Featured – Showbams

Band of Skulls hit LA for special acoustic show

May 27, 2014 by Josh Herwitt Leave a Comment

A Special Acoustic Evening with Band of Skulls //
Masonic Lodge at Hollywood Forever – Los Angeles
May 21st, 2014 //

Fresh off the release of its third full-length album Himalayan (read our review here), English alt-rockers Band of Skulls stopped off in LA last week for a special acoustic performance at the Hollywood Forever’s Masonic Lodge. Playing alongside a four-piece string quartet for less than an hour, the Southampton trio ran through cuts from its new LP as well as 2012’s Sweet Sour and 2009’s Baby Darling Doll Face Honey. Josh Herwitt hit up Hollywood mid-week to catch all the action at the KCRW-sponsored event.

Setlist:
Asleep at the Wheel, Sweet Sour, Bruises, Himalayan, Hoochie Coochie, The Devil Takes Care of His Own, Honest, Cold Fame, Impossible, You Are All That I Am Not, Nightmares

Filed Under: Featured, Photos Tagged With: Band of Skulls, Hollywood Forever, KCRW, Masonic Lodge

Nickel Creek return to the Bay Area with smile-inducing bluegrass

May 22, 2014 by Marc Fong 1 Comment

By Marc Fong //

Nickel Creek with The Secret Sisters //
Fox Theater – Oakland, CA
May 19th, 2014 //

Happy vibes from both band and audience alike dominated Fox Theater Oakland on Monday for Nickel Creek’s return to the Bay Area. The group’s hiatus was discussed briefly between songs for a show that was notably long (100 plus minutes). Top-notch Americana bluegrass with a twist of progressive folk was on the menu, and Marc Fong was on the scene capturing the moment.

Filed Under: Featured, Photos Tagged With: Fox Theater Oakland, Nickel Creek

FOALS, Cage the Elephant and the art of the co-headlining gig

May 21, 2014 by Mike Frash 2 Comments

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

FOALS, Cage the Elephant with J Roddy Walston & the Business //
Fox Theater — Oakland, CA
May 20th, 2014 //

FOALS and Cage the Elephant have more in common than it appears at first glance. Both acts have three studio albums, with their first arriving in 2008, and they continue to tour on their massive 2013 efforts. Both alternative rock groups continue to gain in popularity — no less than two Cage the Elephant songs continuously emit from local radio airwaves, while FOALS straight-up headline huge festivals back in the UK. They’ve been sharing the top of the bill since beginning this tour in early May, as the co-headliners have zigzagged across the US together on their way to Sasquatch! Music Festival. So, who goes first when they co-headline a theater show?

Based on the reaction of the crowd, it could have gone either way, as the thrilling performances sparked rabid fan reaction, a palatable excitement that’s often been missing in rock music the past decade. Tickets were sold with FOALS at the top of the bill, and despite marketing efforts that had Cage the Elephant on top, FOALS would be the final act of the night. The dual headliners got it all going after a scorching, way-too-short set from J Roddy Walston & the Business.

Cage the Elephant’s take on rock is rooted in familiar garage-blues stylings, as seen through the recent success of their single “Come a Little Closer”. Virtually every song they perform live is intrinsically catchy and radio-friendly — Cage the Elephant purvey glossy pop that also dabbles in punk & funk. But first and foremost, the Kentucky-based group give a live show that is an ecstatic spectacle, led by captivating lead singer Matthew Shultz. A spark-plug of a front man, he was able to launch himself flying-squirrel-style into the crowd, swim through the sea of people with ease, then get back onto stage and regain composure faster than seemed humanly possible.

The folks at the Fox Theater Tuesday loved every minute of the performance, and for good reason. The band is at its best when delving into upbeat rock crescendos, with lights matching the music and action suitably, and Cage the Elephant exert tons of effort for their adoring fans. Frankly I can’t remember the last time a rock show generated such unbridled enthusiasm, where hands went up without asking and patrons sang-along throughout, losing themselves in the moment.

Shultz is bonafide rock star, and he throws around charisma somewhat akin to Mick Jagger (not to confuse comparable energy with songwriting). Shultz is someone who’s not only comfortable on the pedestal, but he can also impressively swim into a sea of fans to do a goddamn handstand for five plus seconds to end the set, only to casually flop down with a satiated grin on his face.

FOALS signaled a major tonal change from Cage the Elephant; the UK math rockers’ music is darker and more moody, cerebral yet constantly calling out for kinetic energy. FOALS’ live set is rather relentless, where clapping to the build up and pogoing to extended dance-punk freak-outs are the norm.

Lead singer & guitarist Yannis Philippakis was as focused as ever Tuesday, delivering a typically impassioned performance. Though, it’s the guitar work from Jimmy Smith that truly elevates FOALS on stage — the way he’s able to nimbly and tightly play his guitar as if it were a percussive instrument, often on the off-beat or with atypical syncopation, never disappoints. Songs were almost evenly pulled from FOALS’ three studio records; the main set was bookended with “Prelude” & “Inhaler” from Holy Fire, “Spanish Sahara” perfectly slowed things down for a mid-set emotional overload, and an elongated “Two Steps, Twice” brought the house down per usual to end the show. The only complaint: twelve songs didn’t feel like enough.

And that is the drawback of a co-headlining show like this one — you’re only going to get festival-length sets instead of a proper 90 plus minute show. But FOALS and Cage the Elephant are at the top of their game, exhibiting how very excellent they are in a live setting, in their own unique ways.

Filed Under: Featured, Live Music Reviews Tagged With: Cage the Elephant, FOALS, Fox Theater Oakland, J Roddy Walston & the Business

Connan Mockasin wants you to drink the Kool-Aid

May 20, 2014 by Kevin J Quandt 4 Comments

Photos by Pedro Paredes // Written by Kevin Quandt //

Connan Mockasin with Kirin J Callinan, Liam Finn //
The Independent – San Francisco
May 15th, 2014 //

Many local music fans heard mumblings of a show that happened at the Bottom of the Hill last January by some guy from New Zealand who basically had an overpacked room eating out of the palm of his hand. Come to find out that this mysterious, international impresario goes by the name Connan Mockasin, announcing not too long after his San Francisco debut, that he’d be back to conquer larger spaces. Well, that has come and gone and a query still lingers from last Thursday at the Independent: What did I just experience?

Once spirited rocker Liam Finn had wrapped up, opener Kirin J. Callinan was about to ready to flick the dial from odd to weird as he pummeled the unassuming midweek crowd with a smorgasbord of various psyched-out sounds that held the tight rope of brilliant or awful in a most suspenseful manner. As Kirin and his merry band of misfits blazed through material that felt better suited as a Nine Inch Nails support act some 20 years ago than as an opener for a Warholian doppelgänger known for saccharine-tinged art-pop. Nevertheless, Kirin was wildly unchained and mildly entertaining as he poured on effect after effect, eventually crafting some form of primal eclecticism that got away with being music…If only for tonight.

Well, no cups of mysterious red liquid were passed to the healthy-sized crowd as the cast of characters, I mean players, were introduced to the crowd before the shamanistic Connan finally made his entrance. As the first strums of chorus-heavy guitar filled the air, not to mention some thick plumes, a warmness fell over the room and most people’s worries seemed to leave them as the swirling nature of Mockasin’s psychedelic tone became spotlight for the next hour and change. His custom Straocaster, re-shaped into a teardrop, was star as the New Zealand-born artist cruised through extended versions of some of his most popular songs such as an early set rendition of “It’s Choade My Dear”. The smoothness of the sound created an atmosphere that could be described at both lulled and chill, though the audience was attentive while they slightly levitated off the concrete floor.

One aspect of Connan’s live show that was pleasant was his lack of vocal effects which are heavily represented on both previous releases, Dolphin Love Forever and Caramel. The latter being aptly named as the onomatopoeic nature of the word ‘caramel’ also describes the confectionary gooeyness of certain songs that are certain to get stuck to the roof of your brain. This lack of vocal effects gave the sound a slightly different direction as the music and performance became the focus, eventually pulling up crowd members for some awkward fun.

“I’m the Man, That Will Find You” had the vibe of Pink Floyd-inspired porno funk and was easily one of the highlights of the night as the band weaved in and out of the song as a small cast of characters upped the weirdness on stage, if just a few more degrees. “Do I Make You Feel Shy?” also stood out as one of the more impressive cuts as Connan crooned, “I’ll be the boy of your dream, My ever lusty world…”, this all laid over the sublime tone that Connan has mastered rather impressively.

With all this said, it’s about time that the US markets pay a little more attention to this dream-psych export that has made waves in a handful of international markets, and for good reason. Sure, the likes of Ariel Pink and Animal Collective are hailed as gods in the genre, but Connan has something a little more unique to offer us. Hell, if Radiohead give him an opening slot on a tour, you know they are doing something right. We just warn you to be wary of mysterious drinks offered by people who look like they could be extras in The Matrix.

Filed Under: Featured, Live Music Reviews Tagged With: Connan Mockasin, Kirin J Callinan, Liam Finn, The Independent

PHOTOS: Dispatch, Yeasayer at Frost Fest 5/17

May 19, 2014 by Sterling Munksgard Leave a Comment

By Sterling Munksgard //

Frost Music & Arts Festival featuring Dispatch, Yeasayer & Paper Void //
Frost Amphitheater – Stanford, CA
May 17th, 2014 //

As the academic year comes to a finish on the campus at Stanford University, Frost Amphitheater played host to Dispatch, Yeasayer and Paper Void, the latter of which is comprised of Cardinal students. It was a day of good times and fun in the sun before summer arrives.

Filed Under: Featured, Photos Tagged With: Dispatch, Frost Fest, Frost Fest 2014, Frost Music & Arts Festival, Frost Music & Arts Festival 2014, Paper Void, Yeasayer

Broods, Meg Myers showcase emerging talent at The Indy

May 15, 2014 by Mark E. Ortega Leave a Comment

Photos by Pamela Garcia Aguirre // Written by Mark E. Ortega //

Broods with Meg Myers, Max and The Moon //
The Independent – San Francisco
May 13th, 2014 //

Tuesday night, burgeoning singer/songwriter Meg Myers played her first gig at The Independent in SF as she set the stage for brother-sister New Zealand synthpop duo Broods later that evening.

Myers took the stage in what seemed to be one of those low cut H&M black t-shirts and a pair of shorts that were short enough to where some questioned whether she was wearing any at all. The only noticeable bit of color being her red lipstick, Myers delivered a heartwrenching eight-song set that highlighted her vocal range and her capturing stage presence.

Myers opened the show with “Adelaide”, a dark song with an infectious melody that gets stuck in your brain quickly. The hook “I don’t wanna cry about it / I don’t wanna fight about it / I just gotta let go, I just gotta let go” sounds almost out of a Taylor Swift chart-topper, but Myers delivers it with a different kind of angst than Swift ever could manage.

Myers showed range as she tackled an assortment of difficult songs to sing. “Make a Shadow” sounds like it could’ve been written for Dolores O’Riordan during the heyday of The Cranberries. Myers delivered gut punches one after another with songs like “Say Nothing”, “Monster”, “Desire”, and “Curbstomp”.

“Desire” helped land Myers in my top five female vocalist uses of the word “fuck” with the line “Baby, I wanna fuck you / I wanna feel you in my bones”, which had both male and female crowd members swooning.

Myers closed her set emphatically with the extremely demanding “Heart Heart Head”, which builds to Myers screaming the song’s chorus “You’re in my heart, in my heart, in my head” before finally letting loose with a series of screams that brought the passionate and dark performance to a close.

New Zealand sibling synth-pop group Broods delivered a brief but catchy set as they begin to close their North American tour.

With the emergence of young talent Lorde from the region, others have been looking to New Zealand for any similarly talented musicians with the kind of command and ceiling that Lorde has shown in the past 12 to 18 months.

A few years senior to Lorde at 19 years of age, Georgia Notts showed there’s hope for her and brother Caleb Nott to achieve that level of success yet on Tuesday night. With a variety of ballad-type songs as well as tracks that had a large portion of The Indy making use of what little space they had at the sold out show to dance, Broods is definitely a band on the rise.

Comparisons between Georgia and singer Imogen Heap have been made for good reason. The song “Sleep Baby Sleep” sounds right out of the British singer’s catalog. The ballady “Taking You There” sounds like a stripped down Of Monsters and Men song in the best way and shows a different element to their sound than the dance songs that first brought most people’s attention to Broods.

Thrilled and at times seemingly dumbfounded at the reality of a sold out crowd in San Francisco, it was obvious that Broods were enjoying every moment of their 12-song set. They fed off the audience and Georgia seemed to make it a point especially to connect with as many audience members as she could, flashing her eyes at them while belting out their set.

Broods closed their set with “Bridges”, easily their most recognizable tune at the moment. “And we’re burning all the bridges, watching them go up in flames”, sang Georgia. On this night, bridges were only built as Broods established they have a solid fan base in the Bay Area already.

Meg Myers

Filed Under: Featured, Live Music Reviews Tagged With: Broods, Max and The Moon, Meg Myers, The Independent

Atmosphere celebrate album release in LA

May 15, 2014 by Josh Herwitt 4 Comments

By Josh Herwitt //

Atmosphere //
The Roxy Theatre – West Hollywood, CA
May 8th, 2014 //

Hip-hop took over The Roxy Theatre last week with the return of Atmosphere, hot off the release of its brand-new album Southsiders less than 48 hours old.

The alternative hip-hop group’s seventh studio record, which follows 2011 success The Family Sign, debuted at No. 8 on the Billboard 200 chart with 23,159 copies sold in the U.S. during its first week.

Not bad for a hip-hop act that has never won an award in its 25-year run.

It’s hard to believe sometimes that rapper Sean Daley (aka Slug) and DJ/producer Anthony Davis (aka Ant) have been making music together for almost that long, but it may be even harder to believe that Slug has been writing music for Atmosphere since the age of 16.

In that period of time, the Minneapolis native has also founded independent record label Rhymesayers Entertainment with Davis, Musab Saad and Brent Sayers, as well as the Rhymesayers imprint Women Records with Nick Carter (aka Murs). He’s even collaborated with a host of other MCs for side projects like Furs (with Murs), The Dynospectrum, Deep Puddle Dynamics and The Orphanage.

Yet, this night belonged to Atmosphere and the arrival of Southsiders, which took Slug and Ant more than three years to make. The 16-track LP (not including four bonus songs) boasts singles “Kanye West” and “Bitter,” and they made sure to perform the former early on at the diminutive Sunset Strip club. The room, subsequently, went apeshit when they did, losing itself in Ant’s catchy beat and hanging onto every word that came out of Slug’s mouth, particularly the track’s “put your hands in the air like you really do care” hook. It was all part of a 90-minute set that included other classics like “GodLovesUgly” from 2002’s God Loves Ugly and “Trying to Find a Balance” from 2003’s Sevens Travels — not to mention “Sunshine” from Sad Clown Bad Summer 9 (2007) and “Yesterday” from When Life Gives You Lemons, You Paint That Shit Gold (2008).

From the sold-out crowd’s roar after every song ended, you would have thought we were in Minnesota. But after more than two decades on the scene, it was clear that Atmosphere’s following in LA is as strong as ever. It’s why the group already has plans to return in a few months for two back-to-back shows (Sept. 5-6) at the Hollywood Palladium. For Slug and Ant, it will be a busy summer of touring throughout North America, with festival stops at Summerfest in Milwaukee, Squamish in British Columbia and Outside Lands in San Francisco on the docket. And with so much material in their catalog, it’s not hard for them to keep audiences entertained.

What’s different about Atmosphere from other contemporary hip-hop acts, though, is its message and tone. The music that the group creates nowadays feels like — for lack of a better term —happy hip-hop, even if it requires Slug to repeatedly ask his fans to smile in between songs.

After all, Daley’s life seems to be all about the pursuit of happiness these days, and while it hasn’t always been easy for things to remain that way, he’s managed to keep his message primarily positive as he enters middle age.

Because from the number of smiles he flashed at The Roxy, you can tell that he’s pretty happy himself.

Filed Under: Featured, Live Music Reviews Tagged With: Atmosphere, Southsiders, The Roxy Theatre

O.A.R. treat fans with an ‘Extended Stay’ in San Francisco

May 14, 2014 by Sterling Munksgard Leave a Comment

By Sterling Munksgard //

O.A.R. //
The Independent – San Francisco
May 11th, 2014 //

Of a Revolution (O.A.R.) wrapped up their sold-out residency Sunday at The Independent. The band out of Maryland hand-picked the venue as part of their Extended Stay tour, and the shows were a rare treat for Bay Area fans to see the group up close and personal.

O.A.R. usually play much larger SF venues like The Fillmore or The Warfield, but Sunday’s performance encapsulated the awesomeness of the tour with a well-rounded setlist spanning their entire catalog.

Fan favorites mixed with a few new songs kept the high energy show going throughout the night. The band treated us to sing-alongs like “Hey Girl”, “Black Rock”, and of course their anthem “That Was a Crazy Game of Poker”, complete with playing-card confetti from the crowd.

As the venue emptied out after the show, one thing was clear: O.A.R. proved that they still have what it takes to please a packed house whenever they come to the City.

Setlist:
Wonderful Day
Heaven
Black Rock
This Town
Untitled
Shattered
Here’s to You
Watching the Detectives
Hey Girl
James
About Mr. Brown
Delicate Few
About an Hour Ago
Love and Memories
Night Shift

Encore:
Peace
The Architect
That Was A Crazy Game of Poker
Missing Pieces

Filed Under: Featured, Photos Tagged With: O.A.R., Of a Revolution, The Fillmore, The Independent, The Warfield

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

Decanting BottleRock 2014 before its return to Napa

May 13, 2014 by Molly Kish 2 Comments

Photos by Susan J Weiand // Written by Molly Kish //

BottleRock Napa Valley //
Napa County Fairgrounds – Napa, CA
May 30th-June 1st, 2014 //

After a rocky start to their inaugural year, BottleRock Napa Valley is back with an even bigger lineup of artists, vendors and something to prove. Distancing themselves from the legal woes of 2013’s dramatic aftermath, the festival is moving forward under a team of new, local management calling themselves Latitude 38 Entertainment. With roots in the community and genuine concern for the Napa Valley resident’s concerns regarding Bottle Rock, the team took on millions of dollars in outstanding debts and made promises that the 2014 festivities will provide a mutually beneficial boost for the local economy.

The festival will be running three days — Friday, May 30 through Sunday, June 1 — and tickets are available to purchase as a single day, three day pass, VIP, Platinum and group rate packages.

Each day’s line up is uniquely billed and arguably draws some of the largest and most genre-diversifying names currently touring. Although garnering some critical slack for the pronounced representation of late nineties buzz bands, there’s one undeniable truth that Bottle Rock has over every other Northern California-based festival for the remainder of the season…they won the bidding war for OutKast! The duo of André 3000 and Big Boi will be lighting up the Napa Valley Fairgrounds with one of the West Coast’s most anticipated tour stops of 2014.

Showbams recommends the following performances:

Friday:
-The Cure
-TV On The Radio
-Mayer Hawthorne
-Robert De Long
-Karl Denson’s Tiny Universe
-Railroad Earth
-Delta Rae
-Empires

Saturday:
-OutKast
-De La Soul
-Third Eye Blind
-No Age
-Weezer
-Blues Traveler
-Tea Leaf Green
-The Soft White Sixties

Sunday:
-Deerhunter
-Thee Oh Sees
-Black Angels
-LL Cool J with DJ Z-Trip
-Camper Van Beethoven
-The Stone Foxes

Check out a full rundown of the Bottle Rock daily schedule.

While general admission will gain you access to all of the festival stages, wine tasting tents and gourmet food court, if you’re feeling like dropping a few extra dollars, the VIP perks this year have significantly upgraded.

Beyond the parking, ins-outs, shaded bars and private bathroom areas, VIP ticket holders have an entirely separate area to catch live music with the addition of the 2014 VIP Lounge. The lounge offers comfortable seating paired with access to private food and wine experiences, available strictly to VIP ticket holders.

Platinum Passes take it one step further with on stage viewing spots, meet and greet opportunities, on-site concierge service, catering by Napa Valley celebrity chefs, premium cocktails/boutique wine selections and parking on the event site.

The opportunity to indulge in gourmet food, artisan spirits, craft beers and clink glasses with local vintners plays a unique role in the distinctive BottleRock experience. Unlike other festivals nationwide, the location of the fairgrounds truly allows for the community to showcase what they are known for worldwide on an incomparable scale. Highlighting elite members of Napa’s award winning food and beverage industry, concert goers are awarded the unique opportunity to meet and greet local celebrities, excited to introduce the fruits of their labor with the festival community.

Ultimately, BottleRock Napa prides its sophomore year on creating an entirely new and hopefully opinion-altering experience. Under new management, the festival is aiming to please! With a little bit of something for everyone, BottleRock’s eclectically impressive line-up, craft libations and finger licking festival fare, tickets are dwindling and rightfully so. Get on it!

Filed Under: Featured, Festivals Tagged With: Black Angels, Blues Traveler, BottleRock, BottleRock 2014, BottleRock Napa, BottleRock Napa 2014, BottleRock Napa Valley, BottleRock Napa Valley 2014, Camper Van Beethoven, De La Soul, Deerhunter, Empires, Karl Denson's Tiny Universe, LL Cool J with DJ Z-Trip, Mayer Hawthorne, No Age, OutKast, Robert De Long, The Cure, Thee Oh Sees, Third Eye Blind, TV on the Radio, Weezer

New Music: The Black Keys – Turn Blue

May 13, 2014 by Josh Herwitt 1 Comment

The Black Keys – Turn Blue //

Top Tracks:
“Weight of Love”
“Turn Blue”
“Bullet in the Brain”

Album Highlights: Has there been a rock album in the last three years as highly anticipated as this one? Ever since lead singer/guitarist Dan Auerbach and drummer Patrick Carney followed up three Grammys for 2010’s Brothers with four more for 2011’s El Camino, The Black Keys have been rock ‘n’ roll’s biggest darlings. But the road hasn’t always been so smooth for these two childhood friends from Akron, Ohio. Burned out and beaten up from their 130-date El Camino tour in 2012, the duo struggled last year to find the creative juices that propelled it to churn out six full-length albums and a handful of other recordings in less than a decade. That, though, was far from the only issue that the Keys have faced recently. For Auerbach, 2013 would turn out to be the hardest year of his life after a nasty divorce took its emotional and financial toll, leaving him unfit to work on new music at one point during the recording sessions for Turn Blue.

But for all the pain and suffering Auerbach endured in the last year, it also provided him with the fire to write arguably the Keys’ best album to date. Unlike its predecessor, Turn Blue strips some of the polish that coated El Camino from top to bottom, starting with the scintillating, seven-minute opener “Weight of Love,” as Auerbach channels his best David Gilmour impression in what almost sounds like Dark Side of the Moon 2.0. The epic track, which stands as one of the record’s best, helped the Keys uncover an entirely new sound for Turn Blue, one that has Danger Mouse’s paws all over it. With that said, it should be no surprise to find that there are flashes of Broken Bells, Electric Guest and even Portugal. The Man here (see “Turn Blue” and “Year in Review”), all bands that Danger Mouse (aka Brian Burton) has produced albums for in the past two years.

In more than just a metaphorical sense, Turn Blue also marks a return to the garage-heavy blues that propagated some of the Keys’ earlier releases, including 2004’s Rubber Factory and 2006’s Magic Potion. Yet, while those LPs are filled largely with grit and edge, Turn Blue doesn’t pigeonhole itself in the same way. What makes Turn Blue so special is not just Auerbach’s driving guitar riffs, his soulful vocal melodies or even his laid-back grooves, but all of those coming together at once for 45 minutes of pure sonic gold.

Album Lowlight: However much hype surrounded Turn Blue prior to its release, the Keys’ eighth studio album manages to live up to it and delivers even more. It’s hard to find much wrong from start to finish, a refreshing revelation in this day and age where three-minute pop hits repeatedly cloud the airwaves. Still, there’s a lot more to get behind than just the album’s first single “Fever,” a synth-laden number that’s soon to be on every bar’s playlist (if it isn’t already). These aren’t exactly tunes grounded in true love and infinite joy, but rather in the heart-wrenching reality of breakup. For Auerbach, writing Turn Blue offered him the opportunity to therapeutically confront his personal issues head on, and he does that no better than on the album’s title track in which he soothingly mouths, “I really don’t think you know / There could be hell below, below”.

Takeaway: The Black Keys were together for almost 10 years before they hit it big, but now that they’re here, there’s no turning back. Turn Blue is everything that you would expect from a band that continues pushing the envelope each time it steps into the studio. From the hip-hop flavor that colors “10 Lovers” to the Hammond organ that infiltrates “In Our Prime,” there are diamonds and pearls lined up and down the 11-track LP — even if the song titles aren’t all that welcoming at times (see “Bullet in the Brain”). But as often is the case, artists produce their best work in times of turmoil, and the same can certainly be said for these two seasoned vets.

~Josh Herwitt

Filed Under: Featured, New Music, New Music Tuesday Tagged With: New Music, The Black Keys, Turn Blue

SF Oysterfest gains steam as Edward Sharpe & company fizzle

May 13, 2014 by Mike Frash 1 Comment

Photos by Sterling Munksgard and Marc Fong // Written by Mike Frash //

SF Oysterfest featuring Edward Sharpe & the Magnetic Zeros, Poolside, Ra Ra Riot, Crash
Sharon Meadow, Golden Gate Park — San Francisco
Saturday May 10th, 2014 //

San Francisco Oysterfest scored with warm, breezy weather Saturday, attracting throngs of the City’s young and beautiful ready to spread positive vibes and cultivate a happy scene. There seemed to be an increase in attendance compared to a year ago, the first time Oysterfest was held in San Francisco’s Golden Gate Park. Many people, it seemed, attended to enjoy the pleasant environment, including the social scene & vender options, as much as the music itself — hell, it is called Oysterfest. But when it came to the music, one ascending group took another step up the ladder while a more established ensemble was missing a very important component, setting the stage for a mediocre performance at best, and a train wreck in slow motion at worst.

But first, New Orleans-based Crash got things going, exemplifying how influential Edward Sharpe & the Magnetic Zeros have been over the past five years. Their jangly, updated Americana sounded familiar upon first listen. Next up, fans of chamber pop and indie rock geeked out for Ra Ra Riot. The six-piece did their best to impress, throwing passion into every song. Between sets, DJs pumped the bass & nu-disco, juxtaposing the relaxed party atmosphere appropriately.

Poolside have continuously grown in popularity since their first album Pacific Standard Time launched in the Summer of 2012. The partnership between Filip Nikolic & Jeff Paradise has fleshed out to a five-piece outfit on tour, lending additional layers to a unique niche of dance music they have coined “daytime disco”. A perfectly descriptive phrase for the group, Poolside’s briskly-paced instrumentals with a casual, chill tone balanced nicely with decadent-yet laid back nature of the fest.

As the set continued, more and more people gave in to the flow of the set, which included steady churners “Do You Believe?” and “Next to You”, along with the usual cover of Neil Young’s “Harvest Moon” and a less usual but excellent take on David Byrne & Brian Eno’s “Strange Overtones”. Poolside showed, once again, they can easily control the vibe of a crowd, especially in open outdoor spaces. On a random note, Filip Nikolic is nicknamed “Turbotito” in his former/other band Ima Robot, which is fronted by the one and only Alex “Edward Sharpe” Ebert.

The headlining set featuring Edward Sharpe and the Magnetic Zeros started delightfully enough, as it always has, with “40 Hour Dream”. After a strong opening, it became clear something was unfortunately very different than usual. The Magnetic Zeros were missing their crucial female members, accordion player and vocalist Nora Kirkpatrick & more critically, Ebert’s partner in crime Jade Castrinos. Some songs that heavily involve Castrinos were not included in the set, others had trumpeter & keyboardist Stewart Cole covering her parts.

The back & forth love, laughter & chaos between Jade and Alexander, inspiring as it truly was at High Sierra Music Festival in 2010 or as volatile and crazy as it certainly was at BottleRock 2013 (where Jade went into the audience for 2-3 songs and wouldn’t come back to the stage), almost always provides a dynamic spark. They draw inspiration from each other. They bounce improvisational banter and goofy body language off one another. Jade has her own breathtaking songs like “Fiya Wata”, and her first notes of the show usually elicit palatable excitement from the crowd. All this was missing Saturday. This 100% male version of the Magnetic Zeros showed how important Jade Castrinos is to Edward Sharpe, and that they probably shouldn’t be playing live shows without her.

UPDATE 6/3/14: Jade Castrinos confirmed she was voted off of tour via email.

After a long mid-section collection of cuts from the group’s self-titled record from 2013, many in the crowd lost focus or started heading for the gates. Edward Sharpe was starting to lose ‘em. As the show neared the end, Ebert thanked the “awkward crowd in front” and told one attendee to sell their dog before announcing they would finish with their super-maga hit, “Home”.

For the first time in the 80-minute set, Ebert acknowledged Jane’s absence, only saying, “Things happen, let’s work this out.” No explanation was given for the absence of Castrinos or Kirkpatrick. Edward Sharpe then chose one random man and woman from the crowd and brought them on stage to sing the verses he and Jade normally sing. Let’s just say it didn’t work out well — Ebert had to pick up the vocals for both guests as voices cracked and lyrics were forgotten. The band kept it together well enough, but as the final outro was delivered, the sound uniformly fizzled out as if the power had been pulled.

On a positive note, most everyone jumped up and down and had a big smile on their face during “Home”, despite the karaoke factor. But music criticism aside, Oysterfest was consistently a fun, friendly event at a prime SF location on a lovely day. What else do you really need?

Filed Under: Featured, Festivals Tagged With: Crash, Edward Sharpe & the Magnetic Zeros, Poolside, Ra Ra Riot, San Francisco Oysterfest, SF Oysterfest

Tycho take a big step forward in LA

May 12, 2014 by Josh Herwitt 1 Comment

By Josh Herwitt //

Tycho with Gardens & Villa //
The Fonda Theatre – Los Angeles
May 7th, 2014 //

It wasn’t that long ago that I stumbled upon Scott Hansen and his musical project Tycho.

At the time, I had heard good things about the San Francisco-based act, but I had yet to take the time to find out for myself.

So, when I learned last spring that Tycho was tabbed as the opening act for a Sound Tribe Sector 9 (STS9) show I had already been scheduled to cover, I knew I had to make the most of my opportunity.

And boy, am I glad that I did.

Because since that night more than a year ago, I have come to realize that Hansen’s foray into music deserves just as much praise as the photography and design work he produces under his ISO50 moniker. In fact, when I saw Tycho perform just a few months later at the boutique festival Lightning in a Bottle, it only validated those initial feelings I had at the Hollywood Palladium.

Fast forward to this month, and Tycho’s appeal has only continued to grow among the masses. With the release of its fourth full-length album Awake in March, the four-piece band — Hansen (guitar, bass, synthesizers, programming, visuals), Zac Brown (bass, guitar), Rory O’Connor (drums) and newest member Joe Davancens (bass, guitar, keyboards, synthesizers) — packed The Fonda Theatre for two sold-out performances, showcasing both new and old material after Santa Barbara’s Gardens & Villa warmed up the crowd with its unique brand of indie-synth rock.

But what may be most impressive about Tycho is the way Hansen continues to captivate electronic-leaning audiences without any of the EDM flare that so many big-name DJs abuse these days.

After all, Hansen’s music is not to be confused with the EDM tsunami that’s taken the music industry by storm over the last five years. Rather, these are ambient soundscapes rooted in techno, with dashes of IDM and downtempo sprinkled throughout. Unlike the deep thud of house, trap or dubstep, these are moments of introspection and inspiration metamorphosed into rich, sonic layers and textures.

It’s fitting, then, that Hansen’s visuals — from sweeping, majestic landscape shots of nature to more traditional geometric shapes — pair perfectly with the mood his music affords listeners.

This is nothing new for Hansen, though. He’s been working at his craft for over 10 years, starting with his self-produced EP The Science of Patterns back in 2002. But a lot changed for Hansen in 2008 when he left Merck Records and signed a deal with Ghostly International, paving the way for 2011’s Dive, which garnered critical acclaim while drawing comparisons to chillwave artists like Washed Out and Toro Y Moi.

As its successor, Awake feels very much like an extension of Dive, and we were treated to a majority of the eight-track LP at The Fonda, along with a few cuts from 2006’s Past Is Prologue.

Of course, if there were any grievances to air, it was that Hansen and his sidekicks didn’t play quite long enough. For an hour and 15 minutes, they hypnotized a room full of fans with one ambient groove after another, taking us on a short vacation from Planet Earth in the process. As we would later find out when the house lights came back on, the only problem with that was it had to eventually end.

Filed Under: Featured, Live Music Reviews Tagged With: Gardens & Villa, ISO50, Scott Hansen, Sound Tribe Sector 9, Sound Tribe Sector 9 (STS9), STS9, The Fonda Theatre, Tycho

The surreal world of Nels Cline on display at The Chapel

May 12, 2014 by tom dellinger 1 Comment

By Tom Dellinger //

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

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

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

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

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

Filed Under: Featured, Live Music Reviews Tagged With: Nels Cline, Nels Cline Singers, The Chapel

Why ‘Morrissey was attacked in San Jose’ story is overblown

May 9, 2014 by The Festival Lawyer 3 Comments

By The Festival Lawyer //

Morrissey //
City National Civic – San Jose
May 7th, 2014 //

God Dammit, San Jose. This is why we can’t have nice things.

After months of speculation as to whether he would pull the ultimate Morrissey and cancel the very first show of this tour, Morrissey not only showed up in San Jose but gave an inspired live performance.

Of course, it wouldn’t be a Morrissey show without controversy and chaos. During his encore, Moz was performing the song, “One Day Goodbye Will Be Farewell” when fans began a stage invasion. To be honest, this isn’t a particularly unexpected occurrence. Although not exactly a Justin Bieber concert, storming the stage pretty much happens at EVERY Morrissey show.

However, this time, there was a “rush and a push” and a figure got thrown off the stage and tumbled backwards into the audience. For a moment, I thought San Jose was going to be the answer to the Rock and Roll trivia question “In what city did idiots accidentally kill Morrissey?” But I quickly realized it was one of the audience members being pushed back into the crowd by security. Morrissey himself had already been whisked backstage.

The show ended in confusion, with the music stopping abruptly and the lights suddenly coming on. I heard some scattered booing and then people slowly filed out. There was a vague feeling among audience members that we had all been cheated somehow. In other words, it was the quintessential Morrissey ending to a Morrissey concert.

You can see some of the chaos here in this fan-made video:

I was told by someone I trust that Morrissey was actually knocked to the ground and that he and the band took the incident quite seriously. So much so that Morrissey stayed in the Green Room until after the venue was totally cleared and he was escorted out to his bus.

The ending was really a shame given how well the show had gone. Morrissey had cancelled the last 6 (!) shows in the Bay Area and had not performed here since 2009. In fact, a whole lot of Bay Area Morrissey fans passed on the show. Most feared another no show and worried that Morrissey was just trying to find a new and more elaborate way to troll us.

Those who risked it and came were rewarded by seeing Morrissey in rare form. His band sounded tight and his voice was wonderful and expressive. He seemed relaxed and …dare I say it?….happy. I don’t mean Pharrell level happy but at least Morrissey level happy.

During his performance of the song “Speedway” it almost felt like Morrissey was trying somehow to apologize to the Bay Area for past snubs. He held a fan-made sign over his heart while reaching out to the crowd and singing, “In my own strange way, I’ve always been true to you.” If not an actual apology it was at least a “It’s a new tour and a new album, let’s move forward” type of moment with the audience.

Morrissey seems to have a more direct political urgency to his shows these days. Playing a song like “The National Front Disco” (about a young man’s drift into racism and extremism) seemed like an especially timely choice given the huge week that racists had last week. (Cliven Bundy, Donald Sterling, random dude throwing banana at soccer player et al)

After singing the final lyrics to “Ganglord” (“Protect and serve, but what they really mean is get back to the ghetto”), Morrissey remarked, “You know it’s true..” He seemed to want to make sure audiences realized that he wrote the song about police brutality in a “non-fiction” kind of way.

But of course, Morrissey’s biggest political cause has always been Animal Rights. He played the Smiths classic, “Meat is Murder” while some pretty shocking images of animals being slaughtered were flashed behind him. But I suppose shocking was the point.

Oddly, fans leaving the venue were greeted by two street vendors selling…wait for it…hot dogs wrapped in bacon. It was like some kind of crazy irony cherry topping off the sundae of the performance. I didn’t order one even though they smelled fucking delicious. It just seemed disrespectful after what I had just seen and heard. (PS did I mention they were wrapped in bacon?…bacon freaking hot dogs!)

Speaking of bacon, Morrissey performed an astonishing version of “Life is a Pigsty”. Morrissey once said that writing songs for The Smiths was like “setting his diary to music.” A song like “Life” has that same kind of personal intensity. At one point, Morrissey implored the audience, “Can you stop the pain?” while falling to his knees as if he couldn’t handle the emotions being expressed. In fact, much of the set list focused on the darker, more brooding songs of his back catalogue.

Morrissey also debuted 3 new songs from his album. The best of the bunch I thought was “World Peace Is None of Your Business”.

Overall, Morrissey was terrific. If I had any complaint, it was about his set list. I almost felt a kind of strain from the audience. It was like we were enjoying what we were hearing but hoping for one of those “I can’t believe he is playing this song” type of moments.

Of course I could be attributing my own feelings to that of the audience. I had already alerted the concert goers around me that I had a short list of about 5 classics songs in my head that would cause me to “lose my shit” if he played them.

Morrissey did open with “Hand in Glove” and later played the beautiful Smiths song “Asleep”. It’s a Smiths song that he has never performed live as a solo artist before. (In terms of nerd love, Smiths fans hearing a new Smiths song being performed live is roughly equivalent to the joy Star Wars fans get upon hearing news of a new Star Wars movie.) But this was very much NOT a “Greatest Hits” type of show.

All in all it was a great night. Unfortunately, it was overshadowed a bit by the actions of a few knuckleheads. As a person who considers music their happy place, it sucks when someone cuts short a great show through their own jackassery. Serious downgrade for the audience.

But as Nick Laquintano, who performs with The Smiths/Morrissey Tribute Band This Charming Band, points out, this kind of thing happens A LOT:

Of course you never want to downplay any incidences of violence at live shows, but I do feel as if I’ve seen much crazier stage invasion situations at past Morrissey shows that didn’t get anywhere near the press attention this one is getting. In particular I remember a show in Modesto back in 2007 that was really scary as people were jumping on stage from all angles and it all ended with Morrissey getting clotheslined by somebody. I don’t remember hearing much about that incident after it happened. Either way it is a shame what happened in San Jose and thank goodness no one got hurt.”

That was my reaction to the incident as well. Headlines like “SHOW CUT SHORT AS MORRISSEY ATTACKED BY FAN ONSTAGE” miss the point entirely. I’m not trying to say that what happened wasn’t serious. This kind of thing shouldn’t happen. Live performers should always be safe. But longtime fans recognize there is a segment of Morrissey fans who are kind of like drunken St. Bernards. They want to show their love, but somehow just end up knocking you down as you open the door and accidentally rip your work suit instead. Dumb.

Fortunately, no one was hurt. And since no one was hurt, I would file this under The Festival Lawyer’s concert rule that, “Any ending to a concert that leaves you with a good story is by definition a good concert.”

Setlist:
Hand in Glove
That’s How People Grow Up
Ganglord
Speedway
I Have Forgiven Jesus
World Peace Is None of Your Business
I’m Throwing My Arms Around Paris
Yes, I Am Blind
The Bullfighter Dies
Life Is a Pigsty
Everyday Is Like Sunday
Earth Is the Loneliest Planet
Trouble Loves Me
Meat Is Murder
First of the Gang to Die
The Youngest Was the Most Loved
I Know It’s Gonna Happen Someday
The National Front Disco
Asleep
One Day Goodbye Will Be Farewell

Filed Under: Featured, Live Music Reviews Tagged With: City National Civic Auditorium, Morrissey, San Jose

David Byrne & company drop an ‘Atomic Bomb’ on The Warfield in SF

May 8, 2014 by Molly Kish 2 Comments

Photos by Marc Fong // Written by Molly Kish //

ATOMIC BOMB! The Music of William Onyeabor performed by David Byrne, Alexis Taylor, Pat Mahoney, Lijadu Sisters, Kele Okereke & more //
The Warfield – San Francisco
May 6th, 2014 //

Who is William Onyeabor? This question was not only raised but also rectified with authority this past Tuesday night at The Warfield Theater in SF. But first, a bit of background here.

Nigerian-born electronic archetype William Onyeabor changed the entire scope of African funk music in the 1970’s, then he went almost completely unnoticed until recent years. Leading an existence shrouded in mystery and seclusion, Onyeabor single-handedly created a prolific sound through his use of rare sequencers and drum machines that, until then, had never been experimented with in his country.

Independently surpassing the technological achievements of most major record labels of his time, Onyeabor’s groundbreaking advances in electronic music were entirely unrivaled in the contemporary funk music scene. Venturing into new audio territories with the use of Moog synthesizers that were purportedly brought back from an excursion to Eastern Europe, Onyeabor created an infectiously futuristic groove that changed the entire course of electronic music not only in Africa, but on an ingenious level worldwide.

Fast forward to the present as Luaka Bop founder and musical virtuoso David Byrne has unearthed Onyeabor’s self-released eight album discography and organized a top secret live music project called “ATOMIC BOMB! The Music of William Onyeabor”, bringing it to life onstage for just the third time ever.

With an all-star cast of incredible artists, the Atomic Bomb! band took the stage to provide a near-religious experience (mock-secular program included), reviving the spirit of Onyeabor’s body of work. Lending their various talents to the incredible performance, Alexis Taylor (Hot Chip), Kele Okereke (Bloc Party), Pat Mahoney (LCD Soundsystem), Joshua Redman, Money Mark, The Lijadu Sisters and Sinkane (the musical director) were accompanied by Byrne (along with a full horn section and backing band) as an ensemble cast of transitioning singers, each representing their own version of the legendary Onyeabor.

This show included 12 extended songs, and it was surreal watching such an incredible supergroup work together to reinvigorate an astounding body of work. The stage was never inhabited with less than 6-8 bodies at a time, all of which was continuously reaffirmed with the shoulder-grazing capacity crowd.

Each member of the group had their moments to shine, playing off each other as though they had been performing the material together for years. The natural chemistry onstage between the collective was punctuated by quirky exchanges and various levels of individual showmanship, making for a live show that exceeded euphoric expectations.

The caliber of musicianship, paired with the group dynamic of the Atomic Bomb! band, was beyond explanation. Witnessing these pioneering artists reconceive compositions that helped to truly develop their own sound and genre’s place in musical history was incredibly fascinating and something every member of the house could tangibly feel they were part of.

The transcendental quality that Onyeabor set out to achieve through his work years ago was not only recognized, but also expanded upon into a completely otherworldly experience that anyone who was there will not soon forget.

Filed Under: Featured, Live Music Reviews Tagged With: Alexis Taylor, Atomic Bomb, David Byrne, Kele Okereke, Lijadu Sisters, Pat Mahoney, William Onyeabor

‘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

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

May 7, 2014 by tom dellinger Leave a Comment

By Tom Dellinger //

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

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

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

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

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

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

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

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

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

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

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

Filed Under: Featured, Photos Tagged With: 142 Throckmorton Theatre, Bonnie Raitt, Bruce Springsteen, Danny Click, Danny Click & the Hell Yeahs, Emmy Lou Harris, Grate Room, Grate Room at Terrapin Crossroads, Jude Johnstone, Lobero Theatre, Mount Tam Jam, Mount Tam Jam 2013, phil lesh, Rancho Nicasio, Stevie Nicks, Terrapin Crossroads, The Sleeping Lady Cafe, Timothy Paruszkiewicz, Trisha Yearwood, Waterfront Blues Festival

New Music: Lykke Li – I Never Learn

May 7, 2014 by Krystal Beez 2 Comments

Lykke Li – I Never Learn

Top Tracks:
“No Rest For The Wicked”
“Just Like A Dream”
“Love Me Like I’m Not Made of Stone”

Album Highlights: Lykke Li has always been a strong songwriter, and this album is no different. In an interview with NME in January Li stated, “It’s always about me and the guilt and the shame and the hurt and the pride and the confusion of being a woman. I always feel like I’ve been slightly misunderstood. As a woman you get judged for appearances or things like that I don’t really care about. If anything I want to be seen as a singer-songwriter rather than a pop artist. I really feel like I’ve found my voice.” This album does help to establish Li as more of a singer-songwriter. The songs are well written, wonderfully produced, and at times surprisingly bare. For example, when she sings “Love Me Like I’m Not Made of Stone” she can barely get the last verse out. It’s utterly passionate and brutal. Nothing about this album is forced or manufactured. Producing again is Bjorn Yttling, of Peter, Bjorn, and John, who produced Li’s previous albums. Li herself dips into a stronger production role on this album, and Greg Kurstin (Lily Allen, Tegan and Sara) produced the track “Gunshot”.

Album Lowlight: This album contains less playfulness, and less of the girl group melodies that I thoroughly enjoyed from Li’s previous efforts. Perhaps it is fitting that her third album be titled I Never Learn, and be the saddest album to date. With previous efforts, Li sang of the enjoyment she felt from crying her hardest, she sang of sadness being her boyfriend, over a bittersweet melody. Part of what made these songs so amazing is Li’s ability to be both heartbroken and happy. She is extremely gifted in creating songs that express the happiness of being sad, the strength and depth that one can gain from experiencing pain. These songs are beautifully balanced, both lyrically and musically. This album, however, completely skips this theme that Li so excels at and instead wallows in its own sadness. It lacks some enthusiasm. While I’m sure this is intentional due to personal heartbreak and Li’s desire not to be regarded as a pop star, it’s not her best work.

Takeaway: Lykke Li’s Wounded Rhymes contains her best work. But there is something to be said about the ability of an artist like Li to be able to release a third album of this nature. On the edge of being a “pop star”, Li has released an album that doesn’t really contain any big, tribal-drums pop song. If you’re looking for another “Get Some” or “I Follow Rivers”, you will not find it here. If you’re ready for some beautifully sad music similar to what she briefly visited on Wounded Rhymes, then this is your album. Her first effort was playful naivete. Her second, more mature and more troubled. And I Never Learn is just raw heartbreak. There’s no sweet on this album, no dancing drums. It is simply the heartache that occurs when you realize you didn’t learn from your wounds, and now you must get used to sleeping alone.

~Krystal Beasley

Filed Under: Featured, New Music, New Music Tuesday Tagged With: I Never Learn, Lykke LI

David Byrne & My Tattoo Manifest Destiny

May 7, 2014 by Dara Shulman 21 Comments

Show photos by Marc Fong //

Editor Note: Dara Shulman shares her story from the William Onyeabor tribute show at The Warfield in San Francisco May 6th. View the setlist here.

Manifestation: Making something, anything, everything happen because you want it. You think about it. You put your energy, your being into making this happen.

I am a David Byrne fanatic. When I first listened to the Stop Making Sense album freshman year of high school, my life was changed forever. Byrne’s music reached a part of my soul that I didn’t even know existed. Fourteen years later, my passion for his music has only amplified.

I saw David Byrne perform last year with the incredible St. Vincent and my mind was blown. Last night at The Warfield in San Francisco, I made my way to the very front row mid-show, stood directly in front of Byrne, and lost myself. Atomic Bomb, a hodge-podge of musicians including Alexis Taylor from Hot Chip, Kele Okereke from Bloc Party, Pat Mahoney from LCD Soundsystem, Sinkane and many more played tribute to William Onyeabor as part of a fourteen-piece conglomeration. I started off dancing with my friends, but then I needed, felt compelled by everything in my being to get closer to Byrne. I had already made a pact with myself, my manifestation, to get David Byrne to sign my left ankle two days ago.

I held up my ticket with “I love you David” ballpoint pen-written upon it, hoping to get his attention to get an autograph. He is so damned professional that he did not flinch. I know we made eye contact (my bright orange shirt matched his bright orange hat), but he was so focused on his performance — I absolutely respect that.

When the show was over, I could barely move. I just spent an hour standing inches away from a musician that quite literally changed my life. It was hard to breathe. A roadie was kind enough to give me a set list taped on the speaker: fuck yeah.

Minutes later, I went to the stage door. I chatted with the roadies and stage crew, “Any chance I can meet Mr. Byrne?” While they saw my enthusiasm, there is only so much they can do. So, I waited. A member of the band came out. I introduced myself and congratulated him on a fantastic performance. “Is there any way I can meet David Byrne? I am a die-hard fan.”

He was kind enough to give me a wristband to go to the after party down in the basement of The Warfield. “Put this on, relax, grab a drink and enjoy yourself.” “Okay.” Meanwhile, I’m freaking out in my head and trying to catch my breath and comprehend what was about to happen.

I walk downstairs, play it cool and meet a few of the musicians. I’m looking around and accidentally stumble into a white-clad shirt David Byrne. Oh damn. “Excuse Mr. Byrne….I am a huge fan; your music changed my life, may I have your autograph?” He very sweetly agreed to sign my set list.

“Is it okay if I take a picture with you?” “Sure.” “Can I put my arm around you?” “Yes.” “Mr. Bryne, I walked down the aisle at my wedding to “Naïve Melody”, this is absolutely amazing to meet you.” He chuckled but was so polite. I stuck around a little because I needed to get him to sign my ankle: this was my manifestation. I hung back, I didn’t want to be obnoxious and pushy. He saw me again and asked me to take a picture of him with some other fans.

“Of course! Can I ask you one more favor? Can you please sign my ankle?” I lifted up my leg with my jeans rolled up. “Do you want to sit down?” “Nope, I can balance, go for it!” I put my hand on his shoulder and with my ballpoint pen he signed my ankle. He said, “A ballpoint pen is weird.” “That’s all I have Mr. Byrne. Thank you…” I exited quickly.