Editor’s Picks – Showbams

If we never see Nine Inch Nails live again, it’s been quite a ride

August 26, 2014 by Josh Herwitt 7 Comments

Photos by Rob Sheridan for NIN.com // Written by Josh Herwitt //

When Trent Reznor told Nine Inch Nails fans six years ago that it was “time to make NIN disappear for a while,” no one knew if they would ever have the opportunity to see the industrial rock goliath perform again.

As someone whose musical palette was heavily influenced by such 90’s masterpieces as The Downward Spiral and The Fragile — two albums that will likely go down as some of the best rock music that’s ever been made — but never got to see NIN live, it came as a shocking blow to my psyche.

For me, NIN was always that band whose music felt uniquely original and accessible, yet remained frighteningly dark in image. More than 20 years ago, it was MTV that was forced to significantly censor the music video for “Closer” — still NIN’s most popular song to this day — in which Reznor combined themes of religion, sex, animal cruelty, politics and terror to go along with his disturbingly eerie lyric “I want to fuck you like an animal.”

Still, for as creepy as Reznor made himself appear — and there may be no better example than NIN’s epic performance at Woodstock ’94, which was officially released online almost two weeks ago — there is no band that has bridged the gap between heavy metal and electronic music better than NIN. From his early days as a sound engineer to his passion for analog synthesizers and digital technologies more recently, Reznor created a genre of music that few have ever come close to emulating. While other industrial acts like Ministry, MDFMK, Killing Joke, Filter and Rammstein achieved moderate levels of success at one point in time, none of them ever garnered the same mainstream appeal that NIN has sustained for more than two decades.

But even with two Grammy Awards and nine full-length albums to his name, Reznor has had his doubts about keeping NIN going. It’s why he announced in early 2009 that the band would be done performing live “for the foreseeable future” before embarking on its “Wave Goodbye” tour, which culminated in a 37-song show at The Wiltern in Los Angeles, before that fire was eventually rekindled with the release of 2013’s Hesitation Marks last September.

It’s not that Reznor fell off the face of the Earth during that five-year layoff, though. With NIN on an indefinite hiatus, he went on to win an Oscar and a Grammy for his soundtracks to The Social Network and The Girl with the Dragon Tattoo, write the theme music for the video game “Call of Duty: Black Ops II” and form the post-industrial outfit How to Destroy Angels with his wife and lead vocalist Mariqueen Maandig, whom he shares two children with now. Over the last two months, he’s managed to find the time to finish composing the soundtrack for David Fincher’s upcoming movie Gone Girl while touring North America with his NIN sidekicks for quite possibly the last time.

After all, from what he told the crowd last Thursday night in Chula Vista, Calif., Reznor has no plans for another NIN album or tour right now. Even if he continues writing music like he told us he would that evening, just miles from the U.S.-Mexico border, there is no guarantee it will be for NIN. And at this point, it would be completely understandable for Reznor to retire the band he once gave birth to 26 years ago in Cleveland, where it will likely return to some day for its induction into the Rock and Roll Hall of Fame.

Reznor, of course, isn’t getting any younger. At the age of 49, the NIN mastermind and only official member of the band has battled plenty of inner demons in his younger life, having overcome both drug and alcohol addictions, depression, social anxiety disorder and sadly, even his own suicidal tendencies. Now as a sober family man, he has openly admitted that the rigors of touring have taken their toll on him.

So, if this was the last time I ever got to see Nine Inch Nails perform live, I have no regrets attending four of the 26 shows that they are co-headlining with Soundgarden this summer.

In fact, seeing one of my favorite bands of all time at the legendary Red Rocks Amphitheatre was an absolute dream come true — a show that no doubt will go down in memory as one of the best I have ever witnessed in all my concert-going years. Then, there was Monday night’s noteworthy performance at the Hollywood Bowl, which marked another important moment for the band in playing the historic LA amphitheater for just the second time ever, with the first coming almost nine years ago following the release of 2005’s With Teeth.

Sure, seeing four shows — Red Rocks, Chula Vista, Irvine and Hollywood — on this tour might seem like overkill to some. For me, it felt like the right thing to do. It didn’t matter that the setlists have varied little from show to show over the last month. Instead, just having the chance to connect with the music and art that Reznor specifically curates for each NIN tour more than once is something I will always cherish, whether or not I ever get to do it again.

Because even if I don’t, I’ll know that those four shows I saw were worth every penny spent.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Hesitation Marks, Hollywood Bowl, How to Destroy Angels, NIN, Nine Inch Nails, Red Rocks Amphitheatre, Rock and Roll Hall of Fame, Sleep Train Amphitheatre, Soundgarden, The Downward Spiral, The Fragile, Trent Reznor, Verizon Wireless Amphitheatre, With Teeth

Five emerging artists you need to hear

August 5, 2014 by Krystal Beez 6 Comments

Written by Krystal Beez //

Get familiar with these five emerging artists.

1. ELLIPHANT

Who: Ellinor Olovsdotter

Origin: Stockholm, Sweden

What she’s about: Inspired by Scandinavian pop and the Jamaican-influenced dance scene in Sweden and Denmark as well as London’s dubstep scene, Elliphant’s music is a global potpourri of electrifying rhythms and powerful, yet raw, chants. “Down On Life” is her most “traditional” song, while her more recent singles, “Only Getting Younger” and “Revolusion”, resemble the efforts of her Mad Decent associates M.I.A and Maluca much more. Elliphant is currently on tour supporting the fabulous Charli XCX. Catch them both at Slim’s in San Francisco on Saturday, October 25th. Get your tix here.

File next to: M.I.A., Mapei, Maluca.

Follow: Facebook. Soundcloud. Twitter. Spotify.

2. SEINABO SEY

Who: Seinabo Sey

Origin: Stockholm, Sweden

What she’s about: Seinabo Sey is of both Swedish and Gambian descent — a fact that is reflected in her music, which is an accessible blend of Swedish pop, R&B and African rhythms. At just 23, Sey made a big splash across the blogosphere with her debut single “Younger” and is currently recording her debut album in Stockholm. With crisp production coming from fellow Swede Magnus Lidehall (Mapei, Veronica Maggio), Sey’s powerhouse vocals are always the focus of each track. Hopefully we get more tracks from this emerging pop/soul artist in the very near future.

File next to: Ella Eyre, Marlene, Mapei.

Follow: Facebook. Soundcloud. Twitter. Spotify.

3. ZELLA DAY

Who: Zella Day

Origin: Arizona

What she’s about: Zella Day first appeared on the scene a few years ago with her sparse and organic cover of The White Stripes’ “Seven Nation Army“. Since then, Day released the single “Sweet Ophelia” and began drawing comparisons to Lana Del Rey. The Arizona native picked up a guitar at a young age, capturing inspiration from the Arizona scenery, Western films and personal experiences to create a raw sound that doesn’t really fit into one specific genre. Currently, Day is in the studio working on her debut EP, and if her single and B-side “1965” are any indication, then we can expect some charming indie pop to hook us. Until then, check out her newest release “East of Eden” below.

File next to: Lana Del Rey, Broods, Betty Who.

Follow: Facebook. Soundcloud. Twitter. Spotify.

4. SNAKEHIPS

Who: Oliver Lee and James Carter

Origin: London, England

What they’re about: If you need a more laid-back soundtrack for the summer, then look no further than Snakehips. The London duo make music at that sweet spot where the 90’s R&B of yesterday meets the technology of today. They’ve topped The Hype Machine charts with remixes of Banks, Wild Belle and The Weeknd, and they are getting ready to take over. Think Disclosure, but at reduced speeds. Check out their newest single below, featuring the always lovely vocals of Sinead Harnett, who has previously been featured on tracks by Rudimental and Disclosure and is another artist to watch out for in 2014.

File next to: Disclosure, Cyril Hahn, Kidnap Kid.

Follow: Facebook. Soundcloud. Twitter. Spotify.

5. ZHU

Who: Steven Zhu?

Origin: Current location is California (LA/SF)

What he’s about: Zhu is the mysterious producer behind the Outkast mashup “Moves Like Miss Jackson“. You won’t find any pictures of him on his website or on Facebook. His EP Nightday is out now on iTunes, and you can listen to it on Soundcloud. Zhu issued the following statement about keeping his identity hidden: “Many are wondering why I chose to release my music anonymously. I am my own ghostwriter. As a society, we become more attached to the creator than to the creation. Music is faceless. My music is for a new generation—one in which people appreciate art for its intrinsic value—Generation WHY.” His chill, deep house and “letting the music speak for itself” vibes have got people intrigued, and he is set to be one of the biggest breakout acts in 2014. And now you know everything there is to know about Zhu — for now.

File next to: Moon Boots, Disclosure, Duke Dumont.

Follow: Facebook. Soundcloud. Twitter. Spotify.

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

Filed Under: Editor's Picks, Featured, New Music Tagged With: Ellinor Olovsdotter, elliphant, New Artists, New Music, seinabo sey, snakehips, zella day, zhu

First Times: Experiencing Seattle’s music scene

July 18, 2014 by Josh Herwitt Leave a Comment

Photos by Josh Herwitt & Melissa Herwitt // Written by Josh Herwitt //

Growing up in the 90’s, Seattle always had a special place in my heart.

From my days of listening to Pearl Jam, Soundgarden and Alice in Chains albums in my bedroom, grunge music had already produced a profound impact on my musical taste by the time I entered my teens. Unlike so many of my peers, I never became a crazed Nirvana fan, but the rock music I did like — whether I knew it or not at the time — was being born in the Pacific Northwest.

As time passed and my music palette grew, grunge wasn’t the only genre coming out of the region that tickled my ears. In fact, Seattle’s musical history stretches further than it just being the birthplace of grunge. In more recent years, Seattle’s hip-hop scene, for one, has exploded in part due to Grammy winners Macklemore & Ryan Lewis, but even experimental acts like Shabazz Palaces and Blue Sky Black Death have helped build the local scene. And let’s not forget that we’re talking about the city that bred the one and only Sir Mix-a-Lot, of course.

Knowing this, my expectations of Seattle’s music scene have always been quite high. Since the late 60’s when Seattle native Jimi Hendrix took London by storm with bassist Noel Redding and drummer Mitch Mitchell, there has been a musical fabric that has run through the Emerald City. It’s a city, after all, that has a nonprofit museum dedicated largely to pop culture and music, with informative, in-depth exhibits on the history of The Jimi Hendrix Experience and Nirvana that include authentic artifacts, hand-written lyrics, used instruments and original photographs of both groups. You never know — maybe someday Pearl Jam, Soundgarden and Foo Fighters memorabilia will also find its way behind the EMP Museum’s glass doors.

Meanwhile, Sub Pop, Seattle’s famed independent record label, has found continued success outside of its home base long after popularizing the grunge movement, with indie contemporaries like The Shins, Fleet Foxes, Beach House, Foals, The Postal Service and Wolf Parade all signed to its current roster. And even more than 25 years after its inception, the label Bruce Pavitt and Jonathan Poneman created hasn’t lost its charm in a city where the Seahawks carry as much weight as any local band on the brink of national prominence these days.

With that said, while history can’t be erased, it certainly doesn’t mean it will be repeated. The Crocodile, formerly known as The Crocodile Café, has long been a fixture in Seattle’s music scene; the relatively small, intimate club on the corner of 2nd Avenue and Blanchard Street in the neighborhood of Belltown was the place where bands like Nirvana and Death Cab for Cutie first got their start. Even though the 525-person venue closed its doors in 2007, it reopened them a couple years later and has remained instrumental in maintaining Seattle’s reputation as one of America’s best music cities.

But whether it was the Fourth of July holiday or just the band that was booked for the night — in this case, San Francisco’s Geographer, who I have seen a handful of times at this point — I was surprised to see a room only half full of spectators when I walked inside. Maybe Geographer just doesn’t draw in Seattle what it does in SF or LA — or maybe I’m just spoiled. Since graduating college, I have had the privilege of living in New York and Los Angeles while getting to experience both cities’ music scenes for an extended period of time. My concert-going experiences haven’t been restricted to just LA and NYC, though. Over the years, I have made numerous trips to Denver — a city smaller than Seattle, yet one that undeniably eats, breathes and lives for live music — to attend shows at Red Rocks and beyond.

At The Crocodile, something felt missing unfortunately. Sure, it was just one show, but there wasn’t the same kind of buzz I found in any of those aforementioned cities. For whatever reason, my native LA often gets vilified by outsiders and transplants for our crowds’ lack of enthusiasm; words like “rude” and “unengaged” are regularly thrown around when it comes to LA’s music scene. But the energy at The Crocodile on that Friday night wasn’t anything better than what I experience on a regular basis in Southern California. If anything, it was considerably worse.

As disappointed and uninspired as I was after the show, my respect for Seattle’s music scene hasn’t wavered. With so much of my youth influenced by the musicians who have called this majestic seaport city home, it will always remain an important place for this music lover. Yet, what it’s made me realize is just how lucky I am to have lived where I’ve lived and been where I’ve been.

Filed Under: Editor's Picks, Featured, First Times, Show Experience Tagged With: Alice in Chains, Beach House, Blue Sky Black Death, Death Cab For Cutie, Fleet Foxes, FOALS, Foo Fighters, Geographer, Jimi Hendrix, Macklemore & Ryan Lewis, Nirvana, Pearl Jam, Seattle, Shabazz Palaces, Soundgarden, The Crocodile, The Jimi Hendrix Experience, The Postal Service, The Shins, Wolf Parade

Five female-fronted, emerging UK acts you need to hear

July 15, 2014 by Krystal Beez 2 Comments

Written by Krystal Beez //

With the Fourth of July in the rearview mirror and the taste of independence fresh in my mouth, I thought it would only be fitting for us to get familiar with five emerging artists from the United Kingdom. While listening to the artists below might make you a quasi-traitor, at least you’ll be a renegade with some good music.

1. ELLA EYRE

Who: Ella McMahon

Origin: West London, Britain

What she’s about: You may recognize her name if you listened to Rudimental’s amazing album Home. She was the sexy and husky voice belting out proudly on their No. 1 single “Waiting All Night“. She also collaborated with Wiz Khalifa and Naughty Boy on the track “Think About It“. But now, Ella Eyre is out on her own with a debut EP entitled Deeper. Ella attended the famous BRIT school for performing arts and was runner-up for the Brit Critics’ Choice Award, losing to Sam Smith. At 21 years old, Ella is just getting started. Her debut single, “Deeper“, really emphasizes her sultry voice and her R&B/soul influences. Sadly, there’s no release date for her debut album yet, but no need to panic. You can catch Ella’s San Francisco debut at Popscene on Friday, July 25th. Samsaya and local artist Anya & the Get Down support. You do not want to miss this! Tickets available here.

File next to: Zella Day, Sam Smith, Kiesza

Follow: Facebook. Soundcloud. Twitter. Spotify.

2. CAMDEN COX

Who: Camden Cox

Origin: London, Britain

What she’s about: Camden Cox is signed to Little Boots’ label On Repeat, and her debut single, “Kinda Like”, is future pop coming to fruition. She recently released an EP with only one drawback — it needs more new songs by Camden Cox.

File next to: AlunaGeorge, Sky Ferreira, Tove Lo

Follow: Facebook. Soundcloud. Twitter. Spotify.

3. ELLI INGRAM

Who: Elli Ingram

Origin: Brighton, Britain

What she’s about: Elli Ingram is a name that’s been buzzing around the UK music scene after she released the beautiful track “When It Was Dark“. Since then, Ingram has collaborated and toured with electronic duo Chase and Status, and she released two EPs. The UK songstress’ soulful vocals and R&B/hip-hop style have her drawing comparisons to the likes of Adele and, more accurately, Amy Winehouse. Both of Ingram’s EPs — Sober and the more recent release The Doghouse — demonstrate her powerful, soulful vocals as well as highlight the skill of her production team, Felix Joseph and Aston Rudi. Start with “High Love” and “All Caught Up“, and soon you’ll be addicted to the music of this talented young lady. And if you enjoy a good cover song, watch Elli’s jazzy cover of Kendrick Lamar’s “Poetic Justice“.

File next to: Sampha, Laura Welsh, Amy Winehouse

Follow: Facebook. Soundcloud. Twitter.

4. IYES

Who: Josh Christopher and Melis Soyaslanová

Origin: Brighton, Britain

What they’re about: IYES (pronounced “eyes”) are another girl/boy duo breaking out this year. The duo met at a party while in school and started making music together. They put a track on Soundcloud called “Lighthouse” and took over the blogosphere within a week. Since then, they’ve done a number of remixes as well as released their debut single “Til Infinity“, a lovely track of minimal electropop. More recently is the song “Toys“, which is labeled as a demo but actually feels like a polished and full track, and sees Christopher taking on more of a vocal role as the duo sing back and forth in almost an XX type of way. Again, if you enjoy a good cover song, check this one out.

File next to: MS MR, ASTR, Sohn

Follow: Facebook. Soundcloud. Twitter. Spotify.

5. CLEAN BANDIT

Who: Jack Patterson, Luke Patterson, Grace Chatto and Milan Neil Amin-Smith

Origin: Cambridge, Britain

What they’re about: Now let’s combine elements of classical music along with dance music, house and UK funky, and you get the brilliance that is Clean Bandit. Their debut album, New Eyes, was released last month, and it features their No. 1 single “Rather Be“, starring the exquisite guest vocals of Jess Glynne, another emerging UK artist to keep your eye on. Clean Bandit are signed to the Black Butter Records label, home to the likes of Rudimental, Gorgon City and Kidnap Kid. Clean Bandit are going to be doing big things, so remember the name. Be sure to see them perform live at The Fillmore for their SF debut on Saturday, September 27th! More info on tickets here.

File next to: Gorgon City, Route 94, Le Youth

Follow: Facebook. Soundcloud. Twitter. Spotify.

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

Filed Under: Editor's Picks, Featured, New Music Tagged With: British, camden cox, classical, clean bandit, Dance, Electro, Ella Eyre, elli ingram, iyes, New Artists, New Music, pop, R&B, Soul

High Sierra returns to Quincy for its 24th edition

July 11, 2014 by The Bam Team 1 Comment

By Justin Halgren, Benjamin Wallen & Kory Thibeault //

High Sierra Music Festival //
Quincy, CA
July 3rd-6th, 2014 //

The latest edition of High Sierra Music Festival — the 24th installment, believe it or not — took place over the Fourth of July weekend in the mountains of Quincy and welcomed headliners Widespread Panic (two sets), Sound Tribe Sector 9, Lauryn Hill and Beats Antique to its main stage.

The four-day event also featured performances from a long, eclectic list of other talented acts, including Trampled By Turtles, Lord Huron, The Chris Robinson Brotherhood, Lettuce, Greensky Bluegrass, The Polish Ambassador and Thao & The Get Down Stay Down to name a few. With photographers manning the grounds, Showbams captured plenty of memorable moments from the holiday weekend.

Filed Under: Editor's Picks, Featured, Photos Tagged With: Beats Antique, High Sierra, High Sierra Music Festival, Lauryn Hill, Sound Tribe Sector 9 (STS9), Widespread Panic

Five new songs that show Bon Iver’s magnificent, post-rock influence

June 20, 2014 by Mike Frash 6 Comments

How influential has Justin Vernon been the past five years?

He put Bon Iver on the backburner after exhaustively touring the group’s second record, but you can’t say the guy hasn’t been busy. Volcano Choir has helped us look inward while touring on Repave, while also getting back to blues roots with The Shouting Matches. Vernon curated a stems remix project with Spotify, sponsored whiskey and is now working with James Blake and of course, Kanye West.

Also in the last five years, Vernon’s influence has spread amongst popular and indie music alike. His hallmark vocal sound mixes falsetto with bass-oscilated auto-tone, all while multi-tracking. It’s a synthetic process that somehow instills auditory pleasure that feels organic.

Consider these five new songs if you’re a fan of Vernon.

1. Coldplay – “Midnight”

Coldplay’s new record Ghost Stories has the obvious radio single that won’t be going away anytime soon in “Magic”, along with the Avicii-assisted radio banger “A Sky Full of Stars”. But “Midnight” was the first song Coldplay chose to release in promoting their return to action.

Many were quick to point out that it sounds just like Bon Iver, and they are pretty much right. Martin’s auto-tuned vocals are slightly multi-tracked, and they soar out into the cheesy cosmos like only Coldplay could do. Imitation is the ultimate source of flattery, right? This song, more than any other, has been the centerpiece of divisiveness in criticizing Coldplay’s latest effort, one that favors wallowing over love instead of the usual stadium anthems.

In the end, this song delivers, minimalist design and all.

2. James Vincent McMorrow – “Cavalier”

“I remember my first love…”, a line of reflective emotion that sticks to the mind like no other this year. Why? Because his voice. Meet the best song of 2014 that is getting no attention. By the time the wave of horns join McMorrow in his magnificent introspection mid-way through, the instrumental stylings of Bon Iver begin to bubble up. But pay no mind to this as a possible copycat scenario – just check out James Vincent McMorrow’s Post Tropical inspiration to see for yourself.

3. Ben Khan – “Youth”

First the synth hits, then the wailing guitar takes over, as if calling out to the distance. Then Ben Khan announces himself with cooing ease, and the vocal reverb and tone of Vernon starts to sound familiar. Wait for it….BAM! The song takes off with a screech-blast à la Solange’s “Losing You” combined with the ca-ching! from M.I.A.’s “Paper Planes” mixed in with a barrage of pleasurable sounds. Ben Khan’s four-track LP 1992 is out now, but the real question is, what’s next?

4. S. Carey – “Fire-scene”

This pick is a tad obvious, since Sean Carey is actually in Bon Iver as a percussionist and singer. He’s an integral part of the group, and he’s reemerged on his own this year with his new record, Range of Light. But for fans of Bon Iver, look toward “Fire-scene” to get a sense of what S. Carey has to offer. Sure, the video for the song even looks like the breathtaking short for “Holocene“, and his song-stucture sounds straight out of Eau Claire, but his lyrics are more direct. All that said, Carey shows why he deserves solo attention with his remarkable debut.

5. Daughter — “Smother”

Vernon’s influence has impacted beyond the dudes, as is seen with Daughter. She put her spin on “Perth” last year for BBC Radio, mashing it with Hot Chip’s “Ready for the Floor. Since then the impact of the aught’s favorite post-rock behemoth can be heard in Daughters’ original material, especially with “Smother”, off of If You Leave. If you’re a fan of Bon Iver, you likely will dig Daughter too.

What other new songs or artists remind you of Justin Vernon/Bon Iver? Let us know, or call us out…We’ll keep adding good songs to the playlist as long as you’ve got em.

Filed Under: Editor's Picks, Featured, Trends & Culture Tagged With: Ben Khan, Bon Iver, Coldplay, Daughter, James Vincent McMorrow, Justin Vernon, S. Carey, The Shouting Matches, Volcano Choir

tUnE-yArDs eye nonconformity through a glorious lens in SF

June 9, 2014 by Mike Frash 1 Comment

Photos by Pedro Paredes // Written by Mike Frash //

tUnE-yArDs with Sylvan Esso //
The Fillmore – San Francisco
June 6th, 2014 //

“It’s 2014 and we’re playing at the fucking Fillmore!” declared Merrill Garbus early in the set Friday as her eyes flickered with excitement. Known for her commanding gaze, the captivating centerpiece of tUnE-yArDs has fully embraced an eyeball motif in support of the incredibly addictive Nikki Nack. Garbus is surrounded by large eyes on stage, the show poster from the Fillmore features a piercing globular organ growing off a plant where a flower would normally be, and in the joyfully-insane video for “Water Fountain”, almost every shot contains artificial eyes or Garbus’ remarkable optical dexterity.

Accented makeup and glitter frame her sight, an innovative vision and expressive perspective that makes it difficult to take your eyes off her. tUnE-yArDs’ focus on eyes as a motif suitably reflects Garbus’ immaculate confidence and control amid pervasive themes of subverting conformity and growing paranoia, curating a transformative live music experience in the process — just don’t call her the “Real Thing”.

This night felt like a genuine two-for-one deal with fast-rising Sylvan Esso opening. Empowering female vocals and effective repetition was the connecting force between both duos this night, & the first act to perform inspired palpable crowd reactions with their minimalist-glitch approach. Singer Amelia Meath’s voice sparkles with the tone of Feist and the intonation of Regina Spektor, while Nick Sanborn’s live production hits the sweat spot of trending sound in 2014 — the wobbles and looping vocals are somehow familiar and fresh all at once. “H.S.K.T.” provided the most fun, upbeat action in the set, and “Coffee” was a strong example why this is a group to watch going forward.

Sylvan Esso’s engaging stage presence willed the audience to listen, and their expressive body language convinced most folks to move to the music instead of chat, a fate that befalls opening acts more than not. Often exhibiting mid-song patience, taking in each moment of downtempo ambiance, Sylvan Esso was an ideal pairing with tUnE-yArDs, further proven when Meath joined Merrill Garbus during tUnE-yArDs’ encore performance of the vocal-heavy “Rocking Chair”. Poised to break out much bigger in this viral music climate, Sylvan Esso should catapult upward as demand will likely dictate.

The song selection for the tUnE-yArDs set unsurprisingly focused on cuts from Nikki Nack, as almost every track from the record got attention. Flanked by female backup singers, Garbus relies less on looping than in the past, yet this cathartic repetition is still the backbone of most songs. Bringing in additional vocal support allows for a more organic approach to live production than past tours, letting Garbus focus on her powerful stage presence.

Technical precision is one of tUnE-yArDs’ biggest strengths, yet there’s still room for exploratory, drawn out moments. “Powa” extended into incredibly chaotic territory for the song’s outro. “Stop That Man” went on a risky journey that easily paid off with its industrial beats and overwhelming reverb vocals. Many new songs, including “Water Fountain” and “Sink-O”, jump into the refrain right away, contorting traditional strong structure in a way that makes the songs feel like pop music from the future. So many of these new songs give an intended feeling of anxiety, as if you’re being watched.

Driven by percussion, vocals and ecstatic hyperactivity, tUnE-yArDs win with a lighthearted, quirky mentality that skewers conformity. “Real Thing” blissfully critiques the notion of what a woman is supposed to look like while embracing true self. “Why are you afraid about pants size ten? Humadum, rumadum/ They’re chosen girls/ While you worry about chest size 6/ They’re winning the tricks…Ugly one be you, who you are.” Garbus goes out on the proverbial limb, bearing herself for all to see. It’s leadership like this that sets tUnE-yArDs apart.

This show had all the indications of an essential live performance; the music was thoroughly impacting, and the crowd was completely immersed and wide-eyed throughout, taking in tUnE-yArDs’ breathtaking sonic concoctions.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Sylvan Esso, The Fillmore, tUnE-yArDs

The Faint light up The Indy for a Doom Abuse “danse” party

June 5, 2014 by Molly Kish 1 Comment

Photos by Marc Fong // Written by Molly Kish

The Faint with Reptar, Darren Keen //
The Independent – San Francisco
June 1st, 2014 //

The Faint returned to the Bay Area this past Sunday, bringing their electrifying brand of “danse-punk” to the Independent in SF for a three night run. Celebrating the release of their long-awaited 2014 album Doom Abuse, the Omaha, Nebraska natives took the intimate venue by signature laser storm with help from opening acts, Reptar and Darren Keen.

Last time the electronic powerhouse came through the Bay Area in 2012, they were celebrating the 10-year anniversary re-issue of their seminal Saddle Creek album, Danse Macabre. Previously filling a venue more than three times the size of the Independent, it was no surprise that this year’s Doom Abuse triple night tour stop was a near-immediately sold out.

Known for their high energy performances and mesmerizing stage show, the foursome commanded the packed venue of combustible fans shouting along to a set list pulling from the band’s illustrious catalogue of over 15 years-worth of material. Todd Fink kicked off the evening with a howling rendition of “Animal Needs”, a brand new track off of their 2014 release. Accompanied by support from Jacob Thiele on vocals and keys, Clark Baechle’s inimitable drumming and the guitar ingenuity of Dapose, the band burst onto the stage and quickly into a full-throttle assault of classic hits and crowd favorites.

Their penetrating light show and disorienting visuals washed over the voracious crowd, who remained in constant motion throughout the entire performance. Highlight tracks included recently dropped single “Evil Voices”, a scream along mid-set delivery of “Dropkick the Punks”, and the distorted, symbiotic pairing of “Scapegoat” and “Worked Up So Sexual” to close out the initial set. Exiting the stage for a brief moment, The Faint returned for an encore of “Lesson from the Darkness”, “Paranoiattack” and “Glass Danse”, thrashing along with the sea of die-hard fans, punctuating the night with a raging dance party.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: The Faint, The Independent

Five emerging artists you need to hear

June 3, 2014 by Krystal Beez 2 Comments

Written by Krystal Beez //

Get familiar with these five emerging artists.

1. POWERS

Who: Mike Del Rio and Crista Ru

Origin: New York/Los Angeles

What they’re about: There’s not a whole lot of information about this secretive duo. Both Del Rio and Ru have written songs for Selena Gomez, Icona Pop and Kylie Minogue, just to name a few. But don’t let those names fool you. The music that POWERS delivers is a wide range of genres (think future pop-rock-indie-soul), held together by their strong songwriting skills. Their second release, “Money”, is more of an electro-soul track, while “Touch The World” is indie-pop-rock gold. Both songs are anthems. The official lyric video for “Touch The World” was just released last week, watch it below.

File next to: NONONO, IYES.

Follow: Facebook. Soundcloud. Twitter.

2. MACHINEHEART

Who: Stevie Scott, Carman Kubanda, Trevor Kelley, Jake Randle and Harrison Allen

Origin: Los Angeles, California

What they’re about: machineheart makes new indie pop at its finest, and Stevie Scott’s engaging vocals are the perfect complement. Their debut singles “Circles” and “Another Me” will both have you pressing repeat. Also make sure you check out their latest release “Snow”, which is not as upbeat as their other songs, but it is just as good and just as infectious. machineheart are definitely a band to keep on your radar.

File next to: Rilo Kiley, Kyla LaGrange, Foster the People.

Follow: Facebook. Soundcloud. Twitter.

3. LAURA WELSH

Who: Laura Welsh

Origin: Staffordshire, Britain

What she’s about: Laura Welsh describes her songs as ‘hypnotic and kind of like electric soul-pop’. She has collaborated with producer Dev Hynes (Lightspeed Champion) and on “Cold Front” with Robin Hannibal (of Rhye). She moved from Staffordshire to London to pursue a career in music as lead singer of a band. The band collapsed, and Welsh used that time to write new material and meet people with the same musical ideas as her. Her most recent collaboration sees her featured on the Gorgon City track, “Here For You”. While the original is an amazing dance-electro jam perfect for summer, Welsh recorded an acoustic version that really highlights the strength and beauty of her voice (watch below). Hopefully she releases her debut album soon, followed by an international tour that stops in San Francisco.

File next to: Jessie Ware, Banks, Broods.

Follow: Facebook. Soundcloud. Twitter.

4. KWABS

Who: Kwabena Adjepong

Origin: London, Britain

What he’s about: The 23-year-old Ghanaian-born singer grew up in the UK and studied jazz at the Royal Academy of Music. Kwabs creates soul music that fully embraces the futuristic sound of 2015, similar to fellow UK acts Sampha and AlunaGeorge. His voice is simply amazing, evoking so much soulfulness, especially when performing live. And with production coming from Sohn (“Wrong or Right”) and Plan B (“Pray For Love”), you’re going to be hearing a lot more from Kwabs. Watch a live performance of “Pray For Love” on BBC Radio 1Xtra below.

File next to: James Blake, Sampha, AlunaGeorge.

Follow: Facebook. Soundcloud. Twitter.

5. MARLENE

Who: Marlene Strand

Origin: Stockholm, Sweden

What she’s about: Marlene is one of those artists that you hear sing one song, and then you play that song over and over until they release a new song. And then you play that song over and over and so on. From “Bon Voyage” to “Stay Awake” to “Indian Summer” the jams just keep on coming! The Swedish songstress has just the right amounts of the catchy chorus, infectious rhythms and powerful voice to be the next big Swedish import. Her music is so simple, yet so rich and full. She recently released a five track EP titled Indian Summer that you should listen to while driving to the beach. No tour dates are announced as of yet, so be sure to check out a live performance in the video below.

File next to: Foxes, Tove Lo, Say Lou Lou.

Follow: Facebook. Soundcloud. Twitter.

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

Filed Under: Editor's Picks, Featured, New Music Tagged With: British, Electro, Indie, Kwabs, Laura Welsh, Los Angeles, machineheart, Marlene, New Artists, New Music, New York, pop, POWERS, Soul, Swedish

High Sierra Music Festival: Why we keep going back

May 14, 2014 by Mike Frash 7 Comments

By Mike Frash // Photos by Sam Heller & Sterling Munksgard //

High Sierra Music Festival //
Quincy, CA
July 3rd-6th, 2014 //

Festival loyalty not only helps a festival survive, but also thrive. Case in point — High Sierra Music Festival in Quincy, CA. For the 24th consecutive year, the High Sierra faithful have their Fourth of July weekend plans booked for this fest that curates around jam bands, funk, new grass & electronica. But as HSMF veterans know, it’s about so much more than just the music. Here are seven reasons we keep going back.

Take a look at our fest review from 2013 and purchase tickets here.

Listen & follow our High Sierra Music Festival Playlist.

1. The Community & Scene
There’s a sense of community the permeates High Sierra Music Fest and its attendees, where simply being nice has a contagious effect. Some groups come armed with themed camps, helping to create group unity. High Sierra is a place where upgrades happen on a regular basis. And since it is such a thoroughly “professional partying crowd”, it’s permitted to carry around adult beverages in all spaces (but no glass bottles are allowed into the main stage). Hydrated people party harder!

2. Music Mainstays, Pop Up Shows & HSMF Culture
The recurring artists at large, the Artist Playshops, Guitarmagedden, Sunday Gospel, unannounced sets on busses and in camping areas — these year-to-year and random one-off events are cherished. And don’t forget other mondo culture pieces like fire shows, Sunrise Kickball, yoga (including the laughing variety) & pilates, parades, late night shows, night time neon-psychedelic shuttle rides & rage-tastic moments like the 5AM bacon and mimosa party.

3. A Laid Back Vibe Like No Other
With a mentality somewhat akin to Burning Man, most folks are helpful, smiley, fun and prone to sharing. High Sierra is not a place to be seen, or just an “event” (unlike bigger festivals) — rushing and cell phones are left at the door. A consistently respectable atmosphere, many families bring their youngsters (the Rockin’ Nannies are always an option). A wonderfully intimate festival, there aren’t many shows that require you to pre-plan and be there early for a prime spot.

4. Camping Close to the Music
The home camp location can be everything at a festival. How often can you camp right next to the stage, enjoying the music from your campsite? And if you can’t spring for a FestivALL Pass to secure prime real estate, camp should only be a short walk away. There’s something happening at any hour of the day at HSMF, so it’s good to be close.

5. It’s the Little Things…
Brick & mortar showers and toilets are available for those with a visceral fear of port-a-potties. And there’s always plenty of cerebral signage containing wise words of wisdom to send you off on your way with inspiration. And always remember, Frickles are for friends, a McLarry Breakfast Sandwich can cure a brutal hangover and there’s a refreshing pool within a stone’s throw away.

6. Stealth Booking
The headline sets deliver, but it’s the emerging acts that often offer the biggest auditory thrills during the extended holiday weekend. Many bands play two shows, doubling the opportunity to catch breakout performances. Over the past few years, The Lumineers, Edward Sharpe and the Magnetic Zeros, Lord Huron and Gary Clark Jr. have occupied the secondary stages for multiple days. This year, Typhoon fits this trend.

7. The Location & Weather
The High Sierras surrounding the festival grounds offer impressive forest scenery, the weather is hot-but-bearable in early July (just as it should be), and some take a break for a day trip to the river (when the water isn’t too high). The smell of wood is ever-present, propelled by a logging facility across the road. Quincy is an ideal location for a NorCal escape.

Filed Under: Editor's Picks, Featured, Festivals Tagged With: High Sierra Music Festival

‘Because the Internet’: Childish Gambino integrates digital tech at the Fox Theater Oakland for his rescheduled performance

May 8, 2014 by BenJamin Wallen Leave a Comment

By Benjamin Wallen //

Childish Gambino //
Fox Theater Oakland – Oakland
May 6th, 2014 //

Childish Gambino (born Donald Glover) finally made it to a sold-out Fox Theater Oakland on Tuesday for a rescheduled performance after a last-minute cancellation in February. That original date was also supposed to be the opening night of his current tour, but the show could not go on at that time “due to hardware issues beyond my control,” according to Glover.

Sounds of a dial-up modem trying to connect to the internet were the first sounds heard, failing over and over again with many “busy” tones. Finally, a sound of connectivity broke through the static hiss and the room immediately came alive. Walking onto the stage mimicking his album cover zombie face, Gambino took a seat at the piano to start, but things quickly escalated into a high-energy set as we expected.

Gambino bounced around the stage, even taking fans’ cell phones for some onstage selfies. The lights and production rivaled big household names and delivered in every way possible. Soul, hip-hop and the occasional space odyssey gave the Bay Area the very best of what they love about Childish Gambino.

Following the lead from his most recent album Because the Internet, the current tour includes a live feed from his “leaked” Snapchat account to a large screen behind the stage. This allowed fans in attendance to post messages on the screen and scribble ones to other fans. ‘Bino himself used the medium to spoil HBO’s “Game of Thrones” and reference other moments in pop culture. With a mega-youthful crowd on hand, it made sense for Glover to lace “digital age of information” aspects into his art, creating a unique experience and a memorable evening in Oakland.

Filed Under: Editor's Picks, Featured, Photos Tagged With: Childish Gambino, Fox Theater Oakland

The “Know Your Rights” infographic at a festival

April 30, 2014 by The Festival Lawyer 55 Comments

Download the infographic image or PDF //

SHARE THIS KNOWLEDGE WITH OTHERS
People often suggest to me that either 1) It’s somehow “Un-American” to talk about your rights when dealing with the police or that 2) Somehow only someone who is intending to break the law would need to understand their legal rights.

As to 1) This is really some dangerous nonsense. In fact this honestly might be one of the craziest ideas that has ever taken root in our Country and as to 2) As I always say “It’s better to know your rights and not need them, than to need your rights and not know them.”

The accompanying article goes into an overview of some 4th Amendment law in more detail. But really the infographic is meant to be shared even without the article. Feel free to share this infographic on Twitter and Facebook. Tag family members or friends who might be going to a music festival. Share your experiences and insights. Do more reading of your own and share that too.

As the very last part of the infographic says
You have rights. Know them.

•Tweet & Retweet at Twitter (use the hashtag #KnowYourRights)
•Share at Facebook
•Upvote & Comment at Reddit
•View at The Free Thought Project
•View at Copblock
•View at WhiteRaverRafting
•Share DanceSafe‘s promo
•Share Students for Sensible Drug Policy’s AMPLIFY Project promo
•Share Flex Your Rights‘ promo

Ed. Note: The Following breaks down the Festival Lawyer’s infographic in more detail:

The “Know Your Rights” infographic – A Police encounter “Flow Chart”

A lot of people write me asking how they should have handled a negative encounter they had with the police at a music festival or rave.

I keep hearing phrases like, “I wish I had known that I didn’t have to make a statement” or “I didn’t know I could say no” or “I wasn’t sure if I had a right to leave or if the cop was detaining me.”

The fact is that you DO have rights in dealing with the police. The “Know Your Rights” infographic is meant to be used as a practical flowchart of what your rights are at every stage of a police encounter.

A COP “STOPS YOU” AT A MUSIC FESTIVAL

The 4th Amendment of the Constitution prohibits “unreasonable” searches and seizures. That means you are supposed to have a right as a citizen to freely go about your business without being randomly detained or investigated. In order to “stop” you, an officer first has to have a belief that you were engaged in criminal activity.

There are 3 levels of police “stops”. At each higher level of police encounter, the police officer has to show more justification as to why he stopped you.

Consensual Encounter – A police encounter where you are not the subject of a police investigation and are free to leave. Officers don’t have to legally justify a consensual encounter because you can leave at any time.

Detention – A police encounter where you are temporarily stopped while the police investigate you for a crime. Officers must have a “reasonable suspicion” that you were involved in criminal activity to detain you.

Arrest – Permanently stopped and on your way to jail. An officer must have “Probable Cause” to believe you committed a crime to arrest you.

You know how H20 can be in three different physical states? (Steam, water and ice if you don’t have your 4th grade science notes handy) Well, the 3 levels of police stops are similar. Each of these levels is sort of a different legal “state” of being. And your rights are different in each of these “states”.

There are some big differences of course. In the H20 example you end up with an ice cube. In the police stop final state you end with a cell mate named “Bubba”.

One of the main goals of the infographic is to give you the right questions to ask so that you will know at any time which level of police “state” you are in. (Get it? police state? See what I did there?).

AM I FREE TO LEAVE?

If you are stopped by a police officer, the first question out of your mouth should be, “Am I free to leave?”

Asking this question gets you an immediate answer as to whether you are legally “detained” or free to leave. It also puts you in the best legal position possible should you later want to challenge the legality of the police stopping you. If you challenge your detention, the officer will have to show a “reasonable suspicion” of criminal activity based only on the facts existing at the moment you said the phrase and he detained you. Nothing AFTER that moment can be used to justify the stop.

Here is a practical example of the use of the “Am I Free to leave” phrase.

“YES” = LEAVE

As you can see from the decision tool, if you get a “YES” after you ask “Am I free to leave? The only “action item” is to LEAVE.

Again, there is a legal reason for this. If you don’t leave immediately when given the chance, a judge may later rule that you were free to leave but that you chose to stay. (In other words, it was a “Consensual Encounter”). As I mentioned above, an officer never has to legally justify a “Consensual Encounter”.

In other words, once you get a “YES”, the best and only advice is “You got to get out of there”

“NO” = DETENTION

A “NO” answer means that you are detained and no longer free to leave. You are enough of a suspect that Marge Gunderson would consider you to be, “fleeing the interview” if you left at this point.

It’s important to remember that officers DON’T have to read you your Miranda rights in a detention. Don’t respond to questions like “What is this?” or “Whose backpack is this? or even something innocent like “How long have you been here?” as they can be legally used against you later.

MUST SHOW ID

Some civil libertarians would argue that you legally never have to show a police officer your ID unless you’re driving a vehicle or you are a passenger on a commercial airline. The problem with that is that a number of states have what are called “stop- and-identify” laws. These laws give cops the authority to make you identify yourself if officers have a “reasonable suspicion” to believe criminal activity may be taking place.

As of 2013, 24 states had stop-and-identify laws. Since you already asked to leave and were told “NO”, the officer clearly thinks he has a “reasonable suspicion” to detain you. To me, it’s too risky not to show your ID (and give your correct name) once detained. But as with everything in this article, do your own research for your state laws and make your own best decision.

WHY AM I BEING DETAINED?

If you are detained, calmly ask, “Why am I being detained?” This can be valuable if you later want to fight your case in court.The answer the cop gives may limit what he can later claim was the reason for stopping you.

It’s important not to use this question as an excuse to start arguing with the cops. I can’t stress enough the prior advice about not talking to the police. People who talk to the cops end up in a legal situation we call “raptus regaliter” (royally screwed).

“AM I NOW FREE TO GO?”

In an encounter with the police, the courts require you to keep asking to leave or you may be deemed to be in a “Consensual Encounter”. If the answer is “YES” then leave. If the answer is “NO” you will need to determine if you are under arrest by asking the following:

“AM I UNDER ARREST?”
“YES” = ARRESTED
“NO” = “FUNCTIONAL EQUIVALENT” (COVER BAND ARREST)

Legally, if a detention goes on long enough, it becomes an arrest even if the officer doesn’t say the magic words “You are under arrest”. Basically, if you keep asking to leave and the cop doesn’t let you go the courts say you are in the “functional equivalent” of an arrest. I call this a “Cover Band” arrest. The officer may not be calling it an arrest, but it sure looks, feels and sounds like an actual arrest.

Whether the officer is calling it a “detention” or an “arrest” as a practical matter you should make the two statements listed at the bottom of the infographic to fully protect your legal rights.

“I’M NOT GIVING YOU CONSENT TO SEARCH MY PERSON OR PROPERTY”

Cops always make it seem like you’re some kind of a criminal if you express the slightest hesitation about having your property searched without a warrant. You can expect to hear an “If you have nothing to hide, why can’t we search your stuff?” type of response from the cops.

Know this…If the police are asking you permission to search you or your property, it usually means they know they are making an illegal search.

The police may have a legal right to search you without your consent. (For example, if you are arrested and the officer had probable cause for that arrest) But what you’ve done by making this statement is preserve all your legal rights and force the police to show they are legally entitled to search you.

“I DON’T WANT TO GIVE A STATEMENT. I WANT A LAWYER”

Cops will say that a person invoking their rights in this way has “lawyered up”. In addition to sounding cool, there is a really good legal reason for “lawyering up”.

As I mentioned above, the police only have to read you your Miranda rights if you are under arrest (or a “cover band” equivalent of arrest). The police can legally question you without Miranda rights in a detention.

In Salinas v. Texas (Jun 17, 2013) 133 S. Ct. 2174 the Supreme Court took that rule a step further. The Supreme Court ruled since it’s legal to question you during a detention it’s also fair for a prosecutor to comment on your silence. In other words the prosecutor can say how suspicious it is that you didn’t respond when a cop made a damning accusation to you like, “I know it was you, Fredo!”

The Court ruled that your silence in the fact of an accusation can be used against you unless you make it clear that you were affirmatively exercising your right to remain silent and have a lawyer present for questioning.

In other words, you have to SAY OUT LOUD THAT YOU WISH TO REMAIN SILENT…which would make an awesome Newspeak poster in Oceania by the way.

VIDEO TAPE THE ENCOUNTER

Recording a police encounter can be one of the most helpful things a festival buddy can do to help a friend being arrested. However, it’s also one of those areas where you can easily end up in legal trouble yourself from taping.

I strongly suggest you review your state’s laws and have an understanding of what you need to do legally before attempting to video the police. Here is a good starting place.

If you feel you can safely and legally video tape the encounter I suggest that you say the following if cops instruct you to turn off the camera.

“Officer, I’m not interfering with you in any way. I am just documenting this arrest. This is a public place and I’m entitled to record this.”

While making this statement, I would make a show of backing up and getting out of the way to prove that you are not interfering but just observing.

Filed Under: Editor's Picks, Featured, Festivals, Show Experience, The Festival Lawyer Tagged With: A cop stops you at a music festival, flowchart, infographic, Music Festival, The Festival Lawyer

String Cheese Incident bring special guest, new music to the Fox Theater Oakland

April 29, 2014 by Kevin J Quandt Leave a Comment

Photos by Sam Heller // Written by Kevin Quandt //

String Cheese Incident //
Fox Theater Oakland – Oakland
April 25th, 2014 //

West Coast fans of the String Cheese Incident received quite the gift of a three-night run at the increasingly popular Oakland venue, The Fox Theater. While JazzFest pulled some Bay Area music fans down south to New Orleans, many rabid SCI fans were chomping at the bit for an intimate run of shows in a region known for colorful performances and eclectic crowds. Friday’s show demonstrated to a capacity crowd that String Cheese still want to melt some faces, create some new music and generally have a good time with their devoted army.

After rather strong reports of Thursday’s show being above average for the beginning of a 3-night romp, expectations for the second night were understandably high. “Dudley’s Kitchen” opened the show to a gleeful response before heading into “Search”. Michael Kang’s mandolin playing left a little to be desired, but made up for it once he grabbed his fiddle in the second half. As the energy rose in the room a quick segue led into the Bob Marley classic, “Exodus”. The first set also saw the debut of the new Kang song, “You’ve Got the World”, and though it was a decent tune, it began to throw off the flow to this set just a small amount. “Freedom Jazz Dance” was featured before the set wrapped up with “Sweet Melinda” into “Far From Home”. Each member was well represented in this first suite of songs, and they seemed to be be enjoying themselves; as demonstrated through some feverish pogoing from singer/guitarist, Billy Nershi.

Jerry Harrison, from Talking Heads and Modern Lovers fame, was bound to show up at one of these shows as he produced SCI’s latest release, Song In My Head. Well, the second set featured the legendary musician more than once, including opening the set with his 1980’s solo classic, “Rev It Up”. Harrison’s voice cut through the other members in an impressive way, and seemed to elevate the playing of everyone on stage. New track “Beautiful” was debuted to mixed reviews, but in the end is a stellar, upbeat tune that the majority of hardcore fans may come to embrace.

Another longtime spotlight song came in the form of “Sand Dollar”, which demonstrated some patience in their improvised segue into “Rosie” that featured the return of Harrison. A rather impressive suite of tunes closed out the set. “Desert Dawn” led into the final appearance by Jerry as he joined in on Talking Heads, and SCI, stalwart, “Naive Melody (This Must Be the Place)”. Cheese generally knocks this song out of the park, and it certainly didn’t hurt to have an original member anchoring the vocals and tagging up with Kyle Hollingsworth for a barrage of kets and synths. The show wasn’t done there as “Desert Dawn” re-appeared and led to one more joyous uproar before wrapping up the second set.

“Black Clouds” was featured as the encore to the delight of the throngs of attentive fans, and Friday closed out in solid form. Though the String Cheese Incident may not do it for everyone, it is truly hard to deny yourself of the good time that their shows bring.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Fox Theater Oakland, String Cheese Incident

The National showcase natural evolution, continue to inspire

April 28, 2014 by Mike Frash 1 Comment

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

The National with Portugal. The Man //
Greek Theatre – Berkeley, CA
April 26th, 2014 //

The National’s music can be taken as moody, or perhaps even depressing on the surface level by those not familiar with their work. Some of The National’s most rewarding auditory gems only reveal themselves upon repeat listens, and through this repetition, it’s easier to identify and appreciate the crafty song structures and oddly pleasurable feeling the National can provide. But enigmatic constructs can be thrown out the window when it comes to experiencing The National live. Their performance at the Greek Theatre Saturday showed they have grown to be more comfortable with themselves, evolving for the better while steadfastly staying true to their roots.

So what has changed? One obvious, noteworthy shift is they command theaters now, two nights in a row this past weekend in Berkeley, while eliciting rapturous crowd engagement — silence during the quiet parts while compelling the crowd to carry the load on “Vanderlyle Crybaby Geeks” to end the show, no small feat at an 8,500 person venue. Frontman Matt Berninger mentioned early on it was good to be back. The last time The National played on the U.C. Berkeley campus was with Modest Mouse and REM in 2008. Now six years later, the performance Saturday offered an experience that was segmented into two distinct halves.

The first section of the concert showcased much of the excellent material from Trouble Will Find Me, The National’s sixth album, released in May 2013. There was a sense of arrival with the new music, that they’ve ‘figured it out’ in their lyrical storytelling. There are more direct statements of clarity and satisfaction, admitting “tiny bubbles hang above me, it’s a sign that someone loves me” to open the show stands in stark contrast to the passive aggressive, latent adolescent state of mind found in “Mr. November”. The newest record is less snarky, more direct, as though the guys in The National have grown up substantially.

The songwriting will never be cheery (and let’s hope it never is), but there is more confidence and awareness lyrically. Berninger may claim that “when I walk into a room, I do not light it up” in “Demons”, but that notion is see-through self-degrading hyperbole in the context of the performances this past weekend.

While there is a slightly brighter outlook to the new words, more “Sea of Love” than “Terrible Love”, Berninger, the Dessner & the Devendorf brothers have banded together to create music more springy and full of life, often faster with a more uplifting tonal quality than previous efforts. Some older tracks are treated through this prism — “England”, a somber song from High Violet, was crisp and faster, allowing the song to soar higher, and to be more inspiring live.

If the performance was front loaded with new material, the second half favored the wants and needs of longtime fans. Unsurprisingly, it’s the older material that inspires Berninger to channel his one of a kind angst-joy spectacle. In “Squalor Victoria”, Berninger added a line about his “little brother the fuck up,” slamming the mic & stand to the floor, a coy plug for his brother Tom’s documentary titled Mistaken By Strangers, chronicling the singer’s little brother being a little fuck up on the National’s High Violet tour. “Abel” was a platform for Berninger to lose himself in punk rock intensity as he used to do more often, while per usual, “Fake Empire” and “Mr. November” found the lead man not only reaching out to the audience, but running through it as well.

Poised and energetic with precise control, The National’s music is more accessible and impactful than ever before, and the group is pulling it off in front of the biggest audiences of their career. Slowly winning over fans for 15 years, The National have earned it.

Show Notes:

•Portugal. The Man, the opener of the night, were an interesting contrast of falsetto versus baritone between Portugal’s John Gourley and The National’s Matt Berninger.

•”About Today” was one of the most poignant songs of the evening toward the end of the first set. The cut from Cherry Tree was a treat.

•The follow up performance Sunday, April 27th featured The Grateful Dead’s Bob Weir for “I Know You Rider” and “Terrible Love” during the encore. Sunday’s setlist included nine songs that weren’t played on Saturday.

•The National uses basic video production equipment in a very effective way. GoPro cameras flank the artists, and the imagery is filtered with glich-filled, broken pixilation, reflecting the fractured feeling of disconnect found in The National’s music.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Greek Theatre Berkeley, Portugal. The Man, The National

Disclosure’s ‘Wild Life’ invades the Greek

April 21, 2014 by The Bam Team Leave a Comment

Photos by Sam Heller & James Nagel // Written by Molly Kish & Mike Frash //

Disclosure‘s “Wild Life 2014” with Claude VonStroke vs. Justin Martin, Kaytranada, Bishop Nehru //
Greek Theatre – Berkeley, CA
April 18th, 2014 //

Dance shows have been few and far between at U.C. Berkeley’s Greek Theater over the years (Daft Punk & Amon Tobin are among the few electronic shows that have happened at the Greek), but one of the most popular and influential dance acts on the planet, Disclosure, headlined a mini-one-day-fest dubbed “Wild Life” at the intimate theatre Friday, and the name ended up matching the scene appropriately.

Neon-wear was kept to a minimum as the audience appeared to be more “Yuma” than “Sahara” tent in nature, which makes sense given the IDM over EDM artist curation of the evening. The inner-bowl floor section of the sold out Greek was pretty much at maximum capacity by 7:30pm, and it continued to compress all night while the corners of the seating area and grass section were vacant. It seems most dance music enthusiasts will defer to bass over space every time.

17-year-old rapper & producer Bishop Nehru got things going with a brief, scorching set. Kaytranada then took over on the decks with his hip-hop oriented sound patterns, offering a flavor of trap that’s far from abrasive, mixing repetitive melodies with garage drum & bass. Once the sun began set, it was Claude VonStroke & Justin Martin’s turn, and unsurprisingly, things got a bit dirty.

SF-based Dirtybird founder VonStroke and partner in crime Martin joined together for a set marketed as “Claude VonStroke vs. Justin Martin”, but the set hardly felt back to back due to its unified focus. The performance was well-paced and diverse in its curation while consistently staying within the ethos of the Dirtybird backbone — playful, minimal tech-house. The volume was teasingly-low to begin the set, eliciting a “turn that shit up” chant from the rabid shoulder-to-shoulder floor crowd. Within minutes, the sound equalized and the full energy of the theater got on the train for the duration of a fun, bouncy set, something that was mentioned as a “dream come true.”

Disclosure finally took to the stage, kicking off their set full-force with the crowd-stirring remix of “F for You”, accompanied by CGI Mary J. Blige on back-up vocals. Maintaining the energy percolating in the crowd, the duo rolled rolled right into the breakout hit off Settle, “When a Fire Starts to Burn”. Igniting the amphitheater into a dancing frenzy, everyone from the ground-floor pit to the hillside above chanted along with the lively chorus, mesmerized by the band’s intense light show. Utilizing the unique proximities of the outdoor venue, Disclosure brought their stunning festival stage design and atmospheric optics with them to the Greek.

Aside from their worldwide hit singles, Disclosure played several deeper cuts off of their 2012 EP The Face, including “Tenderly” and “Flow” along with their own remix of “Running”, their 2011 collaboration with Jessie Ware. With several performers both touring through the Bay Area and on layover between weekend sets at the Empire Polo Club, murmurs of surprise guests circulated heavily leading up to this showcase. Nearing the end of their set, the crowd grew antsy in anticipation, waiting to hear two of the largest hits off of the band’s platinum full length debut. Promising the captivated crowd a few more songs to conclude their epic set, Disclosure broke into an encore sing along of “Help Me Lose My Mind”, and a live-vocal final song featuring special guest Sam Smith on “Latch,” which caused the entire crowd go out on a wild, extremely loud note.

It’s refreshing to witness intelligent dance music prospering, playing to an enthusiastic & packed Greek Theater Berkeley. Disclosure are revamping contemporary dance music by repurposing past dance elements into poppy, progressive packages, influencing mainstream music in a meaningful way.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Bishop Nehru, Claude VonStroke, Disclosure, Greek Theater Berkeley, Justin Martin, Kaytranada

PHOTOS: The Knife at Fox Theater Oakland 4/15

April 21, 2014 by Pedro Paredes 2 Comments

By Pedro Paredes //

The Knife //
Fox Theater Oakland – Oakland, CA
April 15th, 2014 //

“Self-awareness is the illusion that this is happening only to you” echoed the crowd after the words of our DEEP Aerobics instructor (short for Death Electro Emo Protest Aerobics) at a sold-out Fox Theater in Oakland last week.

As the audience followed the dance steps and pop mantras recited by the person in charge of warming things up before The Knife, the night’s main event, we knew that we should expect nothing typical for the rest of the evening.

The tone had been set. It was time to shake off the habitual.

Filed Under: Editor's Picks, Featured, Photos Tagged With: Fox Theater Oakland, The Knife

PHOTOS: Blood Orange at Great American Music Hall 4/15

April 18, 2014 by Pedro Paredes 1 Comment

Photos by Pedro Paredes //

Blood Orange //
Great American Music Hall — San Francisco
April 15th, 2014 //

Dev Hynes and his musical project, Blood Orange, are responsible for a couple of studio albums in which every note seems to have been predestined to exist in that time and place. His latest and greatest, Cupid Deluxe, is a fine example of an album meant to be digested as a whole, but listened to piece by piece, taking the time to digest each arrangement as an independent entity. The fact that Hynes is a talented producer that has worked and collaborated for a long list of musicians and bands make the spotless element of his own albums something to be expected. But at Tuesday’s night sold out show at the Great American Music Hall, Blood Orange was not being judged by their unquestionable ability to create beautiful music, but by their ability as live performers (two very different things).

And the results? A class-A show, where Dev Hynes and company gifted us with a performance abundant in groove and energy. The crowd intensity quickly translated from the stage onto the entire venue, with the London-native acting as the master of ceremony, surrounded by talent. Samantha Urbani’s (Friends singer and Hynes’ girlfriend) vocals on “It is What It Is” were beautiful and hypnotic, and put the audience in a soothing stage that was only broken when Dev Hynes decided to bring the house down with an explosive version of “Uncle Ace”.

Filed Under: Editor's Picks, Featured, Photos Tagged With: Blood Orange, Great American Music Hall

Coachella 2014: It’s officially festival season

April 17, 2014 by The Bam Team 2 Comments

Photos by Marc Fong // Written by Molly Kish, Pete Mauch & Kevin Quandt //

Coachella Valley Music and Arts Festival //
Empire Polo Club – Indio, CA
April 11th-13th, 2014 //

Well, that time of year hath arrived in the form of sun burns, overpriced Heineken and jamming in as much music as you can into a three-day window. Coachella has grown to be so much more than simply just a “music and arts festival” now, for better or worse, but it always retains the feeling that something special is really happening on these grass fields. Some embrace it, and many loathe, but overall, time spent at the polo fields in Indio is always an enjoyable romp full of the freshest artists mixed with many old favorites in a colorful sea of eye candy. 2014’s first weekend featured its biggest demand to date as wristbands hovered near four figures and many were left roaming the suburban streets surrounding the site. Yet, this didn’t keep the masses down, and persistence paid off to those who were lucky enough to snag a last-minute pass.

Goldenvoice has feverishly plugged away at creating an encompassing experience to the nearly 90,000 attendees who flock to the wind-swept stretch that is the Empire Polo Club, where it all started 15 years ago. Things have changed each and every year, and at this point, it’s a well-oiled machine needing little tinkering. This year featured more room in the Terrace area with the Do-Lab stage finding a new home off the main field, as well as an expanded Yuma Tent which kept dance enthusiasts complacent to rage in their own little nightclub. 2014 held many surprises that were laid out over the days before the event, culminating with a smorgasbord of guest appearances over the three-day span. Below, you will find some of our favorite sets as presented by the 2014 ‘Chella Bam Team.

Goat // Outdoor Theatre // Friday 1:25-2:05PM

This show was quite the eye opener for anyone who wasn’t familiar with the Swedish psychedelic outfit called GOAT, especially since this was the first set of the entire weekend for many in attendance. The whole band was masked and decked out in extravagant tribal attire that would fit perfectly into many a children’s nightmares. The band drew songs from their 2012 release titled World Music with the highlight being their single “Run To Your Mama” that had many in attendance gyrating their hips to the infectious groove. I couldn’t think of a better opening set to start the long and definitely weird weekend that is Coachella. -PM

OutKast // Coachella Stage // Friday 11:30-1:00AM

Friday night marked the reuniting of one of the most influential acts in rap, albeit for a crowd that maybe wasn’t ready or as generally excited enough for such a momentous occasion. Saving radio hits for the closing numbers, they pulled from a set list spanning their entire career, including “Aquemini”, “Skew It on a Barbeque” and an explosive version of “B.O.B. (Bombs Over Baghdad)” to start off the set. Several guests joined them throughout their performance, including Future debuting a new track, Sleepy Brown joining in for “So Fresh and So Clean”, and most impressively Janelle Monae gracing the stage for her collaborative performance of “Tightrope”. Each emcee featured segments revolving around their solo work — Big Boi smashed “Shutterbug” while 3 Stacks brought a little tenderness during “Prototype”. A weary crowd, half dominated by a pre-Stankonia generation of EDM enthusiasts, didn’t quite give the response that most would anticipate for the kick off to a massive summer festival tour, and some onstage could tell. However, die-hard fans were pleasantly surprised by the song choices and were bouncing along in camaraderie the entire set. -MK

Temples // Mojave // Saturday 2:40-3:25PM

The crowd gathered early inside the Mojave Tent to see one of the more buzzed about bands of the weekend, an English Psychedelic rock band simply called, Temples. Fresh off their debut release, Sun Structures, they delivered 45 minutes of psychedelic bliss, drawing tracks mostly off their new album with the exception of a b-side called “Ankh”, which was one of the many highlights of the set. The song is driven by the powerful bassline from Thomas Warmsley and the guitar slaying of James Bagshaw. The song had some serious legs that found the band soaring over the crowd in a psychedelic haze, a plateau they hopefully reach every show. The one-two punch of their singles “Keep in the Dark” and “Mesmerize” had the hot and sweaty crowd in an absolute frenzy. -PM

Future Islands // Gobi // Saturday 7:05-7:55PM

Hot off the release of their fourth studio album, Singles, not to mention their Late Night with David Letterman performance going viral, the Baltimore outfit took the Gobi tent by storm. Sam Herring and Future Islands are not your typical rock band; they are fronted by easily one of the most enigmatic lead singers in contemporary rock. Hurling himself across the floor, throwing wild fists and debuting some brand new gyrating dance moves throughout the set, Herring was feeding off the love from his festival fans and reciprocated in full throttle for the band’s Coachella debut. “Inch of Dust” appropriately opened the show as the palms swayed along in the background while being assaulted by airborne sand particles. Pulling from their entire discography the band catered their signature hard-edged new-wave rock to the festival environment. Herring spoke tenderly to the crowd, re-assuring the youth that things will be alright before falling into “Balance”. Speeding up each career spanning track, such as “Tin Man”, into dance floor face-melters, Herring’s signature growling vocals sparked cheers of enthusiasm from the afternoon crowd. -MK

Pixies // Mojave // Saturday 8:50-9:40PM

It had been almost exactly 10 years since the original Pixies reunited on the big stage in Indio, however this year we saw Black Francis and associates take to a smaller tent to pummel a decent sized crown with some good old rock and roll. The Pixies’ new release, Indie Cindy, was played before their set, which was somewhat odd, and they played relatively heavy off the release. Highlights of the set included a cover of Jesus and Mary Chain’s “Head On”, along with old favorite “Wave of Mutilation” and “Crackity Jones”. Frank was fired up as he scorned objects being oddly floated over the crowd, possibly miffed at the bleed of the Sahara, but then again, that’s why we love him. “Where Is My Mind?” received popular praise, as always, and featured new bassist Paz Lenchantin wailing as best she could. “Caribou” also showed that Paz can hang with the band, and that there may be a bright future in the coming years for the alt legends. -KQ

Pharrell Williams //Outdoor Theatre // Saturday 10:35-11:35PM

What turned out to be a tough night for Pharrell ended up being one of the most fun sets of the weekend as throngs of girls belted out “Hollaback Girl” while dudes lit up in honor of Snoop’s presence for “Drop It Like It’s Hot”. The last 2 years of Weekend 1 have been slightly marred by high winds turning into small dust storms, and this year, Saturday was both the blustery day and the big Pharrell show. Promises of guests were fulfilled by the likes of Nelly, Tyler, the Creator, Puff Daddy and Diplo among those listed above. “Lose Yourself to Dance” opener was a good sign as the sizable crowd loosened up to the adventure that lay ahead, but the prolific producer’s voice just couldn’t weather the storm, and the finale of “Get Lucky” and “Happy” was largely sang by the crowd as Williams shook his head in sheer disappointment. -KQ

Nas // Outdoor Theatre // Sunday Midnight-1AM

Hip-hop is alive and well in 2014 and Coachella wanted to reinforce this. If you are a hip-hop head, then this was the year to be at Coachella. With OutKast, Nas, Kid Cudi, Chance the Rapper, GZA’s impromptu set in the Heineken House, and all the special guest MCs throughout the weekend, rap fans had a grand ‘ol time this past weekend. It was known that Nas was set to perform his 20-year-old classic album, Illmatic, in its entirety from start to finish. However, that’s not all that “nasty Nas” had in store for the late crowd. After the fourth track of his legendary album, Nas invited his longtime nemesis Jay-Z to the stage for an unforgettable performance of Jigga’s “Dead Presidents”. If you remember, this is the song that started all the “beef” between the two New Yorkers when Nas declined to re-rap the chorus. All the hate was squashed as the two legendary MCs showed the crowd that it’s all “One Love”. Toward the end of the set, Nas invited hip-hop guru Puff Daddy up to the stage to perform their song “Hate Me Now”, which truly delighted the rap freaks in attendance. Nas was on Point! -PM

Trombone Shorty & Orleans Avenue // Coachella Stage // Sunday 12:40-1:30PM

Trombone Shorty is arguably the king of New Orleans right now, especially since he has taken the closing duty reigns from The Neville Brothers at JazzFest. So seeing Troy Andrews in the early heat on Sunday was kind of odd as I felt that he deserved a better slot, but that didn’t stop him from performing a fiery set of trombone-driven NOLA funk. The small but very enthusiastic crowd was hanging on every note as he effortlessly banged through his soon-to-be classic hits. “Fire and Brimstone” was a clear highlight of his raucous set as was his closer “Do to Me”, which had the crowd singing along to every word. Trombone Shorty is truly a national treasure, and you gotta tip your cap to Coachella for even having him on the bill. -PM

Arcade Fire // Coachella Stage // Sunday 10:20-Midnight

Closing out festivals isn’t anything too out of the ordinary for these veterans, especially after 2011’s massive display, so Win Butler and cohorts knew to bring all the stops. Touring in support of their critically acclaimed fourth studio album, Reflektor, the band had various options of surprise guests they could potentially have join them on stage as a grand finale to Weekend 1. Rumors of David Bowie or James Murphy had the crowd abuzz due to their direct involvement with the latest release. Halfway through the epic set of hits from both 2010’s The Suburbs and cuts off of the new album, the band broke into the opening notes of Blondie’s “Heart of Glass”, only to be joined by Debbie Harry of Blondie fame for this full rendition. Sticking around to provide back-up vocals and ribbon dance around the stage with Regine, Debbie joined in on Arcade’s quintessential “Sprawl II”. Confetti canons spewed out into the crowd during the climactic notes of “Here Comes the Night Time”, igniting the crowd for their closing number “Wake Up”. And with that, the first major music festival of the 2014 season was in the bag. -MK

Guest sets were prevalent this year with additional highlights including:

• Beyonce shook her “jelly” on stage with little sister Solange during her sunset performance on Saturday for song, “Losing You”.

• A$AP Ferg brought out the whole A$AP Mob for multiple tracks before A$AP Rocky debuted a new track, featuring a diss on Been Trill clothing. Rocky also came out with Skrillex.

• Chromeo’s set included a collaborative performance with Toro y Moi to perform the duet off of White Women called “Come Alive”.

• Girl Talk pulled Busta Rhymes, Too $hort, Juicy J and E-40 into his remix set on Friday night (while the Bryan Ferry set played oddly on the screens flanking Greg Gillis).

• Justin Bieber decided to put a funny taste in people’s mouths and backed up his buddy Chance The Rapper.

• Mary J. Blige came on for a rousing rendition of her alternate vocal version of “F for You” with Disclosure Sunday evening. Sam Smith came out for “Latch”, as well. AlunaGeorge also lent a helping hand.

• Up-and-comer Jene Aiko welcomed some big names in the form of Drake and Childish Gambino while Disclosure and Arcade Fire played against this stealthy guest set.

• The legendary Motörhead brought out Slash for a healthy dose of guitar.

• Classixx bounced back from a tough start to a set with help from Nancy Wang, Yacht, The Preatures and Sarah Chernoff from Superhumanoids.

• Flosstradamus welcomed a bit of help from another big-named emcee in the form of Waka Flocka Flame.

Filed Under: Editor's Picks, Featured, Festivals Tagged With: Arcade Fire, Coachella, Coachella 2014, Coachella Music and Arts Festival, Coachella Music and Arts Festival 2014, Coachella Valley Music & Arts Festival, Coachella Valley Music & Arts Festival 2014, Coachella Valley Music and Arts Festival, Coachella Valley Music and Arts Festival 2014, Future Islands, GOAT, Nas, OutKast, Pharrell Williams, Pixies, Temples, Trombone Shorty & Orleans Avenue, Weekend 1

Outside Lands 2014 daily lineup highlights

April 17, 2014 by Mike Frash Leave a Comment

Outside Lands Music and Arts Festival //
Golden Gate Park – San Francisco
August 8th-10th, 2014 //

So, three-day tickets for Outside Lands Music and Arts Festival sold out in record time. Now’s your chance to snag single-day passes for SF’s premier music festival. Get ready: tickets go on sale Thursday, April 17th at 10 a.m.

Still choosing which day might be best for you? Here’s our take on the headliner options, along with choice picks and reasons to get there early this August in Golden Gate Park.

Friday, August 8th

HEADLINER OPTIONS: Kanye West Vs. Arctic Monkeys (or Disclosure)

Yeezus himself will handle headlining duties on day one, but the real question is whether or not Arctic Monkeys or Disclosure will helm Twin Peaks come nightfall. Both acts are worthy of a headlining slot — time will tell.

CHOICE PICKS:

Run the Jewels: El-P + Killer Mike , “Rap’s most dangerous Duo”, are returning to SF after their game changing shows last year at the Independent. Expect top notch beats over future-forward production. In a perfect world they would open for West.

Phosphorescent: Matthew Houck’s understated, twisted take on indie rock is refreshingly breathtaking, exemplified most strikingly by the majestic “Song for Zula”:

Holy Ghost!: Ready for a disco-dance party fed by instrumentals? Yes you are. One of our favorite acts from the last year will set Golden Gate park ablaze.

DIGGING DEEP: (reasons to get there early)

• Mikal Cronin
• Greensky Bluegrass
• Typhoon
• Bear Hands

THE VERDICT: Eclectic with as many rap options as dance choices.

Saturday, August 9th

HEADLINER OPTIONS: Tom Petty & The Heartbreakers vs. Macklemore & Ryan Lewis

This one’s going to be a pretty simple choice for most folks — the classic rock singalongs versus the contemporary pop-rap anthems. These headliners starkly contrast from one another.

CHOICE PICKS:

SBTRKT: Known to perform with iconic tribal masks, Aaron Jerome fuses innovative electronic production with drums, synth, keys & live singing, usually with help from touring partner Sampha. SBTRKT’s new EP Transitions delves into icy-instrumental territory.

Atmosphere: Slug and Ant are back this year, and they’ve got a new song entitled “Kanye West”, which doesn’t go after the Day 1 headliner, but it does address hip-hop crowd interactions in a playful, positive way.

Tycho: Scott Hansen is as much a visual artist as he is a musician — his projected imagery melds simple geometry and super slow-mo romanticism and works in hand with his newly cemented band’s ambient, yet driving beats. This one deserves a night time slot, say closing down the Panhandle Stage?

DIGGING DEEP: (reasons to get there early)

• Woods
• Jagwar Ma
• Valerie June
• Trails and Ways

THE VERDICT: Save for a handful of rowdy spots (Macklemore, Duck Sauce, Capital Cities), the offerings are relatively mellow.

Sunday, August 10th

HEADLINER OPTIONS: The Killers vs. Tiësto (or The Flaming Lips)

These two options to end the weekend are, once again, clear cut. But here’s hoping Ranger Dave harkens back to the early years and offers a third headliner option in The Flaming Lips. Their drone-psyche spectacle of a freak out deserves darkness and would offer an incredible third option.

CHOICE PICKS:

Cut Copy: Every time these electronic-oriented Australians swing through the Bay Area, we’ll be there. Dan Whitford & Co. will make you dance and reach for the sky.

Lykke Li: The Swedish Songstress is returning to the touring circuit this year, and her first offerings from her forthcoming LP I Never Learn are more sedated than swirling. Li’s ownership of the stage and visceral passion request your attendance.

Flume: Skyrocketing electronic-music amalgamator Harley Streten creates big, bold beats centered by a chill tone. Since releasing his self-titled LP to worldwide acclaim in 2012, he’s brought in a host of top level rhymers to give the music new meaning and fresh life (listen below). We’re excited to see how this influences his live show.

DIGGING DEEP: (reasons to get there early)

• Gold Panda
• Courtney Barnett
• Jonathan Wilson
• Tumbleweed Wanderers

OVERALL VIBE: Sunday has a lot of high-decibel acts. A good day for dance enthusiasts.

Check out our Outside Lands 2014 playlist:

Filed Under: Editor's Picks, Featured, Festivals Tagged With: Arctic Monkeys, Atmosphere, Bear Hands, Courtney Barnett, Cut Copy, Disclosure, Flume, Gold Panda, Greensky Bluegrass, Holy Ghost, Jagwar Ma, Jonathan Wilson, Kanye West, Lykke LI, Macklemore & Ryan Lewis, Mikal Cronin, Outside Lands, Outside Lands Music Festival 2014, Phosphorescent, Run The Jewels, Sbtrkt, The Flaming Lips, The Killers, Tiësto, Tom Petty & The Heartbreakers, Trails and Ways, Tumbleweed Wanderers, Tycho, Typhoon, Valerie June, Woods

Future Islands connect amid high expectations at The Chapel

April 14, 2014 by Pedro Paredes 1 Comment

By Pedro Paredes //

Future Islands with Ed Schrader’s Music Beat //
The Chapel – San Francisco
Thursday April 10th, 2014 //

While outside in the streets of San Francisco the weather seemed typical for a spring night, a sold out Chapel was experiencing its very own microclimate, with a diverse crowd energized by the atmospheric electricity generated by Future Islands’ highly anticipated show. The band’s notorious network debut on Letterman plus a series of energetic performances at SXSW kept expectations as high as they can get, and I was not surprised to hear a few people wondering if Sam Herring, Future Islands’ charismatic frontman, was going to be able to keep up with his own pace.

Ed Schrader’s Music Beat, the Baltimore duo in charge of opening the night, did not have an easy task, as one could argue that their post-punk rowdy style wasn’t necessarily in line with the main act’s more polished sound. Nevertheless, it took no more than one song for the audience to quickly connect and engage with them, as they moved along their setlist in a refreshingly awkward, authentic manner. Equipped only with a floor tom and a bass guitar, Ed Schrader’s Music Beat delivered a wide range of songs that went from highly energetic lo-fi numbers (“Gas Station Attendant”) to hypnotic ballads beautifully carried by Schrader’s gravelly voice (“Air Show/Can’t Stop Eating Sugar”).

After that, the tone was set for the evening’s main course.

Around 10:30 PM, the lights went out and the crowd got loud. Sam Herring and band descend upon the stage and allowed themselves some time to get a feel of the attending crowd before beginning their set. As the audience roared and cheered, it became more clear the source from which the North Carolina native draws the energy required to make his performances so intense and unique.

He promises to bring the house down. We believe him. We are at The Chapel — the ceremony is about to begin.

The setlist began with “Back in the Tall Grass” from the band’s celebrated new album, Singles. Sam Herring is in no rush, and he takes it slow while the bass line marks a steady beat. He wants the people not just to feel, but to listen as well, and he takes time to give some context before commencing a new song. “Balance”, for example, was written in a dark time of his life, when the support from a friend saved his life, and as the lyrics go by, we could all feel the intensity level of his performance boosting up.

As the show progressed, it became clear that Herring is all about making a connection with the audience. To make this happen, he uses a wide set of resources that have made his appearances reach an almost legendary status. His style seems to draw inspiration from multiple sources, and I can’t help but to be reminded of the insane intensity of Ian Curtis, the shamanic charisma of Jim Morrison, and the storytelling skills of Johnny Cash.

By the end of the concert the bond was established and the band and crowd become one, with the stage becoming public domain. As the last chords were played and the Baltimore trio waved goodbye, we were all reminded of Herring’s first words before the show; the house had been in fact brought down. Until we meet again.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Future Islands, The Chapel

SHOW REVIEWS

PHOTOS

FESTIVALS

THE LATEST

BAMMING