PHOTOS: Eliot Lipp at The Mint 7/23

Eliot LippBy Josh Herwitt //

Eliot Lipp //
The Mint – Los Angeles
July 23rd, 2014 //

The Mint in LA’s Carthay Square neighborhood has long been a home for underground blues, jazz, funk and jam bands, but it’s also becoming a space for up-and-coming electronic artists, particularly those signed to Pretty Lights Music, of late.

Back in March, Brooklyn-based electro/hip-hop/bass duo Break Science wrapped up its Seven Bridges tour at the diminutive club (read our show review here), pleasing the small, but vibrant crowd that came ready to dance.

Then, on Wednesday night, another PLM act by way of New York stopped by The Mint, as Eliot Lipp stepped onstage and laid down a number of grooves spanning from hip-hop to techno to jazz fusion.

We were there to capture Lipp’s 90-minute set, highlighted by a couple of tracks off his 2012 album Shark Wolf Rabbit Snake.

Jimmy Cliff delivers positive vibes to sold-out Fillmore

Jimmy CliffPhotos by Pedro Paredes // Written by Molly Kish

Jimmy Cliff //
The Fillmore – San Francisco
July 19th, 2014 //

Reggae legend Jimmy Cliff took the stage at The Fillmore this past weekend as vibrant as ever. Filling the sold-out auditorium with an ocean of positivity, he treated the eclectic crowd to a first-person account of roots-rock history and a career-spanning setlist from his 50-plus years as a musical icon.

Joyfully skipping out onto the stage to start his set, Cliff exuded the youthful enthusiasm of a performer more than half his age. The 66-year-old performer’s energy was infectiously transmitted as the crowd welcomed him with uproarious cheers and applause. Positioning himself in the center of the stage and straddling a larger-than-life bongo while being surrounded by his entourage of band members and backup vocalists, Cliff broke out directly into an acoustic medley of “Bongo Man/Rivers of Babylon”. Instigating almost an immediate venue-wide singalong, he quickly set the tone for the crowd’s participatory expectations the rest of the evening.

Jimmy Cliff

High off the euphoric stage presence of Cliff with a thickening haze floating through the legendary theater, the crowd wholeheartedly jumped right into the spirit of the evening’s comprehensive setlist. Taking things up a notch, Cliff decided after his acoustic opener to delve straight into back-to-back hits “King of Kings” and “Miss Jamaica” from his early days as a ska pioneer. Abandoning diffidence and collective lack thereof rhythm, the packed auditorium put forth its best effort to “skank” along with the reggae legend as he and his animated backup singers demonstrated various moves from the Jamaican dancehall era step by step. Sloppy attempts gave way to slippery floors, which were used to slide around in unison as attendees recoiled back into simply belting out lyrics at the top of their lungs during an ecstatic rendition of “You Can Get It If You Really Want” and Cliff’s well-known cover of Cat Stevens’ “Wild World”.

The most notable moments of the performance happened when Cliff lent some personal history to the material he chose to play that evening. About halfway through the set, he started taking extra time before each song to fill the audience in on the composition’s relevance — not only his career as a musician, producer and political figure, but also to give background on the time and place it was written, the social commentary it provided and its relevance to pop culture. Performing an updated version of his 1968 protest song “Vietnam”, Cliff delivered a powerful rendition aptly titled “Afghanistan”, replacing the original lyrics with commentary relevant to the modern-day state of affairs in the Middle East.

Jimmy Cliff

Cliff also took some time to offer a little insight on his experience outside of his personal recording efforts, stating that he had quite the legacy “breaking in new artists”. It was during this time that Cliff segued into a portion of the evening’s performance where he literally shifted the concert into a mini “storytellers” set, playing snippets of hits from Desmond Decker, Bob Marley, Johnny Nash and Sam Cooke that he either had a part in producing, writing or promoting. Aware of his latest artistic courtship with Bay Area native and Rancid singer/guitarist Tim Armstrong, I couldn’t help but hold my breath for a possible dream collaboration live on stage to cap off this section of the show. Instead though, Cliff brought it on home with staples like “The Harder They Come” and “I Can See Clearly Now”, followed by a crowd singalong to “One More” off of Rebirth, his 2011 full-length collaboration with Armstrong.

In true superstar fashion, Cliff remained side stage, post set reveling in the crowd’s unrelenting chanting. After merely a few minutes of down time, he returned to perform not one, but two separate encores on this night. With exit music softly cooing through the speakers and the house lights at a dim, the crowd only partially dispersed with over half of the venue still hoping that Cliff would have more after nearly playing for 2 1/2 hours — and he didn’t let them down. Taking the stage for the final time, Cliff ended the evening with a rousing rendition of “Wonderful World, Beautiful People”, introducing his band one by one before saying his final goodbye to us.

PHOTOS: Slightly Stoopid, NOFX and Stephen Marley at the Greek 7/18

Slightly StoopidBy Marc Fong //

Slightly Stoopid with NOFX and Stephen Marley //
Greek Theatre – Berkeley, CA
July 18th, 2014 //

San Diego’s very own Slightly Stoopid continued their 21-date “Summer Sessions Tour 2014” at the Greek Theatre, as the seven-piece band melded funk, hip-hop, reggae and rock into one electrifying set. Punk pioneers NOFX and five-time Grammy winner Stephen Marley were also on hand, as Marc Fong was there to catch all the action from the photo pit.

Outside Lands 2014 night shows: Keep it going ’til the AM

Girls-on-Fire-Main-Stage-TimWritten by Molly Kish //

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

We’re only a few weeks away from one of the most anticipated summer festivals of the 2014 season. Outside Lands Music and Arts Festival has announced their official schedule for this year’s five consecutive evenings of night shows. In case you missed this past weekend’s announcement or weren’t privy to the ticket holder password, fret not — we’ve got you covered with our rundown of after-parties and links for you to win or purchase your tickets. The party does not have to stop on the polo fields!

View the 2014 schedule and create your custom grid to share with friends!
View our 2014 beer/artist pairings!


Phosphorescent

WEDNESDAY, AUGUST 6TH

Phosphorescent @ The Independent // SOLD OUT: Win tickets via Do 415

Brooklyn-based singer-songwriter Matthew Houck, aka Phosphorescent, kicks off this year’s lineup of OL night shows with a sold out performance Wednesday night at The Independent. A follow up to last year’s show at the Indy with his five piece band, the Alabama native returns to the venue, bringing his mix of “western ballads and swelling jams” to the intimate venue. On tour promoting his most recent record Muchacho, one can expect to hear standout tracks from this critically acclaimed 2013 release. A perfect Wednesday night warm up for Houck’s Friday set, hardcore fans will be starting their weekend early, and we recommend you do the same!


THURSDAY, AUGUST 7TH

Typhoon @ CA Academy of Sciences // Buy Tickets

Comprised of twelve singers, songwriters and multi-talented instrumentalists, this small army of a band will be bringing their impressive live show to the CA Academy of Sciences on Thursday night. A band whose sound is characterized by their complicated arrangements and articulate orchestration, Typhoon’s catalogue of work ranges from “sea shanties, to country western and Eastern European inspired songs.” Across the board they cover various styles, meld multiple genres and produce thematically dense work, focusing heavily on lead singer-songwriter Kyle Morton’s struggles with mortality and finding strength through personal relationships. A beautiful setting to catch an equally stunning set, grab your tickets here to take part in this OL edition of Nightlife.

Discover our Outside Lands beer pairing for Typhoon.

Glen Hansard @ The Fox Theater // Buy Tickets

Irish songwriter, actor, vocalist and guitarist Glen Hansard will headline the Fox Theater Oakland with opener Sean Hayes on Thursday night as well. Founding member of The Frames and half of the critically acclaimed duo, The Swell Season, Hansard has been creating seminal folk rock internationally for well over a decade. Gaining attention in the states initially for his role in the 1991 film The Commitments, Hansard recorded his first solo album in 2006 with help from Czech singer and mutli-instrumentalist Marketa Irglova, whom he would go on to co-star with in the 2006 Sundance Festival World Cinema Audience Award winning film Once and form the band The Swell Season within the same year. Hansard has since recorded and produced various songs on film scores and compilations, leant opening support for Eddie Vedder’s solo American tour, guest starred on American primetime sitcoms and released his solo debut Rhythm and Repose in 2012. NOT PERFORMING AT THE FESTIVAL, this performance is an exclusive night show only date! Grab tickets to this limited OL affair right here.

Diarrhea-Planet

Those Darlins and Diarrhea Planet @ Brick and Mortar Music Hall // Buy Tickets

It’s going to be a dual-headliner, Nashville rock throw down Thursday night at Brick and Mortar Music Hall. With Those Darlins founding members meeting at the Southern Girl’s Rock & Roll Camp in Tennessee, country roots run deep in the musical history of this band. Formed in 2006, releasing their alt-country debut in 2009, the band fluctuates between traditional southern instrumentation, rockabilly and garage rock. Partners on the bill, fellow Nashville natives and six piece rock band Diarrhea Planet complement the foursome perfectly with their explosive guitar shredding, pop-laden “drunken sing-along” spectacle of a performance. Fresh off of touring their volatile live show to this past year’s South By Southwest, Bonnaroo, Governor’s Ball and various other festival stages (we reviewed their inspiring show at The Indy in 2013), the band brings their energetic ensemble to Brick and Mortar Music Hall for another exclusive night show only performance. Be sure to grab your tix here.

Mikal Cronin and Bear Hands @ The Independent // Buy Tickets

Two separate OL acts for the price of one! Mikal Cronin and Bear Hands, both performing day one of the festival, will be headlining The Independent in a one-off warm up session on Thursday night. Cronin, having released his self-titled debut in 2011, has had a busy few years questioning long term relationships, moving to San Francisco, touring and recording with musical counterpart Ty Segall, forming his own band and releasing his sophomore album MCII as a Merge Records artist. A multi-instrumentalist, Cronin’s gritty garage rock sound blends perfectly with co-headliner Bear Hands’ post-punk influenced indie rock. Fresh off the release of their second studio album, Distraction, Bear Hands’ “New York buzz band” reputation precedes them, gaining the group national attention on several music blogs and entertainment websites. Be sure to grab your tix here.


Soul-Rebels

FRIDAY, AUGUST 8TH

The Soul Rebels @ Brick and Mortar Music Hall // Buy Tickets

Bringing the NOLA funk to Friday’s Outside Lands festival lineup, The Soul Rebels plan to keep the party going well into the evening at Brick & Mortar Music Hall that evening. Fate brought together original members Derrick Moss and Lumar LeBlanc when they met as percussionists in Dejean’s Young Olympia Brass Band. Although trained in New Orleans jazz fundamentals, the two opted to take the traditional brass band sound they were raised on to the next level, incorporating their love for contemporary R&B, funk and hip hop. Branching off in a new direction, the duo left to form their own group, quickly winning over local audiences and officially being christened the “Soul Rebels” backstage before their opening slot for the Neville Brothers, by Cyril Neville himself. Since then the band has released several full lengths albums, set up a residency at Uptown NOLA club Le Bon Temps, have become a staple act at festivals throughout the globe and most recently released a mixtape Power=Power, premiered by Noisey, including brass band renditions of Jay-Z, Drake, Kanye West, Daft Punk and more. Easily the most funky of post festival Friday night festivities, this show will be the dance party of the weekend. Be sure to grab your tickets here.

Death Cab for Cutie @ The Independent // SOLD OUT: Win tickets via Do415

Heavy hitters on Saturday’s OL bill, Death Cab for Cutie bring their iconic indie rock to The Independent for an extraordinarily intimate one night only performance. For 17+ years, DCFC have been impacting the modern shape of indie rock, becoming one of the most prominent mainstream alternative bands during this time. Recording a discography comprised of seven studio albums, five EPs, a demo and numerous side projects/solo efforts, DCFC has carved out a significant place in music history and remain a staple within the contemporary scene both through their continual contributions to music, film and live entertainment. Announcing via social media that they’re in the process of working on their eighth studio album, the group just celebrated the 10 year anniversary of their seminal 2003 album Transatlanticism and released a live album of material from their 2012 tour dates with Magik Magik Orchestra. This show will be one for the books and quite possibly the only time you’ll be able to catch this caliber of a band in a club-sized venue ever again. Register to win a pair of tix here.


The Killers

SATURDAY, AUGUST 9TH

The Killers @ The Independent // SOLD OUT: Win tickets via Do 415

Headlining what is undoubtedly the biggest night annually in the SF music scene, The Killers will be playing to a sold-out crowd at The Independent on Saturday night, preceding their Sunday night closing set at Outside Lands. The Las Vegas foursome formed in 2001 and has become one of the largest names in alternative rock over the past decade with four hit studio albums. Selling over 25 million albums worldwide, the band has garnered mainstream success worldwide after performing in over 50 countries and headlining arenas on six continents. On the 10-year anniversary of their first show ever, The Killers released their greatest hits compilation Direct Hits last September and have been touring the festival circuit and selling out dates around the globe since then. This year’s OSL appearance will be their first at the festival and first show back in the Bay Area since playing the Bill Graham Civic Auditorium last April. Tickets to their pre-festival, late-night show sold out minutes after their release, but there’s still a chance to win a pair of tickets to what easily will be one of the most coveted shows of this year’s summer concert calendar. Register to win a pair of tix here.

Gold Panda @ Mezzanine // Buy Tickets

Multi-faceted producer Gold Panda returns to Mezzanine on Friday night with his genre-bending take on electronic music. With the rise of producers such as Flying Lotus and Flume, many other similar artists are breaking out to larger crowds and stages as forward-leaning electronica garners a new level of popularity and appreciation. Gold Panda represents a vast amalgam of electronic music, borrowing influences from all over the world to weave an upbeat, futuristic tapestry. His latest release Half of Where You Live has been critically hailed as his third stab at a comprehensive full-length album. Tracks like “Brazil” demonstrate his use of South American rhythms in a contemporary manner while consistently maintaining a dance beat. There are no ‘drops’ or huge frills to his dance ethic, but rather a rapturing, constant beat that listeners can lose themselves in rather easily. Ghostly International only signs the finest in contemporary dance music, so it’s no surprise that Gold Panda reps the prolific label. Teamed with local opener Doseone, this after party will keep the positive energy flowing from Saturday night straight into Gold Panda’s festival set that closes out the weekend on Sunday. Purchase tickets for the only electronic night show announced for Saturday.

Woods @ Brick and Mortar Music Hall // Buy Tickets

BK-based Americana neo-psychadelia outfit Woods will be headlining Saturday night at Brick and Mortar Music Hall ahead of their festival set on the final day of OL. The trio have released eight albums since their formation in 2005, which have garnered them both critical acclaim across the board. Dubbed “pop shamanism”, the band is currently on tour celebrating the release of their new album, With Light and with Love, exploring “expanded sonic palettes” heavy with percussion, altered vocals and experimental guitar riffs. Their latest release on their self-run record label, Woodsist, is described as distinctly different from their previous work, “showcasing a more sophisticated brand of contemporary drug music,” relatable to the Beatles iconic Magical Mystery Tour, catering to a “new age of searchers, of Don Juan and Animal Chin alike.” Easily the biggest head trip of the OL night show options — if you’re looking to get weird Saturday night you’re going to want to buy tix here.

Discover our Outside Lands beer pairing for Woods.


SUNDAY, AUGUST 10TH

Deer Tick @ The Rickshaw Stop // Buy Tickets

The ever-rambunctious, consistently capricious, gut punching Americana enigma that is Deer Tick will be closing out the weekend after parties at Rickshaw Stop with help from fellow Saturday OL performers, The Districts. After years of touring with a rotation of band members and various name changes, Deer Tick officially formed and released their debut album War Elephant in 2007. Signing to Partisan Records in 2008, re-releasing their debut along with second and third albums to critical acclaim, the band took off running. On their fifth album Negativity in 2013, the band has aimed to “capture the raw and spontaneous kerosene blaze” of their live shows in their studio recordings. Exploring personal tragedies suffered throughout the recording process such as his father’s tax evasion prison sentence, the death of his uncle, a broken engagement, drug and alcohol abuse, etc., lead singer John McCauley brings brutal honesty to the stage that is an all-encompassing, sometimes tragic, explosive performance. Truly an incomparable performance, this show will be the one that punctuates the weekend with one, final, lasting impression.

Kool and the Gang SuperJam @ The Independent // Buy Tickets

Last but not least, the Kool and the Gang SuperJam will be taking over The Independent Sunday night for a one-time only collaborative concert event, closing out the festival in proper fashion. Featuring members of the legendary funk outfit along with Eric Krasno, Adam Dietch, Nigel Hall, The Shady Horns and top secret special guests, this diverse group of musical luminaries will be on stage reimagining a variety of classic songs from Kool and the Gang. The Grammy Award-winning group have influenced three generations of musicians worldwide, selling over 70 million albums which earned collectively 2 Grammy’s, 7 AMA’s, 25 Top Ten R&B hits, 9 Top Ten Pop hits, 31 gold and platinum albums and the title of the longest running R&B group in the history of the genre. If there is one show where artists from Outside Lands would randomly decide to sit in on a performance, this would be the one. Can’t see yourself wanting to call it an evening on Sunday night? This show might be the best option for you. Be sure to buy your tix here.

OutsideLands2

New Music: The Black Angels – Clear Lake Forest

The-Black-Angels_post

The Black AngelsClear Lake Forest //

3.5-BamsTop Tracks:
“Tired Eyes”
“Diamond Eyes”
“The Flop”

Album Highlights: Clear Lake Forest is a super solid album from start to finish. One gets the impression that they purposefully set up the track listing to mirror a good acid trip. The album takes you through highs and lows — both sonically and lyrically. Opening track “Sunday Evening” quickly draws you in with its poppy verses and snappy chorus. Songs like “Tired Eyes”, “Diamond Eyes” and “The Flop” bring with them a darker quality but remain infectious. As the album moves on, we come upon the drone-pop ditty “The Occurance at 4507 South Third Street”, which sets the listener up perfectly for the remainder of the album. Coming back down, we come to “The Executioner”, which advises the listener that “If it feels good, do it again!” Finally, we close the album with “Linda’s Gone”, which appropriately brings you back down to Earth gently but without completely taking you out of your haze.

Album Lowlight: Where The Black Angels excel in creating a dreamy, psychedelic wall of sound, I do believe that they tend to borrow a bit too much from their influences. As with many of the neo-psych rock bands, there is a tendency to reproduce the sonic quality of a vintage 60’s LP. Considering the strength of the songs themselves, that is all well and good, but sometimes it’s best to leave the past in the past.

Takeaway: Those familiar with The Black Angels’ body of work will be pleasantly surprised by their latest offering. It’s a quick seven-track album, with each track leaving you in acid-laced reverie. There is very little in the way of “dead air” on this album, and even with borrowing much from their forefathers, the production quality is top notch. The album starts off very strong, carries you along for a sweet ride and ends on a mellow note … just like a good bourbon.

~Andrew Pohl


Outside Lands 2014 beer/artist pairings

Polo-Field-3-TimBy Steven Wandrey and Corey Jay //

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

When strolling through the polo fields at Outside Lands Music and Arts Festival, sometimes you need a refreshing beverage. Most of the beers listed here are so good that you’ll have a sip and be forced to stop walking to take in the overwhelming flavors, but don’t lose your friends. Located conveniently at the back of the main stage, Beer Lands has been getting better and stronger with (mostly) local craft beer selections. Here is a carefully curated list of beer/artist pairings that will even further accentuate each other at the festival.

The wind rips through the park at night with a chill from the ocean, which is why there is a focus on darker more robust beers here. While all of these beers may not be the exact selections offered on the days of the festival, there are sure to be plenty of tasty options from these tip-top breweries.

View the 2014 schedule and create your custom grid to share with friends!
View our Outside Lands night show breakdown!


Kanye-West

Bitter American by 21st Amendment Brewery for Kanye West

Here’s Kanye on a review for College Dropout: “A horrible album with just Jesus Walks on it is a four! C’mon dog, the demo version was a five! You need to rate it again, but you’ll have to create a new rating system.” Bitter, Kanye? While he may not actually be the most bitter person around, I think we can all agree that he is always full of … confidence. In spite of Kanye’s overflowing self-love and general obnoxious behavior, we’re all plenty stoked to go see the production Yeezus puts on. Bitter American is a hoppy American pale ale with relatively low ABV that’ll be perfect for the polo fields during the rap king’s headlining set. Just remember not to be too bitter while he’s ranting about how incredible he is (in the third person), and have fun. -SW


The-Flaming-Lips

Wookey Jack American Black Ale by Firestone Walker Brewing for The Flaming Lips

When subjecting yourself to the intense sensory onslaught of the Flaming Lips’ live show, you may need a hefty beer to anchor yourself down. That’s where the Wookey Jack comes in. This 8.3-percent beer will give your taste buds a grip with a balance of syrupy but crisp, roast-y, hoppy goodness. The Flaming Lips may decide to play a set deeply mired in psychedelia or a poppy one heavy with Yoshimi, and you’ll be dually covered with the Wookey Jack. -SW


Typhoon

Inception by Triple Voodoo Brewing for Typhoon

Only four years since their debut release, Typhoon is experiencing a breakthrough in exposure and popularity. Their anthemic indie rock is cathartic and widely appealing. Triple Voodoo is also close to its debut release, and the SF-based brewery has been making big strides as well. Inception is a Belgian-style Triple with a dry finish that neatly disguises its burly alcohol percentage of 8 percent. Hopefully both Typhoon and Triple Voodoo continue to grow in popularity, because both are well deserved of their acclaim thus far. -SW


Woods

Campfire Stout by High Water Brewing for Woods

High Water Brewing out of San Leandro, Calif., has been making some fine brews for a while now, and one of the best is their Campfire Stout. Made for the outdoors, roasty malts, vanilla, caramel and marshmallows will swirl around your palate as Woods’ psychedelic-folk swirls in the air around you. This beer is as close to eating a s’more in liquid form as you can get. Touring in support of their new album With Light and With Love, Woods has a hefty slate of shows on the docket, including a night show at Brick & Mortar the night before their Outside Lands performance. -SW


Nicki-Bluhm

Kalifornia Kolch by Magnolia Pub & Brewery for Nikki Bluhm and the Gramblers

Nikki Bluhm is a local favorite in SF because of her powerfully soulful singing and classic feel-good rock. What better way to enjoy the show than with a beer most likely brewed within five miles from her? Magnolia is making fantastic beer with storefronts in the Dogpatch and the Upper Haight. Assuming this is a day time show, their Kalifornia Kolch will blend perfectly with some sun and dancing. Clearly a group of heady guys, whatever Magnolia decided to bring will be solid. Other favorites are their Proving Grounds Double IPA and the Weakapaug Gruit. -SW


Duck-Sauce

Bigfoot Barleywine Ale by Sierra Nevada Brewing for Duck Sauce

Right as the true depths of the intensely flavored Bigfoot by Sierra Nevada surface, the non stop rhythm and beastly sounds of the “Big Bad Wolf” by Duck Sauce should be allowing your true inhibitions to surface. The pairing will create a plethora of robust favors, explicit undertones, and sensual excitement if given the chance to groove side by side. When you see “Barbara Streisand” on the dance floor, just make sure to thank the local Bigfoot by Sierra Nevada. -CJ

OutsideLands

Craft Spells fill the Chapel with their magic

Craft-Spells_postPhotos by Pedro Paredes // Written by Kevin Quandt //

Craft Spells with The Bilinda Butchers //
The Chapel – San Francisco
July 17th, 2014 //

A sold-out crowd greeted the return of once-local band Craft Spells to the heart of the Mission for a stellar evening of post-new wave tunes – new and old. Leader of the pack, Justin Paul Vallesteros, came out swinging with quick jabs, playing with a rabid enthusiasm on his meticulously crafted songs from most recent release, Nausea (Captured Tracks), as well as old favorites peppered in. It was evident that the majority of the room were familiar with these cuts, and showed their adoration to this rising star.

A recent move to Seattle was a shock to fans, but on this night, it was as if Vallesteros was the current local rock hero, never missing a beat. His sound was infectious to those who were new to Craft Spells as he wove the classic sound of Robert Smith and the Cure with more contemporary acts such as DIIV and Beach Fossils. Expect to hear more from Craft Spells as they settle back into a regular routine of touring.

First Times: Experiencing Seattle’s music scene

Seattle skylinePhotos 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.

EMP Museum

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.

Geographer

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.

Geographer

The Infamous Stringdusters let loose at Terrapin Crossroads

Infamous Stringdusters - topBy Kory Thibeault //

The Infamous Stringdusters featuring Phil Lesh, Nicki Bluhm and The Terrapin Family Band //
Terrapin Crossroads – San Rafael, CA
July 12th-13th, 2014 //

There truly is something special going on at Terrapin Crossroads in San Rafael. This is not the first time I have spoken of it, nor will it be the last. Of course, being under the ownership of music legend Phil Lesh, it comes as no surprise their calendar of events is pretty rock solid. The artists who roll through Terrapin certainly attract a niche audience, extremely fitting for the intimate 250-person capacity the venue holds.

This past weekend was definitely intimate. The Grammy-nominated Infamous Stringdusters proved their worth in selling out a two-night run, with Friday billed as a “ramble” featuring Phil Lesh in the flesh. In the spirit of Levon Helm’s famous rambles, the Stringdusters took the stage for a high-energy show, first only to accompany Lesh and later The Terrapin Family Band for an All-Star, Grateful Dead-oriented closing set. “He’s Gone,” was an expected highlight, as the Stringdusters often cover the track, but this bustout was only the beginning. The quick picking intensified throughout the set, breathing new life into Dead classics. Particularly special on Friday was an extended jam of “The Wheel” > “Turn on Your Lovelight” > “Cumberland Blues”, which was a serious treat for everyone involved, especially the Terrapin community who frequents evenings such as these.

Infamous Stringdusters - middle

Saturday’s show featured two sets from the Stringdusters, a perfect opportunity to debut material off their new album Let It Go. While the LP lends itself more to the poppy side of this bluegrass outfit’s repertoire, the extended jams they performed proved this recent endeavor is far from a pop album. Trickled throughout the set were dark space jams, which brought great depth to the otherwise cut-and-dry tracks and moments that proved just as enjoyable for the band as it did for the audience. As an added treat, the Stringdusters invited Nicki Bluhm onto the stage to grace us with her exceptionally gorgeous voice. If this kind of exuberance and experimentation continues, they will undoubtedly have a fruitful career ahead of them.

Peter Matthew Bauer breaks out at Bottom of the Hill

Peter Matthew BauerPhotos by Matt Barrick and Nikki de Martini // Written by Kevin Quandt //

Peter Matthew Bauer //
Bottom of the Hill – San Francisco
July 9th, 2014 //

Though The Walkmen have proclaimed that they are on a “pretty extreme hiatus”, it doesn’t mean they have slowed their creative output as the majority of members have released solo albums within a few months of their demise. Hamilton Leithauser channels Sinatra and other old school crooners on his lush sounding release, Black Hours. On the other hand, Walter Martin wrote a batch of songs for his young family to enjoy — singing joyful songs about animals and The Beatles on “We’re All Young Together”. Yet, it’s Peter Matthew Bauer’s debut solo album Liberation! that took the spotlight on a mid-week evening down at the base of Potrero Hill alongside Skyler Skjelset and new-to-the-City band, Tabernacle.

Liberation! is Bauer’s first romp into being the lead man, the songwriter and even full-blown guitarist, as Bauer manned the bass and organ in The Walkmen for a decade. The album is a worldly collective of musings focusing primarily on the emotions that inevitably arose from when his mainstay hung it up. It touches on a lack of previous restraint that comes from band life, as well as the fear of the unknown, as he begins his own endeavor. For his first tour, Bauer didn’t go with a streamlined band, but rather, he brought out a merry bunch of his friends from Philly, including Skyler Skjelset of Fleet Foxes and Bauer’s wife to sing backup vocals.

Peter Matthew Bauer

As the seven-piece band strutted on stage dressed to the nines, it was evident that even with the light turnout, this burgeoning project was here to play its heart out to its early supporters. “I Was Born in an Ashram” was the biographical opening track, on both the album and at the show, and set an energetic performance pace from the pompadoured frontman. He channeled Orbison, Harrison and other legendary impresarios early on as he battled religion and the choices one makes in this life — pretty deep stuff for a guy who is new to this role on stage. This opening number, and even the album as a whole, kind of feels like Sun Studios went on vacation and eventually opened shop in Bangladesh, drawing influence from both the Eastern and Western worlds to create a kaleidoscopic effect.

The album’s title track, “Liberation!”, picked up the rhythm a bit and transported the crowd to a far-off place as the dual backup singers did their best Lijadu Sisters impression to toss some African influence into the melting pot. Between songs, Bauer drew the crowd in with both praise of support and a few stories relating to the current tracks — “Scientology Airplane Conversations” being a prime example. Matt Oliver (guitar), Mickey Walker (bass) and Jess Mcintosh (drums) demonstrated they were the right friends to bring on the road as the core band shined brightly on the newly-penned ensemble tracks, such as “Miracle Mile”. Bauer’s vocal range was impressive, a surprise to this writer who saw him in the background of countless Walkmen shows. Even though it was a fresh sound from what Bauer had been focusing on for the past decade, the influence from his former project was evident while also being refreshing to longtime fans — a well thought-out balance that seemed to flow quickly from Bauer. As the set wrapped up with the mantra-esque album closer, “You Are the Chapel”, the band casually walked off, knowing it had wrecked house.

Peter Matthew Bauer

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

5-in-JulyWritten 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

ella-eyre-press-2013-650-430

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

camdencox

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

elli_ingram_0

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

rsz_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

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!

New Music: ANTEMASQUE – Self-titled

Antemasque

ANTEMASQUEAntemasque //

3-BamsTop Tracks:
“I Got No Remorse”
“In the Lurch”
“Drown All Your Witches”

Album Highlights: Control freak or not, Omar Rodríguez-López has certainly kept himself busy since the breakup of The Mars Volta. The former TMV bandleader/guitarist teamed up with Le Butcherettes vocalist/guitarist Teri Gender Bender and former TMV drummer Deantoni Parks to form experimental alt-rock outfit Bosnian Rainbows in 2012, and earlier this year, he joined forces with former Red Hot Chili Peppers guitarist John Frusciante and Swahili Blonde drummer Nicole Turley to release Kimono Kult’s debut EP Hiding in the Light (read our review here). While rumors of a TMV reunion surfaced in February when Rodríguez-López and former lead singer Cedric Bixler-Zavala started speaking to each other again after going their separate ways for a couple years, fans were eventually informed in early April that there would be no reunion, but instead, a new project from Rodríguez-López and Bixler-Zavala dubbed ANTEMASQUE. Featuring RHCP’s Flea on bass, the rock ‘n’ roll legend is not considered to be an official member despite letting Rodríguez-López, Bixler-Zavala and former TMV drummer Dave Elitch use his recording studio and being included in the band’s teaser video that dropped three months ago.

What came out of those sessions at Flea’s studio is the groundwork that makes up the supergroup’s 10-track, self-titled debut, which fuses the frenetic punk-rock elements of Rodríguez-López’s and Bixler-Zavala’s first band, At the Drive-In, with the prog-rock roots of TMV. The album’s first single “4AM” kicks things off in a hurry, as Bixler-Zavala shouts his way through the upbeat, yet short-lived track that sees Rodríguez-López use a guitar effect reminiscent of The Cure’s Robert Smith during the song’s verse sections. The ensuing number, “I Got No Remorse”, picks up the pace even more thanks to Elitch’s drumming, making it easy to see why the ATDI comparisons will come fast and furious for ANTEMASQUE. “In the Lurch,” on the other hand, bridges the gap between progressive rock and punk rock better than any other tune on the LP, with a breakdown midway through that lets Flea’s groovy bass line shine through.

But unlike any song on the album that precedes it, “Drown All Your Witches” takes a much different approach, with Rodríguez-López exchanging his electric guitar for an acoustic one. Surprisingly enough, it stands as one of the album’s top tracks, even if Bixler-Zavala’s lyrics are still relatively cryptic, as he demonstrates in this verse: “All I ever done is hold a love as this / I’m used to just watching without a sound / On that day with our backs against the wall / Is that how you drown all your witches?” It’s not long, of course, before we’re transported back to the charging punk that rounds out the rest of Antemasque, as we come to discover with “People Forget” and “Rome Armed to the Teeth.”

Album Lowlight: As excited as ATDI and TMV fans should be to see Rodríguez-López and Bixler-Zavala back together making music, Antemasque doesn’t come anywhere close to topping ground-breaking albums like 2000’s Relationship of Command and 2003’s De-Loused in the Comatorium that thrust both bands into the mainstream spotlight. That’s not to say that this record is completely unlistenable, but it’s far from complete. “Ride Like the Devil’s Son” has the potential to be one of the album’s best offerings, but it falls flat when the chorus kicks in. “50,000 Kilowatts,” meanwhile, serves as another departure from the punk-prog concoction that dominates most of Antemasque, but its pop/rock vibe and cookie-cutter formula sounds rather contrived. On the whole, it’s hard to ascertain what the band’s identity truly is, as it mixes prog, punk and alt-rock over the course of just 35 minutes.

Takeaway: Although fans of TMV will likely find Antemasque too straight-forward for their liking, more traditional punk enthusiasts may be able to get behind what Rodríguez-López and Bixler-Zavala have put together here. It’s worth nothing that Elitch’s work on the skins is absolutely exquisite throughout, driving the music forward while also lying back at certain times when it’s appropriate. There’s no doubt that Rodríguez-López, Bixler-Zavala and Elitch are all talented musicians, but you’ll want to keep your expectations to a minimum before hitting the play button.

~Josh Herwitt


PHOTOS: Blue Sky Black Death at The Independent 7/11

Blue Sky Black DeathPhotos by Marc Fong //

Blue Sky Black Death //
The Independent – San Francisco
July 11th, 2014 //

Futuristic hip-hop beats entranced The Independent last Friday, as Seattle-based production duo Blue Sky Black Death headlined the intimate venue, putting its unique mixture of live instrumentation and sampling on full display. It’s been almost a year since Kingston Maguire (better known as just “Kingston”) and Ian Taggart (aka “Young God”) last performed in the City, merely just weeks before releasing their fourth full-length album Glaciers in October. Yet, the twosome has kept churning new tracks out, including an unofficial remix of Frank Ocean’s 2012 single “Pyramids” in mid-February. Marc Fong took in the crowded show, capturing the best moments of the night.

Blue Sky Black Death

Blue Sky Black Death

Blue Sky Black Death

Blue Sky Black Death

Blue Sky Black Death

High Sierra returns to Quincy for its 24th edition

High Sierra Music FestivalBy 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.

Mac DeMarco dazzles sold-out Great American Music Hall

Mac DeMarcoPhotos by Pedro Paredes // Written by Kevin Quandt and Pedro Paredes //

Mac DeMarco with Calvin Love, Juan Wauters and Holy Shit! //
Great American Music Hall – San Francisco
July 8th, 2014 //

Mac DeMarco can do little wrong at this current time as he skyrockets the indie charts, likely to make the jump to the next level any week here. Returning to the City, both of his gigs at the Great American Music Hall sold out within days. Over the course of Tuesday’s show, his third studio album Salad Days was well-represented as he wove between albums and various cover songs. But let’s not get ahead of ourselves with so many up-and-coming acts being featured on this night. So, light up a smoke, rock your favorite 5-panel hat and let us tell you about it.

Uruguayan singer Juan Wauters was the first act to hit the stage. Equipped only with his trusty acoustic guitar and his charismatic ways, he quickly engaged with an audience that seemed a bit shy at the beginning. However, the growing masses ended up cheering enthusiastically after each song. Covering tracks from his impressive solo debut N.A.P. North-American Poetry, he was soon joined on stage by a small band that helped his folk-oriented ballads get a very unique sound, a bit more dirty and gravitating toward garage folk.

By the time Calvin Love had wrapped up a stellar set, the youthful crowd was chomping at the bit to get down and weird to the “jizz jazz” — how the 24-year-old DeMarco (guitar, lead vocals) likes to describe his music — stylings that included Peter Sagar (guitar), Pierce McGarry (bass) and Joe McMurray (drums). The band was tuned and ready to go before its set time, so the quartet said “fuck it” and launched into its most recent title track, “Salad Days”.

Mac DeMarco

DeMarco’s fans screamed in sheer delight as he transformed himself into some sort of pop-slacker, earning hoots and howls from a bevy of females in the crowd. His rise to King Weirdo status has been swift, and it’s been for good reason. His likeability, coupled with his unique playing style, is pretty damned infectious, after all. “Blue Boy” and other more recent cuts were featured early on before drawing into his back catalog, pleasing the longtime fans with “I’m a Man” and “Rock and Roll Night Club”.

As the evening carried on and the crowd got more rowdy, DeMarco lit up a crowd-pleaser in the form of “Ode to Viceroy”, a tender tribute to his favorite brand of Canadian cigarettes. As is tradition with DeMarco’s shows, the crowd tossed smokes onstage and even lit ’em up, likely much to the chagrin of the Great American Music Hall. Yet, it’s unpredictable moments like these that have made the British Columbia native’s shows so sought after these days.

Mac DeMarco

The dual-cover encore started with a nod to the Bay Area in the form of Metallica’s “Enter Sandman” before bringing up the opening bands and friends, including Mikal Cronin, for a singalong to Neil Young’s “Unknown Legend”. DeMarco asked the crowd to “take a knee for Neil”, and all obliged as the majority belted out the song’s lyrics with a deep passion for the moment — because certainly, it was a good one.

As we watch DeMarco climb from underground slacker to bonafide indie celebrity, one can only wonder when he’ll peak, but if I know one thing, it won’t be soon that more are joining the “cult of weird” he reigns over.

PHOTOS: Steve Winwood at Fox Theater Oakland 6/26

Steve WinwoodBy Sterling Munksgard //

Steve Winwood with Cris Jacobs //
Fox Theater Oakland – Oakland
June 26th, 2014 //

Rock and Roll Hall of Fame inductee Steve Winwood returned to the Bay Area last month, headlining the Fox Theater in Oakland as part of his latest West Coast tour. Famous for the many years he spent playing in Traffic, The Spencer Davis Group, Blind Faith and Go, Winwood proved at the Fox that he’s still got it at the age of 66.

Cris Jacobs of Baltimore’s The Bridge opened the evening with a solo acoustic set, and we were on hand to capture the action from Winwood and his bandmates.

Steve Winwood

Steve Winwood

Steve Winwood

Steve Winwood

Steve Winwood

10 tips for safely navigating an entrance search at a festival

bonnaroo-(festival-snob)_postPhoto by FestivalSnob.com // Written by The Festival Lawyer //

It is just about impossible to enter a music festival, concert, rave or any kind of a major sporting event these days without being searched as a condition of entry.

This isn’t likely to change. If anything, the trend is towards more security at big events. For example, Electric Zoo recently announced new security measures including drug-sniffing dogs stationed at all entrances and the use of undercover narcotics officers to patrol the festival grounds.

Obviously, festivals need to be able to search folks for weapons and keep people safe. But what about the festivalgoers? Do you have any rights if a search goes too far or you run into an abusive security guard? Or did you give them all up at the entrance?

Here is some legal knowledge (and practical tips) that can help you navigate that entrance search like this guy:

Strutting-Leo

TIP #1: KNOW YOUR RIGHTS

In general, The 4th Amendment prohibits the police from randomly stopping you and searching you.

If you are stopped at a festival, I’ve advised people to ask the question “Am I Free to Leave?” to determine if they are being detained. If you are detained, you should never consent to a search of your person or property by the police. Instead, keep calm, show your ID and continue to ask if you are free to leave. You should always insist on your right to remain silent and ask for a lawyer. Whenever possible, have your festival buddy witness or document the encounter.

The following infographic lays out these rights in a simple “flowchart” form.

Festival_Lawyer_Infogrpahic-A_Cop_Stops_You_At_A_Festival

From a legal standpoint, you clearly have these rights once you have passed through the entrance search. But what rights apply when you first are searched entering a fest?


TIP #2: SEARCHES BASED ON TICKET LANGUAGE ALONE ARE GENERALLY ILLEGAL

Almost every festival has ticket language and signs at the entrances stating that you are agreeing to be searched as a condition of coming into the venue. For example, here is Electric Zoo’s ticket language:

“Your use of the ticket is contingent upon your unconditional and voluntary acceptance to be searched…prior to your admission to the venue and/or at any time thereafter.” (Electric Zoo)

This is what is called an “Implied Consent Waiver”. “Implied” meaning that you knew you were going to be searched and decided to come in anyway.

Here’s the thing. Courts really don’t like any kind of an “implied” waiver of Constitutional rights. In fact, courts often throw out these kind of implied waiver searches when they are challenged by festivalgoers.

Courts look at several factors to determine if an implied consent search is legal:

1. Did the sign and ticket language make it clear you were going to be searched?
2. Were you deprived of a benefit if you refused to be searched?
3. Did you know you had a right to refuse to be searched?
4. Did you demonstrate “affirmative conduct” agreeing to be searched?
5. Was the search necessary to a “vital interest” of the festival?

The point is, it is NOT legal for festivals to just put up a “You agree to be searched” sign up at the entrance and then conduct a blanket search without any limitation. The courts instead look at what is being searched for, what you agreed to in your ticket and how the search is being conducted on a case by case basis.

Crowds

TIP #3: “LIMITED” ENTRY SEARCHES FOR A “VITAL SAFETY INTEREST” OF THE FESTIVAL (LIKE PAT SEARCHES FOR WEAPONS) ARE GENERALLY OKAY

Normally, private security has a right to conduct a reasonable search on you as a condition of entry BEFORE entering private property if they are looking for weapons. This probably isn’t a constitutional violation as long as it’s made clear to you that you’re free to walk away.

Courts have long recognized that festivals have a “vital interest” in keeping their patrons safe from weapons and other dangerous items knuckleheads might bring in. Because of this, courts have allowed “limited” searches if they are for the purpose of looking for weapons and projectiles and dangerous items. (“Limited’ meaning a pat down search for large/hard objects or screening through a metal detector.)

That’s reasonable right? I mean, I love music festivals. But I REALLY love the festival and EDM community and want people to be safe. Any responsible festivalgoer should want a safe place for all of us to play. Even if this wasn’t the law, I’d agree to a “limited” search like this because nobody has any business bringing a weapon into our space.

(Fun fact: The song “Smoke on the Water” by Deep Purple refers to a fire started during the Montreaux Jazz festival by “Some stupid with a flare gun.”)


TIP #4: OVERLY “INVASIVE” PERSONAL SEARCHES ARE NOT OKAY

In State v. Iaccarino, 767 So. 2d 470 (Fla. Dist. Ct. app. 2000) the Court struck down “invasive” entry searches at the “ZenFest” festival. (“Invasive” is legalese for “Wait, you touched people where?”)

I mentioned above that festivals have to show that their entrance searches are being done for a “vital interest” of the festival to be found legal.

In this case the court rejected the idea that keeping drugs out was enough of a “vital interest” to allow this level of intimate and personal searching:

“If this court permitted the illegality of the substances themselves to rise to the level of “vital interests,” then a similar sign posting would justify any search of any person at any time and to any degree. For example, such a “vital interest” could seemingly justify a search at a high school football game, where each student, teacher, and parent could be directed to take off shoes and socks, pull out their bras, empty their pockets and the contents of wallets, and have their crotch and genitals frisked.”

In other words, courts draw a distinction between limited searches for weapons and “invasive” personal searches for drugs.

Part of the problem in the Iaccarino case was how far they were going in these searches. They were basically treating the patrons as if they were being booked into a jail. Searches included things like “genital taps” and “crotch frisking”(!?) (Which probably is not nearly as much fun as the name suggests.)

As a practical matter, often it’s not clear whether the searcher thinks they have the right to search you in a more personal way or if they are asking for permission to do so.

Asking in a calm, polite way, “Are you asking for my permission to search further?” or “ Do I have a choice to be searched in this way?” can clarify if you are being “ASKED” for a further search or being “ORDERED” to submit to a more invasive search. You can then make an informed choice as to how to handle that situation.

Security-Guard-at-Ultra

TIP #5: SO FAR, FESTIVAL ENTRANCES HAVEN’T BEEN DECLARED A “4TH AMENDMENT FREE” ZONE LIKE AN AIRPORT

There are certain places where courts have said the danger of terrorism is so high you are essentially entering a “4th Amendment free” zone and can be searched at will. The most typical example is an airport.

In a 2006 Valparaiso Law Review article the author recaps all the cases I mention above and notes that currently there is no legal way to randomly and invasively search people entering a sporting event.

Rather than thinking, “Oh that must be because WE FREAKING LIVE IN AMERICA” he argues that these cases are old and that after 9/11 we should start treating festivals and sporting events like airports.

In fact, the TSA has already assumed that festivals are like airports and sent its VIPR units out to randomly search festivalgoers.

A conservative court in 2014 might agree with this logic and treat festivals and sporting events like airports. Or after all of the overdoses we see at events a court might change its mind and now consider searching for drugs a “vital interest” for festivals. But it’s important for festivalgoers and promoters to understand that is NOT the law currently.


TIP #6: ACT LIKE A FESTIVAL PRO

You can improve your experience navigating these searches by adjusting your attitude and demeanor. I call it “acting like a festival pro”.

Keep the line moving. Be attentive. Have your ID out and ready, purse open, pockets empty, etc. Maybe skip the “Hey buddy, this is the most someone has touched me all week” joke they’ve heard a million times.

First impressions are important – The security guard will subconsciously make a split second decision about you. Paint the picture you want them to see. Present yourself in a non-threatening manner. Make eye contact. Be friendly. SMILE. Heck you are about to go into an awesome life experience, why wouldn’t you be smiling?

I always show deference to the security staff and say things like, “How are you doing today, sir?” Remember, they are people too and they are just doing their jobs. Many times the staff will be attending the festival too, and they aren’t trying to make your life difficult. You can be calm when you know in the back of your head that if something goes wrong you know your rights and how to enforce them.

And of course, don’t bring in dangerous items to the festival (do I really need to list that?)

Search-Party

TIP #7: IN PRIVATE SECURITY SEARCHES ASK TO BE “EJECTED” RATHER THAN ARRESTED

The 4th Amendment prohibiting unreasonable searches and seizures normally only applies to private security guards when they are acting as “agents of the government.”

To decide this, courts look at whether there is such a coordinated effort between real cops and private security that they are the same. (Things like a unified command structure, same communication system, coordinated arrests etc.)

The bad news is that if private security officers aren’t found to be “government agents,” you can’t get a judge to throw out the evidence against you in a criminal case.

Technically, a private security guard only has the right to arrest you the same way a private citizen does. (A so called “citizen’s arrest”). What I’ve seen as a practical matter is that private security will typically do the initial search and then call the real police in if they find something interesting.

But there are cases that say that private security is only allowed to search you for the purpose of deciding if you should be ejected or allowed in. And if you have something you aren’t supposed to, you can withdraw your consent and ask to be ejected instead.

The Nebraska Supreme court talks about this in a case called, State v. Smith, 782 N.W.2d 913 (Neb.2010)

“The State argues that Smith impliedly consented to the search because he was aware that Club patrons were subject to a pat down and search. That may have been the case when Smith got in line, but Smith withdrew his consent before his pocket was searched. The Club may have been free to turn him away but it was not free to turn out his pockets.”

If private security feels something in your pocket and asks to see it…you don’t have to show them. Respectfully and politely say,

“I am withdrawing my consent to any search. I am asking that I be ejected and my ticket price refunded.”

Drug-Dogs

TIP #8: DRUG DOGS SUCK – AVOID THEM

Here’s the thing, you don’t have a lot of rights when it comes to drug dogs. In Illinois v. Caballes, the Supreme Court ruled that police do not need reasonable suspicion to use drug dogs to sniff a vehicle during a legitimate traffic stop.

The Supreme Court followed that up with the outrageous Florida v. Harris case. Here, the Court rejected the idea that police should have to show that drug dogs are reliable evidence finders but just need to show they had the proper training.

Which is unfortunate because these dogs are not reliable. In their dissenting opinion of Caballes, Justices Souter and Ginsburg pointed to studies showing that drug dogs frequently return false positives (12.5-60% of the time, according to one study). In fact, a Chicago Tribune field study revealed that drug dogs are more often wrong than they are right when alerting for drugs in vehicles.

This poor track record can be due to poor handlers, poorly trained dogs or even there can be officers who train their dogs to falsely “alert” on suspects.

There aren’t many tips to handling drug dogs but my friends at “Flex Your Rights” list a few here.


TIP #9: HANDLE INAPPROPRIATE SEARCHES POLITELY BUT FIRMLY, GET A SUPERVISOR INVOLVED

If you run into a private security guard who is conducting an overly invasive or inappropriate search, alert a supervisor. Have a friend with you document the encounter and let the supervisor (as well as the festival promoters) know that you have been handled in an inappropriate fashion. Most festivals take these allegations seriously and will act to fire unprofessional security guards.

Politely but firmly object to any violation of your body. Simple statements of fact are probably best

Example, “What you are doing is making me uncomfortable and I you want you to stop. I want to see a supervisor.”

If you are not getting any satisfaction from the festival or the promoters, consider warning others about the bad behavior of this particular fest. (I had a follower suggest tweeting the hashtag #myboobsmybody to call out festivals if they become “Gropefest 2014”)


TIP #10: COMBINATION ANNOYING LEGAL DISCLAIMER AND HELPFUL LEGAL BRIEF

I am a lawyer, I am just not YOUR lawyer. My Facebook page lists me as a “Fictional Character.” That’s because it’s best to see me as sort of a combination legal resource/legal spirit guide/festival consigliere rather than someone giving you specific legal advice.

So, I can’t give you specific legal advice. But what I can do is provide a resource for you.

The awesome members of the #festlaw crew researched a lengthy brief that might be a good resource for your attorney if you are ever have the misfortune of being arrested for any sort of low level, non-weapon situation. I’ve included it here as a resource. You may reproduce fully and in any manner you or your attorney sees fit.

So, as your Legal Spirit Guide, I advise you, as always, to make good decisions, party smart, and help each other out. YOU are what makes this community so great, and I expect to see you all smiling and hi-fiving me at your next festival.

Festival-Lawyer

Sharon Van Etten’s comedic banter surprises at The Indy

Sharon-Van-Etten_postPhotos by Pedro Paredes // Written by Mark E. Ortega //

Sharon Van Etten with Jana Hunter //
The Independent – San Francisco
June 30th, 2014 (Monday) //

Brooklyn-based singer/songwriter Sharon Van Etten sure smiled and laughed a lot on Monday night for someone who features heartache prominently at the forefront of her songwriting.

This could have been due to a combination of things. It was her second straight sold out night at The Independent, she’s riding the wave of critical acclaim of her fourth studio release Are We There, and she has managed to prove wrong those who doubted her early on.

Despite her songs being so often daunting and bleak in nature, Van Etten was able to break up the heaviness with the levity of her between song banter. One crowd member shouted to Van Etten that she should do standup comedy, to which Van Etten responded, “So you’re saying my music career is over,” to even more laughter.

Though the SF crowd sometimes got a little carried away with their commentary throughout the show, Van Etten was always able to reel them back in.

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Songs from her new release are much fuller in comparison to earlier Van Etten offerings and the benefit was instantly felt when performed with her talented band. “Afraid of Nothing” kicks off her new album and it did a brilliant job of setting the tone for the night as the set starter.

Backup vocalist and Jill of all trades Heather Woods Broderick brings out the best of Van Etten as a backup vocalist when the two harmonize. This was apparent on every song, the lone Van Etten solo song being “I Know” in her encore.

Van Etten has said in interviews she hopes she doesn’t get too much bigger, and she seemed right at home in the cozy confines of The Indy.

At one point in the set, Van Etten asked an audience member to share a news story tidbit, and the audience member asked if Sharon had heard about the exchange student in Germany who got stuck in a vagina sculpture. After relaying the story, Van Etten said, “Speaking of vaginas, this next song is called ‘Break Me’”.

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Van Etten continued moving through her set, throwing in a couple of old numbers; “Save Yourself”, “Don’t Do It”, and “Serpents” were among them. “Don’t Do It” featured Woods Broderick set up some ghostly vocals in the background as Van Etten kicked things off with her guitar. Though a deeply dark and depressing song in its lyrical content, the crowd couldn’t help but bob their heads to Van Etten’s pleas to a friend to not self-inflict some damage.

“You enjoy sucking on dreams / so I will fall asleep with someone other than you / I had a thought you would take me / seriously and listen but..” Van Etten sang in “Serpents”. An ode to an ex-lover that didn’t believe Van Etten had the talent to make it, Van Etten proved she won that battle on Monday night having sold out a good-sized venue a second consecutive night.

Before closing her set with her new single “Every Time The Sun Comes Up”, Van Etten preceded the song with a story about how it was written while stoned with her band and asked the crowd if anyone had any weed to throw it up on stage and she’d swap them with a setlist. That was truly rock n’ roll and a good one to end the night.

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Fuck Buttons evolve live performance, toy with the traditional

Fuck-Buttons3Photos by Pedro Paredes // Written by Kevin Quandt //

Fuck Buttons with Total Life //
The Independent – San Francisco
June 27th, 2014 //

An evening of non-traditional, also known as experimental, music was presented to a radical crowd that hinges itself upon the progressive more than the the mainstream. There is hardly a ‘beat’ to dance to. There are no massively recognizable samples. Basically, there is noise summoned from the depths of circuitry heaven, or hell for some, molded and formed into intricate pieces that challenge both the producer and the listener. The Independent pulsated to various frequencies on this given Friday night that featured full blown drone music from the opener, Total Life, and an updated set from UK act, Fuck Buttons.

Ah, the thrill of drone music as you ease into a well earned weekend. Kevin Doria is Total Life and he has paired music down to it’s simplest element of sustained tone in a manner which would make John Cage smile, while simultaneously making the masses cringe. Many in the crowd couldn’t handle the ultra-exploratory nature of his singular sounds that shifted only the slightest amount as he masterfully filled the room with individual notes.

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Fuck Buttons would expand on this singular thought in a more methodical manner, as is to be expected form this heralded duo of button pushers, knob twiddlers and forward thinkers. On this evening, Andrew Hung and Benjamin John Power jumped out of the gates, opting for immediate immersion over introduction. The opening featured Hung hollering into a mic that, in turn, sounded like something reminiscent of a whale call. The duo eased into a set that featured incredible tempo and one of the best visual shows in a while, accompanied the smorgasbord of electronic styles that were served up.

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Similar to the Caribou, Fuck Buttons stand out in a sea of artists that could be categorized in the same vein, yet the majority fall short of something special, unlike the aforementioned. There were moments of gut-rumbling distorted bass and more upbeat segments that could best be described as ‘dark disco’. This particular tour is more accessible to new fans as a layer of their drone-music past seems to have been shed as portions of the show could have fit in perfectly with the likes of the Low End Theory crew. The preciseness of their sound is truly something to behold, nay, experience.

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

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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.


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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.


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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.


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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?


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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.


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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.