– Showbams

WKEND MIXTAPE: Edwin Congreave – FOALS Mix #2

August 16, 2013 by 3ricshaden Leave a Comment

As I look back on last week’s Outside Lands festival, a few performances really stood out. On Sunday, it was FOALS that really shined.

Touring in support of their latest album, Holy Fire, FOALS delivered a stunning set on the main stage. With FOALS on my mind, I pulled out funky dance mix from keyboardist Edwin Congreave. Featuring a slew of artists like LCD Soundsystem, Richard Dorfmeister, Crystal Castles, The XX, Azari & III, and Djinxx, it also includes remixes of FOALS tracks from Flight Facilities and Chris Woodward Vox.

Enjoy!

Tracklist
1. Demis Roussos – I Dig You (Todd Terje Housemix)
2. Richard Dorfmeister & Madrid De Los Austrias – Boogie No More (Reverso 68 Remix)
3. LCD Soundystem – Get Innocuous
4. Crystal Castles – Baptism (Rory Philips Remix)
5. Glossy – Burning Love
6. FOALS – Miami (Tim Fuchs Remix ft. Flight Facilities)
7. Out Hud – It’s For You
8. Hercules & Love Affair – My House (Tensnake Remix)
9. Tom Trago – Lost In The Streets of NYC
10. Azari & III – Into The Night (Prince Language Remix)
11. Matthias Meyer & Lee Jones – Basic Chord Tool
12. Daniel Wang – Not Feeling It
13. Two Armadillos – Hawthorne’s Theme
14. Djinxx – The Foreigner
15. Aaron Carl – Oasis (Nick Holder Vocal Mix)
16. Mike ‘Agent X’ Clark – Let Your Love (Charles Spencer Remix)
17. The XX – VCR (Fourtet Remix)
18. Storm Queen – Look Right Through
19. Johnny Dynell – Jam Hot – (Tensnake Remix)
20. Tony Lionni – Found A Place
21. Catz ‘N Dogz – Kawa Z Gruntem feat. Pol_On
22. FOALS – Olympic Airways (Chris Woodward Vox Remix)
23. Crystal Fighters – Follow (Diskjokke Remix)
24. Future Beat Investigators – Aeroflot (Deetron Remix)
25. Kreon – Jauce
26. Emmanuel Jal – Kuar (Henrik Schwarz Remix)
27. Solomun – Talk To The Hand

Filed Under: Mixtapes Tagged With: FOALS, WKEND MIXTAPE

Outside Lands 2013: Here are our top sets from this year’s festival

August 16, 2013 by The Bam Team 6 Comments

Photos by Tim Hampson, Pat Tyrrell & Eric Shaden // Written by Mike Frash, Molly Kish, Kevin Quandt, Kevin Raos, Sean Little & Dara Shulman //

Outside Lands Music and Arts Festival //
Golden Gate Park – San Francisco
August 9th-11th, 2013 //

Outside Lands Music and Arts Festival is the ideal adult playground for live music fans — you can chow sardine chips and a Denogginizer from Drake’s while taking in a secret set in Choco Lands. Or maybe you prefer to laugh your face off at The Barbary or dance your ass off in the Heineken Dome. It may be a “walking festival” to some, but Outside Lands is at it’s best when you run. Feet don’t fail me now, use ’em while you got ’em.

SF’s music fest is clearly in a groove now. A free comprehensive webcast was brought back this year, enticing future festival-goers near and far to be super jealous and to start saving money for next year. Beer Lands was moved to a strategically perfect spot opposite the Land’s End Stage on the polo fields, making a quick stop-off convenient on the way to the next show. And it was cold — duh, it’s August in the Bay Area.

For the festival’s sixth incarnation, Outside Lands patrons witnessed the festival’s biggest headliner to date: Paul McCartney.

But Macca wasn’t the only auditory treat at Outside Lands. Here are our top sets from 2013.

DAY 1

Midi Matilda
Friday • Twin Peaks Stage • 12:45 p.m.

For an early afternoon festival spot, Another Planet booked properly when deciding to put Midi Matilda on the Friday bill. Kicking off what undoubtedly was going to be a long weekend with bang, this percussion-heavy duo immediately got the crowd moving. Rife with dance-heavy beats, an animated stage show and no expense spared on the lights and fog machines, Midi Matilda came out swinging. The most memorable moment occurred when both guys jumped on the drum set during their last song to deliver a joint solo to close out the set. –MK

Houndmouth
Friday • Panhandle Stage • 1:30 p.m.

Houndmouth provided a delightful opening to Outside Lands for many on the festival’s smallest stage, which is solar-powered. From the opening line of “Penitentiary”, which references San Francisco, the foursome brought bluesy gospel goodness right into everyone’s faces. With lyrics that seemed rooted in finding one’s self — and sobriety — Katie Toupin’s seductive stage presence and heavenly vocals were downright delightful. -MF

Wild Belle

Wild Belle ~ TOP SET
Friday • Twin Peaks Stage • 2:15 p.m.

Wild Belle has been making a splash since releasing their debut album in early 2013, and they have only been getting bigger. As one of the first acts of the weekend, Wild Belle got the crowd moving in a major way with their psychedelic reggae beats. Comprised of brother-sister duo Elliot and Natalie Bergman, Wild Belle were lucky enough to draw one of the only moments of sunshine the entire weekend. One could say it was the incredible vocals of Natalie Bergman that elicited the sun’s rays. Wild Belle has been progressively adding more pieces to the puzzle throughout their short career, and they unveiled their latest piece during their performance at Outside Lands. The newest addition to their live show is a large “wall of sound” speaker system meant to enhance their live sound, and boy did it sound good. Wild Belle was an unexpected jewel Friday and one of the reasons we go to festivals: to discover new music. -KR

Twenty One Pilots
Friday • Twin Peaks Stage • 3:50 p.m.

Twenty One Pilots might be trying to be cool, and that seemed to be on the mind of Tyler Joseph, as he kept referencing the ‘cool factor’ in a self-depreciating way. But the duo turned the stage antics up to 11, performing backflips off the grand piano, jumping into the crowd, and donning a full ski mask while climbing to the top of the Twin Peaks stage. And ya know, as much as it was Macklemore-esque cheese, the passion and musicianship these two young men exhibited transcended any second thoughts. -MF

The Plump DJs
Friday • The Dome by Heineken • 4 p.m.

There’s nothing quite like an afternoon break-beat set in the Heineken Dome to get the blood moving. British duo, Plump DJs featuring Lee Rous and Andy Gardner, greeted the crowd with smiles on their faces and fists in the air. Although the Dome is slightly different than their usual SF stop, The Mighty in Potrero Hill, they brought their high-energy 2 a.m. beats to their Friday 4 p.m. set. Their beat selection was progressive and original; transitions and mixing were flawless as always. –DS

Rhye
Friday • Sutro Stage • 4:45 p.m.

Rhye’s soothing sounds blanketed Lindley Meadow’s Sutro Stage at the midpoint of Day 1. The sun had fallen behind the eucalyptus trees, sprinkling the stage with beams of light — a perfect setting to relax to the peaceful beauty of Rhye. Rhye sounded excellent, delighting the crowd with many tracks from their 2013 debut album Woman. Minimal, yet captivating, Rhye demonstrated superior musical prowess with their performance, led by the delicate vocals of Mike Milosh. Their set was drawing to a close, and instead of squeezing in extras songs the group opted for a long version of the song “Open”. The extended version of the enchanting song highlighted the bands’ improvisational ability. Although very mellow, Rhye put on a magical performance. A must-see act. -KR

The National
Friday • Land’s End Stage • 5 p.m.

As many learn every August, SF is not known for its stunning summer weather, but sometimes a little haze can add to the emotive release that is Matt Berninger and The National. However, the group lit the stage on fire with their stylish take on moody indie rock, opening with crowd-pleaser “Fake Empire” before fully utilizing Kronos Quartet’s strings on “I Should Live in Salt” and “Demons”, among others. Berninger’s characteristic baritone was strong, though not at it’s best on this day, but his lively mannerisms were in full effect as he paced nervously around on the large Land’s End stage. Once “Mr. November” had begun, it was inevitable that “Terrible Love” would close the set, but a late guest appearance in the form of Bob Weir of the Grateful Dead would truly put an exclamation point on this afternoon set. -KQ

Zedd
Friday • Twin Peaks • 5:25 p.m.

Zedd may not be the best DJ in the world, but his energy is hard to deny. It was the first truly “rager” set of the festival, and you could see people losing their minds all over the place, getting out the pent up energy they had been sitting on all week in anticipation of the Outside Lands. It ended up being a strong set and a lot of fun with hits “In My Mind” and “Clarity” satisfying the masses. –SL

CHIC featuring Nile Rodgers

CHIC featuring Nile Rodgers ~ TOP SET
Friday • Sutro Stage • 6:05 p.m.

The last-minute D’Angelo replacement was a surprise hit Friday evening at the Sutro Stage. Guitarist Nile Rodgers accompanied by a crew of horns and backup singers “le freaked” out the crowd with super funky dance hits. Rodgers expressed to the audience, “Now if this is your first Chic show, I have to make you understand something, you absolutely have to sing and you absolutely have to dance.” No problems there. Highlights included “We Are Family”, “I’m Coming Out” and a groovy singalong to Daft Punk’s “Get Lucky” over the PA system after Rodgers had set down his electric guitar. –DS

Yeasayer
Friday • Twin Peaks Stage • 7 p.m.

Pitted against the incomparable Sir Paul at a festival is a spot that most bands would dread to be placed in. If you’re Yeasayer, however, it’s a challenge to be lived up to and utilized to your advantage. Knowing the crowd that evening would be filled with strictly die-hard fans, the boys pulled out all the stops. Playing a fan favorite set that included the most dance-heavy tracks from their entire catalogue, the intimate crowd was whipped into a collective frenzy. The best part — there was plenty of room for everyone to lose themselves in the energy of the moment. –MK

Paul McCartney ~ TOP SET
Friday • Land’s End Stage • 7:10 p.m.

It doesn’t get a whole lot better than Paul McCartney’s show, honestly, it’s nearly 3 hours of brilliantly competent showmanship, blazingly pleasing song selection and sheer crowd emotion. One highlight was watching Paul become giddy when Kronos Quartet joined him for a masterfully beautiful take on the tender Beatles classic, “Yesterday”. Even in his 70s, Macca keeps his crowds, and likely even himself, on their toes with an ever-changing setlist and bombastic surprises up his sleeve in the form of pyrotechnics during “Live and Let Die.” Selections from Wings were pleasantly received, especially “Band on the Run”. Closing the set, as he normally does, the crowd sang along to the timeless communal song “Hey Jude”. Friends locked arm in arm, and all was right in the world. Young and old were abuzz with the show they had witnessed on the exodus out of the park, whether it was vets finally hearing “Lovely Rita” or first-timers discussing their emotion during “Blackbird”. I mean, hey, it’s not everyday a legend plays your backyard. -KQ

Pretty Lights
Friday • Twin Peaks • 8:40 p.m.

Pretty Lights was the perfect Friday night closer for the Twin Peaks Stage and to oppose Sir Paul. Derek Vincent Smith featured most of his new album A Color Map of the Sun, plus the stand-by favorites remixed just enough on the fly to make them fresh and new. His musical ability is truly amazing, and his vibe was infectious as he’d build huge grooves then dropped them into massive basslines with his trademark soul vocals overlays that catapulted foggy Hellman Hallow to the stratosphere. Smith seemed genuinely happy and it bled into the crowd. By the night’s end, everyone was grooving and giving out high fives. –SL

DAY 2

Atlas Genius

Atlas Genius
Saturday • Twin Peaks Stage • 2:10 p.m.

Another example of perfect placement, Atlas Genius continued Saturday with pop-centric bliss. Catching what little sunshine the weekend had to offer on the hillside of the Twin Peaks stage, one could view the expectedly young crowd so genuinely stoked to catch this band, and couldn’t help but make you smile. No matter how tired you were of hearing that top forty hit, you were undoubtedly up and dancing when it finally played. Spontaneously starting the morning with a sing-along really was a great way to kick off Saturday on the right foot. –MK

Youth Lagoon ~ TOP SET
Saturday • Twin Peaks Stage • 3:40 p.m.

“Robert De Niro” — Trevor Powers uttered the famous actor’s name casually between songs early in his set. Oddly there wasn’t any other memorable stage banter, just hypnotic renditions of the highlights from Powers’ recent Dropla. Youth Lagoon has always thrived on a sharp aural duality; the contrasting of minimalist, quiet soundscapes for half of a song — then BANG — the blooming, triply explorations are more exciting and create a more impacting memory in the listener. You could call it “post-drop” music. And on the Twin Peaks Stage where dance fans usually got their fix, the bass was body-rattling, forcing the maximal parts of the songs to hit harder than one might expect. Consequently, the crowd mostly obliged with the subtle, quiet parts, allowing “Mute” and “Dropla” to play quite nicely. -MF

Gary Clark Jr.
Saturday • Land’s End Stage • 2:20 p.m.

Gary Clark Jr. simply rips, there is no doubt about it. One should be careful to even consider covering a Jimi Hendrix song, but based on Clark’s rendition of “Third Stone From the Sun”, Jimi is smiling down at a man that is following in his footsteps over 50 years later. Clark floats around the stage with ease, flashing easy smiles then melting faces with his reverberating guitar solos. This was a set where it would be best to be close to the stage (or close to speakers) — the sound was entirely too low in some spots, allowing friendly festival conversations to drown out this 29 year-old legend in the making. “Bright Lights” ended the set per usual, coalescing the large audience into the moment. -MF

Young the Giant
Saturday • Land’s End Stage • 3:40 p.m.

Sameer Gadhia is one helluva a front man, and YTG’s rise from the small stage in Orange County to the big show at events across the world is nothing less than earned. They filled both the Lands Stage and polo fields with infectious alterna-indie-pop offerings from their lone self-titled release. Luckily, the group had some new selections they were eager to test on the sizable early afternoon crowd, which seemed to go over well, especially to diehards awaiting new material. Singles “My Body” and “Cough Syrup” obviously received the loudest response, and Sameer’s venture down the center barricade further poured on the feverish energy they thrive on. -KQ

Bombino
Saturday • Panhandle Stage • 4:30 p.m.

The energy Omara “Bombino” Moctar and his band Bombino exhibit while performing is the first thing that is noticeable. They are constantly moving, dancing — vibing to their own music. When a group creates good music, this physical ‘being in the moment’ presence is an effective way to draw the audience into your world, and this tactic worked for Bombino (both the man and the band) in Golden Gate Park. The group stays true to their African roots through their politically anthemic music, and they rock their Tuareg garb with pride, showcasing their culture on the road as the buzz grows with each performance. After seeing them at Outside Lands, it makes sense — they left it all on the Panhandle Stage, pouring their hearts into each song. -MF

Jurassic 5

Jurassic 5 ~ TOP SET
Saturday • Land’s End Stage • 5 p.m.

Los Angeles hip hop ambassadors Jurassic 5 took the Land’s End stage to a BIG midday crowd, especially for a hip hop act at a primarily indie rock & electronic festival, which is a testament to their crossover appeal and lasting legacy. Maybe this demonstrates how hungry the people are for more hip hop and rap. The best part of the set went down when Cut Chemist scratched with a turntable guitar strapped to his chest while DJ Nu-Mark elicited sounds from the ridiculously large turntable set up square in the middle of the stage. This collective, allegedly in the midst of a ‘reunion tour’, has most definitely honed their act since Coachella, and festival-goers ate up every minute, following commands as if in a massive yoga class. –SL

Baauer
Saturday • Twin Peaks • 5:15 p.m.

Is the “Harlem Shake” dead? Yeah, but that still doesn’t mean that we can’t get thoroughly down to the bass-heavy set of this “Rookie/One-Hit-Wonder of the Year” candidate that goes by the name of Baauer. His take on Outkast’s “B.O.B” beckoned back to Big Boi’s triumphant set from last year’s Outside Lands, while simultaneously making asses shake and hands fly skyward in ecstasy. Much like Coachella, a youthful cult of EDM lovers are ever-present at any, and every, set that pulsated bass and catered to that beloved phenomena known as “the drop”. And surprisingly, the crowd kind of shrugged when his virally ubiquitous anthem was played, go figure. -KQ

The Mother Hips
Saturday • Panhandle Stage • 6:05 p.m.

Organizers of the festival always strive to showcase local Northern California acts, young and old, and this year, Chico’s own legendary act, the Mother Hips, brought their defining take on California rock and roll sound to the under-appreciated Panhandle Stage. “Toughie” opened this set before launching into “White Falcon Fuzz”, which showcased the raw, vibrant sounds of Tim Bluhm and the band. Though few were in attendance, at least a couple of patrons had to have been won over by the soul-drenched psychedelia that these vets bring every time they grace a stage. -KQ

Yeah Yeah Yeahs
Saturday • Land’s End Stage • 6:30 p.m.

Equal parts punk rock and dance party, the Yeah Yeah Yeahs held nothing back Saturday, perfectly segueing into whichever headliner you chose to witness. Pulling hits from their entire body of work, the set was equally as entertaining for hardcore fans and new converts alike. The band’s energy was at an all-time high, transferring a sense of mania in the crowd, which created dance circles and mosh pits throughout the entire set. The polo fields were electric and gained much more raw energy during the last five minutes, when Karen O. decided to let her body do the talking. After her signature deep-throating, she not only placed the bedazzled microphone down her shirt, but also into the front of her pants, while further emphasizing her need to be heard. Saturday night had officially started, and from that moment on it was going to be epic, whichever stage you ended up at. –MK

Grizzly Bear
Saturday • Twin Peaks • 6:50 p.m.

One of the toughest decisions of the weekend was choosing the electricity of Karen O and Yeah Yeah Yeahs or the tightness of the well-toured Grizzly Bear. Well, everyone won in their respective choices, but Grizzly Bear’s growing crowd demonstrated that these Warp label, psych-folk rockers are more than capable of stepping up to the festival plate and knocking one out of the park, so to say. Shields was well represented on this final tour stop, after 105 shows on the road behind the release. The vocal interplay is one of their strongest suits as the responsibilities are well shared over their contagious take on the rising avant-rock sound. -KQ

Nine Inch Nails ~ TOP SET
Saturday • Land’s End Stage • 8:25 p.m.

Like The National, the fog which veiled the Land’s End stage created an aura of dark beauty for serious talent to shine through. Saturday’s headlining set by Trent Reznor and cohorts was one of nostalgia equally coupled with the future possibilities of Nine Inch Nails. Opening with a trio of new tracks that beckons closer to Radiohead and How to Destroy Angels than Pretty Hate Machine era industrial rock Nails, it was evident Reznor didn’t, nor shall he ever, miss a beat with his primary project. “1,000,000” into “March of the Pigs” picked up the energy, and built upon the ever-shifting new stage setup that has been winning accolades the past three banner festival performances (think Stop Making Sense meets Aliens). Though the masses were at Phoenix, the crowd energy was high, especially during “Terrible Lie” and “Closer”. As per usual, “Hurt” left the crowd in an introspective gloom, though their hearts were surely still pounding from the assault that is Nine Inch Nails live. -KQ

Phoenix
Saturday • Twin Peaks • 8:40 p.m.

French indie-rock sensation, Phoenix, rallied the youth with a strong set featuring many songs from their 2009 album Wolfgang Amedeus Phoenix. “Listomania,” “Rome,” and “1901” were just some of the highlights. Front man Thomas Mars was spot on with his vocals. “This next song is a dancing one, so feel free …” was followed by longtime fan favorite “If I Ever Feel Better”. They played a solid handful of tracks from their 2013 release Bankrupt! such as “SOS in Bel Air” and “Entertainment”, but the clear goal of Phoenix’s headlining festival set is get the crowd rallied and ready to dance. The rock riffs were on point and the visuals were equally entertaining and Mars crowd surfed the entire audience near the end of the set as has been the habit this tour. Yes, he safely made it back to the stage with a little help from his friends. -DS

DAY 3

Dumpstaphunk
Sunday • Land’s End Stage • 12:10 p.m.

The Sunday morning main stage “Gospel Slot” was appropriately given to Ivan Neville’s (and NOLA’s) Dumpstaphunk — where two bassists and double-bass drum work got booties shaken’ early. Original Neville Brother Ivan asked the crowd if we had been to New Orleans, and when we’d be going back — you’ve gotta love how musicians are the best sellers of tourism for the Crescent City. “Meanwhile…”, a song about still having a good time in post-Katrina NOLA, showcased the spirit of New Orleans perfectly. “You might as well have yourself a good time…there might not be a next time” — a refrain that glows longer then the verses that detail political corruption and violence. It may all read as a didactic song for the TV show Treme, but no one deals with hardship better than New Orleans, led by the “can’t stop, won’t stop” musicians that call the city home. -MF

Fishbone
Sunday • Land’s End Stage • 1:30 p.m.

Fishbone rocked out Sunday afternoon with their ska/punk-rock hybrid sound. Angelo Moore, aka Dr. Madd Vibes, pumped crowd the crowd up with his high energy vocals and stage banter. Not only did Moore and audience members crowd surf during their fifty-minute set, but Moore introduced “Flying Jay”, clad in a red cape, the ultimate crowd-surfing trombone player. Moore also encouraged a mosh pit during their Sublime cover, “Date Rape”. Highlights included “Party at Ground Zero” and “Everyday Sunshine”, when Moore tried to solicit the sun to come out…the fog won. –DS

Rudimental
Sunday • Twin Peaks Stage • 2:05 p.m.

An unexpected highlight on this year’s bill, this mash up of blues, rock, funk and soul with DNB percussion was legit. A lively and large band fronted by two modelesque vocalists (knock off Fergie included), the group is accompanied by an assortment of horns, drums, piano, guitar and a live DJ. Rudimental pumped up the crowd for a positively charged last day, and they proved to be an act worth seeing at any venue – whether you’re looking to start a party or keep the fire burning at the end of a festival weekend. –MK

Kurt Vile and the Violators ~ TOP SET
Sunday • Sutro Stage • 2:30 p.m.

Sunday’s weather left a little to be desired, but that didn’t deter the throngs from arriving a bit early for the likes of Kurt Vile. This seasonal festival veteran’s breezy sound lent perfectly to the tepid atmosphere thick with “San Francisco cigarette” plumes. Nodding heads were rewarded with classics like “Freak Train” and newer offerings, “Wakin’ on a Pretty Daze” and “Girl Named Alex”. Some monitor issues didn’t slow the already laid back pace of the band, even when FOALS’ sound started to bleed into Lindley Meadow. -KQ

FOALS

FOALS ~ TOP SET
Sunday • Land’s End Stage • 2:50 p.m.

Front man Yannis Philippakis walks around with purpose, like he has a chip on his shoulder – something to prove. Maybe it’s hard to go from headliner back home in the UK, then play broad daylight performances in the US like they did at Outside Lands. Philippakis and lead guitarist Jimmy Smith are doing everything they can do to catch the US up to them as FOALS gain more traction and success each week. The polo fields were pretty packed as “Prelude” began, and once Smith appeared ripping on lead guitar, pure fire ensued. FOALS’ purvey cutting-edge rock – their so-called “math rock” deals heavily in progressive time chord changes, while emphasizing the offbeat ones and threes in melodies that mimic rhythm. Absolute rager “Milk & Black Spiders” finished out the all-too short hour in manic fashion — come back to the Bay soon FOALS for a proper show please. -MF

The Head and The Heart (secret show)
Sunday • Choco Lands’ Hell Brew Review • 3:50 p.m.

The tweet came across at 3:30, which inspired thoughts of Jack White performing a special Choco Lands set last year on Sunday. Reeling off of FOALS’ amazing set, a quick solo sprint to the Hell Brew Review across from Lamb Lands paid off magnificently. The three mainstays from Head and The Heart emerged on the tiny vaudeville stage for a hushed acoustic set, which included their new song “Shake”. Then crowd-pleaser “Lost In My Mind” took center stage when Josiah Johnson asked the close proximity crowd mid song, “Does anyone want to come help sing with us up here?” The stage was quickly at maximum capacity, a couple drunk goofballs stood in front of the performers, and someone managed to pull the plug, ceasing all speaker sound. This only made the sing-along more essential, especially for a song that already relies heavily on community spirit. -MF

Hall and Oates
Sunday • Lands End Stage • 4:20 p.m.

Everyone’s favorite 70’s and 80’s nostalgia act took to Land’s End Stage Sunday afternoon sandwiched between two of today’s most influential acts, FOALS and Vampire Weekend. Hall and Oates have been the benefactors of a complete career resurgence despite the fact their only recent album was a Christmas record in 2006. A slow start to their set sent many people to Dawes and A-Trak, but those who stuck around were delighted with classic hits such as “Maneater”, “I Can’t Go for That (No Can Do)” and “Rich Girl”. The corny nostalgia was high, but so were the good times. You can’t ask more from a Sunday afternoon set. -KR

A-Trak
Sunday • Twin Peaks Stage • 5:10 p.m.

Producer, DJ/live mixer extraordinaire A-Trak brought the heat quickly Sunday, feverishly building to sneaky drops that revealed deliciously crunchy beats. The most pleasurable part about taking in Alain Macklovitch live is during transition time, when his scratching abilities deserve close up attention on the video screen. He does it all in a robotic trance; what A-Trak does is on par with what a jazz guitarist does in a blues club or what Ivan Neville did earlier in the day on the main stage — it’s freestyle jamming with pin-point control. After an almost EDM-free Saturday, A-Trak got things going the final day with Duck Sauce’s “Big Bad Wolf” and a raging remix of Kanye West’s “New Slaves”. Fool’s Gold! -MF

Vampire Weekend

Vampire Weekend ~ TOP SET
Sunday • Lands End Stage • 5:50 p.m.

Perhaps one of the most anticipated sets of the weekend came from one of the biggest bands of the year, Vampire Weekend. The polo fields were packed as everyone and their mother (Hall and Oates performed before them) wanted a piece of the boys from the North East. Vampire Weekend came out firing contemporary classics “Cousins”, “White Sky” and “Cape Cod Kwassa Kwassa”. Next came the first offerings from their latest record Modern Vampires of the City, “Diane Young” and “Step”. Vampire Weekend dedicated “Step” to Bay Area hip hop legends Souls of Mischief, who were the song’s source of inspiration. Take one listen to Souls of Mischief’s “Step To My Girl” and you will hear the resemblance. During “Oxford Comma”, the camera zoomed in on a sign a fan created that read “I give a f*ck about an Oxford Comma.” Vampire Weekend wound down their set with “Giving Up the Gun” and my personal favorite from the new album “Hannah Hunt”. Two more tracks from their self-titled album concluded the impressive set with “One (Blake’s Got a New Face)” and “Walcott.”

Throughout the performance, the crowd was equally enamored with the older classics as they were with the new material. Vampire Weekend is currently at the top of their game, and their dominance was on full display as they delivered one of the strongest performances of the festival. They may not appear to be enjoying themselves while performing, but open your ears and listen for a moment — you will hear a band in their prime. -KR

Dillon Francis
Sunday • Panhandle Stage • 7:35 p.m.

Oddly placed at the Panhandle Stage, reminiscent of Wolfgang Gartner last year, there was no way Dilllon Francis wasn’t going to be a rager. Crowds rolled deep to watch this bass heavy set, and in no way did this DJ disappoint. Small stage be damned, Francis killed it, rattling off a consistent set of club bangers and EDM hits. The crowd ate up every second of the eardrum pounding womps, causing many members of the passing crowds to second guess the direction they were headed. The haystacks were packed deep with frottage and pool noodles dancing wildly. –MK

Red Hot Chili Peppers
Sunday • Lands End Stage • 7:45 p.m.

Red Hot Chili Peppers closed out the festival Sunday evening, a slot many thought would be reserved for Sir Paul McCartney when the initial lineup dropped. Whether it was a scheduling conflict or Ranger Dave optimizing his own schedule, the Chili Peppers proved that they were up to the task. In a roughly two hour set, the Chili Peppers were playing with something to prove as they ripped through single after single with fervent intensity. Their energy did not cease for the duration of the show as the band took the audience on a musical journey of one of the most celebrated funk-rock bands in history. Hits like “Under the Bridge”, “Californication”, “Give it Away” & “Around the World” sent off the rock fans happy. After a sand-swept Coachella performance, expectations were not very high, so it’s not shocking that they exceeded them at Outside Lands. They might not be the most relevant bands in today’s musical landscape, but they proved they can still bring the freaky styley when the time is right. -KR

Kaskade ~ TOP SET
Sunday • Twin Peaks Stage • 8:25 p.m.

For those in dire need of one more dance party before the weekend came to a close, alas Ryan Raddon was primed to set the field ablaze with his hard-hitting take on deep-house music. The moist air felt nice as revelers fist-pumped and bounced to a particularly bass-heavy set from the longtime San Francisco resident and torch-bearer for the new American electronic sound which gained immense popularity some years back. A tasteful remix of Lana Del Rey’s “Young and Beautiful” was a highlight, and as 9:35PM ticked closer, many hoped the speakers wouldn’t compromise with dead silence. -KQ

Beer Lands!

In only it’s second year onsite, Beer Lands has become a popular meeting spot, and, obviously, the place for the best local suds this region has to offer. An upgraded location in the polo fields, as opposed to tucked in the back of Lindley Meadow, made this spot even more popular and viable for social get-togethers. Doing away with the $1 ‘tickets’ as opposed to cash and card was a relief to those who would rather opt to not drink Heineken all day and night. Sierra Nevada offered a fragrant, herbal Saison exclusive to Outside Lands. Anchor Brewing brought their popular new California Lager and debuted an Autumn Maple Red Ale that was a tasty treat to those paying attention to the constantly rotating cast of taps. Drakes 1500 Pale Ale was this writers beverage of choice, but honestly, there were no losers in the bunch, and many look forward to this addition every year. Bottoms up. -KQ

We didn’t catch them all this year! We missed Chromatics, The Tallest Man on Earth and Daughter — amongst others. What were your favorite shows at Outside Lands 2013?

Torch us in the “Comments” section below.

More Girls On Shoulders - by Ryan Shulman

Girls on Fire at Land's End - by Tim Hampson

Head and the Heart Secret Show - by Mike Frash

Twin Peaks during Wild Belle - Where Waldo - by Tim Hampson

Filed Under: Editor's Picks, Featured, Festival Reviews, Festivals Tagged With: A-Trak, Atlas Genius, Baauer, Bombino, Chic, Dillon Francis, Dumpstaphunk, Fishbone, FOALS, Gary Clark Jr, Grizzly Bear, Hall & Oates, Houndmouth, Jurassic 5, Kaskade, Kurt Vile, Kurt Vile & The Violators, Kurt Vile and the Violators, Midi Matilda, Nile Rodgers, Nine Inch Nails, Outside Lands Music Festival, Outside Lands Music Festival 2013, Paul McCartney, Phoenix, Plump DJs, Pretty Lights, Red Hot Chili Peppers, Rhye, Rudimental, The Head and The Heart, The Mother Hips, The National, Twenty One Pilots, Vampire Weekend, Wile Belle, Yeah Yeah Yeah's, Yeasayer, Young The Giant, Youth Lagoon, Zedd

WIN FREE TICKETS to The Hood Internet at The Independent 8/17

August 15, 2013 by The Bam Team Leave a Comment

Chicago-based blog brothers The Hood Internet will be mixing it up at The Independent this Saturday with openers Richie Cunning and Popgang DJ’s!

Combining post-collegiate indie rock efforts and inspiration from the styles of Girl Talk and Them Jeans, the duo decided to put their own spin on the early mash-up scene. Releasing their initial tracks in 2007, on their namesake blog, it didn’t take long for their digital downloads to gain traction. By 2010 the group’s mix tapes as well as individually released tracks were featured on numerous top ten music lists, they were featured in New York Magazine then continued to garnish attention from critically acclaimed artists and corporate sponsors alike.

In 2012, The Hood Internet released their first all-original-material album Feat on Decon Records with a wide arrange of guests including Black Moth Super Rainbow’s Tobacco, Class Actress, Hooray for Earth and AC Newman. Riding off the album’s success, their latest mix tape installment Trillwave3, presented by New York City street wear brand Mishka has been making waves since it dropped this past month.

This show is going to be a nostalgia-inducing dance party to remember for any hip hop or indie rock enthusiast. In a venue perfectly suited for the occasion, you’re not going to want to miss your chance to check out these mash-up masters. For your chance to win tickets, register below!

Win 2 Free Tickets! Enter to win if you can attend this show Saturday, August 17 at The Independent in San Francisco.

Submit your full name and email address below.
Contest ends Friday August 16 at Noon. The 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.

CONTEST CLOSED

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Filed Under: Contests Tagged With: The Hood Internet, The Independent

Outside Lands 2013: Five Friday Favorites

August 10, 2013 by Mike Frash 2 Comments

Photos by Patrick Tyrrell // Written by Mike Frash //

Outside Lands Music and Arts Festival //
Golden Gate Park – San Francisco
August 9th-11th, 2013 //

With so many blissful distractions at Outside Lands, it’s easy to get sidetracked. While encompassed by the most opulent culinary treats in the City’s finest park (sorry Dolores), festival-goers could get sucked into the beer or wine tent or even watch a long comedy set (I’m sure Jeffrey Ross slayed). But in the end, we all go for the music (and friends).

Here are five glorious sets I absorbed on Day 1.

Sir Paul McCartney

A lot of bucket lists were checked off Friday. McCartney’s boyish charm is truly uncanny and defies reality. His stories were contextualized to history, not simply music history, and they seemed too short. During “Back In The U.S.S.R., “FREE PUSSY RIOT” flashed on the screen for five seconds, and the legend said that when he met Russian government officials in Moscow, they told him they learned English through The Beatles. Macca took listeners through a progression of Beatles lore, starting with the early 60’s boy band material, then progressing to psychedelic fare once it was dark. McCartney is a rock and roll God, and he fulfilled the promise of an epic set — the “Live and Let Die” firework moment will never be forgotten.

The National

The lyrics “with a beautiful white heaven hanging over me” have never been more appropriate; the foggy confines of the Lands End Stage painted that word picture. Matt Berninger’s group needs fog. And while the kids were busy getting their euphoria on over at Zedd, those looking for floaty poetic musings placed over life-affirming musicianship found it. Like Paul McCartney, The National were lovingly backed by the Kronos Quartet, adding uplifting symphonic layering. Those that stayed until the end were offered a local treat; Bob Weir of Grateful Dead fame came out to help on the final song “Terrible Love” — and that made me think, what ever happened to that Grateful Dead cover album that was to be curated by The National?

Twenty One Pilots

Twenty One Pilots might be trying to be cool, and that seemed to be on the mind of Tyler Joseph, as he kept referencing the ‘cool factor’ in a self-denigrating way. But the duo turned the stage antics up to 11, doing back flips off the piano, jumping into the crowd, and donning a full ski mask while climbing on top of the Twin Peaks stage. And ya know, as much as it was Macklemore-esque cheese, the passion these two young men exhibited transcended any second thoughts.

Wild Belle

The brother-sister duo has evolved to a full band, but Natalie Bergman’s throwback-rasp vocals are still the focus of their strolling, reggae-dub style instrumentals. Dressed in classy white suits and surrounded by wooden keyboard barriers and speaker crates for added visual aesthetic value, there was certainly a timeless quality to the set.

Houndmouth

Houndmouth provided a delightful opening to Outside Lands for many, including me. From the opening line of “Penitentiary” referencing San Francisco, the foursome brought bluesy gospel goodness right into everyone’s faces. With lyrics that seemed rooted in finding one’s self — and sobriety — Katie Toupin’s seductive stage presence and heavenly vocals were downright delightful.

Filed Under: Festivals, Outside Lands Tagged With: 2013, Houndmouth, Outside Lands Music Festival, Paul McCartney, The National, Twenty One Pilots, Wild Belle

Outside Lands 2013: Five last-minute finds

August 8, 2013 by Mike Frash Leave a Comment

Outside Lands Music and Arts Festival //
Golden Gate Park – San Francisco
August 9th-11th, 2013 //

As Outside Lands Music and Arts Festival in SF’s Golden Gate Park prepares to open its doors, music fans are scrambling to pick which shows they should grace. And while it’s impossible to see everything, isn’t it the worst when you discover an artist right after a festival? Here are five under-the-radar artists you might want to consider before Outside Lands begins.

Check out our Outside Lands articles:

• Outside Lands 2013: Ten sets not to miss
• Outside Lands 2013 Beer/Artist Pairings
• Outside Lands Schedule Announced!
• Daft Punk to replace D’Angelo at Outside Lands?
• Outside Lands Music Festival Lineup 2013: Rumors vs. Reality

Discover your last-minute finds by listening to our Outside Lands 2013 Spotify playlist:

CHIC featuring Nile Rodgers – Friday at 6:05 p.m. // Sutro Stage

So the bad news is D’Angelo can’t perform at Outside Lands due to a health scare. The awesome news is festival promotor APE was able to fill the gap with the legendary group CHIC, featuring Nile Rodgers. Anyone that’s been paying attention to Daft Punk this year already knows who Nile Rodgers is — he’s responsible for the funkiest electric guitar grooves in American history. Expect a dance party. Expect butts to be shaking. Don’t expect Daft Punk. CHIC Featuring Nile Rodgers is only directly opposed to Wavves and Stanton Warriors and should serve as a proper warm up for Sir Paul.

The Growlers – Saturday at 3:25 p.m. // Sutro Stage

Southern California psych-garage rockers The Growlers have steadily been making their way up festival bills the past few years, and for good reason. There is certainly an element of 1960s California surf rock present in their guitar tones, but vocal and instrumental reverb effects are more in your face. Touring on their new album Hung At Heart, The Growlers will face tough competition Saturday against Young the Giant and Youth Lagoon. But as their song “One Million Lovers” says, “You know you’re living when it all becomes a blur.”

Bombino – Saturday at 4:30 p.m. // Panhandle Stage

Bombino is an worldwide artist on the rise halfway through the year 2013. An acclaimed Nigerian singer songwriter and guitarist, Omara “Bombino” Mortar focuses his tongue on geopolitical concerns in the northern Sahara region. Dan Auerbach from The Black Keys produced Bombino’s second album, Nomad, which was released in the US this year, and people have taken notice. Bombino and his band have opened for Robert Plant, Amadou & Mariam and Gogol Bordello this year alone. Bombino is up against Thao & The Get Down Stay Down on Saturday.

GRiZ – Saturday at 7:50 p.m. // Panhandle Stage

GRiZ offers your only chance at dance music Saturday, save for Baauer and the beats that circulate within the Heineken dome. Balancing between not-too-aggressive dubstep and hip-hop aesthetics while adding live instrumentation, GRIZ will be a nice warm up before both Phoenix and more notably Nine Inch Nails. A late add to the festival lineup, GRiZ is only directly opposed by Head and the Heart.

Deap Vally – Sunday at 2:50 p.m. // Panhandle Stage

Female rock duo Deap Vally have been hitting the bricks hard in 2013, touring endlessly while turning heads at the biggest festivals in the land. Odds are Deap Vally will continue this trend Sunday on Outside Land’s smallest stage. The LA-based twosome’s rock and roll energy is undeniable, and their hooks plenty catchy. Their debut LP Sistrionix was unleashed earlier this summer, and the ladies might need some fan support while FOALS and Kurt Vile perform at the same time.

Filed Under: Featured, Festivals, Outside Lands Tagged With: Amadou & Mariam, Baauer, Bombino, Chic, Daft Punk, Dan Auerbach, Deap Vally, FOALS, Gogol Bordello, GRIZ, Kurt Vile, Nile Rodgers, Nine Inch Nails, obert Plant, Outside Lands Music Festival, Paul McCartney, Phoenix, Thao & The Get Down Stay Down, The Black Keys, The Growlers, Young The Giant, Youth Lagoon

Rancid and The Transplants treat fans to a punk rock reunion

August 8, 2013 by Molly Kish Leave a Comment

Photos by Marc Fong // Written by Molly Kish

Rancid returned to the Bay Area August 2 & 3 for a double header finale to their 2013 tour with The Transplants at the Warfield. Celebrating their 20st anniversary as bandmates, the East Bay punks busted out hits from their entire catalogue. A sold out crowd sang along with the boys, belting out lyrics that resonate amongst the attending generations of family members and fans alike.

The stage was filled to the brink with the bands’ entourage of friends, crew and kinfolk. A general pool of love and support, the band dipped into the VIP area throughout their set to pull members into the mix during their performance, and they sent direct dedications out the entire evening. Dancing in the corner, wearing their protective headphones, the Rancid and Transplant children remained visibly doting upon their fathers’ sets, and at times even stole the show along with the hearts of the hometown audience.

Beyond being simply pumped for Rancid’s annual Bay Area mecca, the audience this past weekend were also treated to the return of Tim Armstrong’s side project, The Transplants. The original lineup was present throughout the entire tour, including Skinhead Rob on lead vocals, the incomparable drumming of Travis Barker and Rancid bassist extraordinaire Matt Freeman. With a lineup so intrinsically affiliated, the show felt more like a two-part act than separate bands taking the stage. Providing vocal and musical support throughout each other’s performances, and offering impromptu back up dancing, the two bands truly melded into one full-forced entity, and it inspired more crowd participation.

Treating the back to back shows as a big family reunion, the Warfield was bursting at the seams with love for the local line up this past weekend. A punk rock sing along for the decades, these shows were truly a special experience for the max capacity of hardcore fans in attendance.

Filed Under: Featured, Live Music Reviews Tagged With: Rancid, The Transplants, The Warfield

FREE SHOWS: Smith Westerns & King Tuff at Brick & Mortar

August 8, 2013 by The Bam Team Leave a Comment

Brick and Mortar Music Hall in the Mission is hosting two prime Outside Lands Night Shows this week, and we’ve got your free tickets.

WIN FREE TICKETS to these Outside Lands Late Night Shows:

Smith Westerns – Thursday 8/8
King Tuff // The Men – Saturday 8/10

This week it’s first come, first serve! If you see the show you would like to attend still available below, hurry up!!! You don’t want to barely get beaten out! Winners will be notified by 1PM Thursday 8/8, most likely earlier.

Please be sure you can attend the show. You may only go for one show this week.

CONTEST COMPLETE

Like us on Facebook and follow us on Twitter to stay in the loop for more contests.

Smith Westerns‘ Outside Lands set begins at 12:45pm Friday, so odds are you’ll still be working or on the bus heading to the venue. Instead of it going down like this, head to Brick and Mortar Music Hall Thursday night.

BUY TICKETS

King Tuff is up against Daryl Hall & John Oates on Sunday — now you can do both. Plan on going to the King Tuff late night show Saturday night at Brick and Mortar.

BUY TICKETS

Filed Under: Contests Tagged With: Brick and Mortar Music Hall, King Tuff, Smith Westerns, The Men

Photos: Yellowbirds at The Chapel

August 8, 2013 by Marc Fong Leave a Comment

Photos by Marc Fong

Yellowbirds performed at The Chapel Tuesday (August 6) for their debut performance, sharing their drifty blend of psychedelic folk rock with the Mission-based attendees.

The group is currently touring in support of Songs from the Vanished Frontier, their recently released sophomore effort. As Sam Cohen and the gang swing down the west coast, our main man Marc Fong was on the scene to catch some snaps.

Filed Under: Featured, Photos Tagged With: The Chapel, Yellowbirds

WKEND MIXTAPE: Yematt – 9411 Phish Mix

August 2, 2013 by 3ricshaden Leave a Comment

Phish are in town this weekend for three sold out nights at Bill Graham Civic Auditorium starting tonight. The majority of the Showbams family will be there. Will you? This week’s mix contains a compilation of jams from 1994 through 2011 — follow along below with the track list. We hope this mix will serve as your pre-party soundtrack. Enjoy!

Track List:
David Bowie 11/26/94
Tweezer 2/28/03
Antelope 12/31/98
Tweezer 8/1/98
Simple 8/6/10
Reba 10/31/94
Limb by Limb 7/15/98
Roses 4/3/98
Rock and Roll 6/19/10
Ater Midnight Reprise 12/31/99
2001 12/29/98
2001 8/7/10
Bathtub 12/29/95
Twist 4/2/98
Drowned 9/14/00
Rock and Roll 6/26/10
Back on the Train 12/30/09
Fukuoka jam #1 6/14/00
Ghost 11/17/97
Tweezer 9/3/11
Fukuoka jam #2 6/14/00
Waves (soundcheck) 5/27/11

Filed Under: Mixtapes Tagged With: Phish

First City Festival Fringe: Top 5 undercard acts for the fest’s first year

August 2, 2013 by Molly Kish Leave a Comment

Written by Molly Kish //

First City Festival //
Monterey County Fairgrounds – Monterey, CA
August 23rd-24th, 2014 //

In less than one month, Monterey County’s fairground & event center will play host to the flagship year of the First City Festival. Boasting a roster packed to the brim with indie rock elite, FCF’s lineup is one of summer’s strongest on the west coast. Beyond familiar top-of-the-lineup acts Modest Mouse, Passion Pit, MGMT, Beach House, Toro Y Moi, Washed Out & Deerhunter, FCF’s second billings offer an impressive mix of underrated and up and coming buzz bands from the past few years.

We encourage you to take ample time over the course of the 2-day festival to explore the 30+ bands and attractions, along with a variety of food and local craft beer vendors. There’s a comedy/vaudeville variety stage, and the “Monterey Carnival” comes complete with rides and games. If you’ll be heading down to Monterrey early on August 24 & 25, we’ve got 5 artist recommendations to get acquainted to.

Purity Ring

The Canadian duo of Corin Roddick and Megan James mashes together glitchy hip-hop oriented beats with ethereal pop melodies and crystalline vocal tracks. Relative newbies to the indie scene, Roddick and James convey the song writing skills of seasoned veterans, attacking each track with finite detailing and production expertise.

The duo specializes in creating lush soundscapes filled with dreamlike dance tracks, and their unique stage show incorporates spontaneous lighting elements produced by a handcrafted audio visual synthesizer. Triggered by the group’s improvisational percussion, the machine is something Corin created himself, and it allows each set the band performs to be a truly individual spectacle to behold. Purity Ring will be one of the most all-encompassing and entertaining acts on the bill at FCF.

For Fans of: Grimes, The Naked and Famous, TNGHT

Avey Tare’s Slasher Flick’s

A side project of Animal Collective founding member Avey Tare, Slasher Flick’s brings an experimental element to the First City Festival line up. Formed with ex-Dirty Projector member Angel Deradoorian and Ponytail drummer Jeremy Hyman, Slasher Flick’s is self-described as a “group of three hippies on a road trip through the backwaters of 2013’s rural music scene, (who) fall prey to a murderous cannibalistic band making.”

The trio has made sparse appearances in New York and the UK since their conception this past April, further amplifying the buzz surrounding their Sunday set at FCF, which will mark the band’s first ever West Coast performance as a group. Anticipating live interpretations of the material off of Avey’s 2010 solo debut Down There, this show promises a unique exploration of vivid soundscapes, abstract musical production, songwriting showmanship and fantastical visual imagery. Having just returned from a coveted spot on the All Tomorrow’s Parties festival bill and just before Tare hits the road again with Animal Collective through the Fall, you’ll want to catch this rare opportunity to check out this eclectic super-group, while you still have the chance.

For Fans of: Animal Collective, Dan Deacon and MGMT

The Black Angels:

Ramping up Saturday’s scheduled line up, The Black Angels bring their aggressively modern take on psychedelic rock to the First City Festival stage. As a newly reconfigured quartet, the Black Angels have been touring in support their fourth studio album Indigo Meadow since April. They are making their last appearance statewide on this tour Saturday at FCF before a string of European dates, leading up to their scheduled sets at the Austin City Limits festival in October. Enlisting the support of acclaimed producer John Congleton (David Byrne & Saint Vincent, Clinic, Explosions in the Sky) on their latest full length, the band continues to push the boundaries of modern rock with their seductive drone vocals, resonating reverb, and audacious song structure.

At the forefront of a post-millennial acid rock resurgence, the Black Angels are facilitators to nearly all the fresh new faces emerging in this genre. The group curates the Austin Psych Fest, so the Black Angel’s can be held personally responsible for the progressive nature of the present day psych-rock scene. Ushering in a brand new era of boisterous psych rock, the Black Angels will be a difficult act to pass on at this year’s FCF.

For Fans of: The Velvet Underground, Primus and Tame Impala.

Generationals:

Celebrating their 2013 release Heza, and recent shift over to Polyvinyl Records, Generationals bring their melancholic catalogue of analog recordings to the Sunday line up of First City Festival. NOLA natives Ted Joyner and Grant Widmer formed the Generationals in 2007 after the dissolution of a previous project to start writing songs as a duo.

Embedded in the archetypes of mid-century pop, the Generationals draw upon minimalist retro formulas while incorporating underlying trends in post punk and new wave production. The band has been charming crowds throughout Europe with their infectiously upbeat stage show over the course of the past few months, returning for their first show back in the states the Sunday afternoon of FCF. A prefect addition to a bill ripe with indie talent, this set will be a highlight of the festival and one not worth missing out on.

For Fans of: Vampire Weekend, Born Ruffians, Foster the People

Guards:

Conceived with intention of producing content for an upcoming Cults album, guitarist Richie Follin, singer/songwriter Kaylie Church and drummer Loren Humphrey indirectly crafted Guards’ critically acclaimed debut album In Guards We Trust. As much of a happy surprise to both band members as it was to the online press, the album gained immediate traction and resulted in the quick formation of a group to fulfill requests for concert bookings and festival dates.

Extracting elements from three decades-worth of influence, Guards sound incorporates a strong appreciation for 50’s doo-wop, 60’s soul and Motown and echoes of choral pop decadence from the 70’s. Creating a comprehensive album that’s both distinctive and nostalgic, Guards aim to celebrate their influences while still remaining stylistically contemporary. Finishing up a string of festival dates before jumping on tour in support of Queens of the Stone Age, this FCF set is a quintessential example of a band worth latching onto early. Be sure to check them out on Saturday.

For Fans of: Cults, Real Estate and The Drums

Filed Under: Featured, Festivals Tagged With: Avey Tare’s Slasher Flick’s, First City Festival, Guards, Purity Ring, The Black Angels, The Generationals

El-P and Killer Mike make ‘rap church’ a reality as Run the Jewels

August 1, 2013 by Mike Frash 4 Comments

Photos by James Nagel // Written by Mike Frash //

All hyperbole aside, El-P and Killer Mike have joined forces to produce one of the best live-music experiences of the year as Run the Jewels. Those present at The Independent for sold-out shows July 30th & 31st were treated to a triple threat of sets — Killer Mike got things started with an incredibly memorable solo set before El-P took over for the second act. Then, just before midnight, the best rap duo alive joined forces to Run the Jewels in epic fashion.

Killer Mike might look and sound intimidating to some, but he’s really the Robin Hood of Rap, a populist leader at heart that looks out for the downtrodden. As much as Michael Render despises the government, racial-based violence and institutionalized religion, he sure presents himself as a preacher — a most awesome evangelist of justice and women’s rights while still enjoying life’s vices.

He connects with everyone in the room through individualized eye contact, by sitting down on the stage with his legs dangling and by projecting everything he stands for passionately, and it draws the audience in. Everything Mike does works toward the message that we (the audience and Killer Mike himself) are on the same team, working together to fight the people, actions & power that create society’s ills — most notably politicians, police and racially-based hatred.

But let’s be clear — if you’re not on Killer Mike’s team, watch out; Mike’s foes are repeatedly the subject of his vitriol and death wishes. While introducing “Burn”, a new song dedicated to Oscar Grant, Mike simply stated that the police officer who shot the young black man should be killed. Mike cultivates an ‘Us vs. Them’ mentality, and by engaging with concert goers this way, it wills everyone to reciprocate by participating in call-and-response moments while putting hands in the air.

Mike’s banter is as entertaining as his R.A.P. music, and the control he exhibits over his rhymes, body language & subsequently the audience is admirable. Almost everyone in attendance got involved in a striking a cappella version of “Reagan”, but Mike switched up the form of the song to make “fuck Ronald Reagan” the refrain so everyone could sing along multiple times. With no instrumentals in the background, Mike slowed the song down, delivering the lyrics with whispered urgency, like he was telling a secret.

The high point of the set arrived during Mike’s introduction to “R.A.P. Music”, when he allowed himself to be vulnerable by sharing an important moment in his life. Render discussed how his mentor challenged him six years ago when he was formulating a new album. His mentor asked him if he wanted to make a party record, or something meaningful. That was clearly a turning point in Michael Render’s life, and it’s obvious he picked the correct path — Killer Mike has certainly found his calling. He continued on, saying “God is in the building tonight,” and that we were experiencing “Rap Church.” This is his standard introduction to the song — but Mike showed extra emotion Wednesday night. He said he’s never had a religious experience in a Church, but we were giving him that feeling people look for in religion. But in reality, Mike Render only gets back what he gives on stage. Hands down, Killer Mike is one of the best entertainers in music today.

El-P, the sole producer of Killer Mike’s music and their collaboration Run the Jewels, took the stage with two instrumentalists and a second MC to perform his solo work. El-P exhibited his hyperactive spits with fire, contrasting perfectly with Mike’s message-driven music. Random sounds like clown horns, crying babies and dolphin squeaks pop in to add elements of humor during otherwise serious songs. While introducing the second song of his set, El-P got serious, only to drop quickly into “The Full Retard” with spastic flair.

El Producto is such a future-forward, progressive producer, and beats from all three sets came from his pioneering brain. His style is based in weirdness — his instrumentals utilize non-standard form and his sound layering, often built off modulated vocal beats, cross-pollinates with so many genres like dance and rock music successfully.

El-P and Killer Mike (aka Run the Jewels) got into character with their faux-opulent chains, and they said as much before they performed their album Run the Jewels in its entirety. They held their chains in one hand and pointed at them with the other, as portrayed on the cover of the Run the Jewels album. But before starting, El-P disclosed that their jewels were fake, but the chains make them feel good and powerful when they are worn. It proved to be a candid lesson about 21st Century materialism, showing that it’s more important how you feel over how you spend.

Half way through the set, Killer Mike complained to his tour manager that they need wireless microphones — and that is a fact. He then turned his annoyance into a vaudeville-esque skit, shuffling over to EL-P to hold the twisted cables over their heads, joking that they were connected by friendship beyond the physical tanglement happening in the moment.

El-P stopped the set before “Get It” to tell the story of how he was discovered. El-P was at a club in San Francisco when he slipped DJ Qbert one of his early records. Qbert previewed the track in one ear, nodded in approval, then mixed in El-P’s cut, proceeding to scratch over it for four minutes. All the producers in the room ran over to meet him, and the rest is history. Then El-P introduced DJ Qbert himself to guest DJ for the song.

By seeing El-P and Killer Mike perform their solo material, then their collaborative work as Run the Jewels, adds up to the perfect equation. They are an ideal yin-yang duo, complementing each other with grace. Killer Mike has more fun but still interjects meaningful messages into a handful of songs, while El-P tones down his cartoonish antics in favor of machine gun back-and-forth rap mastery. Together they have produced a concert experience with an entertainment-first mentality, something that music fans — not just hip hop or rap fans — will enjoy thoroughly.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Despot, El-P, Killer Mike, Run The Jewels, The Independent

Treasure Island single-day tickets, lineups announced

July 31, 2013 by Mike Frash Leave a Comment

Photos by Marc Fong

Treasure Island Music Festival has announced the daily lineups and the release of single day tickets — so those who immerse themeselves soley in electronic music or rock can opt for a one day festival experience come Friday, August 2 at 10am.

Our advice: Snag a two-day pass before they are gone, and be sure to get those parking passes for a quick arrival and escape.

Saturday, October 19

As always, Saturday is packed with high-energy acts — including most of the digitally-oriented artists, including Major Lazer, Disclosure, DJ Falcon & Robert Delong. Atoms For Peace, unsurprisingly, are already gaining steam as a can’t miss live act as they hit the major festival stops in Europe this summer. Electro-pop party-starters Little Dragon, Phantogram & Holy Ghost! will also be performing Saturday.

•Atoms For Peace
•Major Lazer
•Little Dragon
•Phantogram
•Disclosure
•Holy Ghost!
•DJ Falcon
•Poolside
•Adult.
•Robert Delong
•Giraffage
•Antwon

Sunday, October 20

Looking at the Sunday lineup, the days look as similar as ever. Maybe it’s just that Sunday, traditionally the indie rock day, is flush with loud performers: Animal Collective, Palma Violets, STRFKR, Sleigh Bells, Japandroids and HAIM. Cayucas and Lord Huron promise to deliver ideal, mellow-ish Sunday sets. James Blake will melt hearts during his Sunday sunset show, and as Beck slowly releases epic 14 minute tracks to preview his new records (yes, that’s “records” plural), Treasure Island Music Festival is poised to end on a high note.

•Beck
•Animal Collective
•James Blake
•Sleigh Bells
•STRFKR
•Lord Huron
•Japandroids
•Real Estate
•HAIM
•Palma Violets
•Cayucas
•Io Echo
•Deep Sea Diver

Filed Under: Featured, Festivals Tagged With: Treasure Island Music Festival, Treasure Island Music Festival 2013

Fitz And The Tantrums give intense energy & crowd engagement to SF

July 31, 2013 by Nikki de Martini Leave a Comment

Photos by Marc Fong // Written by Nikki de Martini {Sweet Sound Bites}

People were still filing into the Fitz and The Tantrums show at The Warfield Sunday night as leading man Michael Fitzpatrick and leading lady Noelle Scaggs followed the rest of the band on stage. Under the glow of the same neon heart that graces the group’s new album, More Than Just a Dream, the show started with the brand new track “Keepin’ Our Eyes Out”. They carried an essence of unplanned-glam with a touch of platinum in their outfits. But Scaggs’ look triumphed, and how could it not with the cover-art heart embroidered on the back of her leather jacket!

The female firecracker vocalist burst out “San Francisco! How you feelin’ tonight?! You came to party right?!” in the middle of “Don’t Gotta Work It Out”, jolting a roaring response from fans. After that, all bets were off as Fitz himself tried spreading the band’s amped energy by vigorously starting an audience clap-along at the tail end of the song. And all this happened within the the second song! Their drive to fully engage the crowd and emerge everyone into their electrically emotional set was highly admirable.

Fitz and the Tantrums built momentum with exuberant banter, fervid fist pumping with fans in the front row, some mean tambourine, and a sexually charged chemistry only exes can conjure up, and it all flowed naturally — though it did seem as if they were trying to prove themselves.

Covering the Eurythmics dark hit “Sweet Dreams” later on in the set made sense, seeing as Fitzpatrick’s voice definitely has a “Sweet Dreams” quality, if you will. Situated seamlessly into the overall sound and vibe of the night, Fitzpatrick and Scaggs shared the spotlight during the neo-indie version, yet they played it safe by not straying too far from the crowd-pleasing original.

James King broke out the saxophone for “Winds of Change” as Fitzpatrick’s deep Depeche Mode-esque voice blended effortlessly with Scaggs’ velvety falsetto, creating an underlying jazzy vibe.

A good hour or so into the show, Fitzpatrick said, “You may have heard this next one, and that’s because San Francisco has been a huge supporter from the very beginning!” Sure enough, as the crowd roared in appreciation of his expressed appreciation, the cheers grew louder with the first notes of their summer smash single, “Out of My League”.

For me and every other 20-30 something present, the coolest part of the song’s introduction was how Fitzpatrick whispered Popscene into the microphone right before he began singing.

Fitz and The Tantrums played at Popscene (SF’s premiere Indie-Night Club) in 2010 when they were still finding their place in the music world, and the respect paid to the City and it’s fans who helped them get to the status the band has attained was super cool in my book.

Fitz and The Tantrums curated a setlist that balanced old and new all night — they sandwiched the funky eclectic new song, “The Walker” into two older tracks “Moneygrabber” and “News 4 You” to end the night. They raised their own bar pretty high with intense energy and a signature retro performance full of gusto from the get-go at The Warfield.

Filed Under: Live Music Reviews Tagged With: Fitz and the Tantrums, The Warfield

Best live music venues in San Francisco // Bay Area

July 30, 2013 by Kevin Quandt & Mike Frash 25 Comments

Photos by Sam Heller, Marc Fong, Maggie Corwin, James Nagel & Mike Frash

San Francisco is one of the best live music cities in the world — if an act is touring the western United States, they will most likely swing through SF. Packed into 7×7 square miles, the City by the Bay offers some kind of concert nightly. The East Bay, Oakland and Berkeley, respectively, is home to a growing number of live music options as more and more folks flee the City for better living costs.

Here are the best places to catch a show in or near San Francisco.

The Independent

628 Divisadero St. San Francisco, CA 94117
View Current Show Listings

What To Expect: The Independent boasts the best sound, artist curation and lighting in the Bay Area for any room close to it’s 500-person max capacity — and you can count on 3-5 shows per week. It’s a great venue to catch artists on the rise from virtually every music genre, and already-established groups such as Phoenix, Green Day, TV on the Radio and Band of Horses have performed at this intimate musical oasis.

Best Features: The general admission venue is a conveniently-shaped square; no matter where you watch the show, the sound is stellar and you can see what’s happening on the lifted stage. The staff is professional, friendly and drinks are easy to procure. The Independent is simple and perfect, an ideal platform to witness bands and DJs live before they get bigger.

Drawbacks: Bring earplugs and sunglasses if sensitive to sound and light. Arrive early to secure a parking spot if driving — if possible, take public transportation and grab a drink nearby before the show. Get there when doors open if you need a seat.

Fox Theater – Oakland

1807 Telegraph Ave. Oakland, CA 94612
View Current Show Listings

What To Expect: Fox Theater Oakland is a premium, large theater-style venue with a general admission floor and sizable, assigned-seated balcony overhead. The renovation of this historic site was masterfully achieved in 2009, conserving the stellar artwork and design features.

Best Features: No expense was spared in this renovation. Cool air rises from hundreds of vents in the floor, keeping attendees comfortable. The multitude of bars are fully staffed and efficient.

Drawbacks: In order to accommodate BART travelers, the venue has a pretty strict curfew, with shows ending well before midnight.

The Fillmore

1805 Geary Blvd. San Francisco, CA 94115
View Current Show Listings

What To Expect: The Fillmore is nondescript from the outside, but a classic gem once you enter and climb the stairs. Expect a warm welcome, a selection of free fresh apples in the tradition of Fillmore founder Bill Graham and a free poster of the evening’s show (if the event sold out three weeks in advance usually).

Best Features: A large general admission floor area (1,200 capacity), surrounded by adult-beverage facilitators, is overshadowed by the venue’s iconic chandeliers that add a touch of sophistication to any affair. There is an additional saloon upstairs with ample seating away from the stage, and live acts will perform here on occasion before and during the opening act. Also, be sure to head upstairs to view previous show posters.

Drawbacks: If having a seat is on the agenda, arrive early and head for the poster room. Snag a seat and cozy up to the balcony rail for the best view in the house, but the best sound can be found on the floor.

*Bonus Venue: The BooM BooM RooM across Geary Blvd. is an excellent place for a pre-show martini and to keep the party going once The Fillmore has wrapped for the evening. This room focuses on jamming into the late night, often until 4 a.m.

Great American Music Hall

859 O’Farrell St. San Francisco, CA 94109
View Current Show Listings

What To Expect: This historic space has been a beloved jewel for live music for well over 100 years, able to house some 600 attendees on any given night. As SF’s oldest nightclub, the Great American Music Hall can transport music fans to a more elegant era with its ornate balconies, soaring marble columns and elaborate ceiling frescoes.

Best Features: The Great American features a great variety of acts over the year and offers something for everybody. The space, sound and staff are top-notch. Opt for dinner and a show (quick tip: the food is great) to secure a seat on the balcony rail upstairs.

Drawbacks: The location is rather central to many areas of the city, though it’s not the safest in the the City. The venue’s lights are rather basic, but they aren’t needed in a room with such grand decor.

The Greek Theatre – UC Berkeley

2001 Gayley Rd. Berkeley, CA 94720
View Current Show Listings

What To Expect: A seasonal venue from the Spring to the Fall at the top of the UC Berkeley campus, The Greek Theatre can pack 8,500 folks into their popular, yet infrequent concerts. Constructed after the ancient Greek theater of Epidaurus in 1903 and listed on the National Register of Historic Places in 1982, this space often inspires magical performances.

Best Features: The sound from within the bowl provides incredible acoustics, but get there early for a spot in the seated steps or within the pit. If all seats are taken, get closer and stand in the general admission area as close as possible for a memorable live music experience.

Drawbacks: Don’t retreat to the grass — the magic is lost outside of the main bowl area. Getting to the venue (and back) requires walking up the campus, or driving to the top. Parking near the theater also means it will take forever to leave, and it will cost you $20 or more. Give yourself plenty of time and plan on walking. Shows won’t go past 11 p.m. due to the campus’ curfew, and be sure to head to the top of the grass for the quickest bathroom lines.

The Warfield

982 Market St. San Francisco, CA 94102
View Current Show Listings

What To Expect: A 2,300-capacity theater located on Market Street, The Warfield beckons a near century-long history as a premier downtown music venue. Ornate gilding and details are found throughout this lovely space, and a recent renovation upgraded many areas in need of a little help.

Best Features: The tiered floor has become a staple for California mid-size venues like The Fox in Oakland and The Wiltern in Los Angeles, allowing an array of sight-lines for attendees. It’s in an easily accessible location with decent bars and restaurants within proximity.

Drawbacks: Mid-Market is trying to revive itself from a once-peppered history. Similar to many other “overhang” theater venues, the sound can leave a bit to be desired if in the middle or back of the general admission floor.

Bimbo’s 365 Club

1025 Columbus Ave. San Francisco, CA 94133
View Current Show Listings

What To Expect: Bimbo’s 365 Club, located on the fringes of North Beach, offers one of the most unique live concert settings in SF. Red velour curtains and exquisite details lend to an entirely classy experience in this 685-capacity, theater-like live performance space.

Best Features: It’s not like any other venue in the City in regards to location and style — side rooms and bars create an ideal pre-show place to socialize and imbibe. The low stage creates an intimate atmosphere with the limited acts that grace the stage over the year.

Drawbacks: The North Beach location is not the easiest venue to reach in comparison to others, and the booking leaves much to be desired as folks love this space.

Rickshaw Stop

155 Fell St. San Francisco, CA 94102
View Current Show Listings

What To Expect: This recent hot-spot hosts many up-and-coming indie acts bursting onto the scene before they graduate to larger rooms. Expect a hip crowd sipping on strong drinks in a no-frills room, enjoying heat-seeking artists from across the globe. Shows start late, even on weekdays.

Best Features: Rickshaw Stop has very dynamic booking, bringing in all sorts of parties to utilize this Civic Center area venue. The bar is efficient for a small-ish room that can fill up nicely, but not overly.

Drawbacks: It’s basically a long narrow room with a small “balcony”, therefore sight-lines can be rough for those who are vertically challenged on the main floor.

Mezzanine

444 Jessie St. San Francisco, CA 94103
View Current Show Listings

What To Expect: Mezzanine specializes in up-and-coming club scene shows, hosting DJs from all over the world and bands that incorporate electronic elements into their music. Expect young people ready to party in a rectangular room that can hold up to 1,000 people.

Best Features: DJs will perform on the ‘side stage’, cultivating a dance-centric environment before and after live acts. A great choice for birthdays, bachelor parties and other special occasions, secure a table and bottle service on the floor or in a private area upstairs.

Drawbacks: Ins and outs are not permitted, and it can get a bit crunchy near the front and in the smoking area. Getting drinks can be a challenge during peak times.

Brick and Mortar Music Hall

1710 Mission St. San Francisco, CA 94103
View Current Show Listings

What To Expect: An intimate, square space for live music, Brick and Mortar Music Hall in the Mission hosts concerts almost nightly, and they are always affordable. Rock, bluegrass, funk, soul and many more types of shows go down here.

Best Features: Brick and Mortar has that “neighborhood rock/club” feel — if you are in the ‘front row’, then you are basically on the stage — and it just became the new home of outcast swine-house Bacon Bacon during lunchtime.

Drawbacks: Cash only at the box office. It can get a little tight during capacity shows unless you squiggle to your left against the wall.

The Chapel

777 Valencia St. San Francisco, CA 94110
View Current Show Listings

What To Expect: The newest venue in the heart of San Francisco’s Mission District, The Chapel opened in 2012 and includes an attached restaurant and bar. The building was originally built as a mortuary, so the funeral home’s Chapel was converted to the music room upon renovation. There is a mezzanine above the floor level of the Chapel for bird’s-eye view observing.

Best Features: The restaurant and bar is brand-new and swanky, and the high ceilings and beams in the formerly sacred space give it a unique, striking feel for live music. More acts are booked with each passing month, and bigger names becoming more frequent too. Artists usually have a rootsy and indie sound aesthetic, but The Chapel recently had their first DJ night.

Drawbacks: It’s a great location for nightlife, but not for parking. The stage is small, and it can be tough to secure a drink at peak moments.

The New Parish

579 18th St. Oakland, CA 94612
View Current Show Listings

What To Expect: This unique venue has recently sprouted up in the East Bay, and many are taking notice of their recent success. With a courtyard and large, wrap-around balcony, The New Parish offers many options for patrons to get down, watch the act or be social with friends.

Best Features: A plethora of national touring acts are opting to stay east of the bay and hold court in this ever-rising space. Securing a view of the stage isn’t terribly tough with a less traditional venue setup. Proximity to the Fox Theater makes it a popular place to keep the night going.

Drawbacks: The design of the space is unlike any other, and this has a few negatives regarding access to the bar or sound being optimal. It’s in Oakland and goes late, so not great for SF-bound BART riders.

Bill Graham Civic Auditorium

99 Grove St. San Francisco, CA 94102
View Current Show Listings

What To Expect: As big an open, indoor floor space that exists in the Bay Area (not including arenas), the Bill Graham Civic Auditorium can fit 7,000 people into its vast confines.

Best Features: There’s plenty of floor space — and plenty of seats upstairs if you arrive early enough. The location adjacent to City Hall makes it easy to get to via public transportation. When the Civic Auditorium is packed and full of energy, it comes alive.

Drawbacks:
When the venue isn’t sold out, there’s an empty, hollow feel to live music here. The sound can seriously lack at times, especially from the sides. The best bet is to get in front of the large speaker banks (duh). Some acts, like Phish, bring additional sound equipment to fill out the copious space in the building.

Bottom of the Hill

1233 17th St. San Francisco, CA 94107
View Current Show Listings

What To Expect: This legendary little rock club at the foot of Potrero Hill has room for 350 partygoers of varying ages. It’s a well-oiled and well-regarded space that breeds lively shows by bands of all sizes and eras.

Best Features: Not exclusively a 21-and-over club, Bottom of the Hill allows patrons of all ages the chance to enjoy a high-energy show in this wacky space. Ample parking, a large smoking section and reasonably priced drinks as well as tickets make it an ideal spot to rock out.

Drawbacks: The booking doesn’t veer terribly far off the path of rock ‘n’ roll. The lights are simple, as one might expect from a venue like this.

Cafe Du Nord

2170 Market St. San Francisco, CA 94114
View Current Show Listings

What To Expect: Walking down the stairs into the main room lends the vibe of a classic speakeasy with red velour and classical seating in the back. It’s yet another historic space to enjoy some fresh artists of the 21st century in an intimate setting.

Best Features: Located rather conveniently on Market Street makes Cafe Du Nord both accessible and flush with pre-show drink options. Cafe du Nord is amazing for the fan hoping to engage with his or her favorite artists.

Drawbacks: The room has an odd shape with a bar, seating and even a pool table in the back, while the front is slightly sectioned off for live music.

Slim’s

333 11th St. San Francisco, CA 94103
View Current Show Listings

What To Expect: Slim’s is located in a lively section of SOMA, and the venue hosts a vast array of lively acts for an all-ages crowd with a maximum capacity of 400. A high-ceiling room with few frills makes it a good option for dedicated fans.

Best Features: A large bar makes grabbing a beer or cocktail a snap, and they offer dinner with premium, upstairs seating if that’s your thing. The sound is just fine to accommodate either hardcore punk-rock or some of the Bay’s finest hip-hop.

Drawbacks: Oddly-placed pillars can obstruct attendees’ views and make a sold-out room that much more less appealing.

Public Works

161 Erie St. San Francisco, CA 94103
View Current Show Listings

What To Expect:
Expect two venues in one. Public Works offers a live music space and a separate room dedicated to dance music curated by some of the best DJs around. A separate ticket is needed for each option.

Best Features: The location is pretty central to most of the City. The live venue offers a balcony overhang — get there early for the best spot in the house. The staff is friendly.

Drawbacks: There are a few columns that make the live space a bit cumbersome at times, and the mobility at sold-out shows can be tough.

The Regency Ballroom

1290 Sutter St. San Francisco, CA 94109
View Current Show Listings

What To Expect: The large, well-worn ballroom with a horseshoe-shaped, wrap-around balcony and teardrop chandeliers can hold plenty of people at The Regency Ballroom. Most shows are general admission.

Best Features: There are plenty of seats to grab upstairs if sitting is a must.

Drawbacks: Shows here are infrequent, and the sound can get drowned out at times by the massive space of the ballroom, especially from the seats. Drinks are priced astronomically.

Filed Under: Best of, Best of 2013, Editor's Picks, Featured, Show Experience Tagged With: Bill Graham Civic Auditorium, Bimbos 365, Boom Boom Room, Bottom of the Hill, Brick and Mortar Music Hall, Cafe du Nord, Fox Theater Oakland, Great American Music Hall, Mezzanine, Public Works, Public Works SF, Rickshaw Stop, Slims, The Chapel, The Fillmore, The Greek Theatre, The Independent, The New Parish, The Regency Ballroom, The Warfield

Your guide to all the Phish after parties in Tahoe, SF

July 29, 2013 by Kevin Raos 1 Comment

Photos by Sam Heller // Written by Kevin Raos //

Phish is currently in the middle of their West Coast swing. After slaying two nights at The Gorge, the caravan heads south to California for two nights in Lake Tahoe at Harvey’s Outdoor Arena and three nights in SF at Bill Graham Civic Auditorium.

Many people will want to keep the party going long after Phish has ended — that is why we have compiled this list of after parties (and one pre-party) to keep you twirling into the wee hours of the night (morning?). Most shows have a price tag, but a couple are FREE.

Enter below for a chance to win tickets to Conspirator at Mezzanine this Saturday, August 3rd.

CONTEST CLOSED.

Like us on Facebook and follow us on Twitter to stay in the loop for more contest giveaways.

Contest ends Friday, August 2 at Noon. The 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.

Tahoe After Parties:

Tuesday, July 30th

Horizon Casino Resort
Sam Bush Band w/ Polecat
ALO w/ Magic Gravy
10:30pm
Price: $35.00
Tickets

MontBleu
Greensky Bluegrass – Blu
12:00am
Price: $25.00 advance, $30.00 day of show
Tickets

edIT w/ SubTripixxx & Coop da Loop – Opal Ultra Lounge
11:00pm
Price: $20.00 advance, $25.00 day of show
Tickets

Harrah’s Lake Tahoe
The Meter Men – George Porter, Jr, Zigaboo Modeliste, and Leo Nocentelli with special guest John “Papa” Gros of Papa Grows Funk
11:30pm
Price: $62.50
Tickets

Crystal Bay Club
FREE Reggae
10pm
Price: FREE
Info

Wednesday, July 31st

Horizon Casino Resort
Karl Denson’s Tiny Universe w/ The Pimps of Joytime
Hot Buttered Rum ft. Allie Kral of Cornmeal w/ Poor Man’s Whiskey
10:30pm
Price: $35.00
Tickets

MontBleu
Emancipator – Opal Ultra Lounge
11:00pm
Price: $25.00 advance, $30.00 day of show
Tickets

Moksha ft. Jen Hartswick & Skerik – Blu
12:00am
Price: $20.00 advance, $23.00 day of show
Tickets

Tahoe Steamer
magicgravy
12:30am-3:30am
Price: $45.00
Tickets

San Francisco After Parties:

Friday, August 2nd

50 Mason Social House
Phish After Party with Garrin Benfield, Jordan Feinstein, Murph Murphy and Lucas Carlton!
11:30pm
Price: n/a
Info

BooM BooM RooM
Moksha w/ Carlos Santana Horns
9:30pm
Price: $10.00
Info
Tickets

Saturday, August 3rd

Mezzanine
Conspirator
9pm
Price: FREE?? WIN FREE TICKETS ABOVE. Or $20.00, here.

BooM BooM RooM
Polyrhythmics
9:30pm
Price: $10.00
Info
Tickets

Sunday, August 4th
Jerry Day
11:30am
Price: FREE
Info

Filed Under: Contests Tagged With: Bill Graham Civic Auditorium, Conspirator, Lake Tahoe Harveys Outdoor Arena, Mezzanine, Phish

New Music: Edward Sharpe and the Magnetic Zeros – Self-titled

July 29, 2013 by Molly Kish 1 Comment

Edward Sharpe and the Magnetic Zeros – Edward Sharpe and the Magnetic Zeros

Top Tracks:
“Country Calling”
“Remember to Remember”
“When You’re Young”

Album Highlights: Far from the ‘janglin’ days of their Up from Below debut, Edward Sharpe and his merry band of Zeros offer a melancholy insight to their band dynamics on the group’s self-titled third album. Although marketed as a band emanating love, friendship and spiritual bliss, ESMZ have obviously hit some emotional potholes over the past four years. Amidst a rigorous touring schedule supporting the release of back to back albums, it’s natural for such a large group of musicians to encounter difficulties within their internal structure. Sometimes this type of turmoil can lead to exceptional musical developments and serve as a creative catalyst. On the other hand, it can result in a contrived cluster-fuck like Edward Sharpe and the Magnetic Zeros’ third album.

Musically, the album follows suit with the previous two ESMZ releases, chock full of pop centric choral arrangements and pseudo-revivalist grandeur. Opening with what I assume will be the bands’ single, “Better Days”, they continue to bank on the recipe that has catapulted the group to mainstream success. ESMZ has done what is most familiar and continue to spread neo bohemian bliss to the masses.

The strongest tracks on this album, however, are the songs that deviate from such manufactured joy and actually touch upon their obvious grievances. “Country Calling” and “When You’re Young” manage to keep things positively upbeat and are easily two of the best crafted songs on the album. Other standout tracks include “Remember to Remember” and “They Were Wrong”, where the band ventures out of their cheesy comfort zones and not only tap into alternate musical influences, but also into some real emotional space.

Album Lowlight: Not matter how ESMZ tries to sheath persisting band issues with bouncy melodies and choral reinforcements, every song has an undertone of depression, anxiety and a sense of deflated purpose. They have built themselves into such a positive powerhouse of an act so early in their career that they have plateaued. Having found comfort and success, they’ve pigeonholed themselves into an idealistic standard, and their songwriting capabilities have become stunted. Instead of fully immersing themselves into branching out and taking creative risks with their material, they instead fall back on what they are familiar with, taking their patented sound into abhorrently over-eccentric territory.

The worst offender is a terribly clichéd second track “Let’s Get High”. Encompassing every over-the-top aspect of this band all rolled into one, the feels more like a spoof of anti-establishment protest songs from the Vietnam era than a legitimate track. Other attempts that miss the mark include “Life is Hard”, and “If I Were Free”, both of which come off as pathetic attempts at conveying the bands’ commitment to free love and genuine spirituality — they simply fall short.

Takeaway: The lack of heart behind the songwriting keeps the listener from fully investing in this LP. It’s interesting that this would be the album the LA-based collective would stamp its name on as the title because it’s the least impressive body of music it has recorded. The overall sound is deflated, superficial and lackluster. Had they focused more of their attention on exploring how to convey the messages that are resonating with listeners without caging themselves within inherent limitations, they could grow as a group.

Filed Under: New Music Tagged With: Edward Sharpe and the Magnetic Zeros, New Music

The Postal Service keep the nostalgia fresh with some help from Big Freedia & Baths at the Greek Theatre Berkeley

July 27, 2013 by Mike Frash 3 Comments

By Mike Frash //

The Postal Service with Big Freedia, Baths //
Greek Theatre – Berkeley, CA
July 26th, 2013 //

The Postal Service played their third-ever Bay Area show at the Greek Theatre on Friday — the supergroup had previously performed at two tiny clubs, Bottom of the Hill and the Los Gatos Outhouse, respectively, in 2003 before their only record Give Up became a massive success. It was a night of nostalgia, yet The Postal Service made everything feel fresh, successfully sucking in the attention of the surprisingly youthful crowd. The audience was engaged throughout the show, a setting and mood that should be partially attributed to the night’s two openers, one that seemed completely out-of-place and another perfect.

Baths is a fast-rising electronic musician (born Will Wiesenfeld) who is touring on his excellent second record Obsidian. Baths is the ideal opener for The Postal Service — his music is more somber and moody, but his digital textures are so similar. The crunchy, industrialized beats found in “Worsening” and “Ossuary” sound related to the underlying, limping baseline in The Postal Service song “This Place Is a Prison”. Wiesenfeld and Postal Service digital mastermind Jimmy Tamborello have the same knack for atypical, Nintendo glitch production and therefore are kindred spirits.

Wiesenfeld’s live show includes another performer to help with button pushing, knob turning and electric guitar. The stage production is decidedly minimalist — both artists face each other while playing muddled, industrialized sounds from MIDI pads stacked on top of the boxed they were originally packaged in. Wiesenfeld plays the keyboard live and nails his passionate, on the brink-of-death lyrics with precision. His falsetto was on point, and all of the electronic sampling was performed live except for the driving, minimalist beats.

The audience may have been chatting away for much of Baths’ performance, but all it took was some booty twerkin’ and the first Sissy Bounce performance the Greek has witnessed to get everyone on their feet. When looking at the bill for the evening, it was hard to gauge how a Postal Service crowd would react to Big Freedia, the Queen Diva of Bounce. Bounce music is a rap-based hip-hop subgenre from New Orleans, heavy on bass with a NOLA second-line mentality — hence the booty.

If ya got it, shake it — bouncing female booty while wearing short shorts or tight spandex is virtually synonymous with bounce music itself, and Big Freedia understands this historical aspect. The Queen Diva has worked the art of booty bouncing into live production art, as her dancers know how to put on an entertaining show that is exciting and fun to watch.

The dancers performed upside-down booty rockin’ with handstands, ran the booty train with Freedia as the locomotive and climbed speakers and lighting pillars to shake that ass. It was anything but boring, either making you dance or ask yourself, “What the fuck am I watching?” The wild, random featured act was joined by Postal Service leader Ben Gibbard for some booty shakin’ to end the set — it was the final night Big Freedia opened for the headliners on this tour.

Big Freedia ended up prepping the crowd perfectly for The Postal Service, getting everyone’s attention turned toward the stage. The crowd was attentive during The Postal Service set, adding harmonious sing-alongs to the group’s biggest songs. Some of these moments were spontaneous, others were encouraged by the performers. Opening song “The District Sleeps Alone Night” elicited a perfectly blended sing-along with the line “I was the one worth leaving” — but show closer “Brand New Colony” ended the night in a most memorable fashion. They ended the concert by encouraging the audience to join them in continuing “Everything Will Change” a cappella — and those in attendance obliged Gibbard wholeheartedly. He counted out the four beats in the measure before signaling to the crowd to yell the line, and it was clear the frontman was pleased with the participation after the final notes had been played.

The set was performed tight and cleanly — the foursome is clearly honed in at this point of the tour. The mid-set cover of Beat Happening song “Our Secret” was a highlight. The track built then segued into atmospheric territory — it was a long song but ended right as it was starting taking off. Gibbard jumped into press row for the set-ending “Natural Anthem”, leaving the rest of the group to awkwardly leave the stage for the encore.

Once again, Jenny Lewis is the MVP. She’s so present in the moment while in control of her craft. Gibbard was enthusiastic and might be one of the worst dancers in live music today. But he owns his stage presence with gusto, and it makes you realize one possible reason why he shifted from electropop back to more indie-laden fare with Death Cab for Cutie.

At one point, Gibbard sincerely thanked everyone for being there, saying that “We know you have many options for your concert dollar. Thank you for not choosing Justin Bieber,” playfully referencing the Justin Timberlake and Jay-Z mega-show happening at Candlestick Park across the bay. While that comparison is weird, frankly, everyone present at the Greek must have had a couple goose-bumpy moments thinking back to a time 10 years ago when they first listened to The Postal Service.

Setlist:
The District Sleeps Alone Tonight
We Will Become Silhouettes
Sleeping In
Turn Around
Nothing Better
Recycled Air
Be Still My Heart
Clark Gable
Our Secret (Beat Happening cover)
This Place Is a Prison
There’s Never Enough Time
A Tattered Line of String
Such Great Heights
Natural Anthem

Encore:
(This IS) the Dream of Evan and Chan
Brand New Colony

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Baths, Beat Happening, Big Freedia, Death Cab For Cutie, Greek Theater Berkeley, The Postal Service

WKEND MIXTAPE: Jagwar Ma (Jono Ma) – ‘Livin in the Past’ Fader Mix Tape

July 26, 2013 by 3ricshaden Leave a Comment

The Australian group Jagwar Ma released their incredible debut this year and are currently making the festival rounds on tour. Jono Ma, one-half of the group, put together this week’s mix. He incorporates the Jagwar Ma vibe with a range of artists including The Velvet Underground, J Dilla, Primal Scream, Cut Copy, The Animals, Serge Gainsbourg, The Wailers, and more.

If you like what you hear I would definitely check out the Jagwar Ma debut album.
Enjoy!

Tracklist
1. Bill Murray – Winter Prediction (Excerpt from Groundhog’s Day)
2. Sonny and Cher – I Got You Babe (Excerpt from Groundhog’s Day)
3. Jono’s Mangled Mosaic with bits and pieces from:
-3a. The Velvet Underground – Here She Comes Now
-3b. Jimi Hendrix – Living in the Past (Excerpt from Hendrix Concerts)
-3c. Lonnie Donegan – Love Is Strange
-3d. J Dilla – Nothing Like This
-3e. Serge Gainsbourg – Requiem Pour un Cour
-3f. Velvet Underground – Heroin
-3g. Primal Scream – Don’t Fight it Feel It
4. Jagwar Ma – Man I Need (Time and Space Machine Dub)
5. Cut Copy – Sun God (Andrew Weatherall Remix)
6. Mester Geraldo e Sua Bateria – Mistura No.1 (Ma’s What Love Dub)
7. Miriam Makeba – Amampondo
8. Storm Queen – It Goes On
9. A Guy Called Gerald – Voodoo Ray
10. The Animals – The Story of Bo Diddley
11. Oscar Hamond & the Majestics – Soul Finger
12. Nelson Sanders – This Love Is Here To Stay

Filed Under: Mixtapes Tagged With: Jagwar Ma

New Music: Run the Jewels (EL-P + Killer Mike) – Self-titled

July 26, 2013 by Mike Frash 3 Comments

Run the Jewels (EL-P + Killer Mike) – Run the Jewels

Top Tracks:
“DDFH”
“A Christmas Fucking Miracle”
“Run the Jewels”

Highlights: Before Killer Mike brought on El-P to produce his bangin’ 2012 album R.A.P. Music, he was mostly known as a frequent OutKast collaborator on tracks such as “The Whole World” and “Snappin’ & Trappin'”. El-P released his 2012 LP Cancer 4 Cure the exact same day as Mike’s album last year — signaling a certain syncopation beyond MC competitiveness. Fast forward one year to the present, and El-P & Killer Mike have joined forces as the best hip-hop project in years dubbed Run the Jewels, touring on their landmark new album Run the Jewels.

El-P is the sole producer of Run the Jewels, and it’s safe to say this shit will be pumped in the future. The world of sound is incorporated into tight, aurally pleasing production that feels familiar yet completely original. El-P uses everything from classic organ to Nintendo glitch sounds to electric guitar to build epic beats. Contemporary dance elements can be found interjected into the beats most often, but in a micro-sampling fashion not akin to today’s trap movement. The most groundbreaking instrumental aspect of Run the Jewels is the sole producer’s use of vocals in beat production. The opening cut “Run the Jewels” contains an echo effect on accented words until they meld into the music track, blending parts of the rhymes into the instrumentals. “Job Well Done” & “Banana Clipper” feature instrumental melody stems that are really modulated vocal beats that loop and pitch-shift with ease. The effect of rhyming over modulated vocal-based beats is striking.

The lyrics constantly paint descriptive word pictures, and frequently celebrate wide ranging drug use — “No Come Down” is hyper-catchy with the chopped up refrain “I get so high, I close my eyes like I may die” contrasting with “and I won’t come down.” “DDFH”, the best track on the record, delves into aspects of police brutality, government surveillance & the US’s unbalanced prison system with ease within one Killer Mike verse. Killer Mike breaths fire as aggressively as ever, but with his patented wink and a smile.

Lowlights: Like the rest of hip-hop, Run the Jewels embraces Molly use — pure MDMA — without hesitation. And in “Twin Hype Back”, the duo include an over-the-top date rape skit with the help of Prince Paul about putting MDMA in a girl’s drink. Paul, playing “Chest Rockwell,” goes into cheesy-creep mode by crooning “You feeling relaxed? Maybe it’s that half a molly I put in your Mountain Dew. Ya works like a charm / I’ve got your glass of Beefeater, a pack of Uno Cards / OK, how about I come over tonight and pick you up on my Segway and we go to Long John Silver.” Seemingly, this is a song-long spoof about the Rick Ross controversy, where he rhymed about date raping a girl by using Molly.

There’s a bit of contradiction between the El-P & Killer Mike’s very real celebration of drug culture and the hip-hop date rape skit that is meant as social criticism in “Twin Hype Back”. It’s obviously lampooning Rick Ross and the controversy around it. And clearly, most people that enjoy recreational drug use don’t rape people. But it’s hard to take the intention of the spoof seriously after hearing about how dope Molly, shrooms, blunts & blow is the previous eight tracks.

Takeaway: One of Run the Jewels’ greatest successes is that it can be both funny and dead serious within the same song and often within in the same flow or line at times. El-P & Killer Mike are at their strongest when spitting rhymes with meaning — regarding oppression, government hypocrisy, racism — and this is the Killer Mike influence (the same guy that made the four words “I’m glad Reagan’s Dead” a catch phrase over the past year).

But this shouldn’t detract from how fun this album is to listen to — whether the topic at hand is dead serious or downright funny. Killer Mike broaches serious topics, bringing up the “elephant in the room” whenever possible, and EL-P is a hyperactive, light-hearted goofball MC. And that really is why El-P & Killer Mike are the perfect duo. Put these two together and you have the best hip-hop album of the year so far, and one of the best overall albums of 2013.

*Win free tickets to see Run the Jewels at The Independent in San Francisco on July 31st.

Filed Under: Featured, New Music Tagged With: El-P, Killer Mike, New Music, Run The Jewels

Win free tickets: EL-P + KILLER MIKE = RUN THE JEWELS

July 26, 2013 by The Bam Team 1 Comment

**Read our full review of Run The Jewels.

Run The Jewels is the immaculate collaboration of hybrid hip-hop ‘future-shit’ embracing producer/performer El-P and the best rapper in the year 2013, Killer Mike. El-P produced the best hip hop record last year, Killer Mike’s R.A.P. Music, and apparently that was just the beginning for the duo.

Their style and tone differ pretty significantly, but Killer Mike & El-P complement each other perfectly. Michael Render spits aggressive fire and often dips into issues of race and politics, while Jaime Meline (El-P) keeps things more lighthearted and fun. Together they are a stronger force to be reckoned with — they’ve got a locked in Yin-Yang thing going on that is evident in their back-and-forth song structure lyrically. El-P helms the production, which incorporates a wide range of dance influences, vocally modulated repetition that morph into beats, and instrumentation that includes electric guitar and organ interludes.

Run The Jewels is getting rave reviews so far on the current tour. Expect to hear most of Run The Jewels, the name of their collaboration and first album, but also solo cuts off of Killer Mike’s R.A.P. Music & El-P songs like “Full Retard” and “Oh Hail No”.

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