15 things to expect at Treasure Island Music Festival

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Expect to see or experience these 15 things at Treasure Island Music Festival 2013:

1) Thom Yorke dancing like this:

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2) 27% of females in attendance will borrow their boyfriend/girlfriend’s jacket because they came ready for warmer weather, forgetting the festival takes place in the middle of San Francisco Bay.

14% of the boyfriend/girlfriends’ that gave up their layer will buy a TIMF hoodie.


3) A group of drunk British blokes and Palma Violets’ manager/hype-man/party-starter Harry Violent lead the pogo-pit charge at 1:30, proceeding to get much of the crowd to join them. Impressive for an early Sunday show.


4) Move over dubstep. Meet the most amazing bass-face in contemporary music:


5) Old and Young lose their shit to Disclosure’s breakout tracks like “Fire Starts to Burn” and “Latch” — Treasure Island will hence be dubbed “Dance Island”.


6) Danny Brown’sKush Coma” illustrates how wonderfully stoned the Bay Area is, soundtracking the scene with 27 weed references. And, that’s only the marijuana references!


7) You walk in early on Sunday, swear to yourself you’re hearing Beck, but it’s actually Cayucas.


8) Overheard at Holy Ghost! sunset show: 

‘Bridge and Tunnel’, that’s the name of the two stages!!!”
“Dude, this is this is the new LCD.”
“And my Dad said Disco was dead, pshhhh.”


9) As the ‘mad shuttle dash’ begins during the Atoms for Peace encore, the festival faithful will enjoy every last note, understanding that shuttle lines offer time to recap the day! Or you could plan your own exit route.


10) The one guy with the furry hat that never leaves Silent Disco.

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11) Diplo attempts to talk the crowd into breaking Big Freedia’s twerking world record during the Major Lazer set, but only 6 girls in the front row “express themselves” as Diplo takes a cell phone pic, then tweets it.


12) That adorable couple that stakes out a small spot between the Tunnel and Bridge stages and sees all 13 acts in one spot Sunday.

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13) A beautiful James Blake sunset show moment confirms why you live in San Francisco or Oakland.


14) You swear you won’t wait in line for the ferris wheel, but end up giving in by the end of the night on Saturday or Sunday.

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15) Overheard from first time TIMF attendee:

“Wait, both stages are right here with no overlapping sets? Awesome. Pretty good view too…”

Upgrade your Fest Experience by following the 3 “Festival-Buddy Golden Rules”

Fesitval-BuddyPhoto by FestivalSnob.com // Written by The Festival Lawyer //

This article started with me wanting to talk about what happened at Electric Zoo and the need for people to “Rave Responsibly”. You know, things like the need for accurate information, testing kits, and organizations that promote “Harm Reduction” and other practical advice. But when I started to write that article, I realized we needed to talk about something else first.

Did you know that PLUR used to have a second R? And that the second R stood for “Responsibility?” The question I keep asking myself is, “Do people still follow that second ‘R’?” Are Festival Buddies still taking care of their friends?

If so, why do we now see so many drunken folks left passed out or wandering aimlessly around by themselves at Coachella, sometimes looking like an episode of The Walking Dead? And how come a young woman is taking 6 tabs of Molly at Electric Zoo without her buddies stepping in? And why are women being put in potentially dangerous situations because their friends don’t know who they left with?

So, instead of just focusing on the EDM scene, I think we need to talk about a bigger topic: How do we create and promote an awesome, and more positive festival scene for everyone? To me the solution is for all of us to work on being better festival buddies to each other. I suggest following the Three Golden Rules:

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FESTIVAL BUDDY GOLDEN RULE #1:
You are responsible for your buddy’s (and rest of the audience’s) safety.

This rule is basically another way of saying, “There are ways to do irresponsible things responsibly.”

As a good Festival Buddy, I won’t leave your drunk ass lying in a heap because I am mad at you and just cross my fingers that you get home. Instead, I will get you home safely like you would do for me, and THEN tell you what an ass you are for wrecking my show.

Festival Buddy Golden Rule #1 Examples:
Many years ago, I pretty much missed most of a Pink Floyd show because halfway through, the dude I was with leaned over and said “Hey…I just took something from someone.” As smart as secretly taking an unknown drug from a stranger might seem, it turned out be a huge mistake on his part. Soon thereafter my friend started flipping out and told me that he was now seeing “cavemen on his eyelids.” Your humble narrator required constant use of the phrase “keep your shit together dude…right now…I’m super serious” and some Vince Vaughn level of fast talking to authorities to get us safely home that night.

I did that not because I am a great guy, but because my buddy was helpless and vulnerable. And because he would have done the same for me. A true Festival Buddy adopts a strict “Leave no Raver/Rocker behind or alone” philosophy.

Also, a good FB is an Educated, Empowered Citizen. He (or she) is educated and informed about organizations like dancesafe.org, bunkpolice.org, and plur-rx.com that promote testing and other “harm reduction” ideas at festivals and raves. Any person taking any drug has by definition engaged in a uniquely dangerous act. But if that’s your personal choice, then you need to be one seriously informed individual. Anything less is not “personal choice” but “personal recklessness”.

Also, as my last two articles have discussed, a good Festival Buddy knows his/her rights, and would watch and record an arrest for his buddy, or at least make sure to be that person’s lifeline to friends and family. (If you need to get up to speed on this, here is Part 1 and Part 2 of “What To Do if The Police Stop You at a Music Festival”.

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THE SECOND RULE OF FESTIVAL BUDDIES:
(No, not “You do not talk about Festival Lawyer Club”)
“I will try to enjoy the show in such a way I don’t wreck your enjoyment of the show.”

A true Festival Buddy also knows how to “UPGRADE” his friends’ experiences. I call this philosophy the “UPGRADE” now, but I’ve seen this same idea floating around under a lot of different names and variations: PLUR, Good Vibe tribe, Rage it Forward, The 10 Principles, Concert Karma, etc.

All of these are different names for the same basic idea; that the level of fun you have at a festival has less to do with how good the performer is (although that helps) and way more to do with how good the audience is.

In other words, you will have the most fun at any festival where the audience is being fun and spreading positivity and good vibes to each other. This may sound a bit too “new agey” and “woo woo” for your tastes, but I assure you it is true both sociologically and psychologically. But seriously, do I really need to scientifically prove this to you? Isn’t it obviously more fun to be in a crowd of fun, positive, dancing people than be surrounded by a bunch of negative bad vibey jerks?

So part of the way I can UPGRADE the audience is by enjoying the show in such a way that it doesn’t wreck my friends’ show experience.

Festival Buddy Golden Rule #2 – Examples:
Maybe you might want to record the whole show on your iPhone (or now iPads? seriously?) and just stand there and focus on getting the best video and pics. I’m not here to judge or scold you. Although I do feel the need to point out that you will NEVER watch that stupid motherfucking shaky video again and you are watching something through a tiny screen that is actually happening really big and loud RIGHT IN FRONT OF YOU LIVE!!! (Umm…actually maybe I am judging you a tiny bit. Sorry.)

But that’s beside the point. The point is, I can “UPGRADE” the experience around me by being present, being fun and by not holding up a large metal view blocking device throughout the concert in the face of the guy behind me.

Or maybe you like to treat the show as a backdrop to your private conversations with your friends. I KNOW you paid for your ticket too and have the RIGHT to talk about stupid crap at an awesome concert. So you can certainly do it. But for me, I know that I might be standing next to someone who is hearing some quiet, beautiful song that he might have waited years to hear live. So I can UPGRADE the audience by not talking over it.

I was at a Jack White concert last year and this guy was loudly arguing with his girlfriend during “Love Interruption”. (Oh the irony!!) Turned out the argument was about whether Radiohead or Coldplay was a better band. Which was weird because:

A) Fuck you if you don’t know that Radiohead is about 1 million times better than Coldplay.
B) Neither band was playing at that festival so that’s an even better reason to shut up. That dude totally downgraded his festival buddies’ experience and was a serious buzz kill to the audience around him.

But more than just not being disruptive, a true UPGRADE requires a commitment to making the audience better through positivity and fun.

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THE THIRD RULE OF BEING A FESTIVAL BUDDY:
I will UPGRADE the rest of the audience by personally taking positive actions.

The best definition of Positivity I know is that it makes me happy to see other people happy. So Upgrading is me just letting other people know that’s it’s okay for them to have fun around me.

I mainly do this by letting you know that I don’t think you are a freak or stare at you if you feel like dancing, singing or doing some kind of insane interpretive dance. In fact, I prefer that you stand next to me so I can tell you how you are “killing it”.

Festival Buddy Golden Rule #3 Examples:
Last year at Outside Lands, I asked someone to take a picture for us. “Fuck yeah I will” was his response. While taking the picture he was saying “fuck yeah..fuck yeah..this pic is going to be killer”. When it was done I told him thanks and he said “No..thank YOU!..that was fucking awesome!” (This dude seemed sober and just awesome.)

That was a huge “Upgrade” for us right? We laughed our asses off and kept saying it to other people at the festival. Whenever anyone asked me to take their photo my reply was “Fuck yeah I will!” We felt happier and spread more fun because of it. The effect rippled because other people would laugh about the story. Heck, we STILL laugh about it. An Upgrade is anything you do that is a way of paying forward positive vibes and letting people know that near you is the best, most fun place to party.

So wearing a crazy costume is an upgrade. Giving a hi-five at the show to someone wearing a crazy costume and saying “you’re doing great!” is an Upgrade. Saying “sorry, bro” to someone who you just bumped into is an Upgrade. Responding with “No Worries” is an Upgrade back. Starting a dance circle is an Upgrade. Joining that dance circle is an Upgrade back. See what I mean?

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Or maybe you might give away your last bottle of water to someone who looks miserably hot, or give your Spirit Hood to someone freezing. Or take someone’s picture that is struggling to take a “selfie” with his or her partner.

If you need more examples, talk to just about any Deadhead or Phish or Widespread Panic fan. Or talk to people about PLURR. (I’m trying to bring back the second “R”) Or read the Burning Man 10 principles.

Or you could do what I did, Follow the Festival Guy on Twitter and read his blog and meet him at your next fest. Tucker Gumber was there at my “origin story” and first told me about “Raging it Forward”. Tucker is basically the Tyler Durden of positivity.

In other words, find cool people who believe in this way of “festing” and support them. If you see someone who is doing great, tell them. Maybe even ask “How about an Upgrade?” If the person doesn’t know what you are talking about, they are probably just a “Natural” partier and you should be fine for the rest of the night. But if they say “Fuck yeah” and hi-five you back? Well You KNOW they are a party professional and you are in good hands.

Do you have a code of positivity and responsibility (example PLURR) when you fest? Who taught you about it? Do you have a favorite way to upgrade other people’s experiences? Tell me in the comments about it or hit me up on Twitter to tell me about it.

Footnote 1 – Here is how this stuff works in real life:



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Zedd shows his Bay Area fans at the Fox Theater Oakland that he’s not just the future of pop music, but also the immediate present

ZeddPhotos by Marc Fong // Written by Mike Frash //

Zedd //
Fox Theater Oakland – Oakland
October 9th, 2013 //

Zedd has settled on a pretty effective and lucrative EDM sound. Just take a look at the German DJ’s two sold-out shows in Oakland last week while on his “Moment of Clarity World Tour.”

Let’s be honest here: This is not just the future of pop music, but the immediate present. Encroaching into Kaskade’s long-developed aesthetic but producing singles like “Clarity” even more accessible for radio play, Zedd’s music is anthemic and centered around angelic female vocals.

Along these lines, Zedd is now cashing in — wouldn’t you? — by producing tracks for Lady Gaga and Justin Bieber. A Zedd show still packs a punch, giving bass heads the drops and video-game inspired noises they crave, and we were on the scene at the Fox Theater to capture every moment of it.

Setlist:
Spectrum (Tristan Garner & Gregori Klosman Knight Remix)
In My Mind (Swedish House Mafia cover)
Here & Now (Ummet Ozcan cover)
Wake Me Up (Avicii cover)
It’s You (Duck Sauce cover) (DJ Snake Remix)
Komon (Madeon cover)
Breakn’ a Sweat (Skrillex cover) (Zedd Remix)
Kick Out the Epic Motherfucker (Dada Life cover)
BBBS (Clockwork cover)
Anxiety (Charlie Darker cover)
Ode to Oi (TJR cover) (Crookers Remix)
Slam the Door
Cinema (Benny Benassi cover)
Animals (Martin Garrix cover)
Animals (Martin Garrix cover) (Martin Garrix & Victor Niglio Trap Remix)
Animals (Martin Garrix cover) (Botnek Remix)
Karmma (Deep Dish cover)
Stay the Night (DJ Snake Remix)
Toulouse (Nicky Romero cover) (Tommy Trash Remix)
Clarity
Nuke (Wolfgang Gartner cover)
Silhouettes (Avicii cover) (Syn Cole Mix)
LRAD (Knife Party cover)
Bubble Butt (Major Lazer cover) (Dada Life Remix)
Atom (Nari & Milani cover) (Afrojack Edit)
Mercy (Kanye West feat. Big Sean, Pusha T & 2 Chainz cover) (RL Grime & Salva Remix)
Clarity (Brillz Remix)
Niggas in Paris (Jay-Z & Kanye West cover)
Bird Machine (DJ Snake cover)
Coming Home (Diddy – Dirty Money cover)
Quasar (Hard Rock Sofa cover)
Follow You Down
Reload (Sebastian Ingrosso cover)
Safe and Sound (Capital Cities cover) (Tommie Sunshine & Live City Remix)
Save the World (Swedish House Mafia cover) (Zedd Remix)
ID (Dillon Francis cover)
Awooga (Calvin Harris cover)
I Love It (Icona Pop cover) (Sick Individuals Remix)
Push Play
Sub Zero (Rick Mitchells cover)
The Legend of Zelda Theme (Koji Kondo cover)
Just Another Groove (Mighty Dub Katz cover) (Lookback Remix)
Datsun Tropicalia (2 Edit cover) (Torro Torro Remix)
Through the Night (Botnek cover)
Codec
Sweet Nothing (Calvin Harris cover)
Greyhound (Swedish House Mafia cover)
Tung! (Deniz Koyu cover)
Stache
Fall Into the Sky
Freak (Lucky Date cover)
Bender (Tom Piper cover) (Angger Dimas Remix)
Bounce (Marco del Horno cover)
Uncle Sam (Dirty Disco Youth cover)
Spectrum
Lost at Sea
Alive (Empire of the Sun cover) (Zedd Remix)

Fiona Apple & Blake Mills stun Berkeley crowd by playing ‘Anything They Want’

Fiona-Apple-and-Blake-Mills4Photos by Sam Heller // Written by Molly Kish //

Fiona Apple & Blake Mills //
Zellerbach Hall – Berkeley, CA
October 8th, 2013 //

Walking into the Zellerbach Hall at UC Berkeley last Tuesday, it felt more like entering a lecture on music theory than a full-scale concert. The intimate venue, more known for hosting fine arts performances and symposiums, was set up to host something very different. The stage was instead packed with a drum kit, double bass, piano, an eclectic array of guitars, various percussion instruments and a large, ambiguous treasure chest.

Photographers lined the aisle ways of the orchestra and balcony sections, and seats filled up quickly with people audibly buzzing in anticipation. With expectations running high after some recent rumors and speculation, the audience came to a sudden hush as the theater lights dimmed. Fiona Apple and Blake Mills, from there, took the stage to perform Anything They Want.

“First things first,” Fiona came scampering onto the stage in a cyclone of discontent as she feverishly scribbled and erased words on a chalkboard in the backdrop. She continuously apologized and muttered while trying to get everything in order before she officially addressed the crowd. Blake Mills, on the other hand in near perfect inversion, casually walked over to his vast assortment of guitars, tuned his first choice for the evening and remained completely unaffected by the spectacle unveiling before him.

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After finally achieving peace of mind enough to acknowledge the crowd (buzzing in anticipation), Apple took a very reluctant moment to set the record straight about her most recent outburst in Portland. She stated “she didn’t want to, but had to” further elaborate on comments she made regarding her continuous battle with an innately fiery temper and unwarranted liberties taken by the press.

When speaking, she seemed at times to be so uncomfortable that if physically possible, she would have leaped right out of her skin. Draped in a floor length silk slip and sporting an ill fitted bandana, she constantly adjusted the rag around her newly cropped hair — Apple eventually solicited the audience for a rubber band. At this point, Blake began to reel in Fiona in order to get the show started. What followed was a perfect combo of showmanship and grace — these two seemed like they had been touring together for years.

After publically clearing her mind with the help of coy coaxing efforts from Blake, the duo selected songs from each other’s catalogues. Duets included, both artists shared the spotlight in one of the most beautifully free form jam sessions fans could have hoped for. Switching the lead role every two to three songs, both musicians transferred between guiding songs and supporting the other with ease.

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Setting the pace for the night, the drummer and stand-up bass players were impeccable. Beyond their incredible musical prowess, these two provided an unbiased perspective amongst the theatrics of the evening, and occasionally joined in on the fun as both main acts playfully duked it out as joint headliners.

Captivatingly distracted, Apple seemed ingrained in some kind of internal battle with her psyche most of the evening. She spastically fluttered about the stage, rummaged through her chest of percussion instruments, and communicated nearly indecipherable murmurs with Mills about the real-time set list choices. Mills, on the other hand, remained collectively calm throughout, keeping the show from derailing into emotionally dark places.

Watching the chemistry between the performers was in itself just as entertaining as hearing them perform. The two divergent personalities played off one another like a pair of siblings lovingly prodding each other to raise the bar. Mills jokingly commented on Apple’s erratic behavior as she pushed his buttons, all while exchanging laughter.

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The musical selections covered a vast majority of material off each other’s most recent releases, along with a few throwbacks to appease the auditorium full of devoted fans. Fiona danced around vocal scales that ranged from gut wrenching bellows to glass shattering shrieks in a physical display of emotion that stunned the crowd into near silence. Spellbindingly beautiful, Apple looked as though she could tangibly feel the compositions running through her bloodstream. Her sentiment ranges from vehement aggression to utter submissiveness — she threw her entire being into every song she played.

Mills put on an equally impressive display of mind-blowing talent, transcending the space of Zellerbach Hall into a soundscape that was all his own. Mills took the crowd on an audio excursion that touched upon his various artistic influences and improvisational techniques. Mills rotated through an arsenal of axes, including danelectros, telecasters, hollow body Gibson’s, six string ukuleles and more. Apple remained on stage during much of Mills’ solo routine, writhing on a large marching band drum, occasionally beating it in dramatic fashion.

Every component of this evening was perfectly crafted to play out in a wonderfully successful manner. Fiona Apple and Blake Mills may be in the middle of what will be considered one of the most impacting tours of either of their careers. The audience got to see both artists in their most naturally raw state. What more could an artist, or audience member, want out of a live music experience? Running out of time for an official encore, Apple and Mills eventually exited the stage to a standing ovation from the sold-out Zellerbach Hall crowd.

WIN TICKETS: The Dodos at Great American 10/16

The-Dodos

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On Wednesday night, local indie rock duo The Dodos will make an exclusive tour stop at Great American Music Hall in San Francisco. Bandmates Meric Long and Logan Kroeber are celebrating the release of their fifth full length album Carrier, marking their debut on Polyvinyl Records. Written and recorded locally at John Vanderslice’s legendary Tiny Telephone studios, Carrier is an emotional tribute to late friend and touring member of The Dodos Christopher Reimer.

After debuting their first video off the album, “Confidence”, on NPR First Watch this past month, the band kicked off their fall tour with a performance on The Late Show With David Letterman. Before they take their act overseas, this exclusive Bay Area show October 16 will serve as a fond farewell to the guys before they head abroad for a while.

Buy tickets if you know you want to go!


Win 2 Free Tickets! Enter to win if you can attend this show Wednesday, October 16th at Great American Music Hall in San Francisco.

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Contest ends Wednesday, October 16 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.

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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

Wavves

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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!


Win 2 Free Tickets!
Enter to win if you can attend this show Wednesday, October 16 at Slim’s in San Francisco.

Submit your full name and email address below.
Contest ends October 16 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.

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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.

Chateau-Marmont

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

KingKhan

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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!


Win 2 Free Tickets! Enter to win if you can attend this show Sunday, October 13 at Slim’s in San Francisco.

Submit your full name and email address below.
Contest ends October 11 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.

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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

J_Roddy_Walston

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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.


Win 2 Free Tickets! Enter to win if you can attend this show Thursday, October 10 at Neck of the Woods in San Francisco.

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Contest ends Wednesday, October 9 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. 21+ only.

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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

HSB

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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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

Enter your name and email address below for the chance to win 2 free tickets.

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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