Waterfront Blues Festival 2016: A colorful palette to feed the soul

July 14, 2016 by 1 Comment

Waterfront Blues Festival 2016By Tom Dellinger //

Waterfront Blues Festival //
Tom McCall Waterfront Park – Portland, OR
July 1st-4th, 2016 //

Portland is a remarkable city. It’s a city I’ve found to be one of the most hospitable I’ve ever encountered, and it was once again a great pleasure to cover their annual Waterfront Blues Festival over the Fourth of July weekend.

Now in its 29th year running, the Waterfront Blues Festival remains an anomaly in the world of modern music festivals. With a daily entrance cost of only $10 per day, though other levels are available like patron and benefactor which offer more perks, they continue sell out at all levels and annually raise surprisingly large amounts to donate to the Oregon Food Bank. This year they once again raised a stunning $1 million dollars! Represented in the musical lineup were artists ranging from the Portland area to California, Louisiana, Brazil and Nigeria with several of the higher-profile artists — JJ Grey & Mofro, Tedeschi Trucks Band, Samantha Fish, The California Honeydrops and Femi Kuti — also appearing at High Sierra Music Festival in Quincy, Calif., over the weekend.

Over the course of four days, there was a lot to take in. The festival featured two large stages at opposite ends of the main field, and beyond that, there were also a couple of smaller intimate stages — one offering a one-on-one opportunity with festivalgoers and the other with a dance floor. Both Portland and the Northwest in general have a wealth of excellent musicians to pull from, and every year I see a few new faces in addition to some I’ve witnessed a few times over the years. Local guitarists Ty Curtis and Ben Rice have become a couple of my favorites, and the soulful vocals of Andy Stokes and LaRhonda Steele never fail me. They always seem to provide memorable performances.

Waterfront Blues Festival 2016 - Christone Ingram


Christone “Kingfish” Ingram

There were many memorable moments over the holiday weekend, but one in particular came late in the day on July 4th as Christone “Kingfish” Ingram and Ty Curtis sat in with Samantha Fish. At just the age of 17, Ingram already has a few years of touring and recording behind him and has always been considered to be one with great potential. During his set on Saturday, it was obvious he was making good on that. He had a stronger stage presence, his voice more matured and the guitar work more expansive. It was a solid set that was well-received.

But on the festival’s final day as he, Curtis and Fish were taking things “out there,” Ingram let loose with some blistering hot runs, which in turn drove Curtis and Fish all that much harder. And the fans were loving it as if they were on a wild ride with no limits. Once the dust settled, everybody knew this was one of the great moments of the weekend with smiles all around.

Another standout performance came from Portland-based vocalist Liv Warield, a member of The New Power Generation who performed alongside Prince for several years. She reached out to members of TNPG as well as other locals to put together a tribute for Prince in a way she said he would want to be remembered. In addition to some Prince songs, there were also some of her own (Prince co-wrote songs with her) as well as from other artists whom Prince liked to play or cover. It was a riveting and powerful performance.

Waterfront Blues Festival 2016 - Igor Prado Band


Igor Prado Band

I always appreciate an international element at music festivals, and we had a few overseas acts again this year. The great Femi Kuti & The Positive Force played a stunning set with a large band that was heavy on horns, percussion and dancers as they worked a passionate performance in the Afrobeat style of his late father, Fela Kuti.

Hailing from Brazil was the Igor Prado Band, whose passion and understanding of this very American music form is undeniable. Prado is riveting on guitar, both for his playing and for his stage presence. The man knows how to work a crowd. They were also joined by keyboard ace Jim Pugh (who was in on many sets over the weekend) and Portland-based Curtis Salgado on harp and vocals.

Another big surprise came from Bay Area artist Aki Kumar. With a strong backing band at the singer’s side that featured Christoffer “Kid” Andersen on guitar, Derrick “D’mar” Martin on drums, Vance Ehlers on bass and Jim Pugh on keyboards, they played a wildly fun set that featured blues mashed up with Bollywood. It worked very well, and the crowd loved them.

Waterfront Blues Festival - Royal Jelly Jive


Royal Jelly Jive

There were artists who stretch what we might expect at a blues festival. Few embody that idea more than Los Straightjackets. Sure. Why not? We all need surf music from time to time, and these guys are fun to watch as well.

Bay Area collective Royal Jelly Jive defy categorization. With strong elements of swing, they nevertheless have a very modern sound with smart, well-crafted songs that both swing and rock a crowd, which is exactly what they did. In addition to being a fun band to watch, their unique sound and style made them a standout.

Ayron Jones and the Way were interesting. Though they are heavily blues-based, at times it felt like head-banging metal. What a kick that was!

Waterfront Blues Festival - Tedeschi Trucks Band


Tedeschi Trucks Band

Few bands seem to be so universally loved and admired more than Tedeschi Trucks Band, and on the festival’s opening night, they gave us one of their sublime sets. It was a perfect night in Portland with the Willamette River in the background and the band running through another one of its flawless, tasty performances, marking an elegant start to the festival.

Over the weekend, many names we’ve come to know and love made an appearance. Maceo Parker, Dr. John, Jimmie Vaughan, ZZ Ward, JJ Grey & Mofro and The California Honeydrops were all exciting sets to see. It was a festival that was rich in many ways. The diversity. The quality. The vibe. Even the weather was about perfect (last year it was in the 90’s).

Portland remains an impressive city that knows how to throw one hell of a party. I continue to be impressed with all they are able to accomplish, and this festival is at the top of the list. Big props to the city, the artists, the staff and the volunteers who make it all possible. I can’t wait for next year.

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Fruition flex their muscle at The Chapel

May 3, 2016 by Leave a Comment

FruitionBy Tom Dellinger //

Fruition with Steep Ravine //
The Chapel – San Francisco
April 28th, 2016 //

For the third stop on their current six-week tour, Portland-based band Fruition hit The Chapel last Thursday, playing long, hard and deep to the delight of a near-capacity crowd. Currently touring in support of their latest release Labor of Love, all five band members were in top form as they ripped through a pair of sets that lasted until almost 1 a.m. If you were looking to get your weekend started early and with a jolt, this was the show to be at.

After a set from Bay Area four-piece Steep Ravine, Fruition opened with the smooth soul of “Santa Fe” from their new LP and kept things going from there. Moving into the night, they drew heavily from Labor of Love and their ever-expanding catalog. I saw the quintet open for Animal Liberation Orchestra last year, and it was exciting to experience Fruition’s significant growth that was evident during this visit to SF.

Playing shows in their hometown and beyond along with stops at some of the country’s top music festivals, Fruition sounded tight, focused and seasoned at The Chapel. Both sets had a nice balance of energy as they took us on a ride that was always rock solid, varied and often dazzling. With Jay Cobb Anderson (vocals, lead guitar, harmonica), Kellen Asebroek (vocals, rhythm guitar, keyboards), Mimi Naja (vocals, mandolin, electric and acoustic guitar), Jeff Leonard (bass) and Tyler Thompson (drums, banjo), they showcased songs that were both sonically complex and satisfying.

Fruition

Fruition draw from a number of genres — including folk, soul, blues and rock — to create an Americana feel, and on Thursday night, they leaned heavily on their rock ‘n’ roll tendencies. While their first set offered a tasty mix of styles, it also offered glimpses into their full-driving rock sound. After a short break, the second set came on strong and remained there for a while as they hit it hard and loud.

As The Chapel rang and shook with impossibly rich guitar tones and flying mandolin runs coming from Anderson and Naja that were backed with the fullness of the band’s rhythm section, the crowd responded loudly as the room once again came roaring back to life. In addition to many moments like this, it was also laced with gems like the psychedelic jam “Early Morning Wake Up” and the heavy blues rock of “Death Come Knockin'”. Throughout the night, there were many aspects to enjoy. Anderson and Naja were equally impressive in fulfilling their duties as lead vocalists and while harmonizing with Asebroek. By the time it was all over, Fruition had played a solid, two-hour show that left the fans thoroughly happy.

With a history that began with a folk-based string sound, Fruition have continued to evolve over the years, and this show in SF was solid evidence of that growth. While Labor of Love remains a joy to play over and over again, the band’s live performances take its sound well beyond what a studio recording can convey. Keep your eyes peeled for Fruition on festival lineups this summer and at your local venues — an evening of fiery chemistry, excellent musicianship and good times will most certainly be your reward.

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A revival at The Independent with The Revivalists

March 23, 2016 by Leave a Comment

The RevivalistsBy Tom Dellinger //

The Revivalists with KOLARS //
The Independent – San Francisco
March 19th, 2016 //

The term “revival” conjures up images of being renewed, restored or revived — physically, mentally or spiritually — and is something we often seek in our lives from time to time.

Growing up in the South, I can recall the days when religious revivals used to roll into town, setting up their tents and attracting the locals to be spiritually renewed by seeking that deep experience. Today’s music scene shares a great deal in common with those fond memories of mine, and on Saturday night, The Revivalists honored that expectation in a very big way as they played their second show of a two-night, sold-out run at The Independent.

The Revivalists

The line started forming early for Saturday’s show as Bay Area fans and ones from as far away as the East Coast arrived. Many I met were active in the fan community, known as Rev Heads and had attended Friday night’s show. As was mentioned to me more than once, many agreed that the group’s cover of Grateful Dead’s “Morning Dew” the night before had been a pleasant surprise. And as is the case with many bands today, The Revivalists have also earned the love of an expanding and dedicated fan base that will go to great lengths to see them perform all over the world.

After witnessing Saturday’s performance, it’s easy now to see why. With three full-length albums under its belt — including 2010’s Vital Signs, 2014’s two-disc set City of Sound and most recently Men Amongst Mountains in 2015 — and a busy touring schedule, the band has clearly established itself with fans as well as venues and festivals.

The Revivalists

A beaming David Shaw led the New Orleans-based septet onstage as they launched into “Keep Going”, a tune that instantly had the house dancing and rocking. With Shaw (guitar, vocals), Zack Feinberg (guitar), Ed Williams (pedal steel guitar), Rob Ingraham (saxophone), George Gekas (bass), Andrew Campanelli (drums) and Michael Girardot (keyboards, trumpet), The Revivalists took us through their catalog to what felt like impossible heights at times. It was a dynamic show with excellent song choices that kept the house energized and the fans happy.

Slowing down a little once in a while, the band played flawlessly, and as the evening went on, one had the sense something rare was beginning to take place. If you experience a lot of live music, we all see this once in a while. The energy from the band to the audience is established and returned, but once in a while, that energy seems to grow well beyond expectations and everybody feels it. If you’re lucky, the performance becomes transcendent, which is exactly what happened on Saturday night. Everybody in the band played with a passion that was a straight shot to the heart. If you weren’t already a fan of The Revivalists, this performance most certainly sealed the deal.

The Revivalists

The fans were intense, the band was intense and the joy between the two was off the charts. It was obvious they were having a great night. They seemed relaxed from the beginning and by the end of the night were ripping into every note with abandon. After the scorching set closer “Criminal”, the band returned for a three-song encore to close things out, only to return one more time for a stupendous rendition of “Gimme Shelter”. For those in the house who came from both far and near, it turned out to be a pretty good bargain; we made the journey to The Revivalists, and in return, our souls were once again rejuvenated. The spirit of their music touched us all in that unique way good music does. There was no substitute.

Opening the show were KOLARS, an alternative-indie duo consisting of husband Rob Kolar (guitar, vocals) and wife Lauren Brown Kolar (drums, vocals). Though they are sometimes seen in the context of the Los Angeles band He’s My Brother She’s My Sister, they’ve been taking this minimalist approach, which served them well in SF. Offering a set of songs that defy categorization (they coin their music as “desert disco, glam-a-billy, space blues and R&Beyond”), their opening set continued to build as they earned a positive response from those around me.

Setlist:
Keep Going
Monster
Souls Too Loud
Appreciate Me I
Appreciate Me II
Catching Fireflies
Fade Away
Move On
Bullet Proof Vest
Strawman
BTBD
Gold to Glass
Wish I Knew You
Criminal

Encore #1:
King of What
I Believe It Was a Sin
Soulfight

Encore #2:
Gimme Shelter (The Rolling Stones cover)

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With The Sam Chase & The Untraditional leading the way, The Chapel celebrates Halloween in style

November 4, 2015 by Leave a Comment

The Candy Butchers Bash - The Sham Chase & The Untraditional


The Sam Chase & The Untraditional

By Tom Dellinger //

The Candy Butchers Bash featuring The Sam Chase & The Untraditional, Royal Jelly Jive, The Crux and special guests Mission Delirium //
The Chapel – San Francisco
October 31st, 2015 //

Halloween just came and went this past Saturday night. The weather was perfect as the streets of SF filled early with trick-or-treating kids as well as those out to celebrate the night with some big-kid entertainment. All across the Bay Area, there were many parties and shows to get that itch scratched. One of the best was The Candy Butchers Bash, a sold-out show at The Chapel that featured The Sam Chase & The Untraditional, Royal Jelly Jive and The Crux, along with special guests Mission Delirium and a number of talented aerialists to give it that something extra that made it one of the more unique shows in Northern California.

Decked out for that All Hallows’ Eve vibe, the venue’s stage was decorated with pumpkins and strands of light bulbs over it gave the room a carnival-like feel. Royal Jelly Jive vocalist Lauren Bjelde and The Crux vocalist Josh Windmiller pulled that off together and did a fine job of decorating The Chapel properly. By the time The Crux hit the stage first, most of the crowd was on hand, dressed in costumes and ready to have a good time.

The Candy Butchers Bash - The Crux


The Crux

Opening the show was the Santa Rosa-based band consisting of Josh Windmiller (vocals, guitar), Joshua Jackson (bass), Kalei Yamanoha (trumpet, accordion) and Taylor Cuffie (drums). With a style they refer to as “folk punk”, The Crux have a stripped-down, rough sound that felt like a mix of Tom Waits and Kurt Weill with a vaudevillian vibe. Windmiller is no doubt an engaging performer, as his persona and rough vocals easily connected with the Halloween audience. After a few tunes into the band’s set, he was joined by aerialist Sierra Faulkner, who performed using silk fabric as she effortlessly twisted and turned her way up the strands above the crowd to perform numerous maneuvers. Graceful, stylistic and with a bit of danger, she added fuel to the fire as the evening continued to warm up.

During the ensuing set break, brass band Mission Delirium came out into the crowd, lined up at the front of the stage and proceeded to keep the energy high as they playfully ripped through some funky tunes with blasting trombones, tuba and drums. The crowd loved it as many audience members laughed and danced with the band, signaling that the festive party and carnival vibe was in full swing at this point.

The Candy Butchers Bash - Royal Jelly Jive


Royal Jelly Jive

Keeping the momentum going, Royal Jelly Jive hit with another one of their explosive sets. Foot stomping and swinging, they lit up the place as Bjelde tore into the band’s catalog with a fervor. With irresistibly rich grooves from the rhythm section of Felix Macnee (drums) and Tyden Binsted (bass), Bjelde and the band touched upon many of their best tunes, including “Indian George” and “Pterygophora”, both of which continued to elevate the crowd’s energy. Rich songs and compositions are the norm for this dynamic up-and-coming band, which also offers enchanting vocals from Bjelde, wide-ranging keyboard styles and sounds from Jesse Lemme Adams and an enviable, articulate horn section comprised of Robbie Elfman, Luke Zavala and Danny Cao. Also joining the band was aerialist Caroline Dignes, who performed on a hoop high above the crowd. Elegant and visually riveting, she continued to add to the carnival theme of the night.

After more shenanigans from Mission Delirium, headliner The Sam Chase & The Untraditional hit the stage with style. Introducing the band beforehand was a pair of twins with a creep factor reminiscent of those in “The Shining”, as they invited the house to enjoy The Sam Chase forever and ever … and ever. With drummer Ted Desmarais dressed as Igor from the 1974 comedy film “Young Frankenstein”, he entered the stage bent over with a massive hump (“what hump?”), and one by one, he physically moved, pushed and cajoled each member of the band to their place on the stage. The band members appeared to be in a zombie-like state as Desmarais positioned them and patiently placed instruments in their hands. It was a fine little piece of theater before the band would explode with the final entrée of the night.

The Candy Butchers Bash - The Sham Chase & The Untraditional


The Sam Chase & The Untraditional

Though The Sam Chase & The Untraditional describe their music as “kick-ass folk” on their Facebook page, they are that and more. Many of Chase’s songs are rowdy and delivered with a weather-beaten, whiskey-colored vocal style as he and the band rolled through their catalog. It’s not surprising they’ve become a favorite among SF bands. Their songs are well-crafted — much like an artisan cocktail — and delivered with a precision that stands in contrast to Chase’s seemingly reckless, almost drunken delivery style.

For The Sam Chase & The Untraditional’s set on Saturday night, we were treated to a ride that was at times bombastic and exhilarating but also included the occasional easygoing folk tune. Chase has a tight band behind him between the aforementioned Desmarais, Dave Rapa (bass), Joshua James Jackson (trumpet), Debbie Neigher (keyboards), Devon McClive (cello) and Nikko Rios (guitar), and they all lit into the music with an infectious energy that they sustained to the very end. During the performance, we saw the return of Dignes and Faulkner to perform on the hoop together. In costume as zombies, these two aerialists were dramatic as they went through their routine, adding both elegance and a sense of danger by pushing the envelope of possibilities, all while the crowd roared with delight.

Reminiscent of the Great American Spirit Ball headlined by Royal Jelly Jive back in July (read our review of the show here), The Candy Butchers Bash has the potential to become another highly sought-after, recurring show in SF. Unique in presentation, both events delivered some of the most memorable performances I have experienced in some time. And for those who found themselves at The Chapel on Saturday night, we all know we experienced some of the very best that the Bay Area music scene has to offer right now.

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SF’s own Megan Slankard is an artist at the door

October 23, 2015 by 1 Comment

Megan SlankardBy Tom Dellinger //

Megan Slankard with Peter Case //
Great American Music Hall – San Francisco
October 16th, 2015 //

Last Friday night, KC Turner Presents and KFOG radio partnered to present The Boob Project, a fundraising event for The Breast Cancer Research Foundation, featuring SF indie-rock act Megan Slankard and opener Peter Case. The idea for The Boob Project, which originally took shape at KFOG, has led to the song Boob Spelled Backwards is Boob, a rallying cry that has brought together many artists such as Michael Franti, Elle King, ZZ Ward, Graham Nash, Steve Earle and many more with Slankard as one of the co-writers and producer of this project.

Megan Slankard

Early in the evening, KFOG on-air personalities Renee Richardson, No Name and Irish Greg shared some of the history and purpose of The Boob Project as well as honoring Slankard’s contributions. Slankard is well-known and popular among live music fans throughout the Bay Area and beyond as she’s been out performing and honing her considerable skills for several years now. Along the way, she’s released four LPs with her most recent offering Running on Machinery coming out earlier this month. A rich, complex and rewarding journey filled with spine-tingling moments, it shows an artist on top of her game. Slankard and the band soar and dive free as a bird, resulting in an album that is an absolute joy to hear — an exhilarating ride that’s constantly moving in new and unexpected directions. This collection of songs is broad in scope and allows her to touch us in the gentlest way as she shows on “If I Knew” before taking us to dizzying heights on the hard-rocking “Bones Live Forever”. Masterfully produced by Alex Wong and with a band that is a perfect fit, Running on Machinery will no doubt be a tough act to follow for her.

With a loyal fan base in attendance for both Slankard and Case, the line to get into the Great American Music Hall developed early and was down the block by the time the doors opened. Case, a classic storyteller and songwriter with a long and storied career that includes time busking on the streets of SF and a colorful run with The Plimsouls, is one of those guys who has influenced many successful musicians today. He came out filling the room with his stories along with the big growling sounds of a 12-string guitar. He would later join Slankard and her band as they romped through a Plimsouls tune.

Megan Slankard

Hot on the heels of a recent head-turning performance at Hardly Strictly Bluegrass Festival (see our photos here), Slankard took the stage with her stellar band, which features Danny Blau (keyboards, guitar), Jeff Symonds (bass), Kyle Caprista (drums) and lastly James DePrato (guitar, lap steel guitar), and picked up right where she left off on that brilliant outing in Golden Gate Park. Crystal clear, Slankard’s vocals gently floated and at times effortlessly cut sharply through the air. The band was tight and offered up a vast sonic tapestry for her vocals. As she and the band drew heavily from her most recent work in the first set, they took a break and came back to give us a complete playing of Led Zeppelin II in the second, which they nailed. Perfect in every way, it was a pleasure to hear such a classic LP covered so well.

After witnessing this performance and looking at Slankard’s career so far, it’s obvious she’s on a very fast and steep musical path that seemingly knows no bounds. Surrounded with the talent that is her perfect complement, one gets the sense something big is in store for her. At the very top of an arc, she stands ready at the door, waiting for the broader recognition that she deserves — and may that door soon be flung wide open.

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Joshua Tree Music Festival 2015: Where less is more

October 17, 2015 by 5 Comments

Joshua Tree Music Festival 2015By Tom Dellinger //

Joshua Tree Music Festival //
Joshua Tree Lake Campground – Joshua Tree, CA
October 8th-11th, 2015 //

It’s no secret that music festivals are big business, and in recent years, we’ve seen a phenomenal amount of growth in their numbers across the country. They range in size from the small to the huge megafest, and while Joshua Tree Music Festival is not new on the scene (2015 marked its 10th year), it may not exactly be a household name due to its size. Located only a couple of hours away from Los Angeles and San Diego while adjacent to one of our great national parks, this little festival offers a unique experience that rivals the best and largest music festivals in the U.S.

Running for a total of four days, JTMF is like walking into a village, an otherwise separate reality — one that thoroughly removes you from all your normal daily routines and trappings. Of course, there are plenty of vendors offering food, goods and services (especially those that relate to one’s health and well-being), and there are architectural creations unique to this fest that serve as entrances to different areas as well as artistic creations that define the environment as a happy, loving space.

Joshua Tree Music Festival 2015

The place has a vibe — an overwhelmingly positive one that you immediately feel from both staff and other fans as you experience JTMF. With the festival not offering tiered ticket prices or perks, it was refreshing to not be micro-managed by an army of security with a list of things you can’t do or can’t go. In fact, the word “yes” seemed to be the norm. JTMF is a delightfully chill and egalitarian experience.

Musically though, you’re not likely to encounter the mega, high-dollar artist performing at a small fest like this. Instead, you will encounter music and artists that range from the local to other fairly well-known artists, such as Xavier Rudd, Scott Pemberton Trio and Moon Hooch.

Gene Jr and the Family


Gene Jr and the Family

One of Joshua Tree’s favorite local bands, Gene Jr. and the Family (who toured as the opener for Elle King earlier this year), served as the bookend act of the weekend as they opened on Thursday night and were the final band to perform on Sunday. Joining Gene and his band on Thursday was San Francisco funk favorite, RonKat Spearman and Katdelic. With Thursday being somewhat of a soft opening for the festival, it was these two bands who kicked things off. And what a fine beginning it was as they both delivered tight, energetic and tasty performances that ran nearly two hours each.

The stage Gene Jr. and the Family played with and RonKat Spearman and Katdelic on, called the Boogaloo stage, was particularly nice. It was located in an area away from the festival’s main stages and was set up like a club with a bar, some well-thought-out seating and one of the most beautiful stages you’re likely to encounter, striking for its well-executed outdoor theme (think of a thicket of bare-branched trees), but also for its elevated viewing areas on the sides and above the stage, which was available to all festivalgoers. Again, major props go out to the festival organizers for the egalitarian quality of JTMF.

Bang Data


Bang Data

Over the next three days, two stages would host the majority of performances while one smaller one (the Café Stage) would host a few, including the Cactus Wine Experience, a bawdy, funny and racy burlesque show that was met with great approval. With sets that ran 90 minutes each, fans were treated to deep performances from all the artists.

Along with Bay Area band Katdelic, Oakland’s Bang Data were also on hand with an engaging set of hip-hop. Coming from Portland, Yak Attack and the Scott Pemberton Trio livened up the place. Joined by dancers Jessi Trauth and Casey Lomax, Yak Attack had a solid set of electronica while Pemberton, who seems to be performing at many festivals this year, also made his presence felt at JTMF. Known for his unusual guitar technique, he and his trio worked the crowd to a fever as I heard many raving about the set in its aftermath.

Turkuaz


Turkuaz

Brooklyn, meanwhile, was well-represented at JTMF by funk band Turkuaz and musical oddity Moon Hooch. Both bands delivered over-the-top, blowout performances that made huge impressions. Turkuaz were not only incredibly tight, but the level of musicianship from all the members was also stunning. There was no doubt that they are a very complete package featuring great songs and compositions with crisp vocals and arrangements that kill. It was refreshing to experience them as they rolled through their set with brilliance and precision.

Of course, then there’s Moon Hooch. Defying all musical genres, they connect with their audience in a similar way to Turkuaz. I guess you could call them a “sax” band with only a drummer and two saxophonists, though once in a while, a synthesizer is used. Playing an assortment of saxophones, the trio goes non-stop from one piece to the next as they work up the crowd and bring it back down repeatedly — with the whole show serving as a tension-and-release process of some sorts. As one of the most unusual bands out there, Moon Hooch left nothing on the table and in return, the crowd loved them.

Xavier Rudd


Xavier Rudd

There was also a bit of reggae at JTMF thanks to local favorites the Desert Rhythm Project and headliner Xavier Rudd. With Gene Evaro from Gene Jr and the Family on keyboards and Piper Robison on bass, it was nice to see a third Evaro perform as Amanda Davis joined in on vocals. And as the festival wrapped up on Sunday, Xavier Rudd closed out the main stage with his message of positivity.

After a beautiful weekend in the California desert and specifically at JTMF, you can’t help but feel like you’ve done something therapeutic for yourself. Having covered a few large-scale music festivals this year, JTMF serves as a reminder that sometimes less is indeed more. The JTMF experience is worth any effort you may make to get there. In one of the most sublime spots on the planet, this is a festival that will take you in as a family member and send you home with more than what you came with.

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Jordan and the RituaL, The Humidors, Mickelson flex their homegrown muscle at GAMH

August 25, 2015 by 1 Comment

Jordan and the RituaL


Jordan and the RituaL

By Tom Dellinger //

Jordan and the RituaL with The Humidors, Mickelson //
Great American Music Hall – San Francisco
August 21st, 2015 //

Last Friday, the Great American Music Hall hosted another showcase featuring all Bay Area bands. As the number of stages in SF has been on the decline in recent years, it’s gratifying to see one of the city’s finest venues presenting local talent.

Last month, the Great American Music Hall hosted the wildly successful Animal Spirit Ball (read our show review here) that featured Royal Jelly Jive, Be Calm Honcho, The Rainbow Girls and Brass Magic. On this night, the stage belonged to three local bands — Jordan and the RituaL, The Humidors and Mickelson — that offered up a high-energy evening of rock, funk, soul and folk. With JATR mixing rock, soul and funk together, The Humidors solidly grounded in funk and Mickelson occupying the alt-folk field, it promised to be a fulfilling evening.

Scott Mickelson


Mickelson

Kicking things off was Mickelson, and for this performance, band leader Scott Mickelson also brought in special guests Brad Brooks (vocals), Kimberly Kenny (vocals), Ralph Carney (horns), Ed Ivey (tuba), Glenn Hartman (accordion) and George Mousa Samaan (trombone) to further expand the group’s sound. Drawing from its most recent studio release Flickering, the band filled the hall with tunes consisting of both rich, lyrical content and dynamic arrangements that gave the band plenty of opportunities to shine and got the night off to a good, solid start.

The Humidors


The Humidors

With a recent gig at The Independent opening for Dumpstaphunk, The Humidors took the stage and demonstrated a superb ability to throw down irresistibly solid grooves that had the house rocking and dancing throughout their set. Lead vocalist Joseph Carter proved to be an engaging frontman as he worked the stage and band, keeping it all at a high level. The band was tight and its energy was focused. Of particular note was the remarkable horn section with Patrick Cress (baritone sax), Mark H. Miller (sax) and Joshua Cambridge (trombone). All three had deep chops that had the crowd screaming in approval a number of times throughout their set. It was a fun, fast-paced performance that held the crowd from start to finish — one where everyone is happy and smiling at the end.

Jordan and the RituaL


Jordan and the RituaL

No stranger to the SF music scene, keyboardist Jordan Feinstein took the stage with his band Jordan and the RituaL to wrap up the night. Though Feinstein pointed out this was the “lite” version of JATR (he often has several more performers on stage with the band), the sound they put out was not “lite” in any way. Feinstein, best known for keyboards, also nicely handled the lion’s share of the vocals as they presented a program heavy on soul and funk with a little bit of hip-hop courtesy of an appearance from Rafael Sarria of La Gente, another SF band that Feinstein performs with in his spare time. Those familiar with Sarria’s work in La Gente know what a ball of fire he is, and he generated that same energy at the Great American Music Hall. Subsequently, JATR were in a groove and rolled comfortably through their headlining set with many memorable moments along the way. Guitarist A.J. Rivlin had several particularly fine solos, Sarria killed it with his appearance and back-up vocalist/percussionist Daria Johnson also delivered some stunning vocals. Both popular and gifted, Johnson is always a formidable force, and last Friday night, she was absolutely stunning.

With venues declining in SF and the overall landscape of the music business shifting, it’s good to know prime spots like the Great American Music Hall still have room to present the local as well as the better-known touring artist. By once again shining a light on talent in our own backyard, the venerable hall continues to remind us why it remains at the top of our list of favorite venues, and hopefully fans will soon come to recognize that SF artists both deserve and need our support by attending shows such as this.

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Spirit animals rule the night at Great American Music Hall as Royal Jelly Jive come roaring to life

July 29, 2015 by 2 Comments

Royal Jelly Jive


Royal Jelly Jive

By Tom Dellinger //

The Great American Spirit Ball featuring Royal Jelly Jive, Be Calm Honcho, Rainbow Girls, Brass Magic & The Jelly Roll Dancers //
Great American Music Hall – San Francisco
July 25th, 2015 //

A seed was planted last Saturday at The Great American Music Hall as the site for the first Great American Spirit Ball, where fans were encouraged to join the performers and come dressed as their favorite spirit animal. The brainchild of Lauren Bjelde and Jesse Lemme Adams from Bay Area band Royal Jelly Jive, it was an event that embodied the very best of SF’s music history.

More than a show featuring four bands, it was a package — a unique experience that took the participant on a magic ride that was both a visual and aural feast. Upon entry into the venerable hall, you found it had been decorated with strands of light bulbs and long strands of line with triangular flags that had been strung from the stage to the balcony facades and created something akin to a circus atmosphere from an earlier time.

Brass Magic


Brass Magic

Unlike most shows with a multi-band format, the energy and vibe of the evening never waned between sets as the time was filled with performances on the floor in front of the stage that featured Oakland eight-piece horn dance band Brass Magic, which jammed on funky grooves that kept the crowd engaged, and a group of Aztec dancers led by San Jose-based Cipacteo Herrera. Also joining Brass Magic during their set were some wonderfully costumed dancers on stilts from the group Jelly Roll Dancers, adding immensely to the “spectacle” aspect of the evening.

Rainbow Girls


Rainbow Girls

While the action on the floor was wildly entertaining and kept things on a high note, the action onstage gradually ramped up throughout the evening with an over-the-top closing set from Royal Jelly Jive. The opening set began with Santa Barbara/Sebastopol-based band Rainbow Girls, a group that’s been building a steady following in the Bay Area. The girls played a tasty set drawing from their recent release Perceptronium with many fine grooves that moved through rock, funk and a few points between.

Be Calm Honcho


Be Calm Honcho

After more fun on the floor with Brass Magic and the Jelly Roll Dancers, local favorite Be Calm Honcho took the stage. Having caught them at a recent date where they opened for Jessica Hernandez & The Deltas and now seeing them for the second time, it’s becoming obvious they’re a band with a repertoire that could take them places. Drawing heavily from their release Honcho Dreams, their songs are catchy, fun and artistically satisfying. Keyboardist and lead vocalist Shannon Harney has an irresistibly magnetic personality with a fine voice that sits beautifully in the mix. It was an excellent performance from them and well worth seeing whenever possible.

Great American Spirit Ball - Royal Jelly Jive


Royal Jelly Jive

As the spectacle and joy of it all had increased to a steady boil, SF’s Royal Jelly Jive hit the stage and blew the lid off the place with a romping, stomping and fast-driving set of their remarkable catalog. The band came onstage much like an entourage that was clearly excited and ready to seize the moment. It was time to unleash their inner animal, which they quickly proceeded to do as they tore through their catalog with a passion rarely seen.

Royal Jelly Jive


Royal Jelly Jive

For those familiar with Royal Jelly Jive’s work, a listen to their most recent CD reveals performances that are more studied, well-crafted and restrained. But on this night, they came roaring to life as they played it all at an uptempo pace compared to their recordings. One could hear previously unheard textures from the drums that were nothing short of mind-blowing. The horns section was tight and ripping with Adams ever so cool on the accordion and keyboards. Bjelde, whose vocals often range between the alluringly sweet and the gritty, laid into the mic with style, grace and power. Rarely the quiet voice, she was in top form and she knew she had something magical to share with us, which is exactly what she did. And, it was truly stunning to behold.

Now that the dust has settled, it’s easy to see this venture was a great success. At the end of the night, as Royal Jelly Jive played right up to midnight and didn’t have enough time to play an encore, the crowd cried for more. It was one of those nights where no one in the house wanted it to end. As mentioned earlier, a show such as this, because of its groundbreaking uniqueness and the quality of performers, honors the musical legacy of SF. Perhaps if we’re lucky, the spirit animal in us all will come out to play once again someday.

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Cambodian psych rockers Dengue Fever continue to expand Western reach at sold-out Indy

February 17, 2015 by Leave a Comment

Dengue Fever


Dengue Fever

By Tom Dellinger //

Dengue Fever with Solwave //
The Independent – San Francisco
February 13th, 2015 //

Occupying a unique niche in contemporary music, Los Angeles sextet Dengue Fever delivered another one of their nuanced performances to a sold-out house at The Independent on Friday night.

It’s interesting to note that despite the fact that the majority of their catalog is sung in Cambodia’s Khmer language, they enjoy a following that goes well beyond their Cambodian and Southeast Asian fan bases.

Dengue Fever


Dengue Fever lead vocalist Chhom Nimol

Comprised of brothers Ethan (keyboards) and Zac Holtzman (guitar, vocals), Senon Williams (bass), Paul Smith (drums), David Ralicke (saxophone) and Chhom Nimol (vocals), this band has found unlikely success as Western artists who have drawn their inspiration and developed their style based upon Cambodian rock musicians of the 60’s and early 70’s. As unusual as that sounds, it becomes less so upon either listening to or seeing them live.

Currently on tour in support of their latest album The Deepest Lake, the band had the room cruising along with every note as they cycled through their extensive catalog comprised of both originals and covers of Cambodian artists. Consequently, their songs feel both familiar and foreign at the same time. The psychedelic feel, as well as the presence of surf guitar, is often unmistakable and are juxtaposed with the very foreign style and sound of Nimol, whose exceptional range takes the listener on a smooth ride up and down, back and through the compositions. It is a remarkably good fit, and the fans were expressing their love throughout the night.

Solwave


Solwave

Friday night’s opener was SF rock outfit Solwave, which provided an energetic counterpoint to the bill. Much of the sold-out crowd was already in attendance as they began their set with a vocal fan base adding to the fun. Their set was full-on, high-energy rock ‘n’ roll, and they clearly were having a good time as they also shared that this was their sixth time playing The Indy. That’s not too surprising after catching their set. The band was tight and put it all out on the edge, like their lives depended on it. By the time it was over, we were screaming for more.

Dengue Fever lead vocalist
Dengue Fever
Solwave
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Catfish and the Bottlemen deliver on first major U.S. tour

February 13, 2015 by 1 Comment

Catfish and the BottlemenBy Tom Dellinger //

Catfish and the Bottlemen with Wild Party //
The Independent – San Francisco
February 10th, 2015 //

There’s a big, rich sound emanating from Wales these days from a band with an unlikely, though memorable name of Catfish and the Bottlemen. A band that has been together for eight years, it’s pushed its way through several years of rejection and naysayers to break through to the other side — in a big way.

Catfish and the Bottlemen have done their homework and have been developing in the traditional way of playing their asses off as often as possible at any venue that will have them. Over the past year, they’ve been playing to huge crowds at several of Europe’s largest festivals where fans have received them with great enthusiasm.

As lead singer Van McCann recently pointed out after their performance at the Reading Festival, he could see the turnaround in the eyes of the fans as they delivered what has now become one of their highly sought-after performances.

On its first major U.S. tour, the band played The Independent on Tuesday night for its third stop with many more sold-out dates down the road. Opening for them was San Antonio’s Wild Party, who got the evening rolling along with a tasty performance of their originals.

Catfish and the Bottlemen

Touring in support of their latest album The Balcony, Catfish and the Bottlemen treated fans to a classic, crowd-pleasing performance that ripped through their catalog, about half of which came from the new release.

A guitar-driven band, this is indie rock at its finest — classic rock lyrics, big guitar and a driving rhythm section with excellent vocals from McCann, all supported and elevated by backing vocals from the band, which is also comprised of guitarist Billy Bibby, drummer Bob Hall and bassist Benji Blakeway. Highly infectious, they picked up many new fans on this night.

A listen to the new album is well worth the effort. Produced by Jim Abbiss (Adele, Arctic Monkeys), it will compel multiple playbacks. Every track is a winner and gives a good indication of what they deliver in a live performance.

Catch them while you can in these smaller venues because that is likely to change in the future. They already have a sound and performance chops that translate well to larger stages, something we can expect to see in their future and something they richly deserve.

Setlist:
1. Rango
2. Pacifier
3. Sidewinder
4. Fallout
5. 26
6. Business
7. Kathleen
8. Homesick
9. Hourglass
10. Cocoon
11. Tyrant

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All hell breaks loose as homegrown talent Luce, The Ponies work GAMH

September 11, 2014 by Leave a Comment
The Ponies closing things down at Great American Music Hall on September 5th

The Ponies closing things down at Great American Music Hall on September 5th

By Tom Dellinger //

The Ponies, Luce with New American Farmers, Melissa Phillips and James DePrato //
Great American Music Hall – San Francisco
September 5th, 2014 //

It was a stunning evening of all local artists/bands at the Great American Music Hall this past Friday night with a bill that brought together many of the writers and musicians we see working routinely about the bay area music scene. It was a glimpse into the musical richness that has historically defined San Francisco.

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Opening the evening was talented writer and singer Melissa Phillips, a solid writer and performer who’s been steadily building a fan base both here and abroad. Joined by 3/4 of Chuck Prophet’s Mission Express (James DePrato, Kevin T. White and Vicente Rodriguez), they delivered a set of many of her excellent tunes. Phillips is an indie artist well worth going out to see and hear.

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New American Farmers (formerly Mars, Arizona) took the energy up a bit as they brought their country flavored tunes to the stage. Joined by Dave Zirbel on pedal steel, Nigel Phillips on drums and Kevin T White on bass, Paul M Knowles and his partner in song, Nicole Storto doled out a healthy serving of rich harmonies as they featured many of the songs on their latest offering, The Farmacology Sessions. Solid songwriting, sharp as a tack vocals and an excellent band behind them made their set one of the most memorable of the night.

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All hell broke loose as Luce took the stage in the #3 slot. Known for having extended periods of time between live performances, on Friday, they played a tight, high energy set; the kind that constant touring can sometimes create. Tom Luce was in excellent form vocally and appeared (pardon the pun)….loose and comfortable. Relaxed and ready to deliver. The band too, felt like they were wound up like a coil and as soon as the set started, one could sense the release of that coil. The crowd responded in kind as a party atmosphere quickly took over. It must be pointed out that Dylan Brock on guitar is not only one of the most enjoyable players to watch, but he’s also a player with remarkable technique and instincts; all on full display on Friday night.

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Closing out the evening, once again, James DePrato returned as he joined Elliot Randall and Heather Combs with a newly formed band, The Ponies. It’s unfortunate the crowd thinned out after Luce’s set because there was much more to enjoy from the Ponies as they delivered a compelling performance. A set that was punctuated with multiple high points from DePrato’s guitar, they served to drive home the engaging songs from this band. With a solid early start, this band shows a lot of potential and hopefully we’ll be seeing more from them in the future.

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PHOTOS: NO, Yann Tiersen at The Regency Ballroom 6/17

June 20, 2014 by Leave a Comment
NO performing at The Regency Ballroom

NO performing at The Regency Ballroom

By Tom Dellinger //

Yann Tiersen with NO //
The Regency Ballroom – San Francisco
June 17th, 2014 //

Featured earlier this year at Noise Pop, NO returned to San Francisco on Tuesday night as they opened for Yann Tiersen at The Regency Ballroom. Playing to a near capacity crowd, the band focused on their most recent release, El Prado. Large, expansive sound is typical of their style as they comfortably rolled through their set and no doubt picked up many new fans along the way.

Breton multi-instrumentalist Tiersen served up a sonic journey that covered a broad range. A long history of film scores behind him, he’s possibly best known here for his soundtrack on the film, Amélie. Supporting his most recent release, Infinity, it was a night of rich, multi-layered soundscapes.

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The surreal world of Nels Cline on display at The Chapel

May 12, 2014 by 1 Comment

Nels-Cline-SingersBy Tom Dellinger //

Nels Cline Singers //
The Chapel — San Francisco
May 9th, 2014 //

This past Friday, a packed house of fans spent a few hours in the unique sonic world of guitarist, Nels Cline, for his appearance at The Chapel. Cline has a lengthy discography and is perhaps best known for his work with Wilco, which he joined in 2004, though he also performs with his other bands, the Nels Cline Trio and the Nels Cline Singers. He’s been selected as one of the top 100 guitar players of all time by both Spin and Rolling Stone magazines and it’s not likely that anyone in attendance at this show would take issue with that. Appearing with Nels were drummer Scott Amandola, bassist Trevor Dunn and percussionist, Cyro Baptista, who has been referred to as “the mad scientist of Brazilian percussion.”

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To enter the unique world of Nels Cline is to enter a musical sphere where virtually everything is possible. It’s a dynamic realm filled with flights of seemingly non musical soundscapes blended with great rhythmic colors and textures provided by his rhythm section. Nels is remarkably resourceful in his approach to guitar and is open to all manner of exploration. He makes use of an extensive array of electronic devices that he uses as tools to color his work and coupled with his physical techniques on the guitar, he takes the listener on an exhilarating ride where nothing is predictable. In addition to brilliant guitar playing in the traditional sense, he also employs the use of tools such as chopsticks, a spring, and a small self contained mic/speaker he uses to vocalize right into the pickup of the guitar.

Nels-Cline-Singers2

His compositions are all about movement. Often, they are soundscapes of squelches, clicks, feedback, looping dense drones, jarring passages on guitar and anything else one could pull out of the “kitchen sink” that somehow find a rhythmic context when combined with the work from Scott, Cyro and Trevor. Throughout the evening, one could find themselves in a comfortable, more traditional section of a composition, and in an instant, be launched into an aural world filled with sonic flights of fancy as surreal as any dream. It was a night of moving in and out of that dream-like world, only to reluctantly wake up at its conclusion.

True innovators in the world of guitarists are few and far between and Nels is most certainly in that realm. It is his restless, artistic curiosity and creativity that places him there and we were very fortunate to have had the opportunity to experience his music in such a fine intimate setting.

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Nels-Cline-Singers8

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PHOTOS: Danny Click & the Hell Yeahs at The Lobero Theatre 5/3

May 7, 2014 by Leave a Comment

danny_postBy Tom Dellinger //

Danny Click & the Hell Yeahs //
The Lobero Theatre – Santa Barbara, CA
May 3rd, 2014 //

There are places in this world that hold a universal appeal. One such place is the beach community of Santa Barbara, which hosted one of the Bay Area’s top independent artists in Danny Click & the Hell Yeahs at the beautiful Lobero Theatre this past Saturday.

A resident of San Rafael, Click has been steadily developing his art and craft as well as cultivating an ever increasing and loyal fan base, particularly in the hamlets of Marin County and the North Bay in general. Along with a stellar band, he has quickly gained recognition and popularity as they began playing regularly at The Sleeping Lady Cafe in Fairfax, which he considers the place where things began to take off for him and the band.

Now all of his shows sell out there. The past couple of years have seen him appear regularly at the intimate 142 Throckmorton Theatre in Mill Valley (where he recorded his most recent live recording), the iconic Rancho Nicasio and many other venues throughout the North Bay. Last year saw them play to much larger audiences as they made an appearance at the Waterfront Blues Festival in Portland, Ore., and as the Mount Tam Jam opener at the Mt Tam amphitheater where they were the first to play that stage in more than 40 years.

Recently, he has been making appearances at Terrapin Crossroads in San Rafael where he can often be seen sitting in, including an invitation to join Phil Lesh for a show in the Grate Room. We can expect to see more of this in the future.

Often, Click divides his show into two parts: acoustic and electric, which he did at the Lobero. It’s in the acoustic portion where you’ll hear that deep personal reach he often lays claim to in his writing, and each song was served up like a fine jewel to be held, gazed into and deeply enjoyed. With Click on vocals and acoustic guitar, Adrienne Biggs Tennant on violin, Don Bassey on vocals and bass, and Mike Emerson on keyboards, they rolled through the Click catalog and delivered a cover or two in a beautifully nuanced set with exceptionally fine harmonies provided by Bassey.

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There’s a common dynamic when Click and the band play for new audiences. There’s almost an instant connection between listener and player. Whether he’s playing electric or acoustic, newbies quickly recognize his talents both as a singer and communicator, and once he rips on guitar, it’s all over. And on Saturday, they played a brilliant first set and followed with one of their all-too-common knockout punches in the electric portion of the show. With the aforementioned lineup along with the addition of Ernest “Boom” Carter on drums, they shared with the audience what we’ve been enjoying here in the North Bay for some time.

Everyone in the band contributes mightily to the performance and enjoy standout moments. Emerson, who is a highly sought-after musician and plays with many other artists, always has solos that propel a song in a big way. Highly expressive and classic, big soulful tone are the standard for him.

Carter, who was the drummer on Bruce Springsteen’s Born to Run, also adds mightily to this band with jaw-dropping timing, phrasing and tone — a master at the peak of his game. Tennant’s violin also has big moments as she propels and takes songs to new heights.

Appearing as guests for the evening were songwriter and singer Jude Johnstone (whose songs have been recorded by Bonnie Raitt, Emmy Lou Harris, Trisha Yearwood, Stevie Nicks and many more) and singer-songwriter Timothy Paruszkiewicz, who wrote the song “Baptize Me Over Elvis Presley’s Grave”, which Click recorded last year and subsequently enjoyed an impressive run on CMT.

Click & the Hell Yeahs were invited to perform at the Lobero as part of a series called “Sings Like Hell – The Greatest Music You’ve Never Heard“. This is an excellent program, filling a much-needed niche. In addition to being a gorgeous venue, the Lobero also had flawless sound for both sets. Credit must be given to the sound crew as it was obvious they knew that house and their rig. Shows that sound this good can be few and far between.

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PHOTOS: The Soft White Sixties at Slim’s 4/25

April 28, 2014 by Leave a Comment

The-Soft-White-Sixties_post

By Tom Dellinger //

The Soft White Sixties with Chicano Batman, A Million Billion Dying Suns //
Slim’s — San Francisco
April 25th, 2014 //

One of the most talked about San Francisco bands, The Soft White Sixties, returned for an engagement at Slim’s this past Friday night. The band has been touring steadily since their last appearance at The Chapel in February which included a successful run at SXSW. With the winds of mounting critical acclaim at their back, they sailed into town and demonstrated once again why critics continue to claim, “this is a band to watch.”

Anticipation was in the air on Friday as the two openers, the eclectic Chicano Batman and A Million Billion Dying Suns got things rolling. It was a late night and by the time TSWS hit, the room was packed and ready for the hometown band to strut their stuff, which is exactly what they did. A heavy touring schedule has been kind to the Sixties. They were both fresh and crisp the instant they took the stage. In addition to his vocal abilities, lead singer Octavio Genera is one of the most energetic and charismatic performers around and on Friday, he once again put it all on the line as he worked that stage; delivering a performance as if there would be no tomorrow.

Everyone in the band seemed to have that extra punch in them as they drove through the set with an intensity that was palpable. Joey Bustos on drums was particularly sharp and driving hard as the band responded. At the end of the night one could see those sparkling eyes and smiles on the faces of the fans as they knew they had just experienced something special.

Next month will find the band at BottleRock in Napa. Just as one of the most talked about bands at last year’s event was Vintage Trouble, one can reasonably expect that to be the case for The Soft White Sixties. Much like Vintage Trouble, and their vocalist, Ty Taylor in particular, you simply can’t build a stage too big for Octavio and TSWS. Expect them to explode.

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PHOTOS: Cyril Neville at The Mystic Theatre 4/20

April 24, 2014 by Leave a Comment

Cyril-Neville_post

By Tom Dellinger //

Cyril Neville //
The Mystic Theatre — Petaluma, CA
April 20th, 2014 //

As Jazz Fest approaches in New Orleans, we were fortunate to catch Cyril Neville at The Mystic Theatre in Petaluma this week. Though he can most often be seen with the band, Royal Southern Brotherhood, all the members are currently on small tours of their own as the band is on a break. For his northern California dates, Cyril has put together a band that delivers jaw dropping moments and were a perfect fit for him.

As expected, there were a few classic tunes unique to the New Orleans catalog, but they also went well beyond that; including rock, soul and funk. It was a well paced show and Cyril was in top form, connecting with the audience as he took them on a rich musical journey and experience which resulted in a pair of encores. Joining Cyril was New Orleans-based Cranston Clements on guitar with a Bay Area rhythm section, Darryl Anders on bass and Aaron Green on drums. The contributions of each of these players were noticeable throughout the night. Cranston showed his impeccable command of guitar each and every time he took a solo. The kind that drew loud vocal approval from the audience many times over. The same was true for the rhythm section. Tight, driving and complex, their passion was evident throughout and no doubt, provided an inspired background for Cyril to work his magic.

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Swing gets a makeover from Caravan Palace

April 14, 2014 by Leave a Comment

caravan_palace_1By Tom Dellinger //

Caravan Palace with Rosin Coven //
The Regency Ballroom – San Francisco
April 12th, 2014 //

One of the more enjoyable aspects of living in or near major U.S. cities is that we often have the opportunity to see touring musicians from all over the world. And the latest example was this past Saturday as one of Paris’ finest acts made a stop at The Regency Ballroom.

Currently touring the states, Caravan Palace arrived here following the first of two appearances at Coachella this month and will continue with more dates on the West Coast.

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Playing to an enthusiastic sold-out house, the French outfit lit up the room with a non-stop bombardment of its unique take on an older genre: gypsy jazz/swing. While instantly recognizable as the venerable genre made popular in the 30’s by the likes of Django Reinhardt and his musical partner Stéphane Grappelli, the group has brought it up to speed in the new century. The blending of multiple genres is nothing new and has been done with varying degrees of success over the years, but Caravan Palace have hit on something more potent than most endeavors of this sort.

Dubbing this genre “electro swing,” the instrumentation remains close to the traditional: guitar, violin, clarinet, bass and keyboards. Nevertheless, they also employ the heavy use of synthesizers, beats and electronic drums, all of which are used to incorporate elements of electronica and hip-hop. All the players, along with their instruments, were using some sort of computer/machine.

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What is particularly striking about this is how well the marriage works. In Caravan Palace’s hands, it is overwhelmingly infectious and fun. They had the crowd pumped — from beginning to end, the fans were in it 100%. In speaking with some during the evening, it became evident they do have a fan base in the Bay Area and many, like myself, knew right away after seeing some of their live performances on YouTube that this was going to be a great performance. In spite of difficulties with the audio mix she was receiving, vocalist Colotis Zoé still delivered an engaging performance as the fans showered her and the band with appreciation. In the end, it was a love fest that resulted in two encores.

Opening the show was SF=based theatrical music ensemble Rosin Coven, who describe themselves as “the world’s premiere pagan lounge ensemble” and are often associated with the dark cabaret genre. They were a nice fit for the evening, offering up their unique look and repertoire before the main event.

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The Sounds: Sounding good at The Regency

March 26, 2014 by Leave a Comment

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By Tom Dellinger //

The Sounds with Blondfire, Strange Talk //
The Regency Ballroom — San Francisco
Friday March 21, 2014 //

Swedish indie rockers The Sounds made a stop in San Francisco as they continued an extensive US tour in support of their latest studio offering, Weekend. Hugely popular at home in Sweden and across Europe, they enjoy a well earned reputation as an excellent live band. Over the past fifteen years this band has been together, they have also made a number of excursions to the US where they’ve opened for several well known acts (No Doubt, The Strokes, Panic at the Disco, Vans Warped Tour), a 2004 appearance at Coachella and a headlining tour of their own last fall which included a stop at The Fillmore. On Friday night, they brought it to The Regency Ballroom where they delivered a show that showcased their signature pumping pop rock dance numbers, and more.

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With a superb, tight band behind her, vocalist Maja Ivarsson took the stage and opened up in classic fashion akin to a rock goddess. Stunningly attired in short leather jacket, shorts and heels, all eyes and ears were immediately focused on her. She appeared fit and quickly attacked the performance with an intensity that she sustained throughout the evening. Ivarsson has an impressive voice and coupled with her engaging personality, she had the crowd with her from the very start. She comes on confident, with a swagger, working up and down the stage. Leaning over to get closer contact with the audience, she keeps the energy and engagement high.

Musically, The Sounds are a mix of many styles and references, but copies of none. You can hear the influences of new wave, punk, synth pop, classic rock and more. They are all that and much more. A listen to their catalog reveals a band in motion; moving forward with an evolving sound and style, both musically and lyrically. Sadly, it appears they remain a bit under the radar in our area as attendance was on the low side. However, those that were there knew this band and had a good idea of what they were going to see. This band has the material and the ability to turn a show into something remarkable, and for those of us who were there, we were richly rewarded.

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Sam Roberts Band bring their best to The Chapel

March 21, 2014 by 1 Comment

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By Tom Dellinger //

Sam Roberts Band with Kris Orlowski //
The Chapel — San Francisco
March 19, 2014 //

One of Canada’s best and most highly regarded artists rolled through town this week. Hailing from Montreal, The Sam Roberts Band played to a respectable turnout at The Chapel on Wednesday night. However, it must be said that if he were more widely known in the Bay Area as he is at home, it would have almost impossible to get a ticket.

Though the band has played at several of the larger festivals on the east coast and enjoyed a successful week at SXSW, they are still relatively unknown in and around SF. That should change, because this week’s performance had everything one could ask for, and this band truly deserves a strong turnout. In addition to covering much of their new record, Lo-Fantasy, they also hit highlights from years past, such as fan favorite, “Where Have All the Good People Gone”.

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With their first release Sam Roberts Band in 2003, the group has developed a strong following at home where their style and sound has been well received. Sam and the band have the ability to shapeshift in many musical directions, which became abundantly clear as the night progressed. Musically, they can go from an 80s style sweeping synth to classic hard-edged rock, to thumping dance beats, to sweet trebly guitar riffs reminiscent of African High Life.

Vocals are strong too — the band provides excellent back up and Sam’s voice, in particular, has an astonishingly broad range. He possesses what could be considered a great rock and roll voice. Wednesday night’s performance was a rich, flawless performance that had the fortunate souls who found their way to The Chapel smiling and dancing the night away. Hopefully they’ll find their way back again soon.

Opening for Sam’s band was Seattle based Kris Orlowski, who was backed by his band, Chris Garcia (drums), Jonathan Warman, (bass), Torry Anderson (keyboards) and Mark Isakson (guitar). It was a strong enjoyable set of originals from this band.

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Noise Pop explodes with The Soft White Sixties at The Chapel

March 3, 2014 by 2 Comments

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By Tom Dellinger //

NOISE POP 2014
The Soft White Sixties, NO (LA), The SHE’S, Cannons and Clouds //
The Chapel — San Francisco
February 28, 2014 //

Noise Pop was in full swing Friday night at several venues throughout San Francisco and at The Chapel, on Valencia, the venue was serving up a deep sampling of four bands, featuring local sensations The Soft White Sixties as the headliner.

From the start, the music was strong as things kicked off with Cannons and Clouds, who were followed by the gentler style of The SHE’S. Things again picked up as the LA based band NO took the stage and delivered an excellent, polished set which was then followed by the much anticipated performance from The Soft White Sixties, who exploded onto the stage and gave a flawless, high energy performance to a loud and appreciative sold out house.

NO

There were some sound problems early in the night, but the audio continued to improve as the evening went on and by the time NO hit, it was sounding on point. Good thing too, because this band offers some sensational songs with dense instrumentation. They have a very engaging stage presence as lead singer, Bradley Hanan Carter, intensely works the stage and sings with passion. Backed with a large, multi-layered sound from the band and rich backing vocals, it quickly became evident that this is a band with depth, leaving an intrinsic desire to see and hear them again when they return to SF. They proved to be an excellent lead-in to headliner, The Soft White Sixties.

TSWS_2

As TSWS was about to hit, the house became noticeably packed, and the crowd hummed excited with anticipation. Before it started, this evening had the feeling it was going to be one of those more memorable performances. With a SXSW run on the very-near-horizon, this band has serious potential to explode on the music scene, and that feeling was confirmed as soon as they hit their opening note.

Dressed well for the occasion, the band was on fire from the start. Lead vocalist, Octavio Genera was instantly wooing the crowd as he effortlessly danced and sang up and down the length of the stage with explosive dance moves. He has a voice that is both smooth and soulful with an edge of grit and growl. These are vocals that are well suited to their songs, which are reminiscent of some of the best rock and soul from the past.

This band excels at hard-driving rock, which they delivered in a big way many times throughout the night with well-placed lighter songs to bring things back to earth once in a while. In essence, The Soft White Sixties curate a well-paced show. After their set of about an hour and a half, it was confirmed that this was one of those performances that will be well remembered. Surely, TSWS are destined to launch onto larger stages and broader success as a band. Ready and poised, all the ingredients are there.

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