Editor’s Picks – Showbams

Fauxchella 2016: Coachella FOMO no mo’ in the Bay

April 27, 2016 by Molly Kish Leave a Comment

M83 at Fox Theater Oakland // Photo by Pedro Paredes

Photos by Steve Carlson, Norm de Veyra, Marc Fong, Pedro Paredes, Mike Rosati & Lisette Worster // Written by Molly Kish //

Fauxchella //
Various Bay Area venues – San Francisco & Oakland
April 13th-April 22nd, 2016 //

Paving the way for large-scale festivals all across North America, Coachella has served as an archetype in live music production since its conception 17 years ago. Throughout its storied history, Coachella’s stages have been graced with a roster of unparalleled talent. Year after year, the festival’s lineup has featured iconic performances from both artists on the verge of breaking into the mainstream and industry legends taking victory laps.

Located in the heart of Southern California’s Inland Empire, the three-day music festival now hosts back-to-back weekends at the Empire Polo Club with one of the most competitive artist lineups you’ll find anywhere. While Coachella’s location remains ideal for music fans based in California and many surrounding states, it can be a daunting task to make the trek to Indio for those living in other parts of the country. This reality has subsequently broke ground for offshoot shows up and down the West Coast, including the Bay Area and Pacific Northwest.

James Bay at Fox Theater Oakland // Photo by Steve Carlson

In reference to this, the Bay Area music scene has dubbed the calendar dates leading into and out of Coachella’s consecutive weekends as its own unofficial festival, colloquially referred to as “Fauxchella.” Featuring headlining performances from Coachella artists in and around Northern California, the roughly two-week stretch serves as a strong preview for the upcoming summer concert season with many of the top names in the business getting to test out their live show in preparation for the desert or fine-tune their skills in between each weekend of the festival. For many music fans, Fauxchella remains the most optimal time to catch these high-profile artists performing at their best inside many of the Bay Area’s most beautiful and intimate venues.

Showbams took full advantage of this year’s Fauxchella festivities as we caught a number of performances throughout the Bay Area. Take a peek at our massive collection of photos, and let us know which shows were your favorite in the comments section below.

Miike Snow at The Independent - 04.14.16

KANEHOLLER at The Independent - 04.14.16

Eyes on the Shore at The Independent - 04.15.16

Underworld at Fox Theater Oakland - 04.16.16

CHVRCHES at Fox Theater Oakland - 04.19.16

James Bay at Fox Theater Oakland - 04.22.16

Filed Under: Editor's Picks, Featured, Photos Tagged With: CHRVCHES, Coachella, Coachella 2016, Coachella Music and Arts Festival, Coachella Music and Arts Festival 2016, Coachella Valley Music & Arts Festival, Coachella Valley Music & Arts Festival 2016, Coachella Valley Music and Arts Festival, Coachella Valley Music and Arts Festival 2016, DMA's, Eyes on the Shore, Fauxchella, Fauxchella 2016, Jack Ü, James Bay, KANEHOLLER, Lapsley, M83, Miike Snow, Morly, Savages, St. Germain, The 1975, The Trims, Underworld, Wolf Alice, YACHT, Young Fathers

Our 10 favorite moments from Coachella 2016

April 25, 2016 by The Bam Team 4 Comments

Photos courtesy of Coachella // Written by Josh Herwitt & Brett Ruffenach //

Coachella Valley Music and Arts Festival //
Empire Polo Club – Indio, CA
April 15th-17th, 2016 //

Say what you will about Coachella. The famed music festival has become known for creating a culture that hinges on celebrity sightings, shirtless bros, H&M outfits, pool parties, drugs and a shitload of millenials obsessed with their Instagram feeds.

But for music lovers like ourselves, there is no bigger stage in the entire music industry than the ones Goldenvoice set up across the Empire Polo Club each April, with 2016 marking the 17th edition of the longest-standing and highest-grossing music festival in the country. The latter of those two accomplishments has produced plenty of haters in recent years, but it’s impractical to deny the magnitude and scope of Coachella as it has morphed from modest, two-day music festival into three-day, two-weekend megafest.

What makes Coachella so unique are the trends it sets, whether it’s through music, fashion or culture. There is no music festival out there with the same pedigree for reuniting broken-up bands or welcoming special guest stars quite like Coachella has built over the last five years — and 2016 was no different. Between LCD Soundsystem and Guns N’ Roses, two of the biggest reunions in music served as headlining material while the fest once again made headlines with a laundry list of surprise appearances that included Rihanna, Kanye, T.I., Seal, Lorde, Kesha and even Kristin Wiig.

We hit the polo fields in Indio for the first weekend of Coachella, and while it was physically impossible for us to catch all 180 acts in roughly 40 hours of festival time, we still witnessed plenty of great music. So, without further ado, we present our 10 highlights from Coachella after surviving three days in the desert. -JH

Despacio

Despacio is more of a side project than a particular artist. Consisting of a 50,000-watt sound system created by LCD Soundsystem frontman James Murphy in partnership with McIntosh Laboratory, Coachella was fortunate enough to be the only North American festival hosting this makeshift “club” all three days. With brothers David and Stephen Dewaele of 2manydjs spinning their personal vinyl collection for six hours a day next to Murphy, Despacio served as the perfect intro music as I arrived at the Empire Polo Club each day. The trio of DJs kept things pretty eclectic, playing very few tracks the crowd would actually recognize besides Sister Nancy’s “Bam Bam” or Warren Zevon’s “Nighttime in the Switching Yard”. I got the opportunity to experience Despacio at Sónar in Barcelona a couple years ago, and seeing it again only made me wish that it could be featured at every music festival. With the three DJs manning the decks in a dark corner of the club, Despacio tries to turn the crowd away from the stage and toward each other — something every festival could use a little more of. -BR

Miike Snow

Sunday’s roster at Coachella last year was significantly weaker in comparison to Friday’s and Saturday’s. This year was much of the same, though Calvin Harris somehow proved to be an even worse headliner than Drake (we didn’t know that was possible). But one of the bright spots on Day 3 was no doubt Miike Snow’s 9:45 p.m. slot in the Mojave Tent, the same place where I discovered the Swedish trio back in 2010 during my first Coachella. Andrew Wyatt, Christian Karlsson and Pontus Winnberg have come a long way since then, and with three studio albums in their catalog, including their latest effort iii, they have more than enough material to fill out a 50-minute set and leave you wanting to hear more. -JH

Run the Jewels

I’m not sure if there’s a group of rappers more infectious than Run the Jewels at the moment. Between their poignant songwriting, booming instrumentals and cultural relevance, the duo featuring El-P and Killer Mike has ascended into the top tier of hip-hop acts. Introduced via video by 2016 U.S. presidential candidate Bernie Sanders (a political ally and friend of Killer Mike’s), the two emcees opened with a new track from their highly anticipated third LP RTJ3. They managed to keep the crowd’s energy up throughout their Saturday afternoon set despite the heat, bringing onstage an impressive list of guests, from DJ Shadow to Boots to even Nas, the latter of which joined them for a short performance of his classic track “Made You Look”. Over the course of three days, I’m not sure I saw a crowd more excited to hear new material by an artist than what I witnessed at Run the Jewels. Killer Mike and El-P are unstoppable. -BR

St. Germain

For as “mainstream” as Coachella has become in recent years, it has made a point of staging some rare live performances by different alt-electronic artists from overseas. Back in 2014, we caught British musician/producer Bonobo for a full-band set in the Mojave Tent, and last year Norwegian DJ/record producer Todd Terje ignited a disco-infused dance party in the Gobi Tent with his backing band The Olsens. So, when St. Germain was billed for this year’s festival, I knew Ludovic Navarre’s gypsy jazz/downtempo house project was a must-see act on Day 1. Not only did St. Germain’s self-titled LP in October mark a 15-year drought between albums, but it had also been nearly as long since Navarre performed at Coachella. While his cast of sidekicks wasn’t quite as large as the 20-piece big band he brought in 2001, he did assemble a group of musicians from Mali, Senegal and Brazil that hypnotized the crowd with a variety of world-music grooves that played as well live as it would over the speaker system at a French-Moroccan cafe. -JH

Vince Staples

As an emerging force in the world of hip-hop, Vince Staples took the stage at the Sahara Tent on Day 2 and put on a set that met the hype surrounding his 2015 critically acclaimed album Summertime ’06. Though the primarily EDM-focused Sahara Tent seemed like a strange fit for the Odd Future associate, Staples covered the protruding wall of LED cubes with relative ease as the crowd hung on his every word. The Long Beach-based rapper’s banter between songs, along with his range and ability to deliver heartfelt tracks like “Summertime” and bangers like “Norf Norf”, proved that he is a human torch that shouldn’t burn out anytime soon. -BR

The Arcs

Dan Auerbach is no stranger to Coachella. The seven-time Grammy winner headlined the fest in 2012 with The Black Keys, just a year after the band assumed the sub-headliner role behind Kings of Leon. But after a four-year absence in Indio, Auerbach was back with his latest side project The Arcs months after releasing the group’s debut album Yours, Dreamily,. While it’s easy to confuse blues-y singles like “Stay in My Corner”, “Outta My Mind” and “Put a Flower in Your Pocket” — all of which were performed by Auerbach and his bandmates during their set — for some of The Keys’ own material, what made this performance extra special were the guest stars who took the stage. If you thought Auerbach could shred on his own, adding Joe Walsh and his mentor Glenn Schwartz only made our ears tingle even more, especially when you consider what Schwartz is still capable of doing at the age of 78. -JH

Sia

From the very beginning, Sia set herself apart from every other artist who took the Coachella Stage this year. With the Australian artist standing in the back of the stage, her set was more performance art than it was pop music. While her face was hidden thanks to her trademark wig, Sia’s voice stood front and center as she belted out every note to hits like “Diamonds”, “Bird Set Free” and “Titanium”. Throughout it all, different dancers and actors would come on stage, abstractly embodying the themes her songwriting often conveys: fear, anticipation, stress, anger, joy, love and most of all, doubt. As Kristen Wiig and Paul Dano contributed to the overall performance, the height of Sia’s conceptual masterpiece reached its peak with a breathtaking rendition of “Breathe Me”, bringing some of the audience to tears. It was the true headliner of Sunday night and among the top performances of the entire weekend. -BR

Silversun Pickups

Ever since these LA alt-rockers burst onto the scene in the mid-2000’s with radio hits like “Future Foe Scenarios”, “Well Thought Out Twinkles”, and “Lazy Eye”, Silversun Pickups have been high on my list of bands to see live. But for whatever reason (most of it likely my doing), the opportunity hadn’t presented itself until Coachella revealed its lineup in early January. Pitted against Ice Cube in what proved to be my biggest scheduling conflict of the weekend, SSPU didn’t make me question my decision the minute they stepped onstage and tore into “Nightlight”, the first single from their fourth and most recent studio album Better Nature. At a time when special guest appearances have become the trend at Coachella, it was refreshing to see a band not feel the need to go down the same path as everyone else. Instead, Brian Aubert, Nikki Monninger, Chris Guanlao and Joe Lester looked comfortable just being themselves, even if their nine-song set felt like it was over in the blink of an (lazy) eye. -JH

LCD Soundsystem

Over the last couple of years, it’s hard to think of a band I have wanted to see more than LCD Soundsystem. Deeply tied to my formative years in college, the Brooklyn outfit’s return after a five-year hiatus was nothing short of stunning. Opening with the undeniably groovy “Us vs. Them” and covering a good chunk of their catalog over almost two hours, LCD certainly met the expectations of an eager crowd. James Murphy kept the banter between songs fairly short, and these indie heavyweights demonstrated a true dedication to their craft, starting fast with songs like “Movements” and “Yeah” before moving to more deep, tightly wound rhythms on “Someone Great” and “Home”. Though “Losing My Edge” was written more than 10 years ago, Murphy’s part-improvised, part-proclamation, part-perfectly-delivered rendition of the track seemed to really capture the attention of more casual LCD fans. Nearing the end of its set, the band covered “Heroes” by late collaborator David Bowie. I have seen many concerts as well as attended many festivals in my life, but this was truly among the most beautiful moments in live music I have ever experienced. Wrapping up their headlining performance with “All My Friends”, LCD Soundsystem proved to be among the top artists to ever grace the festival’s main stage. -BR

Guns N’ Roses

There may have been no more talked-about act in Coachella’s 17-year history than Saturday’s headliner — and for good reason. Going back to 1993, it had been 23 years since Axl Rose and Slash last performed on the same stage together, and though some of that allure had worn off by the time they reached Indio thanks to a surprise show in LA and back-to-back nights in Las Vegas in prior weeks, Guns N’ Roses were still the talk of the town leading up to Coachella. In fact, all you had to do was look around on Saturday and see just how many GNR T-shirts were traversing the polo fields before their 10:30 p.m. set. When it came time to deliver, the original trio of Axl, Slash and bassist Duff McKagan most certainly did, while rhythm guitarist Richard Fortus and drummer Frank Ferrer proved to be more than suitable fill-ins for Izzy Stradlin and Steven Adler/Matt Sorum. Meanwhile, the surprise appearance by Angus Young couldn’t have come at a much better time after the announcement was made minutes before GNR’s set that Rose will be filling in for Brian Johnson on AC/DC’s remaining tour dates this year. GNR have always been one of my biggest bucket-list bands, and even if a broken leg prevented Axl from strutting and slithering across the stage like he once did as a brash, slender 21-year-old rock star, seeing one of my favorite childhood bands perform for two and a half hours felt all too surreal as I left the Empire Polo Club that night. -JH

Filed Under: Editor's Picks, Featured, Festival Reviews, Festivals Tagged With: Coachella, Coachella 2016, Coachella Music and Arts Festival, Coachella Music and Arts Festival 2016, Coachella Valley Music & Arts Festival, Coachella Valley Music & Arts Festival 2016, Coachella Valley Music and Arts Festival, Coachella Valley Music and Arts Festival 2016, Despacio, Guns N' Roses, Kanye West, Kesha, Kristin Wiig, LCD Soundsystem, Lorde, Miike Snow, Nosaj Thing, Rihanna, Run The Jewels, Seal, Sia, Silversun Pickups, St. Germain, T.I., The Arcs, Vince Staples

RJD2 embodies the spirit of Philadelphia on his new album ‘Dame Fortune’

April 6, 2016 by Josh Herwitt 1 Comment

Photo by Nick Fancher // Written by Josh Herwitt //

When Ramble Jon Krohn, better known as “RJ” or the beat-making nerd/longtime cratedigger who calls himself RJD2, moved to Philadelphia more than a decade ago, the eclectic producer, DJ and singer-songwriter settled on the City of Brotherly Love for a few reasons.

One was its proximity to New York City, a place he frequently had to visit early in his career while being signed to indie hip-hop label Definitive Jux (“Def Jux”) that was co-founded by El-P, the Brooklyn rapper, producer and entrepreneur now of Run the Jewels fame. Another was its cost-effectiveness, where “real estate was criminally undervalued,” he says.

By this point in time, Krohn, who was born in Eugene, Ore., and grew up in Columbus, Ohio, had already garnered a considerable amount of critical acclaim from his debut LP Deadringer and his 2004 follow-up Since We Last Spoke. Layering soul and R&B samples on top of classic hip-hop beats, his early work bordered on trip-hop, falling in line with what other prominent instrumental hip-hop producers like DJ Shadow were fashioning in the late 90’s.

But what the brains behind the theme song for the hit TV series “Mad Men” hadn’t realized is that the cultural underbelly of Philadelphia’s music scene fit perfectly for the type of music he had already been making before moving there.

“It ended up being an ideal place,” he says over the phone from his home in Columbus, where he moved back to last year after spending the last 10-plus years in Philadelphia.

“Even outside of the music being made there, Philly is an extremely musical city amongst the general population,” the 39-year-old continues.

Krohn returned to Ohio permanently so that he and his wife can raise their son around the rest of their family, but he had made quite a few connections, both business and personal, while living in Philadelphia, helping him lay the foundation for his later albums, including 2010’s The Colossus in 2010 and 2013’s More Is Than Isn’t, that he released on his record label RJ’s Electrical Connections.

One of those friendships that Krohn forged during his time in southeastern Pennsylvania was with Aaron Livingston, the Philly-based vocalist whose contributions on both aforementioned albums would eventually lead to him and Krohn forming a separate side project that they call Icebird (the indie-funk duo unveiled their debut release The Abandoned Lullaby in 2011).

On his sixth RJD2 album Dame Fortune that came out less than two weeks ago, Krohn taps back into that well, as Livingston, who goes by the stage name Son Little, drops some silky-smooth vocals on “We Come Alive”, an R&B-flavored tune with a catchy “diamonds flashing all in my eyes” hook you could even find on one of Gary Clark Jr.’s two most recent albums.

It’s the third straight RJD2 record that Krohn has collaborated with Livingston on, and it’s no secret at this point that the two of them have developed quite a chemistry working together in the studio. But Krohn also enlists the help of some other reoccurring guests on Dame Fortune, including rapper/R&B singer Phonte Coleman and Columbus emcee Blueprint, who RJD2 fans might remember for the hard-hitting rhymes he spits on the Deadringer cut “Final Frontier”.

“So much of it is pursuing curiosity,” Krohn explains about his approach to songwriting, “and curiosity at its core is what you know and what you don’t know — what you have experienced and what you haven’t experienced. The threshold defines one’s curiosity.”

Yet, the track on Dame Fortune that might embody the spirit of Philadelphia better than any other is the album’s first single “Peace of What”, which features vocalist Jordan Brown, who sang on Krohn’s collaborative album with Atlanta-born/Philly-bred rapper STS last year.

“(Philly) has a very working-class, blue-collar spirit to it,” Krohn says. “It really does feel like a fleshed-out city that has a very sophisticated musical history. I feel lucky that I landed there and spent so much time there.”

Part of what makes Philadelphia’s music scene so unique, Krohn says, is that unlike New York and Los Angeles, where young, up-and-coming artists often flock to in hopes of fulfilling their dreams, it breeds mostly homegrown talent.

“Nobody really moves to Philly to make it in the music industry,” he adds bluntly. “That just doesn’t happen.”

Of course, neither did Krohn, who heads off to California this weekend to play back-to-back gigs Friday at Teragram Ballroom in LA and Saturday at The Independent in San Francisco. He’s making sure to do things a little bit differently this time around, whether it’s concocting and constructing this spinning, wireless MPC remote to play onstage or adding sidekicks like bassist Khari Mateen and drummer Chuck Palmer to create the full live-band experience for this tour. There’s even the possibility of a guest vocalist making an appearance at the shows.

Krohn, nevertheless, is quite familiar with Palmer and Mateen, the latter of which he met in Philadelphia while living there. Both are good friends of his and have helped elevate his live show into something more dynamic than his typical solo performances.

“It allows us to do songs and get completely off the grid,” he offers.

While he’s getting off the grid at his gigs, Krohn doesn’t have all that much time these days to get on the grid when it comes to touring. With his family in Columbus, Krohn has had to limit his tours to a select few cities despite knowing full well that he could be playing shows every night of the week. It’s something that Krohn simply says he doesn’t want to be doing with his life right now.

But in an industry ultimately driven more by ticket sales than album streams, taking the road less traveled can seem like a dangerous one, especially for musicians who gained prominence in the CD age like Krohn did. Still, he isn’t worried about making ends meet, telling me at one point that “you just make it work.”

Whether that means producing new music, running his label or devising remixes like the one he did of Tycho’s “Apogee” last year, Krohn’s dedication to his craft remains as blue collar as Philadelphia’s music scene stands today. It just doesn’t allow for a whole lot of time to sleep.

“I’m living proof that the work never stops until your head hits the pillow,” he says.

Filed Under: Editor's Picks, Featured, Interviews Tagged With: Aaron Livingston, Blueprint, Definitive Jux, DJ Shadow, El-P, Phonte Coleman, Ramble John Krohn, RJ’s Electrical Connections, RJD2, Son Little, Teragram Ballroom, The Independent

Back on the road, The Naked and Famous debut new songs at the Troubadour in the city they now call home

March 29, 2016 by Josh Herwitt Leave a Comment

By Josh Herwitt //

The Naked and Famous with The Rubens //
Troubadour – West Hollywood, CA
March 25th, 2016 //

Since forming in New Zealand nearly a decade ago, The Naked and Famous have called Los Angeles home for close to four years. In that time, the indie-electronic band has recorded its sophomore full-length album In Rolling Waves at Sunset Sound, the world-famous studio in Hollywood, and played on the main stage at Coachella. So, in many ways, the quintet led by Alisa Xayalith (vocals, keyboards) and Thom Powers (vocals, guitars) have already become well-acquainted with their Southern California surroundings.

But after touring extensively in 2014, The Naked and Famous took off much of last year to work on their forthcoming third LP. And while there’s been no scheduled release date for it yet, they have recently returned to the stage, performing in their homeland earlier this month.

Just days after their set at Auckland City Limits, the band was back stateside for a string of small club shows, three of which were in California. Starting their two-night, sold-out run in LA at the 600-person Teragram Ballroom last Wednesday, The Naked and Famous arrived at an even smaller venue less than 48 hours later, filling the historic Troubadour for a Friday night gig with Australian alt-rock outfit The Rubens.

The Rubens

Though the crowd proved to be rather small and reserved during The Rubens’ opening set, you could feel the energy inside the room starting to build as The Naked and Famous’ 9:30 p.m. stage time approached. With a buzz in the air, Xayalith, Powers, keyboardist Aaron Short, bassist David Beadle and drummer Jesse Wood walked out one by one and received a warm applause from their “hometown” fans before jumping into singles “A Stillness” and “Punching in a Dream”.

Yet, The Naked and Famous hadn’t set out on a seven-date mini tour across North America just to doll out a bunch of older hits. Instead, they made sure to also debut a couple of new offerings (one titled “Higher” and another named “Runners”), giving a sense of what’s to come on their next LP. While both songs didn’t deviate all that much from their previous material, it was clear that Xayalith’s beautiful voice still remains the band’s focal point.

To close out their hour-long performance, Xayalith and her sidekicks went back to 2010’s Passive Me, Aggressive You — the album that ultimately put them on the map — much like they had in SF and LA a few days prior. And although the one-two punch of “No Way” and “Young Blood” left us on a high as we parted ways for the evening, it was the band’s newest material that has us anxious to hear more in the coming months.

Setlist:
A Stillness
Punching in a Dream
Girls Like You
Rolling Waves
The Sun
All of This
Higher
I Kill Giants
What We Want
Frayed
Hearts Like Ours
Runners
No Way
Young Blood

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: The Naked and Famous, The Rubens, Troubadour

Noise Pop 2016: Relive the festival frame by frame

March 10, 2016 by Molly Kish Leave a Comment

Heartwatch

Photos by Mike Rosati & Benjamin Wallen // Written by Molly Kish //

Noise Pop //
Bay Area venues – San Francisco & Oakland
February 19th-28th, 2016 //

With the impending storm of summer festival traffic washing away the last remnants of Noise Pop, it’s time to look back at the best highlights from this year’s lineup. Serving up a bill that celebrates the diversity of contemporary independent culture, 2016’s roster was as eclectic as ever, ranging from pop stars to cowpunks (aka country punks), free-form jazz prodigies and indie-rock veterans. Bay Area venues were at capacity on a nightly basis, with crowds braving brisk weather conditions in order to experience the one-of-a-kind performances Noise Pop has spent nearly 25 years curating.

Navigating through more than 100 acts during this year’s festival, we dove right into the thick of it, capturing shots from some of our favorite Noise Pop shows. Check out our photo gallery below as well as more coverage from our friends over at DoTheBay.

Filed Under: Editor's Picks, Featured, Festivals, Photos Tagged With: Alexander Spits, American Football, Antwon, Bender's Bar & Grill, Birth Defects, Carly Rae Jepsen, Dirty Denim, DoTheBay, Growwler, Her Space Holiday, Joywave, Kamasi Washington, Kneedelus, Metric, Neto & So What, Noise Pop, Noise Pop 2016, Noise Pop Festival, One Line Drawing, Parquet Courts, Ringo Deathstarr, SFJAZZ Center, Swedish American Hall, The Chapel, The Masonic, The New Parish, The Regency Ballroom, The World, Unlikely Heroes

CRSSD kicks off festival season on the West Coast

March 7, 2016 by Josh Herwitt 1 Comment

Photos by Felicia Garcia, Skyler Greene, Glenn Silva & Gabe Tiano // Written by Josh Herwitt //

CRSSD Festival //
Waterfront Park – San Diego
March 5th-6th, 2016 //

This past weekend officially signaled the beginning of festival season as several major music festivals across the country hit the ground running, including both Okeechobee Music & Arts Festival and AURA Music Festival in Florida.

Out here on the West Coast, CRSSD Festival returned to San Diego’s picturesque Waterfront Park, serving as the perfect warm-up for Coachella with the renowned desert festival only six weeks away. CRSSD, which was started by Southern California promoters FNGRS CRSSD and Goldenvoice last March, originally presented itself as an indie-electronic music festival with Empire of the Sun and Chromeo leading the way as headliners (read our review here). But last October for its second edition, CRSSD turned its attention toward more rock-centric acts like The Flaming Lips and TV on the Radio for top billing while targeting a number of electropop bands, including St. Lucia, AlunaGeorge and Big Data, to also play over two days.

Boasting a more electronic-focused lineup this spring, CRSSD welcomed back Seattle duo ODESZA, who climbed to headliner status in leading a Saturday bill that featured sets from Cirez D (aka Eric Prydz), Gesaffelstein, John Hopkins, Ryan Hemsworth, Ben UFO, Poolside and Damian Lazarus. While 2016 marked the second straight year that Harrison Mills and Clayton Knight performed on the festival’s main stage, Sunday’s card saw two sets (DJ and live) from North London garage duo Gorgon City as well as the CRSSD debuts of Claude Von Stroke, Hi-Lo, Tycho and headliner Chet Faker. After returning to its indie-electronic roots for this latest installment, it will be interesting to see if CRSSD continues down the same path it’s on after two sold-out days or once again tries to bring more rock-based bands into the fold.

Filed Under: Editor's Picks, Featured, Festivals, Photos Tagged With: Adriatique, Ardalan, Ben UFO, Bondax, Cassian, Chet Faker, Cirez D, Claude VonStroke, Colour Vision, CRSSD, CRSSD 2016, CRSSD Festival, CRSSD Festival 2016, Eric Prydz, FNGRS CRSSD, Gesaffelstein, Gorgon City, Green Velvet, Gryffin, Hi-Lo, Hot Since 82, J. Phlip, Jamie Jones, Jeremy Orlander, Jon Hopkins, Julio Bashmore, Kidnap Kid, Lane 8, Lee Foss, Lee K, Loco Dice, Odesza, Poolside, REZZ, Ryan Hemsworth, Sacha Robotti, Sam Gellaitry, Skream, Skylar Spence, Tale of Us, Tiga, Tom Trago, Tycho, Walker & Royce, Watefront Park, Waterfront Park, WILL CLARKE

Beats Antique, Lettuce join forces at Club Nokia to bring electronica and funk together for one night

February 18, 2016 by Josh Herwitt 2 Comments

Beats Antique

By Josh Herwitt //

Beats Antique, Lettuce with Lafa Taylor //
Club Nokia – Los Angeles
February 12th, 2015 //

It’s not often that you see a modern funk band sharing the stage with an electronic music act on the same night, let alone a weekend night in LA.

For that reason, it was hard to deny when last Friday’s co-headline show featuring Lettuce and Beats Antique was first announced that it felt like somewhat of an odd pairing between two well-established groups that have made their mark in very different ways. While Lettuce have inevitably cultivated jam-band fans with their tie to funk/jazz trio Soulive (keyboardist Neal Evans and guitarist Eric Krasno are members of both groups), Beats Antique have built their own unique audience, one that frequents Burning Man, Lightning in a Bottle and other “transformational” events put on by The Do LaB.

Lettuce with Nigel Hall

But if there’s one constant running through both bands’ music, it’s their ability to make their fans move. Sure, funk might not be what’s trendy among mainstream music fans these days, but you’d be hard-pressed to find a group of musicians cooking up a better batch of funk than Lettuce. If anything, the No. 1 position on Billboard‘s U.S. Jazz Albums chart that their fourth studio album Crush earned firmly stamps the band’s place in today’s music scene. And even with Lettuce performing sans Krasno — to some fans’ dismay — on this night, the collective threw down one groove after another, as bassist Erick “Jesus” Coomes and drummer Adam Deitch laid the foundation for Adam Smirnoff’s guitar licks or the band’s three-piece horns section to take center stage. That, of course, was all before Nigel Hall stepped onstage and grabbed the mic for the group’s final songs, letting it all hang out during a cover of Earth, Wind & Fire’s “Gratitude” in memory of the late Maurice White, who passed away earlier this month at the age of 74.

When it came time for Beats Antique to join the party, the Oakland-based trio quickly made its presence known, as multi-instrumentalist David Satori, drummer Tommy “Sidecar” Cappel and belly dancer Zoe Jakes often do, with a performance that makes you feel like you’re at the circus or at the very least, a psychedelic-inspired carnival. Pair that with their own take on neo-gypsy electronica and tribal fusion dance, and you get the whole experience of a Beats Antique show. Jakes started off the set by riding a stationary bicycle high above the ground and eventually grabbed ahold of a bass drum for the group’s ensuing song, pounding away with both arms as if she were leading her own marching band onstage. Joined by frequent guest musician Sylvain Carton (baritone sax, clarinet), Beats Antique dove deep into their catalog, one that’s starting to near the 10-year mark believe it or not.

Beats Antique

The highlight of the night, though, was no doubt the encore, which saw Deitch and Lettuce’s horns section jump back onstage for a couple more tunes. It didn’t take long for the highly sought-after Deitch — the Berklee College of Music graduate who has also produced hip-hop tracks with 50 Cent, Redman, Talib Kweli and Xzibit and now splits his time between Lettuce, Pretty Lights and Break Science, the latter being the Brooklyn electro/hip-hop/soul duo he formed with keyboardist/producer Borahm Lee in 2009 (read one of our show reviews here) — and Cappel to capture some of the spotlight, as the two drummers battled it out on the skins while exchanging a few smiles and laughs along the way. As surprising as it was to see these two bands teaming up for the very first time, it was a special moment for the fans who stuck around until the early-morning hours, one that they will likely not forget.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Beats Antique, Break Science, Burning Man, Club Nokia, Earth, Lafa Taylor, Lettuce, Lightning in a Bottle, Nigel Hall, Pretty Lights, Soulive, The Do LaB, Wind & Fire

Dan Deacon vs. The Fillmore: Crowd thoughts from a sold-out show in SF

February 5, 2016 by Molly Kish Leave a Comment

Photos by James Nagel // Written by Molly Kish //

Dan Deacon //
The Fillmore – San Francisco
January 29th, 2016 //

The man, maestro and frenzy-inducing frontman Dan Deacon returned to the Bay Area last Friday to take over a sold-out Fillmore.

Following our coverage of Deacon’s ever-growing fan base over the past few years, we have documented several of his intense performances at both mid-size venues and large-scale music festivals. With the release of last year’s critically acclaimed Glass Riffer — escalating not only Deacon’s complexity as a musician, but also his reputation as a major player in the experimental and electronic music scenes — we had the opportunity to see him this time in one of the West Coast’s most historic theater’s, at capacity.

Regardless of space or context, a Dan Deacon show is unlike any other, currently selling out spaces of such magnitude. At the same time, the venues Deacon chooses to stage his unique, interactive performances plays a huge role in an audience’s translation of his music. So, who better to give us some perspective on Deacon’s latest SF show than the members of a sold-out audience? Check out our crowd responses and photo gallery below.

Did you go to the show? Leave your thoughts in the comments section, and the best answer will receive a pair of tickets to one of our next giveaways.

“It appeared to be a tougher task for DD to pull off his crowd antics in a bigger space than usual. The only engagement game that really worked was the high fives one. But a sold-out house was as enraptured as ever, bouncing and smiling along to the hyperactive, comedic bliss of a genius musical madman.” – Mike Frash, 33

“The show did not live up to my high expectations built on tales of invigorating and complete crowd participation. It seems The Fillmore was too large of a venue for those on the perimeter to see and engage with the activity of those folks centered under the disco ball. I got a taste of coordinated crowd movement when each side rushed through each other, palms up and open for high fives.” – Julie Mullen, 30

“As a first time ‘Dan Deaconer,’ I was pretty mesmerized by how the show was set up. Using the power of the crowd to unite one another was a fun and unique experience you don’t get from every show. I would say it was a blast.” – Trevor Laehy, 27

“Without fail, Dan provides magical and mind-bending experiences to captivate his audience and bring people together into one harmonious, bad-ass dance circle.” – Danielle Mansfield, 30

“Dan Deacon is epic. He has that rare ability to emotionally tie a crowd together: to one another, to the experience and to the music itself. He’s brilliantly creative and weird, and you can’t leave a show not feeling stoked to be weird, too!” – Roxanne Mansfield, 25

“Dan Deacon at The Fillmore was an electronica- and light-fueled dance frenzy where friends and strangers were free to get down and get weird.” – Amy Lightstone, 33

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Dan Deacon, Kaitlyn Aurelia Smith, The Fillmore

Ty Segall shows us how to rock — and rock hard

January 20, 2016 by Josh Herwitt 2 Comments

By Josh Herwitt //

Ty Segall & The Muggers //
Teragram Ballroom – Los Angeles
January 15th, 2016 //

If there’s one thing Ty Segall knows how to do well, it’s work — even if making loud, guitar-driven rock music might not seem like work to some.

At the young age of 28, the California native has already played in a handful of bands — most of which are comically named — like The Traditional Fools, Epsilons, Party Fowl, Sic Alps and The Perverts, and nowadays you can find him moonlighting between Broken Bat, GØGGS and most notably Fuzz, which released their sophomore LP this past fall.

Yet, it’s Segall’s prolific solo career that has earned him the most attention from critics and fans alike, one that will see him drop his eighth studio album Emotional Mugger in as many years this week, almost a decade after befriending John Dwyer of Thee Oh Sees and releasing his self-titled debut on Dwyer’s label Castle Face Records.

But if there’s another thing Segall knows how to do well, it’s rock — and not just rock, but rock hard (and that might be an understatement).

Playing the first of two sold-out nights in his hometown of Los Angeles, Segall and his band, appropriately named “The Muggers” for this current tour, shredded their way through track after track on his forthcoming album. The riffs were heavy, the sound was crunchy and the atmosphere was pure, unadulterated rock ‘n’ roll.

It’s also fair to say that Segall knows his fans and the way they respond to his music pretty damn well, because in retrospect, he couldn’t have picked a better venue for the occasion than the standing-room-only Teragram Ballroom. When Segall and his bandmates took the stage just after 11 p.m. on Friday night and ripped into the opening track “Squealer” from Emotional Mugger, the crowd, a mix of mostly hipsters in their 20’s and the occasional dad fan, lost its collective mind.

Segall, after all, has no problem with dads. In fact, he reminded us several times to go home after the show and make babies, either “with someone you love or with someone you don’t care about.” As strange and funny as that might sound, Segall’s absurd stage banter was all part of the show, particularly once you realize that he chose a creepy baby doll to grace the black-and-white cover of Emotional Mugger (to perpetuate the theme, Segall wore a baby-face mask at the beginning of the show). At one point in between songs, he even spat in his hand and walked off stage to give it to his girlfriend. How sweet of him, right?

But Segall is no doubt a showman himself, and you’d be hard-pressed to find someone who expends as much energy onstage as he does in merely 90 minutes. His passion simply rubs off on his fans, who wasted little time climbing onstage and taking the plunge into a sea of hands for a couple of minutes. Segall, of course, also got in on the action at one point, as his shows are often known to feature crowd surfing from both band and audience members, and he made sure to take the mic stand with him while he horizontally slithered across the room.

When it comes to Segall and his live show, there’s really no way to sugarcoat it — the guy is an animal, ready to rip, claw and bite (or just spit) his way through a performance. And in many ways, it’s refreshing to see a musician who has little to no filter when he takes the stage. Just like his music, which borders on garage rock and glam rock and intertwines psychedelic and punk elements into it, his shows are raw and full of emotion. So, if that was his plan, to mug us of our own emotions for at least a short while on this cold, winter night, well then mission accomplished, Ty.

Setlist:
Squealer
California Hills
Emotional Mugger/Leopard Priestess
Breakfast Eggs
Diversion
Baby Big Man (I Want a Mommy)
Mandy Cream
Candy Sam
Squealer Two
The Magazine
Thank God for Sinners
They Told Me Too
You’re the Doctor
The Crawler
Spiders
Manipulator
Feel

Encore:
Finger
The Feels
The Singer

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Broken Bat, FUZZ, GØGGS, Teragram Ballroom, Ty Segall, Ty Segall & The Muggers

With SnowBall canceled again, why does Colorado still not have a large-scale music festival?

January 15, 2016 by Josh Herwitt 1 Comment

Written by Josh Herwitt //

Ever since I started visiting Denver on an annual basis to attend concerts at the world-famous Red Rocks Park and Amphitheatre, it was easy to see just how important live music was to the state of Colorado. From rock to electronic to hip-hop, there has never been a shortage of shows in The Centennial State, which still boasts one of the best live music scenes in the country today.

Which brings me to yesterday, when a random thought came over me as to when SnowBall Music Festival would be releasing its 2016 lineup. The three-day fest, which I attended from 2011-2013, was forced to cancel its 2015 edition but assured fans that it would be returning in 2016 and specifically to the mountains, where it all started in Avon, Colo.

Yet, after taking a look at SnowBall’s Facebook page, I quickly noticed that no updates had been posted to it since January 2015, when the festival announced that it would not be taking place that same year. With almost a whole year of no news, it was strange to not see anything by now, so I decided to comment on SnowBall’s last Facebook post, asking when its 2016 lineup might be released.

Within 30 minutes of posting my comment, the festival released an official statement on their Facebook page, stating that SnowBall had been canceled for a second straight year and would not be returning to the mountains in 2016 after all. The news, of course, didn’t shock me, as I expected at this point it wouldn’t be happening considering that there were no updates on the festival’s social media channels for nearly a year.

But as I continue to think about the live music landscape in Colorado, it continues to surprise me that the state has yet to host its own large-scale music festival on a year-to-year basis. With comparable U.S. cities like Seattle, Austin, San Francisco and Las Vegas all holding their own unique music festivals, it’s hard to understand why Denver hasn’t jumped on board by now. Add in the fact that AEG Live, which produces the Coachella Valley Music & Arts Festival in conjunction with West Coast concert promoter Goldenvoice each April, is a subsidiary of the Denver-based Anschutz Corporation, and it’s even more perplexing when you stop and think about it.

That’s not to say that Colorado doesn’t have its fair share of music festivals already — Global Dance Festival, Sonic Bloom, ARISE Music Festival and the Telluride Bluegrass Festival are all still in circulation — but none of them feature an eclectic bill of artists that garners national attention like Sasquatch!, Austin City Limits, Outside Lands and Life Is Beautiful all do. Riot Fest, which returned to Denver for its third year last August, is the closest thing Colorado has to a large-scale music festival, except it also throws separate editions in Toronto and Chicago, where the multi-day punk fest was born. In fact, when SnowBall debuted in 2011 with Pretty Lights, Bassnectar and The Flaming Lips serving as its headliners, there was hope among the festival’s organizers and fans that it could eventually develop into something bigger. But with SnowBall’s future looking rather bleak now, it’s unclear whether a large-scale music festival will ever make its home where the columbines grow.

Filed Under: Editor's Picks, Featured, Festivals Tagged With: AEG Live, ARISE Music Festival, Austin City Limits, Bassnectar, Colorado, Global Dance Festival, Life Is Beautiful, Outside Lands, Outside Lands Music Festival, Pretty Lights, Riot Fest, Sasquatch!, Sasquatch! Music Festival, SnowBall, SnowBall Music Festival, Sonic Bloom, Telluride Bluegrass Festival, The Anschutz Corporation, The Flaming Lips

Bay Area music fans ring in 2016 at The Big One

January 8, 2016 by The Bam Team Leave a Comment

Photos by Josh Miller & Erin Milgram // Written by Molly Kish & Kevin Quandt //

The Big One //
Bill Graham Civic Auditorium – San Francisco
December 31st, 2015 //

2016 descended upon SF in epic fashion at Another Planet Entertainment’s New Year’s Eve celebration, aptly titled “The Big One”. With more than 17 musical acts, live art installations and three separate galleries of entertainment at Bill Graham Civic Auditorium, partygoers were showered by a psychedelic flurry of confetti and balloons during The Flaming Lips’ midnight countdown and continued partying into the early-morning hours.

We were on the scene to revel in what easily was the Bay Area’s wildest NYE 2015 party, and here are our favorite highlights from the night.

The Flaming Lips

When one considers bombastic artists to ring in a New Year or perform at any major party holiday, The Flaming Lips likely come to mind, as the Oklahoma City psych-rock band has created one of the most over-the-top displays in the music industry. This evening was no exception as frontman Wayne Coyne started the evening atop a structure that could be described as some warped, LED octopus. “The Gold Mountain in our Madness” opened the Lips’ set as the energy in the room quickly lifted from the mellow vibes of Tycho that came before. The mercury continued to rise as the midnight hour approached. A cover of the Miley Cyrus collaboration “Evil Is But a Shadow” was the first track to greet the attendees in 2016, and though some were bummed we didn’t get an appearance from Miley, the celebratory atmosphere was in full swing. -KQ

Ratatat

Ratatat kept feet moving with their unique amalgamation of dance rock, which left many to decide between head-banging and crushing dance moves. “Pricks of Brightness” and “Loud Pipes” were early highlights from this Brooklyn duo, who saw a tremendous return to form in 2015 with the release of Magnifique. Props should be given to Another Planet Entertainment and HUSHconcerts for slotting in this live duo over a big-name DJ. Moves like this make us hopeful for The Big One in the coming years. -KQ

Tycho

The late cancellation from XXYYXX left some attendees in Larkin Hall a tad disappointed, but an extended set from Scott Hansen, popularly known as Tycho, kept revelers in the mood for continued dance-floor high jinks. As this DJ set stretched into its second hour, Hanson shifted to a style more akin to the beat-bass stylings of the original slated artist. This move may have even thrown some for a loop, as they could have easily assumed it was XXYYXX at the helm. -KQ

Shigeto

Ghostly International recording artist Shigeto (born Zachary Shigeto Saginaw) held his own in Larkin Hall while being pitted against the downtempo soundscapes of Tycho in the venue’s main room. Serving as the perfect transition between his labelmate Scott Hanson’s ambient performance and The Flaming Lips’ onslaught of maniacal theatrics, Shigeto’s stripped-down live show was a welcomed choice for those attendees looking to ramp it up a notch before the NYE midnight countdown. He performed at ground level to an intimately devoted crowd and layered his jazz-infused electronic beats over mind-blowing live percussion, switching back and forth in real time between manning his mixing board and pounding away feverishly on his full drum kit mere inches away from the audience. -MK

Gramatik

After a mind-melting, ball-dropping performance from The Flaming Lips, the audience was reinvigorated by the ax-wielding electronic giants Ratatat, followed by Slovenia-born and Brooklyn-based producer Gramatik. Heavy bass lines and spine-tingling beats filled the main auditorium as Denis Jašarević, in prime position to close the night’s festivities out on a high, took over the main auditorium with his signature glitch-hop bangers. Although much of the crowd had thinned by the time this early-hours set commenced, true ragers were in rare form and ready to “womp” their way into 2016. Dropping a slew of hits, including his single “Native Son” featuring Raekwon, Gramatik kept his audience moving all the way until 3 a.m. Crowd members sprawled throughout the entire auditorium, dancing and laughing until the final bassline thumps knocked the remnants of glitter, confetti and balloons from the rafters. -MK

Filed Under: Editor's Picks, Featured, Festival Reviews, Festivals, Live Music Reviews Tagged With: Another Planet, Another Planet Entertainment, Gramatik, HUSHconcerts, NYE, NYE 2015, Ratatat, Shigeto, The Big One, The Big One SF, The Big One SF 2015, The Flaming Lips, Tycho

Albums you’ll want to hear in 2016

January 6, 2016 by Josh Herwitt Leave a Comment

Written by Josh Herwitt //

Now that we’ve said our goodbyes to 2015, it’s time to start looking ahead to 2016 and what lies ahead when it comes to new music. Although it’s still rather early and new albums are sure to be announced after this writing, there’s plenty of ear candy that’s already set to be released in 2016.

Here are 10 upcoming albums (in chronological order by release date) that you’ll want to hear and could very well end up being on some “Best of 2016” lists in another 12 months.

David Bowie – ★ (Blackstar)

Release date: January 8th
Record label: RCA/Columbia

The 20th studio album from Ziggy Stardust will be one of the first to hit stands in 2016, and although the 68-year-old legend has said that his touring days are over, Bowie is still capable of making an intriguing record, much like he did in 2013 with The Next Day. From what we’ve heard on ★, be it the 10-minute title track or in recent weeks “Lazarus” (the song that Bowie is also using in his off-Broadway musical by the same name), we’re eager to hear the rest.

Tortoise – The Catastrophist

Release date: January 22nd
Record label: Thrill Jockey

It’s been more than six years since Tortoise last released an album, but the Chicago post-rock outfit will unveil The Catastrophist, led by first single “Gesceap”, later this month. Featuring vocal contributions from Yo La Tengo’s Georgia Hubley and Todd Rittmann of Chicago bands U.S. Maple and Dead Rider, the new LP was inspired by music closely tied to Chicago’s jazz and improvised music scenes that the city commissioned the band to write back in 2010.

Ty Segall – Emotional Mugger

Release date: January 22nd
Record label: Drag City

Segall announced his eighth studio album by mailing a VHS tape to Pitchfork less than two months ago, and if that wasn’t eccentric enough, the prolific garage rocker followed it up with a dedicated website for the LP, which includes a hotline number to call and two videos — one that shows him and the band wearing baby masks and another that sees him playing a doctor while explaining what “emotional mugging” is. Despite Emotional Mugger not extending quite as long as Segall’s previous solo effort Manipulator did, many of the track names are worth a chuckle, from “Breakfast Eggs” to “Baby Big Man (I Want a Mommy)”.

Bloc Party – Hymns

Release date: January 29th
Record label: BMG

Long known for pioneering a sound that bridged the gap between indie rock and electronic music, Bloc Party return in early 2016 with their fifth studio album and their first with new members Justin Harris (bass, keyboards) and Louise Bartle (drums). Debuting material from Hymns, including newest single “The Good News” at FYF Fest (read our festival review here) in August, the British quartet will also offer a deluxe edition of the LP with four bonus tracks.

St. Lucia – Matter

Release date: January 29th
Record label: Columbia

Jean-Philip Grobler released the debut LP for his Brooklyn-based, synthpop project St. Lucia toward the end of 2013, and late this month, the South African native will unveil his follow-up to When the Night. If you were curious as to how Matter will sound in comparison to his first full length, Grobler has a geographical analogy to describe both: “If the last album sounded like the tropics, this album is the desert.”

Black Moth Super Rainbow

Release date: N/A
Record label: N/A

Thomas Fec has become well-regarded in indie-electronic circles for his work as Tobacco over the last several years, but for more than a decade, he has also served as the frontman of Black Moth Super Rainbow, the Pittsburgh psych-rock group that’s preparing to drop its sixth studio album later this year. As BMSR fans await the LP’s official release, the band surprised many in mid-November by streaming its new mini-album Seefu Lilac, which features “neon flavored outtakes from a 6th album that doesn’t yet exist.”

Animal Collective – Painting With

Release date: February 19th
Record label: Domino

After streaming new material on loop at Baltimore’s BWI Airport the day before Thanksgiving, Animal Collective are now just a few weeks away from the release of their 10th studio album. Taking some much-needed time off after its latest tour so that David Portner and Noah Lennox could focus on their own side projects, the band refined its songwriting approach for Painting With, removing the long, ambient passages that were often synonymous with their previous LPs and also collaborating with Welsh musician John Cale and multireedist Colin Stetson.

Wild Nothing – Life of Pause

Release date: February 19th
Record label: Captured Tracks

Jack Tatum remains the brains behind his indie-rock/dream-pop project Wild Nothing, having been its founder and lone songwriter since 2009. Feeding off the success of 2012’s Nocturne, Tatum consciously wanted to reinvent himself as a musician while recording Life of Pause in Los Angeles and Stockholm with producer Thom Monahan, and if his double-sided single “To Know You”/”TV Queen” is any indication, we’re starting to see what he means.

Poliça – United Crushers

Release date: March 4th
Record label: Mom + Pop

Poliça lead vocalist Channy Leaneagh may have been pregnant last year, but you wouldn’t have known it from the way this Minneapolis synthpop group has continued to work in the studio. In following up its successful sophomore effort Shulamith from 2013, the five-piece takes a more political approach on its third full-length album United Crushers, which boasts first single “Lime Habit”.

Charles Bradley – Changes

Release date: April 1st
Record label: Daptone Records

You have to wonder if Charles Bradley was a Black Sabbath fan growing up as a kid, because his new album Changes draws plenty of inspiration from the legendary heavy metal group’s Vol. 4. While his cover of the famous Sabbath hit serves as the LP’s title track, the “Screaming Eagle of Soul” continues to win us over with his rags-to-riches story (Bradley was at one time homeless before becoming a cook and working various odd jobs) and his undying charisma.

The following artists and bands are expected to release new albums in 2016 but have yet to confirm an official release date and/or an album title:

AlunaGeorge
ANTEMASQUE
Band of Horses
Beck
Blink-182
Chairlift – Moth
Chromatics – Dear Tommy
Crystal Castles
Death Grips – Bottomless Pit
Deftones
Diddy – No Way Out 2
DJ Premier – Last Session @ 320
Drake – Views From the 6
Frank Ocean
Gary Numan
Gorillaz
GZA – Dark Matter
Haim
James Blake – Radio Silence
Kanye West – SWISH
Kings of Leon
LCD Soundsystem
Lupe Fiasco – Drogas
M.I.A. – Matahdatah
M83
Macklemore & Ryan Lewis
Major Lazer – Music Is the Weapon
Mark Kozelek
Metallica
Metronomy
Modest Mouse
My Morning Jacket
No Doubt
Pete Yorn – Arranging Time
Radiohead
Rihanna – Anti
Spiritualized
The Jesus and Mary Chain
The Killers
The Strokes
Zeds Dead

Filed Under: Editor's Picks, Featured, New Music Tagged With: AlunaGeorge, Animal Collective, Antemasque, Band of Horses, Beck, Black Moth Super Rainbow, Black Sabbath, Blink-182, Bloc Party, Chairlift, Charles Bradley, Chromatics, Crystal Castles, David Bowie, Deftones, Diddy, DJ Premier, Drake, Frank Ocean, Gary Numan, Gorillaz, GZA, Haim, Kanye West, Kings of Leon, LCD Soundsystem, Lupe Fiasco, M.I.A., M83, Macklemore & Ryan Lewis, Major Lazer, Mark Kozelek, Metallica, Metronomy, Modest Mouse, My Morning Jacket, New Music, No Doubt, Pete Yorn, Poliça, Radiohead, Rihanna, Spiritualized, St. Lucia, The Jesus and Mary Chain, The Killers, The Strokes, Tortoise, Ty Segall, Wild Nothing, Zeds Dead

The 25 best live music acts of 2015

December 28, 2015 by The Bam Team 3 Comments

Around this time last year, we shared our 25 favorite live performers of 2014 after spending the past 12 months covering many excellent bands, musicians and DJs. So, with 2015 almost in the books, we thought we would give the same exercise another try, except this year, we made the call to exclude any artists we named in 2014. What fun would it really be to list them two years in a row anyway?

In the end, it wasn’t an easy task whittling down our list to 25, but some tough decisions had to be made. Those who didn’t make the cut but still deserve to be mentioned here include the following artists and bands (in alphabetical order) who we either covered at their own show and/or at a music festival this year:

AlunaGeorge, Ariel Pink, BADBADNOTGOOD, Bad Religion, Battles, Beirut, Belle and Sebastian, Big Grams, Billy Idol, Black Lips, The Black Keys, Blonde Redhead, BØRNS, BROODS, Built to Spill, Catfish and the Bottlemen, Chet Faker, Chromeo, City and Colour, Classixx, Cold War Kids, Dâm-Funk, Damien Rice, Death Cab for Cutie, Dengue Fever, Django Django, Dr. Dog, Edward Sharpe and the Magnetic Zeros, Failure, The Flaming Lips, Flight Facilities, Goldroom, Glen Hansard, The Glitch Mob, Gorgon City, Holly Herndon, Interpol, Israel Nash, James Bay, Jeff Tweedy, Jenny Lewis, The Jesus and Mary Chain, JMSN, Jose Gonzalez, Jurassic 5, Kanye West, Kindness, King Tuff, Marina and the Diamonds, Miami Horror, Milky Chance, Modest Mouse, Morrissey, MS MR, Les Sins, Lotus, Natalie Prass, Neon Indian, ODESZA, Of Montreal, Oneohtrix Point Never, Panda Bear, Penguin Prison, Phantogram, Portugal. The Man, Preservation Hall Jazz Band, Purity Ring, Ratatat, Royal Blood, San Fermin, Shlohmo, Slow Magic, SOHN, St. Paul and The Broken Bones, STRFKR, Surfer Blood, Talib Kweli, Tame Impala, Tennis, Toro y Moi, Tycho, Umphrey’s McGee, Unknown Mortal Orchestra, Vintage Trouble, Vulfpeck, Widespread Panic, YACHT.

Now, without further ado, The Bam Team presents our 25 favorite live performers of 2015.

The Bam Team’s 5 Favorite Shows, Albums & Songs of 2015

Listen to The Bam Team’s favorite songs of 2015:

25. Lord Huron

The audience reacted with just as much enthusiasm during classic Lord Huron tunes as they did in hearing brand-new material, especially during fan favorites like “She Lit a Fire” and back-to-back rockabilly-tinged jams “The World Ender” and “Fool for Love”. At this point, the crowd had not only warmed up to Lord Huron’s infectious stage presence, but also gave into their buoyant vibes as mini dance parties broke out throughout the venue. -Molly Kish, photo by Steve Carlson

24. Puscifer

Maynard James Keenan and friends have established themselves as not just a group of musicians who play songs on stage, but rather an assemblage of entertainers that provide their viewers and fans with something they may not have ever seen before — a true experience. Paying homage to the likes of Alice Cooper, Pink Floyd and the glory days of the rock opera, Puscifer have a very special way of combining their music with a stage show that offers so much more than just music. -Scotland Miller, photo by Mike Rosati

23. Viet Cong

Once the appetizer had been digested, Viet Cong were taking the stage and beginning a theme of quirky banter that eased the crowd into the blistering set as opposed to bombardment. Within the first few chords, it was evident that continued time on the road found the band at the peak of perfection. -Kevin Quandt, photo by Diana Cordero

22. Kate Tempest

This decade will likely be known for the death of “genre,” the end of how groups have been contained into categories like R&B or rap since the birth of record labels. And with dance music on the rise, digitized conventions are creeping into pop, rap and indie music on the regular. With music more accessible than ever and for free, listeners are willing to experiment with their auditory material — and amalgamation is the natural result. Tempest represents this change as much or more than anyone as we enter the smack-dab middle of this decade. And that includes Kanye West, Sylvan Esso or Run the Jewels. -Mike Frash, photo by James Nagel

21. Deerhunter

Deerhunter’s Bradford Cox talked about how he decided on the way over to the island that he wouldn’t play many songs, how he took ayahuasca on Saturday night in LA and he was surprised at how reserved the TIMF audience was. He said we were “polite like the Japanese.” Bradford, that’s what we call “respect” — and you’ve earned it. -Mike Frash, photo by Marc Fong

20. Faith No More

It can be hard to know what to expect from a crew like Faith No More and their eccentric, yet prolific members. The entire stage was dressed in white, from the curtains to the amplifiers to the mic stands. Lining the entire length of the stage and any flat surface that would support them were thousands of dollars worth of beautiful, fresh flowers. The abundance of purples and pinks, reds and yellows created a very comfortable and soothing, yet incredibly eerie feeling as to what was about to happen next. Once the setup was complete and the lights dropped, the crowd was let in to the stark contrast that is the weird world of Faith No More. -Scotland Miller, photo by Greg Ramar

19. Sufjan Stevens

Stevens spoke of the need for community in the throes of grief, and the audience ably did their part to help him through this very public grieving process. At the end of the main set, a young woman crashed the stage to offer a bemused Sufjan something (a hug? words of love and encouragement?), and it seemed wholly appropriate, as if the audience needed in some small way to collectively reach out to the man after he bared his soul so openly. -Steve Carlson, photo by Steve Carlson

18. Allen Stone

In many ways, Stone’s ideological stance on technology shapes not only his set as a performer but also his fan base. Watching an Allen Stone show, one can feel certain that all pretenses will be left at the door and those surrounding you will be committing their full attention to the music. Midway through Stone’s set, the venue was completely under his charismatic spell. The audience actively followed the Seattle-born frontman’s lead as he prompted a group participation “2-step” and rolled through crowd favorites from his self-titled LP and latest album Radius. -Molly Kish, photo by Tom Dellinger

17. The Kills

Mosshart, tall and slender, strutted her way through just about all of it, displaying a bravado that exudes both sex and confidence, while Hince handled his axe like a bona fide rock star, eventually playing some slide guitar during the gritty, blues-infused track “Pots and Pans” that got the crowd roaring after it was over. After all, it’s that blues/garage-rock overlap, along with the chemistry exhibited between Mosshart and Hince onstage, that makes The Kills such a captivating rock ‘n’ roll act to see live these days. -Josh Herwitt, photo by Josh Herwitt

16. The Chemical Brothers

Directly following their dramatic entrance to a recording of Junior Parker’s epic “Tomorrow Never Knows”, the duo kicked off their career-spanning set with crowd favorite “Hey Boy, Hey Girl” from 1999’s Surrender. They launched into a full-blown frenzy from that moment on, and the UK dance legends went hard (no pun intended) throughout the rest of their two-hour performance, debuting live remixes of new material from their 2015 release Born in the Echoes while interspersing nostalgia-inducing EDM classics off their seven previous albums. -Molly Kish, photo by Justin Yee

15. Eagles of Death Metal

EODM have the perfect style as a rock band, one that takes itself just seriously enough. As a whole, they are a hard, fast and tightly-wound production, with their silly lyrics and even sillier frontman bringing a perfect balance to what you want to see at a rock show. Closing with “Speaking in Tongues”, EODM walked off the stage at the Great American Music Hall knowing that they had accomplished what they came to do — to prove that rock ain’t dead. -Brett Ruffenach, photo by Mike Rosati

14. Florence + the Machine

Welch lapped around the inside ring of the bowl, stopping briefly at the sound stage. What a cool moment. -James Nagel, photo by James Nagel

13. Sturgill Simpson

Simpson has stage presence, that is without a doubt. The conviction of his voice bolsters his words as he describes a life of highs and lows, trials and tribulations. This was evident on renditions of songs like “Turtles All the Way Down”. If there is a song to capture your attention and convince you of Simpson’s talents as a songwriter, this is one of them. Just like that of his predecessors, he writes music that goes against the grain of popular country music. It may be defined as “outlaw country,” but I personally feel it is music that resonates with a wider audience than that of its counterparts. -Kory Thibeault, photo by Kory Thibeault

12. alt-J

The 2012 Mercury Prize winners echoed a semblance to that of Sigur Rós or Volcano Choir, leaving audience members entranced in a near-altered state while observing the foursome. The biggest fan responses erupted during the band’s singalong favorites “Breezeblocks”, “Fitzpleasure” and their token cover of Bill Withers’ “Lovely Day”. -Molly Kish, photo by Mike Rosati

11. Hot Chip

In recent years, only ever getting the chance to see the outfit in stripped-down DJ sets or as part of side projects/collaborations, the afternoon crowd full of die-hard, nu-disco fans were not disappointed as the UK dance veterans set the polo fields ablaze. Refraining from any slow builders, Hot Chip performed an hour-long set of career-spanning bangers, keeping the crowd moving with hit after hit, that seamlessly blended into one another. The set procured one of the most viral dance party moments of the festival, with the audience spiraling into a collective bliss as it came to a close. -Molly Kish, photo by Josh Herwitt

10. Dan Deacon

One of the toughest things to do in the world of electronic music is to sound organic, to imbue a sense of heart into the digitized nature of ones and zeroes. The Baltimore native accomplishes this through his hilarious and improvisational free-form, stand-up comedy, which thrives on wandering non sequiturs. And he mirrors this by adapting his insane-train of sound to meet and exceed the energy in the room. The “America” suite finished off the show with an extended doom metal quality that gave a sense that no aesthetic boundaries can contain Deacon’s sense of musical exploration. -Mike Frash, photo by Pedro Paredes

9. FKA twigs

British singer-songwriter Tahliah Debrett Barnett, better known as FKA twigs, has been all the rage lately after performing at Coachella in April, and she closed out FYF in style, donning an elaborate burgundy- and gold-colored robe for her Sunday night set. Just the week before, the 27-year-old fiancée of actor/musician Robert Pattinson released her brand-new EP M3LL155X, and with it receiving high marks from a number of music outlets, there were quite a few fans who stuck around after 11:30 p.m. on a “school night” to watch her perform some of them, including the opening track “Figure 8”, “In Time” and “Glass & Patron”. FKA twigs might be one of the most compelling live acts out there right now, and after scheduling Purity Ring to close out The Lawn the night before, FYF seemed to make a point of letting women rule that stage in the late-night hours this year. -Josh Herwitt, photo by Josh Herwitt

8. Empire of the Sun

As Steele belted out “Alive”, the hit single off the band’s sophomore studio album Ice on the Dune, to close things out, he brought the audience to a transcendent place of exhilaration. Crowd members embraced and danced amongst a like-minded family of people lost in the moment, even if it involved intergalactic creatures dancing in colored smoke and a crowned Emperor playing without his bandmate on stage. EOTS shows are a special kind of magic that regardless of the material’s absurd nature, translate into an experience unlike anything else. -Molly Kish, photo by Steve Carlson

7. My Morning Jacket

Though it was more than understandable to see the band play a large majority of The Waterfall for its first performance at the Santa Barbara Bowl in almost four years, there were plenty of other deep cuts mixed in over the next two hours, from “Bermuda Highway” to “Mahgeetah” to “Touch Me I’m Going to Scream Pt. 2”. After all, it’s no secret that My Morning Jacket have always been good to their most loyal and dedicated fans, and in once again taking song requests as part of their “Spontaneous Curation Series,” they made sure to dig up many of the classics from their seminal album Z, including “Wordless Chorus” and “Off the Record” one after the other in the middle of a loaded, four-song encore. -Josh Herwitt, photo by Josh Herwitt

6. Jamie xx

Throughout his tour, Smith has refused to compromise his individual style for the sake of appeasing either extreme of his now commercially hybrid audience. Whereas those familiar with his early XL Records mixtapes were satiated by his intermingling of Gil Scott-Heron and Idris Muhammad samples between hits, his newfound post-In Colour fans experienced equally breathtaking moments with the crowd hitting peak energy levels during the encore chorus of “Loud Places” amidst the glow of a warped-speed, neon-green strobe light. Other notable moments included the near-religious choral drop of “Gosh” that escalated the packed house to spiritual levels of enthusiasm, bathed in the glowing sparkle of Smith’s staggeringly iridescent ceiling to floor disco ball and stage lights. -Molly Kish, photo by James Nagel

5. Elton John

The star-spangled legend sat at his majestic piano as the sun went down on Sunday and moved the crowd with his brilliant playing. The adoring audience hung on every word and joined in singing his most popular hits. Walking off stage quickly after his last song, the audience demanded more and Elton happily obliged. With rumors of Lion King songs being played at past performances, some doting fans wanted a second encore to the tune of “Circle of Life”. While he didn’t indulge the Lion King fans, his stellar performance was a perfect ending to an amazing weekend at Outside Lands, leaving everyone’s festival tank full of love. -Nik Crossman, photo by James Nagel

4. Father John Misty

Father John (Sassypants) Misty has his festival game on point, and he has progressed his I Love You, Honeybear songs into epic plateaus since premiering them in the Santa Cruz mountains last February. He spewed banter like an Stephen Colbert-esque contrarian, saying, “Look at these suckers with their hair blowing all over the place.” And as he approached the mic for more improv-snark later on, Tillman paused to say, “Sorry, I have nothing to say. Ha.” FJM was speechless for once, but granted, it might have been set up for “Bored in the USA”, a song that should be considered an American classic at this point. -Mike Frash, photo by Pedro Paredes

3. Kendrick Lamar

As Kendrick Lamar’s incredible performance began to wrap up with his newest single “Alright”, a group of fans in the crowd proceeded to lift someone up in a wheelchair, who, if I recall correctly, was the same guy who had his photo famously taken at Outside Lands in 2013. Kendrick took notice and called him out — his sense of sincere appreciation for a place like the Bay Area was written all over his face. -Brett Ruffenach, photo by Marc Fong

2. Caribou

Described by fellow musician Dan Deacon as “one of the most brilliant acts touring right now” just before their set, Caribou lived up to the hype. Starting with “Our Love”, the four-piece band led by Dan Snaith perfectly set the stage for the next hour — a series of tightly wound compositions that, as the song progresses, expand in rhythmic complexity before reaching a climax that will get even the most tired Sunday afternoon crowd moving. Heavily augmenting its live performances from its studio recordings, the band’s live rendition of “Jamelia” in particular was a highlight of the set. Caribou is a band not to be missed. -Brett Ruffenach, photo by Justin Yee

1. D’Angelo & The Vanguard

One of the most anticipated sets of the entire weekend was none other than D’Angelo’s — and for good reason. The R&B/neo-soul singer-songwriter hadn’t put out an album in 14 years until he suddenly dropped his 2014 masterpiece Black Messiah last December, so you knew that getting the rare opportunity to see Michael Eugene Archer work a crowd at FYF would be something special. Sounding more like a youthful James Brown than a wannabe Prince (we still don’t totally understand where those comparisons are coming from), D’Angelo and his eight-piece backing band The Vanguard took the audience for a ride as they doled out new and old hits. -Josh Herwitt, photo by Josh Herwitt

Filed Under: Best of, Best of 2015, Editor's Picks, Featured Tagged With: Allen Stone, Alt-J, Bad Religion, Battles, BØRNS, Beirut, Belle and Sebastian, Best of 2015, Big Grams, Billy Idol, Black Lips, Blonde Redhead, Broods, Built To Spill, Catfish and the Bottlemen, Chet Faker, Chromeo, City and Colour, Classixx, Cold War Kids, D'Angelo, D'Angelo and the Vanguard, dam-funk, Damien Rice, Dan Deacon, Death Cab For Cutie, Deerhunter, Dengue Fever, Django Django, Dr. Dog, Eagles of Death Metal, Edward Sharpe and the Magnetic Zeros, Empire of the Sun, Failure, Faith No More, Father John Misty, FKA twigs, Flight Facilities, Florence & the Machine, Glen Hansard, Goldroom, Gorgon City, Holly Herndon, Hot Chip, Interpol, Israel Nash, James Bay, Jamie xx, Jeff Tweedy, Jenny Lewis, JMSN, Jose Gonzalez, Jurassic 5, Kanye West, Kate Tempest, Kendrick Lamar, Kindness, King Tuff, Les Sins, Lord Huron, Lotus, Marina and the Diamonds, Miami Horror, Milky Chance, Modest Mouse, Morrissey, MS MR, My Morning Jacket, Natalie Prass, Neon Indian, Odesza, Of Montreal, Oneohtrix Point Never, Panda Bear, Penguin Prison, Phantogram, Portugal. The Man, Preservation Hall Jazz Band, Purity Ring, Puscifer, Ratatat, Royal Blood, San Fermin, Shlohmo, Slow Magic, SOHN, St. Paul and The Broken Bones, STRFKR, Sturgill Simpson, Sufjan Stevens, Surfer Blood, Talib Kweli, Tame Impala, Tennis, The Black Keys, The Chemical Brothers, The Flaming Lips, The Glitch Mob, The Jesus and Mary Chain, The Kills, Toro Y Moi, Tycho, Umphrey's McGee, Unknown Mortal Orchestra, Viet Cong, Vintage Trouble, Vulfpeck, Widespread Panic, YACHT

The Bam Team’s 5 Favorite Shows, Albums & Songs of 2015

December 22, 2015 by The Bam Team 1 Comment

Caribou at The Fillmore // Showbams’ Photo of the Year, by Justin Yee

Ah, where did 2015 go? It felt like we were just ringing in a new year a couple months ago. But with another year in the rear-view mirror, it’s time to once again doll out our annual “Best of” lists. Much like we did in 2014, we heard a lot of music this year, whether it was at a show or at a festival, at work, on the bus or in our cars. From established headliners who continue to amaze us to emerging artists who rekindled our excitement for new music, our collective lives were filled with one musical memory after another over the past 12 months.

So, without further ado, Showbams presents The Bam Team’s five favorite shows, albums and songs from 2015.

The 25 Best Live Music Acts of 2015

Listen to The Bam Team’s favorite songs of 2015:

Tycho at Lightning in a Bottle // Photo by Josh Herwitt

Josh Herwitt // Los Angeles

Top 5 Shows of 2015
1. Jack White at Coachella Music and Arts Festival, Weekend 1 – Indio, CA – April 11th
There’s a reason why Mr. White was named our No. 1 live music act of 2014 around this time last year, and it’s not because he’s simply a guitar god. The Detroit native and former White Stripe is much more than that now, as he has proven with the kind of clever, genre-swirling songwriting that permeates his two solo albums Blunderbuss and Lazaretto. But witnessing White perform live almost feels like a musical right of passage in and of itself, reminding us that while inventive, mainstream rock ‘n’ roll may be harder to come by these days, it’s still far from dead. On this warm, spring night in the California desert, he imparted on us that “music is sacred” — not just with his words in between songs, but also with every ferverous note that he struck on his fret board. From the moment White appeared on the festival’s main stage, his 20-song, headlining set was bold and powerful, even if it would serve as one of his last shows for a while.

2. My Morning Jacket at Santa Barbara Bowl – Santa Barbara, CA – October 11th
3. Modest Mouse at Hollywood Forever – Los Angeles, CA – August 21st
4. Tycho at Lightning in a Bottle – Bradley, CA – May 24th
5. The War on Drugs at Coachella Music and Arts Festival, Weekend 1 – Indio, CA – April 10th

Top 5 Albums of 2015
1. My Morning Jacket – The Waterfall
When My Morning Jacket announced that they would be releasing a new studio LP in May after nearly a four-year layoff, their longest between albums since forming in the late 90’s, I wasn’t sure if they could top what they had devised on 2011’s Circuital. But these Louisville rockers, rather, did just that, putting together a flawless record that opens with the inspiring “Believe (Nobody Knows)” and concludes with the gloomy, yet poignant “Only Memories Remain”. In between it all, frontman Jim James continues to build off his 2013 solo album, showing what a thoughtful songwriter he has become — knowing when to step on the gas pedal and when to ease off of it. With an already impressive catalog highlighted by 2005’s Z, it’s hard to definitively say that The Waterfall has taken over the throne as MMJ’s best album now, but there’s no doubt it belongs in the conversation.

2. Father John Misty – I Love You, Honeybear
3. Silversun Pickups – Better Nature
4. Jamie xx – In Colour
5. Tame Impala – Currents

Top 5 Songs of 2015
1. My Morning Jacket – “Tropics (Erase Traces)”
It’s only fitting that my favorite album of the year also boasts my favorite song of the year. The penultimate track on My Morning Jacket’s The Waterfall is an absolute rocker that gradually builds from the opening, Led Zeppelin-esque guitar lick before peaking midway through for a chilling finish. There might not be a better example in MMJ’s catalog that demonstrates how well Jim James and Carl Broemel play off each other, and if the two guitarists haven’t already, then they’ve certainly cemented themselves as one of rock’s best one-two punches by now.

2. The Weeknd – “The Hills”
3. Modest Mouse – “The Ground Walks, With Time in a Box”
4. Battles – “The Yabba”
5. Tame Impala – “The Less I Know the Better”

The Chemical Brothers at The Armory // Photo by Justin Yee

Molly Kish // San Francisco

Top 5 Shows of 2015
1. Jamie xx at Bimbo’s 365 Club – San Francisco, CA – July 31st
Whereas those familiar with his early XL Records mixtapes were satiated by his intermingling of Gil Scott-Heron and Idris Muhammad samples between hits, Jamie xx’s newfound, post-In Colour fans experienced equally breathtaking moments with the crowd hitting peak energy levels during the chorus of “Loud Places” amidst the glow of a warped-speed, neon-green strobe light. Another notable moment included the near-religious choral drop of “Gosh” that escalated the packed house to spiritual levels of enthusiasm, all while bathed in the glowing sparkle of Jamie Smith’s staggeringly iridescent, ceiling-to-floor disco ball and stage lights.

2. The Chemical Brothers at The Armory – San Francisco, CA – November 30th
3. Kate Tempest at The Independent – San Francisco, CA – May 20th
4. Kishi Bashi at Palace of Fine Arts Theatre – San Francisco, CA – January 30th
5. Caribou at The Fillmore – San Francisco, CA – March 1st

Top 5 Albums of 2015
1. Jamie xx – In Colour
Acclaimed London-based producer and half of electronic powerhouse The xx, Jamie Smith (aka Jamie xx) broke the mold this past year with his stunning solo debut In Colour. Earning top accolades within the music industry, including a 2015 Mercury Prize nomination and a Grammy nomination for “Best Electronic/Dance Album”, In Colour featured both individually conceptualized strokes of production ingenuity as well as many of the biggest contemporary-crossover hits this year. Smith explored his dubstep, house, garage and trip-hop influences on In Colour to deliver a genre-spanning masterpiece, highlighting his illustrious career as an electronic composer while setting the standard for the current and future state of EDM.

2. Kendrick Lamar – To Pimp a Butterfly
3. Tame Impala – Currents
4. The Weeknd – Beauty Behind the Madness
5. Lord Huron – Strange Trails

Top 5 Songs of 2015
1. Jamie xx – “Loud Places”
As part of a track list that included some of 2015’s most groundbreaking and genre-defining hits, “Loud Places” holds its own as a standout cut on Jamie xx’s monumental solo debut In Colour. It comes in toward the latter half of the UK producer’s LP and enlists the gorgeously haunting vocals of Romy Madley Croft, one of Jamie Smith’s partners in The xx and a longtime collaborator of his. Amid a packed roster of acclaimed vocalists, emcees and iconic samples, Croft’s contributions, while paired with a full choir, help manifest the lyrical content of the song while evoking a near-religious experience for its listener.

2. Tame Impala – “Let It Happen”
3. Robyn – “Love Is Free”
4. Kendrick Lamar – “King Kunta”
5. FKA twigs – “In Time”

Tame Impala at Outside Lands Music and Arts Festival // Photo by James Nagel

Brett Ruffenach // San Francisco

Top 5 Shows of 2015
1. Four Tet b2b Floating Points at Public Works SF – San Francisco, CA – May 3rd
Sparked by their set at Plastic Peoples in London earlier in the year — a set, coincidentally, that was named “Best of the Year” by THUMP a few days ago — SF’s own DJ Dials was kind enough to bring Kerian Hebden and Sam Shepherd, better known as Four Tet and Floating Points, to Public Works last May. Starting early in the evening, the two well-established English producers put on a scorching, non-stop, six-hour, vinyl-only DJ set. Kicking off the evening with over an hour of early-70’s Brazilian samba and steadily moving from there to all forms of funk, big band, soul, jazz and of course their own eclectic catalog of music, the two DJs seamlessly moved between tracks, bringing up and down the energy at just the right point to keep you guessing what’s going to happen next. After dozens and dozens of shows and DJ sets this year, I always keep thinking back to this one because it wasn’t only a chance to see an artist I like play their music — it was a chance to see two artists I like play the music that they love, and do it on an absolutely killer sound system.

2. Kendrick Lamar at Fox Theater Oakland – Oakland, CA – November 10th
3. Tame Impala at Outside Lands Music and Arts Festival – San Francisco, CA – August 8th
4. Jamie xx “In Colour” album release show at Church of St John-at-Hackney – London, England – July 16th
5. Nicolas Jaar at Symbiosis Gathering – Oakdale, CA – September 19th

Top 5 Albums of 2015
1. Kendrick Lamar – To Pimp a Butterfly
Kendrick wins. No contest. At this point, there’s nothing I can say that will be new or not already over-analyzed by the blogosphere over TPAB. All I can say is that TPAB is one of those rap albums that, just like Kanye West’s My Beautiful Dark Twisted Fantasy in 2010, expanded my understanding of what a rap album can be. From the very start you hear Lamar’s voice in the genius, FlyLo-produced “Wesley’s Theory” — a track that I think is among the greatest album openers ever — to the closing conversation with 2Pac in Mortal Man, TPAB is among the most ambitious and thoroughly conceptualized productions I have had the pleasure of hearing (and seeing) in my life.

2. Tame Impala – Currents
3. Nicolas Jaar – Nymphs I-IV
4. Jamie xx – In Colour
5. Beach House – Depression Cherry

Top 5 Songs of 2015
1. Pumarosa – “Priestess”
“Priestess” is a seven-minute, punk-meets-disco dance party that starts as an observation and ends as a declaration. Its declaration? To dance. Its lyrics (for instance: “Cut from clay and stone / Electricity flows through your spine and shoulders/In the night when we’re alone”), its visceral rhythm and undeniably entrancing, three-minute instrumental closing out the track (DAT SAX) are what make it an easy choice for my favorite of the year. In a culture engulfed in consumerism, celebrity and over-consumption, “Priestess” reminds us all that dancing is free. Dancing can be a protest. Dancing can be a celebration. Dancing is whatever you make of it. “Priestess” is a track that reaches into your soul and forces you to do one simple thing: dance. That’s something we all need in our lives every once and a while.

2. Kendrick Lamar – “Wesley’s Theory”
3. Jamie xx – “Gosh”
4. Tame Impala – “Eventually”
5. Nicolas Jaar – “Swim”

High Sierra Music Festival 2015 - The String Cheese Incident

The String Cheese Incident at High Sierra Music Festival 2015 // Photo by Benjamin Wallen

Benjamin Wallen // San Francisco

Top 5 Shows of 2015
1. Greensky Bluegrass at The Independent – San Francisco, CA – November 1st
Many bands get bigger and play bigger shows. Every now and then, you get to see them in a smaller venue with a more “intimate” feel. This was that show. Following a crazy night at the Fox Theater Oakland celebrating Halloween, the band crossed the Bay Bridge to play a birthday show for its dobro player Anders Beck at The Independent. It was a “Greatest Hits” setlist of all the songs I loved the most: past, present and future. The show was definitely intimate and filled with energy, and Greensky ended the night with some acoustic tunes. I think it says a lot about a band that can pack a big venue and then play a smaller venue and still the heat. This is my favorite band these days. They are consistently great and just too much fun.

2. String Cheese Incident at High Sierra Music Festival – Quincy, CA – July 3rd
3. The Sam Chase at High Sierra Sierra Music Festival – Quincy, CA – July 3rd
4. Jeff Austin Band at Great American Music Hall – San Francisco, CA – April 26th
5. The Devil Makes Three at Fox Theater Oakland – Oakland, CA – February 3rd

Top 5 Albums of 2015
1. Della Mae – Della Mae
These girls are damn talented as much as they are cute. I stumbled upon these five girls from Nashville while at The Chapel a few years back, and they were just damn good. Then, I heard that they were nominated for a Grammy and only beaten by the legendary Del McCoury Band. These ladies can pick and tick and get the crowd jumping. For Della Mae, powerful songs and epic throw-down jams are just par for the course. This album was Kickstarter-funded, which I was happy to contribute to, and continues the revival of bluegrass for the younger generation and modernizing the sound with the energy of youth. I find myself playing this album more and more each day from start to end — it’s just that good.

2. The Dustbowl Revival – With a Lamp Shade On
3. Father John Misty – I Love You, Honeybear
4. Nicki Bluhm and the Gramblers – Loved Wild Lost
5. Jackie Greene – Back to Birth

Top 5 Songs of 2015
1. Jackie Greene – “A Face Among the Crowd”
I have been a Jackie Greene fan since I moved to SF almost 10 years ago. This song I heard a number of years ago when Greene was uploading hotel room solo tracks on the road. This song was put up on Father’s Day for Greene’s dad and was a touching song. Creepily sitting in a hotel room, you can feel the emotion. Hearing it on a record in my home is just heaven. After some of those really tough days in life, I come home, put this song on while listening on my best pair of headphones and zone out — let all the crap from the day that doesn’t mean shit just fade away. This song does that for me, and as a music lover, finding this type of song is like finding gold on the street.

2. The Dustbowl Revival – “Standing Next to Me”
3. The California Honeydrops – “When It Was Wrong”
4. Father John Misty – “I Went to the Store One Day”
5. Nicki Bluhm & The Gramblers – “Mr. Saturday Night”

Father John Misty at Treasure Island Music Festival 2015 // Photo by Marc Fong

Andrew Pohl // San Francisco

Top 5 Shows of 2015
1. Father John Misty at Treasure Island Music Festival – San Francisco, CA – October 18th
Of all of the performers on Day 2 at the festival, Father John Misty held my attention the most. A stellar performance, hitting all of the right points, which gave me good reason to believe that he may in fact be one of the best frontmen of the last 10 years.

2. Hum at Slim’s – San Francisco, CA – September 18th
3. Fat Wreck Chords 25th Anniversary at Thee Parkside – San Francisco, CA – Aug 22nd & 23rd
4. Refused at Great American Music Hall – San Francisco, CA – May 28th
5. alt-J at Greek Theatre – Berkeley, CA – April 16th

Top 5 Albums of 2015
1. Tame Impala – Currents
From top to bottom, this is an album that I can listen to over and over without feeling burnt out (and believe me, I have). I appreciate the fact that on this album, they steer clear of too much “jam” and keep it straight forward. I can’t help but move my feet when I hear some of the tracks on Currents.

2. Kendrick Lamar – To Pimp a Butterfly
3. Failure – The Heart Is a Monster
4. Father John Misty – I Love You, Honeybear
5. God Is an Astronaut – Helios/Erebus

Top 5 Songs of 2015
1. Tame Impala – “The Less I Know the Better”
From the first time I heard this track, I knew it was the best song of the year. Infectious as hell, you cannot stop your body from getting into that groove.

2. Grimes – “Kill V. Maim”
3. Father John Misty – “Bored in the USA”
4. The Velvet Teen – “All Is Illusory”
5. Viet Cong – “Continental Shelf”

Viet Cong at Rickshaw Stop // Photo by Diana Cordero

Kevin Quandt // San Francisco

Top 5 Shows of 2015
1. Viet Cong at Rickshaw Stop – San Francisco, CA – March 5th
Viet Cong were easily one of the most brilliant bands in 2015 as they shook up South by Southwest (even when their drummer had a broken arm), generally not caring about the whole band-name fiasco and releasing a stellar debut LP. The brooding studio work from this Canadian outfit turned out to be way more accessible on the live stage as bassist/singer Matt Flegel bounced between playful banter and pile-driving post-punk.

2. Caribou at The Fillmore – San Francisco, CA – March 1st
3. Todd Terje (Live) at Coachella Music and Arts Festival, Weekend 1 – Indio, CA – April 10th
4. Kendrick Lamar at Fox Theater Oakland – Oakland, CA – November 10th
5. BADBADNOTGOOD at FYF Fest – Los Angeles, CA – August 22

Top 5 Albums of 2015
1. Kendrick Lamar – To Pimp a Butterfly
No surprises here, as truly this was objectively the best album of the year. With expectations high from his growing fan base, Lamar delivered an LP that had it all: crushing singles, a bold concept and a clear message. The smorgasbord of genres and vibes TPAB lays out for the listener further shows that K-Dot’s bag of tricks has no end in sight.

2. Protomartyr – The Agent Intellect
3. DJ Paypal – Sold Out
4. Tame Impala – Currents
5. Archy Marshall – A New Place to Drown

Top 5 Songs of 2015
1. Tame Impala – “Let It Happen”
This track was our first taste of Currents, and it got fans salivating in no time. “Let It Happen” was the perfect amuse-bouche with Kevin Parker’s vision shifting a bit toward synths over his trusty Rickenbacker guitar, which slightly became the resounding chatter behind the LP. Oh yeah, and there was the “record skip” in the middle of the track that we all went mental over.

2. Ought – “Beautiful Blue Sky”
3. The Weeknd – “Can’t Feel My Face”
4. DJ Spinn – “Dubby” (feat. DJ Rashad & Danny Brown)
5. Deerhunter – “Snakeskin”

Filed Under: Best of, Best of 2015, Editor's Picks, Featured Tagged With: Archy Marshall, BADBADNOTGOOD, Best of 2015, Caribou, Coachella, Coachella 2015, Coachella Music and Arts Festival, Coachella Music and Arts Festival 2015, Coachella Valley Music & Arts Festival, Coachella Valley Music & Arts Festival 2015, Coachella Valley Music and Arts Festival, Coachella Valley Music and Arts Festival 2015, Deerhunter, Della Mae, DJ Paypal, DJ Spinn & DJ Taso, Father John Misty, FKA twigs, Fox Theater Oakland, FYF Fest, FYF Fest 2015, Great American Music Hall, Greensky Bluegrass, High Sierra Music Festival, High Sierra Music Festival 2015, Hollywood Forever, Jack White, Jamie xx, Jeff Austin Band, Kendrick Lamar, Kishi Bashi, Lightning in a Bottle, Lord Huron, Modest Mouse, My Morning Jacket, Nicki Bluhm & The Gramblers, Nicolas Jaar, Ought, Outside Lands 2015, Outside Lands Music Festival, Outside Lands Music Festival 2015, Palace of Fine Arts Theatre, Protomartyr, Rickshaw Stop, Robyn, Santa Barbara Bowl, Silversun Pickups, String Cheese Incident, Symbiosis Gathering, Symbiosis Gathering 2015, Tame Impala, The California Honeydrops, The Chemical Brothers, The Dustbowl Revival, The Fillmore, The Independent, The Weeknd, Todd Terje, Todd Terje and the Olsens, Viet Cong

Five female emerging artists you need to hear

December 16, 2015 by Krystal Beez 2 Comments

Written by Krystal Beez //

Get familiar with these five female emerging artists.

1. NAO

Who: NAO

Origin: East London, Britain

What she’s about: NAO is a graduate of the Guildhall School of Music & Drama, where she studied vocal jazz. After teaching singing for a few years, she decided that she wanted to make her own music. Since 2014, she has released two EPs on her own label Little Tokyo. NAO’s sleek and at times, dark production, combined with her rich and subtle vocals, create a smoky neo-soul sound that integrates quite a few different influences, such as funk, R&B and UK bass, seamlessly. Most recently, NAO contributed to Disclosure’s Caracal on the superb track “Superego”, as well as released her first single from her debut album, which is due out early next year. Listen to “Bad Blood” below.

File next to: FKA twigs. SBTRKT. Lion Babe. Billie Black.

Follow: Facebook. Soundcloud. Twitter. Spotify.

2. ANDRA DAY

Who: Andra Day

Origin: San Diego, California

What she’s about: After releasing a few covers that went viral on YouTube back in 2012, Andra Day is now signed with Warner Bros. Records. After one listen, it’s easy to see why many compare her to the likes of Amy Winehouse and Billie Holiday. But it’s not just her vintage style and “retro-pop-soul” sound, as Day calls it. It’s that raw emotion that few singers have, and it makes for a very special live performance. Her debut album Cheers to the Fall was released earlier this year and is produced by Raphael Saadiq and Adrian Gurvitz. She recently performed in San Francisco to a sold-out crowd at Rickshaw Stop (hopefully you were there). If you weren’t, watch her live performance for NPR’s Tiny Desk Concert below, and you’ll understand why she’s on this list.

File next to: Amy Winehouse. Billie Holiday. Adele.

Follow: Facebook. Soundcloud. Twitter. Spotify.

3. ZARA LARSSON

Who: Zara Larsson

Origin: Stockholm, Sweden

What she’s about: If you’re looking for a new pop fix, look no further. At just 17 years old, this Swedish pop singer has already won Sweden’s equivalent of “America’s Got Talent”, signed a record deal and released her debut album 1. “Lush Life”, her debut single from her second album, is the stuff that summer jams are made of. And then there’s “Rooftop”, another pop anthem with light harmonies and a strong beat. But perhaps the most exciting track in her repertoire is the latest, a collaboration with MNEK (an amazing up-and-coming artist in his own right) titled “Never Forget You”. In September, the track was named by Annie Mac of BBC Radio 1 as the hottest record in the world, and rightfully so. Get ready to listen to your new favorite song below.

File next to: Robyn. Lorde. Rihanna.

Follow: Facebook. Soundcloud. Twitter. Spotify.

4. TĀLĀ

Who: TĀLĀ

Origin: Southwest London, Britain

What she’s about: “The idea of taking something and fusing it with its complete opposite excites me,” TALA says of her influences. This best describes what the multicultural producer is all about, and her music explains the rest. Start with “The Duchess“, released last year, and then listen to “Tell Me”, featuring up-and-coming UK producer Mssingo and Korean group Wa$$up. Both tracks combine electronic pop with a global, experimental sound that is all her own. And then check out TALA’s most recent release, which features Banks, and you’ll see why TALA is one of the most exciting producers to emerge this year. Listen to “Wolfpack” below.

File next to: Cashmere Cat. Lil Silva. M.I.A. FKA twigs.

Follow: Facebook. Soundcloud. Twitter. Spotify.

5. KIIARA

Who: Kiiara

Origin: Illinois

What she’s about: Not a whole lot is known about Kiiara other than the fact that she is from Illinois, worked at a hardware store and Felix Snow produced her first single “Gold” (below). But we’re loving her whispery voice over the glitchy pop/R&B bass-heavy beat. Hippie Sabotage released their remix of “Gold” just a few weeks ago, and Kiiara’s debut EP Meet Me in the Cornfield is coming soon.

File next to: Made in Heights. Kate Boy. Alina Baraz. Marian Hill.

Follow: Facebook. Soundcloud. Twitter. Spotify.

Which female emerging artists are you most excited about? Let us know in the comments below!

Filed Under: Editor's Picks, Featured, New Music Tagged With: Andra Day, Banks, Disclosure, Felix Snow, Hippie Sabotage, Kiiara, MNEK, Nao, New Music, Raphael Saadiq, TALA, Zara Larsson

RAC is more than just a master remixer

November 19, 2015 by Josh Herwitt Leave a Comment

Photos by Jon Duenas // Written by Josh Herwitt //

André Allen Anjos remembers what it was like to be an undergraduate unsure of his future.

More than a decade ago, he left his home in Portugal to attend Greenville College, a private, Christian liberal arts school in southern Illinois with an enrollment of only 1,100 students. It was there that Anjos would pursue his love for music, learning about the ins and outs of the business after spending his teenage years studying piano and guitar in his home country.

But it was during his sophomore year in college that he also started to become worried about the career path he had chosen for himself.

“I was starting to freak out because I was applying to all these internships — any kind of position in a studio or at a record label that I could find — and I just couldn’t get anything,” he says by phone one day last month. “I applied for everything I possibly could.”

While Anjos was hoping to get a foot in the door any way he could, he realizes now that his résumé was likely just one among a stack of thousands. So, rather than filling out more job applications, he started to focus his efforts on something else: remixing.

At the time, remixing had largely been associated with electronic dance music, a world where both DJs and producers are regularly known for putting their own unique spin on their fellow colleagues’ work. But Anjos’ remixing interests didn’t lie with EDM. Rather, they aligned more with bands that fit under the indie-rock umbrella.

“I’d love to say I had some grand vision, but it was really me just trying to get by,” Anjos says.

What started as a “very casual thing” between Anjos and a couple of online friends quickly took off three months later when their remix of The Shins’ “Sleeping Lessons” went viral. With an upbeat, electro feel to it, the track would go on to earn a spot on the band’s B-side single release for “Australia” and immediately caught the collective ear of other established indie-rock bands like Tokyo Police Club, Bloc Party and Ra Ra Riot.

It wasn’t long after that Remix Artist Collective, or RAC for short, was born out of Anjos’ dorm room as he worked tirelessly over the next several years to expand his remix portfolio, which nowadays includes some of indie rock’s biggest names, whether it be Phoenix, Death Cab for Cutie, Yeah Yeah Yeahs, Two Door Cinema Club or Lana Del Rey.

“I never thought that this would still be going,” Anjos admits as he thinks back to his initial goals and aspirations for the project. “It has sort of morphed into something completely different.”

Today, RAC is much more than simply a remix side project. With a full-length album to his name and his own set of touring members, Anjos has turned RAC into a legitimate band over the last few years. He has been releasing original material ever since 2012, when he dropped his first song “Hollywood” on the Mountain Dew-sponsored label Green Label Sound, and even more, he’s turned RAC into a commercially successful act with high-profile festivals stops at Ultra and Coachella — two large-scale U.S. music festivals with very different vibes — this past spring. For Anjos, who just entered the fourth decade of his life this year, playing both festivals is already one item he can cross off his bucket list.

“It’s been a bit of a goal to be in the middle of those two worlds,” he adds in discussing RAC’s appeal to both the electronic and indie crowds that Ultra and Coachella each foster.

Yet, after years of making a living on remixing some of his favorite artists, what made Anjos want to start writing his own songs?

“It felt like the right time,” he says. “I had been writing original music for a while. It wasn’t necessarily foreign territory, but it just felt like the right time.”

Released on Interscope Records, RAC’s Strangers came out in early 2014 with singles featuring Bloc Party’s Kele Okereke and Matthew Koma, but what fans might not know is that most of the album’s songs were written in 2011 by Anjos, who employed many of the techniques he had learned from remixing to his songwriting process.

“The two go hand in hand,” he explains when it comes to creating remixes versus writing original songs. “When I sit down to write something, whether it has a vocal (part) or not, it’s still a very similar process for me.”

But in many ways, Strangers, which also includes tracks with Tegan and Sara, St. Lucia, Penguin Prison and Alex Ebert of Edward Sharpe and the Magnetic Zeros, has additionally served as Anjos’ musical coming of age, one that continues to offer him new and exciting opportunities much like this Friday night’s headlining show in LA at Club Nokia that boasts openers Big Data, Geographer, filous and Karl Kling.

And with new material planned for the performance and his backing band clicking on all cylinders after playing together for the last two years, it’s a chance for Anjos to not only show RAC fans what’s next for the group, but also to prove how far he has come as an artist since his early remixing days.

“I feel really lucky,” he says while reflecting on his career so far. “Hopefully it continues.”

Filed Under: Editor's Picks, Featured, Interviews Tagged With: André Allen Anjos, Club Nokia, Coachella, Coachella 2015, Coachella Music and Arts Festival, Coachella Music and Arts Festival 2015, Coachella Valley Music & Arts Festival, Coachella Valley Music & Arts Festival 2015, Coachella Valley Music and Arts Festival, Coachella Valley Music and Arts Festival 2015, RAC

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

November 4, 2015 by tom dellinger 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 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.

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 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.

The Candy Butchers Bash - The Sam Chase & The Untraditional

The Candy Butchers Bash - Mission Delirium

The Candy Butchers Bash - Caroline Dignes

The Candy Butchers Bash - Sierra Faulkner

The Candy Butchers Bash - Sierra Faulkner and Caroline Dignes

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Great American Spirit Ball, Mission Delirium, Royal Jelly Jive, The Candy Butchers Bash, The Chapel, The Crux, The Sam Chase & The Untraditional

20 moments we won’t forget from Treasure Island Music Festival 2015

October 22, 2015 by The Bam Team 3 Comments

Photos by Marc Fong // Written by Mike Frash, Molly Kish & Anthony Sanchez //

Treasure Island Music Festival //
Treasure Island – San Francisco
October 17th-18th, 2015 //

There is no question Treasure Island Music Festival has one of the best locations and views in live music.

But Mother Nature had some things to say about the environment around the fest this year. For one, the drought has chased away the lovely grass that’s been present in years past. And with winds from 10-20 mph, it got a bit more dusty than usual. You can’t control the weather, and the grounds this year were a brutal reminder of how much California needs some damn rain.

Other than that, it was status quo for the Festival in the Bay — good times and no festy FOMO. Here are 20 moments and sets that will be ingrained in our brains.

The biggest news from Treasure Island Music Festival: The National have emerged as true festival headliners. Known for their pensive lyrics and sorrowful tone, The National injected their songs with accelerated BPM and an uplifting layering of melody, making the experience all the more magnificent. The setlist was still heavy on Trouble Will Find Me and High Violet songs, but it all felt new, more grateful, inspiring and majestic than before. Many of the highlights were one-offs and new cuts: Laura Mayberry duetted with a very present Matt Berninger on “I Need My Girl”, a cover of “Peggo-O” and with a shout-out to Bob Weir and new song “Checking Out” (it was called “Roman Candle” when they played it in Los Angeles earlier in the weekend). The effort was A1 all around, and we left wanting more.

Run the Jewels completely reigned over the crowd, flowing over heavy-hitting beats by El-P with a lively performance we all expected, willing all hands in the air. Yet another example of El Producto and Killer Mike bossing, per usual.

Father John (Sassypants) Misty has his festival game on point, and he has progressed his I Love You Honeybear songs into epic plateaus since premiering them in the Santa Cruz mountains last February (read about it here). He spewed banter like an Stephen Colbert-esque contrarian, saying, “Look at these suckers with their hair blowing all over the place.” And as he approached the mic for more improv-snark later on, Tillman paused to say, “Sorry, I have nothing to say. Ha.” FJM was speechless for once, but granted, it might have been set up for “Bored in the USA”, a song that should be considered an American classic at this point.

Easily one of the most opinion-generating sets of the weekend, FKA twigs left everything she had on the Bridge Stage for a captive audience of conflicting critics. Washing over the sizable crowd backed by dramatic stage lights and eerily haunting vocals, the pint-sized powerhouse tangoed her way through a fog-laced set alongside fellow voguing backup dancers and band. Even with her set pushing the avant-garde limits for a good portion of the TIMF crowd, FKA twigs undoubtedly left an impression on everyone in attendance and held her own as headliner support in a considerably stacked bill.

Giving the last performance in support their already-classic Lost in the Dream, The War on Drugs end an album cycle with a few questions in mind. Can they get better from here, and could they headline festivals next time around?

Panda Bear delightfully assaulted the festival-weary crowd’s senses with a mind-melting IDM exclamation point. He treated his crowd to one last collectively-uncomfortable group moment, brought on by delightfully weird music and intense background visuals designed by Danny Perez.

Fresh off the release of their second studio album, CHVRCHES‘ Lauren Mayberry commanded the stage with a palpable enthusiasm and chops of a veteran frontwoman. Her epic vocals cut through the encroaching fog as she danced wildly around the Bridge Stage.

Ex Hex served up the best shred-dueling guitar moment during their amazing mid-day slot on Sunday.

Hudson Mohawke demonstrated the kind of talent and energy that keeps him on speed dial for the likes of Drake and Kanye West, firing off club bangers in a set replete with custom lighting and live drummers.

Armed with a full roster of touring vocalists, the UK electronic duo Gorgon City blew the Saturday afternoon crowd away with soulful renditions of “Unmissable” and “Real”. Set highlights including numerous extended versions of crowd favorite album cuts and easily the best midday dance party of the weekend, spurred by an audience-rousing rendition of “Here for You”.

Viet Cong‘s Matt Flegal mentioned, “We had Sunday afternoons in mind when we wrote this stuff” with juuuuust a dash of irony. Maybe “Sunday Afternoon” would be a solid choice for the group’s new name? Maybe not, but drummer Mike Wallace is the heartbeat of this excellent doom-indie act.

When you look at the TIMF 2015 lineup, Sound Tribe Sector 9 (STS9) is the fish out of water with their jam-band roots. But Sound Tribe got the love from a dance-happy crowd on Saturday, one that was there largely for the mau5.

Big Grams impressed with their live debut to close out the Tunnel Stage on Saturday. How could the combo of Big Boi and Phantogram not bring the fire? Plus, Run the Jewels guested for “Born to Shine”.

Vampire Weekend bassist Baio and his early-riser electronic set was replete with a Eurythmics cover “Here Comes the Rain Again”.

Cashmere Cat (pictured above) breezed through an electrifying set of R&B-infused trap sensations while Bob Moses set the tone on Saturday, moving the crowd as they watched the projected overcast clouds head back over to SF, leaving the island awash in sunshine and vibes.

Jose Gonzalez stretched out his best hits with multiple drummers and an idyllic TIMF sound for the festival’s second day. You know a set is good when it goes by that quickly.

Shamir (pictured above) showed sass and chops beyond his years — and why he’s a 2015 breakout act. Meanwhile, damn, Ought sure is proficient, and they unveil beauty through repetition and punk mentality. Their purposeful presence and pointed music makes you think their best is yet to come.

Deerhunter‘s Bradford Cox talked about how he decided on the way over to the island that he wouldn’t play many songs, how he took ayahuasca on Saturday night in LA and he was surprised at how reserved the TIMF audience was. He said we were “polite like the Japanese.” Bradford, that’s what we call “respect” — and you’ve earned it. Those who expected lots of new material from the group’s wondrous new album, Fading Frontier, left the island bummed out. Others like myself, who got on the Bradford Cox express train without hesitation, enjoyed a wandering, masterful set that took cues from the sentiment of The War on Drugs as well as the psychedelic repetition of Panda Bear. Cox even thanked these two bands by name before wrapping up.

So, what were your favorite moments from TIMF 2015?

Treasure Island Music Festival 2015 - Lower Dens

Treasure Island Music Festival 2015 - FKA twigs

Treasure Island Music Festival 2015 - Run the Jewels

Treasure Island Music Festival 2015 - STS9

Treasure Island Music Festival 2015 - Gorgon City

Treasure Island Music Festival 2015 - CHRVCHES

Treasure Island Music Festival 2015 - Deadmau5

Treasure Island Music Festival 2015 - The War on Drugs

Treasure Island Music Festival 2015 - Viceroy

Treasure Island Music Festival 2015 - Deerhunter

Treasure Island Music Festival 2015 - Father John Misty

Treasure Island Music Festival 2015 - Ex Hex

Treasure Island Music Festival 2015 - Panda Bear

Treasure Island Music Festival 2015 - Shamir

Filed Under: Editor's Picks, Featured, Festival Reviews, Festivals, Treasure Island Music Festival Tagged With: Baio, Big Boi, Big Grams, Bob Moses, Cashmere Cat, Chvrches, Deerhunter, Ex Hex, Father John Misty, FKA twigs, Gorgon City, Hudson Mohawke, Jose Gonzalez, Ought, Panda Bear, Phantogram, Run The Jewels, Shamir, Sound Tribe Sector 9 (STS9), The National, The War on Drugs, Treasure Island Music Festival, Treasure Island Music Festival 2015, Viet Cong

First Times: Experiencing the Santa Barbara Bowl as My Morning Jacket take their game to the next level

October 19, 2015 by Josh Herwitt 3 Comments

By Josh Herwitt //

My Morning Jacket with Fruit Bats //
Santa Barbara Bowl – Santa Barbara, CA
October 11th, 2015 //

Ever since I can remember, the Santa Barbara Bowl has always been on my bucket list of concert venues to visit.

With its majestic views overlooking the Pacific Ocean, the 4,562-seat outdoor amphitheater offers one of Southern California’s — and maybe even one of the country’s — most beautiful settings to take in live music.

But for whatever reason, whether it was the distance, the timing or just not being able to find the right band to make the 90-minute drive from Los Angeles worth it, seeing a show there had yet to happen for me.

So, when My Morning Jacket unveiled their 2015 U.S. tour dates, which included a Sunday night gig at the Santa Barbara Bowl earlier this month, it was an opportunity that I wasn’t about to pass up.

Following the release of their seventh studio album The Waterfall this past May, My Morning Jacket are one of rock’s biggest crown jewels at the moment. There are a select number of rock ‘n’ roll bands that can elevate their game to another level when they perform live, and for all intents and purposes, the Louisville five-piece has clearly proven to be one of them over the last several years.

But since 1998, when frontman Jim James founded the band with three members from the emo-punk outfit Winter Death Club, My Morning Jacket have done their best to live outside the box, paying homage to the Southern rock gods that have come before them while combining elements of folk, country and even dub and reggae to create a sound that is uniquely their own. In short, they’re a rock band, while psychedelic in nature, that seemingly has no limits. Of course, at least some of that eclecticism can be attributed to James, who has long served as the band’s primary songwriter, but the 37-year-old has also managed to surround himself with a talented group of musicians over the years.

At the Santa Barbara Bowl after an opening set from the recently revived, indie-folk project Fruit Bats (read our interview with the band here), Jim James (lead vocals, guitar), Tom Blankenship (bass), Patrick Hallahan (drums, percussion), Bo Koster (keyboards, percussion, backing vocals) and Carl Broemel (guitar, pedal steel guitar, saxophone, backing vocals) were locked in from the moment they walked on stage and started with “Steam Engine”, a deep cut off 2003’s It Still Moves. Though it was more than understandable to see the band play a large majority of The Waterfall for its first performance at the Santa Barbara Bowl in almost four years, there were plenty of other deep cuts mixed in over the next two hours, from “Bermuda Highway” to “Mahgeetah” to “Touch Me I’m Going to Scream Pt. 2”. After all, it’s no secret that My Morning Jacket have always been good to their most loyal and dedicated fans, and in once again taking song requests as part of their “Spontaneous Curation Series,” they made sure to dig up many of the classics from their seminal album Z, including “Wordless Chorus” and “Off the Record” one after the other in the middle of a loaded, four-song encore.

Yet, before it was all said and done, it was only fitting for James and his bandmates to end the night with “One Big Holiday”, a longtime crowd favorite about a “bad man from California” that put My Morning Jacket squarely on the map more than a decade ago. And as the curly, long-haired guitar wizard shredded his way through the single’s final notes, I couldn’t help but think that after waiting all those years to step inside the Santa Barbara Bowl, the whole show had felt like one big holiday to me.

Setlist:
Steam Engine
Believe (Nobody Knows)
Compound Fracture
Circuital
In Its Infancy (The Waterfall)
Bermuda Highway
It Beats 4 U
Gideon
Like a River
Golden
Mahgeetah
Spring (Among the Living)
Only Memories Remain
Tropics (Erase Traces)
Touch Me I’m Going to Scream Pt. 2

Encore:
Victory Dance
Wordless Chorus
Off the Record
One Big Holiday

Filed Under: Editor's Picks, Featured, First Times, Live Music Reviews, Show Experience Tagged With: First Times, Fruit Bats, Jim James, My Morning Jacket, Santa Barbara Bowl

Fruit Bats are back together and hitting the road this fall on My Morning Jacket’s latest U.S. tour

October 9, 2015 by Josh Herwitt 1 Comment

Photos by Annie Beedy // Written by Josh Herwitt //

Since their early beginnings in Louisville, My Morning Jacket have toed the line between the indie and jam worlds better than any other rock ‘n’ roll band out there. But they’re also now partially responsible for reviving an early pioneer of the post-millennial, folk-rock boom that stormed the U.S. music industry more than a decade ago.

Conceived by Eric Johnson while working as an instructor at The Old Town School of Folk Music in his native Chicago, Fruit Bats first served as an outlet for the 39-year-old singer-songwriter to experiment writing songs with his 4-track recording device.

“My ultimate goal was to play the local club on a Tuesday night,” Johnson tells me by phone. “I was coming from this very shrewd indie-rock era. My goal was just to have a couple people hear it, and I didn’t even think that would happen.”

Johnson, nevertheless, would go on to befriend James Mercer of The Shins and Isaac Brock of Modest Mouse while touring as a member of Califone, gaining the support of both bands before signing Fruit Bats to Sub Pop Records in 2002 and releasing a new LP on the Seattle label the following year.

“It took going on tour and seeing those guys do well to realize it doesn’t take magic,” Johnson says with regard to the role The Shins and Modest Mouse played in helping Fruit Bats reach a wider audience during the early 2000’s. “You get to see how the wheels start to turn and how it can work.”

Fruit Bats subsequently released three more studio albums on Sub Pop, with Johnson joining The Shins during part of that time as a multi-instrumentalist. But more than two years after putting the final touches on the band’s last full length Tripper, Johnson announced that Fruit Bats would be no more. He was set on taking his career solo, and if that meant calling it quits on the band he founded and led for more than 15 years, then that’s what he had to do.

It was a decision that Johnson still doesn’t regret making now almost two years later, largely because it has completely flipped his perspective on playing in a band, something he started to miss as a solo artist. And after much thought, he came up with a “new” concept for a band, only to realize that it was exactly what Fruit Bats had been all along.

“I formulated this whole plan in my head that seemed like such a great idea, and when I looked at it all on paper, I said, ‘I did that already,'” he says.

Around this same time, My Morning Jacket came calling, asking Johnson if he wanted to open for them as a solo act over a two-week stretch — starting on Sunday at the Santa Barbara Bowl and continuing Tuesday in Los Angeles at the Shrine Auditorium before hitting San Francisco for three straight nights at The Masonic a couple days later — on their current U.S. tour.

“My Morning Jacket asked if I wanted to do the tour and open solo,” he says. “I thought, ‘That would suck to open solo for those guys.’ I felt like I would be swallowed up by those rooms.”

So, rather than turning them down, Johnson proposed another idea.

“I asked them, ‘What if I reunited Fruit Bats for these shows?'” he says. “And they were like, ‘That would rule! That would be awesome!’ So, I got the My Morning Jacket seal of approval.”

Shortly thereafter, Johnson wrote on the band’s Twitter page that he would be performing as Fruit Bats again, but the accomplished film scorer (his credentials include working on “Our Idiot Brother” in 2011 and “Smashed” in 2012) would also reveal two months later that he had begun writing the band’s next album, which is slated for release in early 2016.

Still, after 16 years fronting Fruit Bats, he never expected that he would be taking the band on the road as an opener.

“I don’t do opening tours ever,” says Johnson, who splits his time between Portland, where he now calls home, and LA, where he’s currently recording the latest Fruit Bats album. “I’ve said ‘No’ to a lot of them because it’s hard. It’s a bus-chasing tour as they call it.”

But opening for My Morning Jacket, even with the prospect of doing it while traveling from state to state on a bus, was an opportunity that Johnson, whom has been friends with Jim James for a number of years now, couldn’t pass up when the offer was presented to him.

“My Morning Jacket would be on the very short list of people I would chase around because talk about one of the great rock ‘n’ roll bands of our time that is making super relevant and timeless music,” he says. “It seemed like a no-brainer. If you want to talk about a big band with that reach that I would want to get in front of, they’re definitely one of them.”

From California to Arizona to Texas, Fruit Bats will take on some fairly large venues this month, even if it means doing it as an opener despite having been around the block like Johnson has by now.

“It can be a pretty thankless gig,” he says when it comes to opening shows.

If there’s one thing Johnson can be thankful for though, it’s that phone call he got earlier this year from My Morning Jacket.