good thing.

SETLIST
I AM HERE
CIT’S FULL
SHUT UP
I NEED SOMETHING NEW
STRIFE
WAITING FOR A SIGN
DREAM BABY DREAM
FLYING TO BERLIN
SHE WILL
NO FACE
HIT ME
HUSBANDS
FUCKERS
HUSBANDS
FUCKERS
MARSHAL DEAR — With Duke Garwood
XXX — With Duke Garwood

WIN TICKETS: Dead Winter Carpenters at Brick & Mortar October 4 & 5

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Tahoe’s own Dead Winter Carpenters return to hold bluegrass court over the weekend in the Mission at Brick and Mortar Music Hall. After the success of their Hardly Strictly weekend residency at the same venue last year, it only seems fitting for them to make it a tradition. This time around, with some slight personnel change, they are ready to turn even more heads with their renegade folk-grass sound. They will hosting some unique friends to open the night, featuring Lonesome Locomotive and Lee Gallagher and the Hallelujah on Friday as well as Ocha la Rocha and Jigsaw Night on Saturday. Expect an energetic crowd looking to dance hard to this showcase of California roots music.

BUY TICKETS for the Friday, October 4 show.
BUY TICKETS for the Saturday, October 5 show.


Win 2 Free Tickets! Enter to win if you can either show Friday, October 4 or Saturday, October 5 at Brick and Mortar Music Hall in San Francisco.

Submit your full name and email address below.
Contests end Thursday, October 3 at 5pm. Winners will be picked at random & notified by email. Your email will be kept private – we will share your email with no one.

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CONTEST COMPLETE

WIN TICKETS: Man Man at Great American October 2

Man_Man

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Philadelphia experimental group Man Man will bring their unique brand of “Viking vaudeville, maniac gypsy jazz” to Great American Music Hall Tuesday (Oct. 1) and Wednesday (Oct. 2). Comprised of four pseudonym donning members (Honus Honus, Pow Pow, Shono Murphy, Brown Sugar, & Jamey!), these multi instrumentalists are known for their exuberant live shows, off the wall stage presence and theatrical costumes — including individually detailed war paint and accessories.

Man Man has opening for headliners such as Modest Mouse and Yeasayer, product placed in Nike ads, placed sound on Showtime’s former hit Weeds and most recently the group was mentioned on CNN’s Anderson Cooper 360 — Man Man has been on the cusp of commercial fame since their start in 2003. Their latest album On Oni Pond, produced by Mike Mogis of Bright Eyes and First Aid Kit fame, released last month and delivers a more focused reconstruction of the band’s eclectic sound and all around creative reboot. Melding disparate sounds drawn from classic soul, hip hop, rock, new wave and psychedelic pop influences, Man Man’s fifth album ventures into a fearless territory described as a “beautifully weird and unforgettable collection of songs.”

To witness the live spectacle that is Man Man, throw your name in the hat below the fold.


Win 2 Free Tickets! Enter to win if you can attend this show Wednesday, October 2 at Great American Music Hall in San Francisco.

Submit your full name and email address below.
Contest ends October 2 at Noon. Winners will be picked at random & notified by email. Your email will be kept private – we will share your email with no one.
The October 1 contest is complete.

CONTEST COMPLETE

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