North Mississippi Allstars bring Southern swamp rock to the City

NMA_postPhotos by Kory Thibeault // Written by Steven Wandrey //

North Mississippi Allstars with Lightnin Malcolm //
The Independent – San Francisco
February 1st, 2014 //

North Mississippi Allstars rolled through the Independent for a two night stand on January 31 & February 1. Hot off the heels of a late 2013 tour promoting their album World Boogie Is Coming, a varied setlist was somewhat expected. While it was quite similar to that last tour, the group explored cuts from all of their albums while delving a bit deeper into their catalog. Opening act Lightnin’ Malcolm would join the Allstar brothers Luther and Cody on bass for the entirety of the night. These three have been hitting the road hard and Malcolm seems to have fully jelled with the other two.

The North Mississippi Allstars’ sound is steeped in the tradition of southern blues rock, but they gently push the boundaries of what you might expect if you think they’re a one trick pony. They walk the line between foot stompin’ southern rock, soul wrenching blues, and concise jamming. In club settings, the Allstars choose their extended jam spots and segues sparingly, opting for a bit more of a straight forward approach to “keep the channel changing” fairly consistently. They save the experimental and psych rock jamming for festival shows as far as I’ve witnessed, and this show was not an exception.

The crowd’s energy was palpable on Saturday. The show got off to a fast start, and although Luther was a little high in the mix, the issue was quickly resolved. After the opening number “Boogie” they turned to a raucous cover of “Sittin On Top of the World” and the crowd danced along accordingly. The energy rarely let up, displaying the Allstar’s adept ability to control the tempo and pacing of the night.

Cohesion was a theme I noticed often. The band has been touring relentlessly for a while now, and their comfort on stage is plain to see. Their playing is extremely tight, exhibiting complete control when choosing to slide in and out of jam sections and segue into new songs.

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They’re all able to play each other’s instruments, too. At one point, Luther and Malcolm switched instruments. Then, the drummer started playing a washboard, Malcolm got on drums, and Luther got on bass. It’s always a treat to see bands rotate instruments and the Allstars do it well. Malcolm leads his own band as a lead guitar player so you know he has no problem taking charge. I thought there’d be a set break, but after a huge rendition of “Shake (Yo Mama)” the trio decided to do some more instrument changing. This time, they all got on drums and percussion and walked them through the audience. After a band-crowd get-down, the Allstars got back up on stage and played for seemed like another 40 minutes (for a total of about two hours).

Now it’s time to mention Luther’s guitar. Put simply, he rips. Often times, the other two members will offer a groovy backdrop, setting the stage for Luther to run away with it. His slide guitar work on “Crazy Bout You” featured this prowess. His tone on a song like “Turn Up Satan” is muddy, dirty, and soaked in soul, and I was pleased to hear it used for the majority the night.

The North Mississippi Allstars consistently bring their A game and fill anyone’s need for a foot-shufflin’ good time on a Saturday night. Though it’d be nice if they varied the set lists more from night to night, they’re always a lock to make the crowd smile and bring out a little bit of those Southern sensibilities that you may not have known were inside you.

Mayer Hawthorne swoons sold-out crowd in Oakland

Mayer HawthornePhotos by Kory Thibeault // Written by Kevin Raos //

Mayer Hawthorne with Quadron, Gavin Turek //
Fox Theater – Oakland
February 1st, 2013 //

The Fox Theater was the place to be in Oakland on Saturday night. Those lucky enough to have tickets to this sold out show were ready to groove to Mayer Hawthorne’s slick style of suit & tie neo-soul. It was the rapper-gone-soul-singer’s first trip to Oakland and he assured the adoring audience that it would not be his last.

Before the party got started, the crowd was offered a tasty treat that few probably saw coming, Quadron. Quadron is a Danish indie electro pop duo that has been making headlines with their 2013 album Avalanche. Quadron consists of vocalist Coco O and musician/producer Rodin Hannibal, who is also closely associated with the acclaimed group Rhye. The crowd was stunned by the immense power of singer Coco O’s voice, pausing from their mixed drinks and conversations with friends to turn towards the hypnotic performance on stage. Keep an eye and ear on this duo.

I had a few questions going in to the show, as this was my first soirée with Mr. Hawthorne. Would there be a full band? Would he play actual instruments, or would he DJ? Would he rap? How cheesy will it be? Well the answer is a little of all the above. Low expectations can lead to great experiences, but even if I did have any expectations Mayer Hawthorne, and his band he sometimes refers to as “The County”, surely would have exceeded them. Mayer Hawthorne proved to be a polished showman with musical talent that spans many genres, demonstrating an ability to not only swoon the crowd with his trademark soulful singing, but also his proficiency on a multitude of instruments.

There was a little of everything on Saturday night, from soul to rock to hip hop to reggae, music-lovers of all varieties would find an appealing morsel to munch on. This was easily the most diverse crowd I’ve seen at the Fox Theater. They were extremely well-dressed, lubricated and ready to party, and Hawthorne didn’t hesitate to get them involved. “Are you ready to have the greatest night of your life?” he asked after the “Physicality” opener, and during “Back Seat Lover” he pulled out the tambourine and invoked a call-and-response from the crowd. After just three songs Hawthorne commented that his hands were already bleeding.

After a honeymoon period of 4 or 5 songs, the crowd began to settle in to a groove for what I thought was the highlight segment of the show. A Hawthorne drum solo kicked off “Designer Drug” which segued into the Bell Biv DeVoe’s 90’s R&B classic “Poison”. Obviously the crowd thought this was incredible. Next was “No Strings” which featured a soaring synthesizer solo by keyboardist Quincy McCracy, a clear highlight as the music, lights and crowd completely jelled in one cohesive unit. The musical talents of the rest of his band continued to shine during “Green Eye Love” with a slap-tastic bass solo to start followed by a ripping guitar solo to close out the tune.

Mayer Hawthorne

Mayer Hawthorne appealed to the medical nature of Oakland by slowing it down with “Allie Jones”, a reggae number off his new album Where Does This Door Go, which was asserted by another spacey synth lead. The Oakland crowd ate up a rendition of “Fuck the Police” intertwined with his original song “Crime”, complete with sirens and strobe lights.

Throughout the night Mayer Hawthorne’s hip-hop side would appear in glimpses, but perhaps the most prominent display of his alternate musical ego came when with a cover of Aerosmith’s rap-rock anthem “Walk This Way”. Mayer played guitar and rapped a couple verses before the band kicked into their radio hit “The Walk”, which he dedicated to his “bitch ex-girlfriend.”

Another clear highlight, and one of my favorite Mayer Hawthorne tunes, came late in the set with “Corsican Rosé”. This infectious beat accented a very enjoyable set filled with what Mayer Hawthorne does best, a little of everything. Mayer Hawthorne may have found success with his neo-soul side but he will always stay true to his hip-hop roots. The marriage of both influences create a very diverse sound that throws back to the cigar smoke-filled lounges with Dean Martin all the way to the modern day suit & tie stylings of Justin Timberlake. Mayer Hawthorne walks a thin line between retro soul and modern hip hop as is evidenced by his outfit on Saturday night, a sport coat and sneakers.

Admittedly, this was my first time seeing Mayer Hawthorne, so I had no idea what I was getting in to. Going into the show I knew very little about Mayer Hawthorne, other than what I had heard on the radio (I.e. “The Walk” dozens upon dozens of times).

I knew I was in for a show, but not to which caliber, and although he is not Dean Martin or Justin Timberlake, he was still very impressive. Mayer Hawthorne had a charm about him that was genuine without being smug. His musical talent is apparent, blending genres old and modern to create something delightful. Although the $100 scalpers were charging outside might have been a little too steep, Mayer Hawthorne is still a surefire dance party that everyone can boogie down to.

Setlist:
Physicality
Back Seat Lover
Reach Out Richard (might not be 100%)
Wine Glass Woman
Designer Drug (with POISON)
No Strings
The Innocent
Green Eye Love
Allie Jones
Crime
Get to Know You
Do It
Walk this Way > The Walk
The Stars Are Ours
Corsican Rose
Where Does This Door Go
The Ills

Encore:
Just Ain’t Gonna Work Out
Her Favorite Song

Marijuana & DUIs: What You Can Learn from Justin Bieber Getting Busted

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By The Festival Lawyer //

Colorado and Washington both recently legalized recreational sales of marijuana. Oregon and several other states say they want to be next. In fact, a few recent polls show that a clear majority of Americans now support legalization.

I’ve been meaning to write about marijuana and DUI laws for a while now. And then last week, Justin Bieber got arrested for a “Marijuana DUI” in Miami.

I know a lot of you probably didn’t hear about Bieber’s arrest because it was of interest only to a small group of legal scholars like me. (Writer’s note: I wish someone would hurry up and invent a sarcasm font)

Although Bieber had a very low blood alcohol, his blood was positive for Xanax and marijuana and it appears they will prosecute him based on those test results.

Here is a link to Bieber’s arrest reports and toxicology results to get you up to speed.

One thing that’s clear from this case is that those Fast and the Furious films would have been super boring if they were filmed in Canada. I mean, seriously Beebs, a Lamborghini and Ferrari racing at speeds of between 25 and 60 MPH?? C’mon, the average AMERICAN driver normally hits speeds of 25 to 60 MPH just backing up to get a parking space closer to the gym.

Anyway, on with the tips:


TIP #1Understand the legal standard for “Driving Stoned”

California Vehicle Code Section 23152(a) makes it illegal to operate a motor vehicle under the influence of ANY drug whether legal or illegal. To put it another way, you can be busted for driving while under the influence of Nyquil, or Ambien or prescription pain pills or from any other drug including marijuana.

Right now, there is not a standard THC level (like the .08 standard on alcohol) that tells you what amount of THC in your system makes it illegal to drive. Instead, the legal standard is whether the THC in your system has impaired you to the point you can no longer operate your motor vehicle safely and with “the caution characteristic of a sober person.

By the way, I know someone is going to be tempted to comment that “Marijuana is not a drug, it comes from nature.” Two things about this:

1. Legally it is a drug.

2. If you ingest a substance and it suddenly makes you think Taco Bell food tastes great that’s definitely a drug.


TIP #2Understand why no one really knows what “Stoned Driving” legally means

To understand the above legal standard you kind of have to know a bit about the scientific debate going on as to the point a driver using THC is so impaired that he or she is unable to operate a motor vehicle safely.

I started to summarize this scientific debate for you and then I remembered the old saying:

“A picture is worth a thousand words. But a video of a woman who drives BETTER the more she smokes pot is worth ten times that.”

The point is that the science on marijuana intoxication is murky at best. Frankly, there is a lot of disagreement as to what point you are “too high” to safely drive. Therefore a lot of states are moving to impose an objective THC level that would trigger an automatic DUI.


TIP #3Why a “.5 Nanograms” standard might mean some innocent folks get charged with a DUI

In 2012, Washington passed a law that set the threshold for marijuana DUIs at 5 Nanograms of THC per milliliter of blood. California and Colorado have both rejected similar laws but there are continuing efforts to get every state that has legal or medicinal marijuana to impose a “5 Nanograms = DUI” limit.

Anyone who smokes marijuana either medicinally or recreationally should have concerns about how this law may impact them.

Unlike alcohol, THC can stay in your bloodstream for several weeks or even up to a month. Therefore someone might smoke marijuana legally a few days prior to driving, get stopped and be over the “legal THC limit” when tested.

In other words, they might get a DUI for having a certain THC level in their system even though they were cold sober when driving. Responsible marijuana users (i.e. people who smoke but don’t want to drive “stoned”) could potentially be charged with DUI even though the marijuana in their system was not affecting their driving.

So how do you protect yourself?


TIP #4Don’t drive with a “Bieber Cocktail”

As I mentioned, court documents show that Bieber’s toxicology report came back with a very low blood alcohol (.01) but positive for marijuana (THC) and Xanax.

It is never a good idea to smoke and then immediately get in a car and drive. And it’s even more dangerous to drive while on a “drug cocktail.”

Studies show that mixing marijuana with alcohol or other drugs radically increase the chances you are impaired and unable to drive safely. As a practical matter, it’s also way more likely that you will be prosecuted when you have a mixture of alcohol and marijuana in your system. As we just said, it’s never a good idea to smoke and then immediately drive. But it’s an exceptionally bad idea to mix different substances before getting behind the wheel. Don’t do it.


TIP #5Exercise your right to remain silent

In my very first article “What to do if the police stop you at a music festival” I tried to point out how vital it is to understand and exercise your right to remain silent.

Since then, a recent case (Salinas v. Texas) has made this advice even more important. In that case, the Supreme Court ruled that just remaining silent may not be enough. Instead, the burden is on you to show that you are affirmatively exercising your rights and choosing to remain silent.

In other words, you have to say out loud that you wish to remain silent … which would make an awesome Newspeak poster in Oceania by the way.

As insane as that ruling sounds, you need to say out loud you don’t want to make a statement. I suggest using the phrase, “Officer, I am choosing to remain silent. I want a lawyer.”

Clearly neither Bieber nor any of his entourage has time to read The Festival Lawyer’s column due to Bieber’s very busy egg throwing, shitty drag racing, peeing in janitor’s mop buckets schedule. If he had, Bieber would have known not to confess to cops that he had been “smoking in the studio all night” when he was asked why he smelled like pot.


TIP #6Don’t take the marijuana swab test

The Los Angeles Police Department recently got a grant to begin using a new type of “mouth swab” that will test for the presence of seven drugs including THC. You should expect other police agencies to start giving these roadside tests.

Remember that if you are arrested the only chemical test you must give is the final one given at the station or jail. If you don’t take that chemical test, you will face an immediate, no exceptions, one-year suspension of your driver’s license.

All other “Field Sobriety Exercises” and preliminary screening devices like the PAS (an alcohol screening device used at the scene) or “marijuana mouth swabs” are completely consensual. In other words, you are not required by law to take any of these tests. Don’t agree to take any of them.


TIP #7Don’t smoke in your car unless you want it searched

Not to put a damper on your hot box party, but there is a case out there called People v. Hua (2008) 158 Cal. App. 4th 1027 which says that cops can search your car based solely on smelling the odor of marijuana coming from it.

In a state where there is legal or medicinal marijuana your attorney may be able to argue that this case does not apply. But honestly, why put yourself in that situation? You are making every cop at least tempted to search your car and see what else you have in the car. Avoid smoking in your car. (I see you, guy using a vape pen at the stoplight. Not cool.)


TIP #8Don’t let your car become a “Rolling Probable Cause”

I’ve talked before about “rolling probable cause.” This is the slang term cops and DAs use for the fact that a minor vehicle code violation gives an officer the legal right to stop a car and investigate the occupants.

You should pay particular attention to this issue. Don’t attract attention to your car. Keep your car in good running order with current registration and all your lights and brake lamps in good working order.

When driving, keep your driver’s license, insurance and car registration handy and in an easily accessible location. Many officers will write in their report that you “fumbled for your wallet” or “appeared confused about what documents you had” in an effort to prove you were impaired.

Also, keep your medical marijuana card current and in a secure location for those who live in a medical marijuana state.


TIP #9Don’t consent to a search of your car

One of the things cops love to do during a traffic stop is to ask if you will agree to let them search your car. If you hesitate they will often go with the old, “If you don’t have anything to hide why don’t you let us search?” approach.

Cops also like to do this thing where they name some crazy thing they couldn’t possibly find and that is the only reason they want to search. “C’mon, just need to make sure you don’t have any grenade launchers or anthrax here … har har.”

You might be tempted to respond with a “I ain’t passed the bar, but I know a little bit … enough that you won’t illegally search my shit” response.

But really, there is only one acceptable answer to what to do if the police ask you for consent to search your car.

“Officer, I am not giving you consent to search myself or my vehicle.”


TIP #10Stay calm and don’t argue with the cops

If you read the part of Bieber’s report as to why the cuffs go on, it’s actually kind of interesting. Bieber continually asks, “Why the fuck are you doing this?” and “What the fuck did I do? Why did you stop me?” In fact, the cops first put the cuffs on because Bieber refuses to keep his hands on the car and generally refuses to cooperate in the case.

Remember The Festival Lawyer way. Stay calm, polite and respectful. Don’t give the officer attitude. At the same time, firmly assert your CONSTITUTIONAL rights. These include your right to remain silent and your right to refuse a search of your vehicle. Know your rights and politely (yet firmly) assert them.

PHOTOS: The Wood Brothers at The Fillmore 2/1

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By Sam Heller

The Wood Brothers with Amy Helm //
The Fillmore — San Francisco
February 1st, 2014 //

Oliver and Chris Wood, popularly known the Wood Brothers, held acoustic court at the world famous Fillmore on February 1st, lighting up the stage with soaring melodies, new tracks and even a special guest. Amy Helm opened the evening before the main act opened their headlining set with “The Muse’, the opening track off of 2013’s album of the same name. Their sound is loaded with blues influences while melding in some of the most authentic Americana style in the business. Amy Helm returned halfway through the set to guest on a pair of tracks before the wonderful Amos Lee joined in for “The Luckiest Man”. Amos returned for the first encore which featured a rendition of Michael Jackson’s “P.Y.T.”. The second encore would display the cover of Lee Dorsey’s “Get Out of My Life Woman” before the familial duo bid the crowd adieu.

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New Music Tuesday: Bombay Bicycle Club • Broken Bells • Les Claypool’s Duo De Twang • Gardens & Villa

Bombay Bicycle Club - So Long, See You Tomorrow
Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.


Bombay Bicycle ClubSo Long, See You Tomorrow

3.5-BamsTop Tracks:
“Feel”
“So Long, See You Tomorrow”
“Carry Me”

Album Highlights: Bombay Bicycle Club’s fourth full length finds the English indie group dabbling with a wider sphere of world music influences, yet the output is still pretty damn catchy. The big strength with So Long, See You Tomorrow is how it thrives on pop arrangements that are both diverse and understated. Earnest without being overbearing, it’s an album that’s bombastic in its spectrum of sound yet relatively subtle lyrically. The world music influence in “Feel” does wonders, helping to build a song that does a good job following through on it’s title. More of the record could have benefitted by following style and vibe of this track. Final track “So Long, See You Tomorrow” ends the album with a fitting big opus, a song that shines as bright as any on the record.

Album Lowlight: The first half of the album takes a while to gain steam — it doesn’t really pick up until the second half. “Whenever, Wherever” sounds interesting and slightly innovative at first, but upon repeat listens, it turns into some kind of twisted Millennial anthem. Also “It’s Alright Now” is an angst-filled slow-builder without the bite. Where’s the fun in that?

Takeaway: Demonstrating a greater focus on world music influences and female vocals has benefitted Bombay Bicycle Club nicely. The production is anything but formulaic, and So Long, See You Tomorrow flourishes the further it plays out — maybe it’s intentional sequencing, but the album certainly peaks on a high note. For many, it might also take half an album’s worth of listening to adapt to Bombay Bicycle Club’s understated, yet catchy, tunes.

-Mike Frash


Broken BellsAfter the Disco

3-BamsTop Tracks:
“Perfect World”
“Medicine”
“Control”

Album Highlights: James Mercer and Danger Mouse follow up their 2010 collaborative debut as Broken Bells with an ambitious and divergent sophomore effort in After the Disco. Their signature sound remains imbedded in the group’s funky basslines, audio production and Mercer’s incomparable talent as one of this decade’s most distinguishable singer songwriters. Yet, it’s their expansion into larger soundscapes with the inclusion of orchestral and big band elements, that sets this album apart from its predecessor in a positively encompassing manner. Branching out from their stylistically simplistic debut, the group incorporates hard hitting disco rudiments, space rock synths and jazzy lounge percussion components that give the record a vintage appeal while remaining on point with current modern pop trends.

Album Lowlight: A generally mid-tempo album, the pace of the record remains consistent except for the final tracks which unfortunately close out the otherwise dance worthy compilation awkwardly. Both songs are beautiful in their own right, but unfortunately don’t get the attention they deserve due to their arrangement on the record. Instead of ending on a high note, the band closes out a predominately new wave and disco themed track list with their two most dramatic songs back to back. Which may have been a premeditated move creatively, but ultimately falls flat against the alternatively up beat album structure.

Takeaway: Following suit with the current thematic shift in pop music, Broken Bells embraces the best aspects of late seventies disco, capturing the final moments of the genre’s crossover into early eighties nu-wave, while maintaining a modern flair. With both members bringing their equally influential tastes to the table, James Mercer and Danger Mouse devise an intriguing tribute to an era of music that achieves effortless resuscitation through their unique integration of modern production and musical skillsets.

~Molly Kish


Les Claypool’s Duo De TwangFour Foot Shack

4-BamsTop Tracks:
“Man in the Box”
“Pipe Line”
“Boonville Stomp”

Album Highlights: Les Claypool’s Duo De Twang make their studio debut with a stompin’ album that pays homage to a variety of classic tunes and puts a new spin on some Claypool staples. Consisting of Les Claypool on vocals and acoustic bass and Bryan Kehoe on guitar, Four Foot Shack offers stripped-down versions of songs that span Claypool’s career such as “Wynona’s Big Brown Beaver” and “Jerry Was a Race Car Driver.” As wonderful as these Claypool classics are, it is the covers on this album that really shine. Of the 6 cover tracks, the Twang interpretation of Alice in Chain’s “Man in a Box” alone is worth the price of admission. The Duo de Twang also tackle the Bee Gees disco anthem “Stayin’ Alive” and the surf rock masterpiece “Pipe Line” originally by The Chantays. Like every song the Duo De Twang covers, they put their own magic into it.

Album Lowlight: It’s tough to say anything bad about this album. Four Foot Shack has a very live feel to it, and was likely recorded in single takes with mild overdubbing of vocals and other effects. I really would’ve loved to have gotten an album full of covers. The Claypool originals are great, but not much new ground is broken with the Duo De Twang version. The covers are just so unique and interesting that an entire album of them would not disappoint me. Tough to complain about anything though, this album features vintage Claypool at his finest.

Takeaway: Four Foot Shack has a very distinct sound to it. Claypools signature slap and tap of the bass, albeit acoustic, mixed with his whacky vocal delivery and the twangy guitar of Bryan Kehoe make this album a foot-stomper. The sounds and rhythm Les Claypool creates with his bass are astounding and nothing is lost despite trading in the electric bass for an acoustic. If you’ve ever been a fan of anything Claypool has been apart of you will be much obliged to listen to this record.

-Kevin Raos


Gardens & VillaDunes

3-BamsTop Tracks:
“Domino”
“Chrysanthemums”
“Echosassy”

Album Highlights: With the help of DFA’s Tim Goldsworthy, Gardens & Villa have crafted an enjoyable slice of synth-rock while establishing their own sound on this sophomore release. This Santa Barbara-bred act burst onto the scene with an impressive debut with some seriously catchy numbers, and have followed it up with a slightly more sonically in-depth batch of varied sounding songs.

The pace and tempo of Dunes is one of it’s strong suits as Gardens & Villa expand beyond the more upbeat/tempo songs which open the album. Tracks like “Chrysanthemums” slow things down nicely with a piano-driven ballad with just the right amount of minimal effects to allow the songwriting, and Chris Lynch’s vocals, to shine through. On the other hand, the next track “Echosassy” shifts the band’s sound towards a contemporized New Wave breakdown. Fans of Miike Snow are sure to gobble up this batch of poppy dance-rock songs full of hooks, post-punk beats and swirling synths.

Album Lowlights: Similar to their previous self-titled release, Dunes is a solid release. They are not earth-shattering or breaking much new ground, unfortunately. Gardens & Villa do squarely have command of their sound and style, but there are times when a little more is desired from them. “Bullet Train” was oddly one of the first announced singles off of Dunes, and is a bit of a muddled mess of falsetto singing, flute effects and slightly cheesy 80’s synth flourishes which simply don’t add up to anything you need to play on repeat.

Takeaway: Fan’s of Gardens & Villa’s first release are sure to eat up this grouping of new tracks and play this album well through the warm summer months. Dunes does lack a bit of the ‘star fire power’ of their self-titled album, but solidifies their unique style of layered dance-rock that has launched similar acts like Cut Copy, who has been produced by Goldsworthy. There is a flavor for all current music fans to find enjoyable in this release, it’s just a matter of how memorable that taste turns out to be for each individual.

-Kevin Quandt


SF Beer Week Events + Close Shows = Best Week of the Year!

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For beer lovers, San Francisco Beer Week is one of the finest weeks of the year. Okay, let’s be honest: It IS the best week of the year! So how can we make the best week of the year even better? By combining primo beer week events with great music.

These tastefully selected pairings have been curated specifically with the intention for you to enjoy a unique beer week offering and follow it up with a show within walking distance. That way, you can (responsibly) enjoy all the libations of your choosing and make it to the show safely. Beer will be flowing like the salmon of Capistrano all over San Francisco from February 8th through the 16th, and here are my picks for perfect beer and music matches:

Delorean

Date: Sunday, 2/9
Show: Delorean @ The Independent
Beer: Barleywine Night @ Noc Noc
Distance: 13 minute walk

Our first night will find you at the Noc Noc for their Barleywine night. If you’ve never had a barleywine, they’re big, bold, fruity, intense, and very high in alcohol. Sounds great, right? Noc Noc will be serving five in particular from Northern California Breweries, including Marin Brewing’s Old Dipsea and Sierra Nevada’s Barrel Aged Big Foot (don’t miss this one). When you’re done you can walk 13 minutes up Haight and down Divisadero to the Independent where you can hit Delorean. They’re a four piece combining dance music and indie pop who had to cancel their last show at the Independent due to being kidnapped in South America. Let’s hope they make it safely to the show this time. Hopefully everyone else that goes to Noc Noc makes it to the show safely, too, because I have my doubts after all that barleywine.


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Date: Tuesday, 2/11
Show: Hospitality @ Rickshaw Stop
Beer: Oskar Blues Night @ The Beer Hall
Distance: 4 minute walk

If you’re in the mood for infectious indie pop and heady northern Colorado brews, buy your tickets for Hospitality right now (only $10!). The Beer Hall is hosting this stellar lineup of forward-thinking Oskar Blues and it’s only a four minute walk to Rickshaw Stop. Oskar Blues have been a pioneer in the craft canning movement, and for good reason. Cans are lighter (cheaper to transport), impermeable by light (stays headier longer), more easily recyclable, and they get cold faster. There won’t be any cans here though, as the offerings will be on tap, starring Oskar the Grouch (smoked IPA), Merlow BA Chaka (Belgian Strong Ale), and Old Chub ON NITRO. At the Rickshaw you’ll be ready to ingest Hospitality, this peppy stripped down trio has been on the rise for over a year now.


Coronado

Date: Wednesday, 2/12
Show: Boombox @ The Independent
Beer: Coronado Brewing Takeover @ Noir Lounge
Distance: 7 minute bus ride

Get your groove on and dance for a couple hours with Boombox at the Independent. Slinky, sultry, sexy strutting beats await you after your trip to the Noir Lounge for Coronado Brewing’s Tap Takeover. This California mainstay has been impressing craft beer lovers for a few years now but only recently has the brewery seen more of a national exposure. One sip of their Idiot IPA and you’ll realize why. Give it a try along with all of the other selections and then step on the 21 for a 7 minute bus ride up Hayes to the Independent.


Sierra-Nevada

Date: Friday, 2/14
Show: Blackalicious @ Slim’s
Beer: Sierra Nevada 62 Tap Takeover @ Zeitgeist
Distance: 13 minute walk

If you’re in the mood for some hip hop, Blackalicious is a must see on this Friday Valentine’s Day. It may not be the best for getting your romantic vibe on, but it’ll be great if you want to dance and shake your ass. And what else is better than shaking your ass with that special someone? Shaking your ass AND drinking beer! I’m straight up befuddled by the beer week listing this night at Zeitgeist: Sierra Nevada SIXTY-TWO TAP TAKEOVER. That’s not a typo. I was never even aware that they had 62 unique beers. We’ll see if this is some tomfoolery on 2/14. If it truly is 62 beers, you’d better believe the place will be loaded with hard to find rarities from the cellar. Supposedly they’re tapping the “extra special” kegs in the later afternoon/early night time, so if you hit this event before before you head to Slim’s you’ll be in good standing to sip on the best the brewery has to offer.


Bonus Pick!!!Because I have extra love for Valentine’s Day.

Date: Friday, 2/14
Show: Quilt @ Bottom of the Hill
Beer: Beer Tasting + Sweets @ Blueprint Tap Room
Distance: 15 minute walk

Maybe some gentle psych rock is more your style on the country’s most romantically manufactured holiday of the year. Quilt has made a big impression lately with their pseudo-sixties revival indie rock. While sometimes soothing in its swaying pop melodies, on occasion it necessitates a full-body psych rock freak-out. Blueprint Tap Room is doing a dessert and beer pairing that is making my mouth water as I type this. Coffee and chocolate bread pudding with salted caramel sauce will be paired with Anderson Valley’s fantastic Bourbon Barrel Stout, and olive oil citrus cake will be paired with Buzzerkeley’s Belgian Strong Pale Ale. And there are more pairings. There are also a wide variety of West Coast breweries being featured, such as Deschutes, Ninkasi, Lost Abbey, Ballast Point, Green Flash, and Calicraft. When it’s beer week, these guys and gals don’t come unprepared. There will be some really great beer getting tapped here.


Midnight-Sun

Date: Saturday, 2/15
Show: Jerry Garcia Band featuring Melvin Seals @ Great American Music Hall
Beer: Midnight Sun Brewery @ Amsterdam Cafe
Distance: 3 minute walk

Any night with the Jerry Garcia Band feat. Melvin Seals ends in a sweaty tired mess, and it’s great. It’s so soulful and cathartic that you’ll feel like you’re at church, but with only half the guilt. Midnight Sun is a brewery from Alaska that you may not have heard of, but they have been on point for years now. I’ve only been largely impressed with everything I’ve tried from them, and this beer lineup looks to be stacked with special releases. They’ve got a dark strong ale with spices and chilies, oak-aged T.R.E.A.T. (imperial chocolate pumpkin porter on nitro), and XXX-Black Double IPA. This pair is sure to impress – you’ll be having fun all the way through the midnight moonlight!


Magik*Magik Orchestra look back to “When We Were Young” at Fox Theater Oakland

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

Magik*Magik Orchestra with with guests Nicki Bluhm and The Gramblers, The Dodos, Diana Gameros, Geographer, How To Dress Well, Zoe Keating, The Lonely Forest, Maestro Michael Morgan, The Pacific Boychoir, Rogue Wave, Two Gallants, John Vanderslice
Fox Theater Oakland — Oakland, CA
January 31, 2014

Minna Choi and Magik*Magik Orchestra delivered on the promise of an uplifting, collaborative evening Friday with three breathtaking sets of emotive music. A long list of participating acts were featured in ten to twenty minute segments, offering originals and covers that fit into the concert gala’s theme, “When We Where Young”.

The Pacific Boychoir were on stage for the full performance, adding angelic harmony and a consistent reminder that the show’s proceeds were going to Magik-For-Kids, an organization that encourages children and adults alike to join an orchestra. An oversized frame surrounded the young choir and the stars of the evening, Magik*Magik Orchestra. The ensemble’s elegant leader Minna Choi orchestrated the proceedings throughout while playing lead piano on occasion, and John Vanderslice acted as a superb master of ceremonies.

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Zoe Keating was the first featured player, starting the evening with Tears For Fears’ “Mad World”. Maestro Michael Morgon took the reigns for this section with a god-like spotlight haloing him. Another selection, “In C”, set a transcendent mood that never left.

The Dodos frontman Meric Long was next in the lead. “Black Night” was a suitable choice with the song’s “control yourself” center-point and adolescent angst. “God Only Knows” by the Beach Boys included the Pacific Boychoir, adding a bit of heart-tugging depth. The choir stayed on stage all night but participated in about half the songs. As Minna Choi pointed out, “These are some of the most well-behaved people I’ve worked with.”

John Vanderslice took the stage with the phrase “Welcome to Minna’s world.” He played “Mulholland Drive” and “Forrest Knolls” amongst other songs, and admitted that “there is a terror for an indie rock band to work with Magik*Magik Orchestra, we’re all talking about it offstage.” He also complemented the Pacific Boychoir, saying “They know more about theory at 10 years old than I do now.”

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How To Dress Well started the second act with his moody, snap-glitch R&B song “Cold Nights”, then moved onto the haunting “Suicide Dream 1”. Most will remember the set for his Janet Jackson cover, “Again”. Later in the set Vanderslice commented that “Tom Krell is a philosophy professor”, which was followed be an audible “Don’t embarrass me!” offstage from Krell.

Mina Choi then took the mic to say Magik*Magik Orchestra has wanted to do something like this for a long time but she “never had the guts to pull the trigger. It’s really a celebration of the Bay Area and local bands from Oakland and San Francisco, including Geographer.”

Geographer played a stripped down “Verona” without the woodblock clicks, until the final notes of the song. Neil Young’s “Helpless” got the cover treatment successfully with help from the Pacific Boychoir.

John Vanderslice introduced Diana Gameros, a Mexican-born San Franciscan that displayed remarkable talent. Her two songs made her segment feel entirely too brief — her Latin indie-rock was a pleasant change of pace, leaving the crowd wanting more. Her voice and smile deserves more attention, including from us.

Rogue Wave ended a stacked second act with “Your Eyes” and “Sight Lines” from their catalogue, and a fun cover from Buddy Holly, “Everyday”. Also Zach Rogue dismissed a prior charge from John Vanderslice that he had offered a uber-strong beverage to the master of ceremonies.

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Two Gallants spent the entirety of their segment with an immersive, long slow-burner. The odyssey of a song surely was the longest single piece of the night.

The Lonely Forest’s lead singer John Van Deusen gave a simple, stunning performance. “Be Everything” from the Lonely Forest and “In Your Eyes” by Peter Gabriel ended up being two of the most memorable movements.

Nicki Bluhm & The Gramblers anchored the evening with their laid back California Soul, including the scorning ditty “Little Too Late”.

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PHOTOS: Yuck at The Independent 1/29

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Photos by Marc Fong

Yuck with GRMLN, The She’s //
The Independent – San Francisco
January 29, 2014 //

Although founding member Daniel Blumberg departed Yuck last year to pursue other projects, the British quartet soldiers on in support of last year’s Glow and Behold, a record that is as indie-shoegaze as it’s title might indicate. Marc Fong was at the Indy last week to capture moments from the show — take a look!

PHOTOS: Totally Enormous Extinct Dinosaurs at Mezzanine 1/31

TEED_postBy Marc Fong

TEED (Totally Enormous Extinct Dinosaurs) with MPHD //
Mezzanine — San Francisco
January 31, 2014 //

There was very little light at Mezzanine Saturday. The crowd, however, found their way toward the stage when English DJ Orlando Higginbottom, aka Totally Enormous Extinct Dinosaurs, crept onto stage while MPHD wrapped up his set. Ducking between light and shadows, he slowly took the reins of the tables. The segue was subtle, but the sound that eventually took over was distinctively TEED’s.

Dark seductive beats drew the crowd as if he were an electronic Pied Piper. They came with drinks and dates in hand, bodies shaking to TEED’s sinister sound. Thundering basslines and relentless electropop kept the party crowd going until late into the night.

Though TEED could barely be seen through the shadows and fog, the occasional cell phone flash confirmed that the booty shaking master was hard at play. Judging by the euphoric looks on the Mezzanine crowd, TEED wasn’t the only one having a good time.

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9 Sports Anthems for the 21st Century

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Whether it’s Brian Wilson running out to the pitchers mound to House of Pain’s “Jump Around” or a proud little league coach blaring “We are the Champions” after a big win, music has always played an important role in sports. Arguably the biggest weekend in all of sports is upon us, the Super Bowl, and here at Showbams we decided to compile a list of our favorite modern day jock jams.

Sports anthems have fueled athletes for decades and unfortunately a lot of those songs have gone stale. Survivor’s “Eye of the Tiger” is a classic example of a great anthem, particularly in “Rocky III”, but it’s been extremely played out in high school gyms, college arenas, and pro stadiums since 1982. Here is a list of modern day sports anthems that have either already made it to arenas or should be there soon.


9. “We Are The People”Empire Of The Sun
In the vein of Queen’s “We Are The Champions”, the anthemic line “We are the people who rule the world” sums up that “just won the game” braggart euphoria after a big win.


8. “Paddling Out”Miike Snow
Besides the fact that this could be any pro surfer’s theme song, this track could be used for any teams entrance as they come roaring out of the locker room.
 


7. “One Big Holiday”My Morning Jacket
” A bad man from California” needs to make this his pitching entrance.


6. “Empire State of Mind”Jay Z
When the biggest sports team in the world claims this as their anthem after they win the world series then it deserves to be on this list.


5. “Wilson” Phish 
An unusual-yet-awesome connection between Russell Wilson, Seahawks fans, and this classic Phish track is why it makes our list. If Seattle wins the big one then Phish was the 13th man. WIIILLLSOOOOON!!!!!


4. “Genesis” Justice
I can imagine a hockey team pouring onto the ice just as this beat drops. The crowd would go bonkers.


3. “Unstoppable”Santigold
If this song doesn’t get you off of your bench seat in the outfield then I don’t know what will. The sheer rhythm of this track and the catchy lyrics make it a “should-be” stadium anthem. Hell — it was the song that soundtracked one man’s proclivity to party-start at Sasquatch.


2. “Howlin’ For You”The Black Keys
This song has definitely made it to the big time as far as air time goes, but just recently the Phoenix Coyotes have started to use it after every goal and win.”Ohh baby I’m Howlin for you.”


1.”Seven Nation Army”The White Stripes
This track has already achieved sports anthem fame, but I bet Jack White would have never guessed his song would be chanted in international soccer stadiums by arguably the most enthusiastic fans in the world.

PHOTOS: !!! (Chk Chk Chk) at the Chapel 1/25

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By Kory Thibeault //

!!! with Fine Steps //
The Chapel — San Francisco
January 25, 2014 //

As frontman Nic Offer took the stage at the Chapel this past weekend, spirits were certainly lifted in anticipation of Chk Chk Chk’s electric performance. Never one to disappoint, the show on Saturday was exactly that, electric. If this dance-punk outfit’s tunes did not galvanize you into dancing, then Offer certainly did. The amount of energy this man can produce is arguably more powerful than nuclear fusion, and if nothing else, certainly more entertaining. While the rest of the band’s tight ship sailed on, Offer exploded across the stage like the loose cannon he embodies, invigorating every onlooker at the first of Chk Chk Chk’s two night run. I can only imagine the electricity created on night two!

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Awesöme Orchestra team up with Van Dyke Parks and Matt Montgomery in Oakland

Awesome-Orchestra---Matt-MontgomeryPhotos by Marc Fong // Written by Nikki de Martini //

Awesöme Orchestra with Van Dyke Parks & Matt Montgomery //
The Malonga Casquelourd Center for the Arts – Oakland
January 26th, 2014 //

The Bay Area non-profit Awesöme Orchestra teamed up with music legends Van Dyke Parks and Matt Montgomery for a very special show this past Sunday at The Malonga Casquelourd Center for the Arts in Oakland.

The “Sunday Funday” show, celebrating the collaborative efforts of Parks and Montgomery off the album Petty Troubles, featured members of Awesöme Orchestra alongside the famous artists/composers/producers. This ensemble of musicians was quite a sight, not to mention inspiring, but the real treat was the sweet music they created on stage, which started just past 4 p.m.

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Starting the afternoon off on a positive note, a string quartette and Matt Montgomery effortlessly delivered a beautiful rendition of “On Its Way”.

Melodic, symphonic, orchestral pop songs raised spirits and seemed to place everyone in attendance under a peaceful spell.

While the set-list evenly split up leading vocals, Park awed on the piano, especially the songs that didn’t have him behind the microphone. Likewise, Montgomery’s guitar talent shined bright on the songs that didn’t find him in the singing spotlight. As evening made way to night, the highlight for most had to be when Van Dyke Parks made his way back to the stage and performed The Simpsons theme song with a full Orchestra!

Sunday’s show had more in store for its attendees and even it’s performers than an average performance, because big fishes in the music biz were working with smaller acts. It’s not everyday two legendary, multi-talented musicians share a stage together, let alone with up and comers. Matt Montgomery, Van Dyke Parks and the Awesöme Orchestra completely captivated their audience with pure enjoy and esteem in Oakland.

A show like the one on Sunday was truly humbling and special for all involved.

Cloud Control blow through Rickshaw Stop

Cloud ControlPhotos by Kory Thibeault // Written by Kevin Raos //

Cloud Control with Body Parts, Wild Ones //
Rickshaw Stop – San Francisco
January 21st, 2014 //

Cloud Control blew through the Rickshaw Stop last Tuesday, performing a fully immersive show to a small, but dedicated crowd. Supported by Body Parts and Wild Ones, fans who stuck around late on a weeknight were rewarded with a whimsical, yet vociferous, set from a promising young group of rising stars in the indie scene.

The synth pop rockers from Australia demonstrated a polished sound that was spearheaded by the vocal intertwining of Alister Wright (guitar, vocals) and Heidi Lenffer (keyboards, vocals). It’s hard not to draw comparisons to Tame Impala, in that their psychedelic blend of synth rock will put you in a trance one moment and then jolt you awake with their unabashed force of rock and roll the next.

With only two albums under their belt, Crowd Control played a heavy dose of tunes off of their latest record, Dream Cave (2013). The show began the same way as the album with the 1-2 combo of “Scream Rave” and “Dojo Rising.” The band went on to play nearly everything from their new album while sprinkling several songs from their 2011 debut album Bliss Release.

The musical highlight of the evening was “Gold Canary,” when in the middle of the song they segued into the classic Butthole Surfers song “Pepper” and then back into “Gold Canary.”

To say it was loud on Tuesday would be an understatement. The Rickshaw Stop likes it loud, but this was one of the loudest shows I have been to. It was impossible not to be fully inundated by the sheer mass of sound barreling into the crowd.

Cloud Control has made a name for themselves in Australia and slowly the American audience is catching on. The potential is there for Cloud Control to get big in a similar vein as Tame Impala or M83. Jinx. They demonstrated an impressive ability across the spectrum of music, quiet at times and vehemently deafening at others. Cloud Control is definitely a band to keep an ear on as I would not be surprised to see them appearing on some festival lineups after their European Tour.

Word isn’t out about Cloud Control yet, but that could soon change.

Setlist:
Scream Rave
Dojo Rising
Island Living
This Is What I Said
Happy Birthday
Meditation Song #2 (Why, Oh Why)
Moon Rabbit
The Smoke
The Feeling
Promises
Gold Canary > Pepper > Gold Canary
Ghost Story
Scar
There’s Nothing in the Water We Can’t Fight

Encore:
Dream Cave
Death Cloud

PHOTOS: Mutual Benefit at Rickshaw Stop 1/25

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By Pedro Paredes //

Mutual Benefit with Dan Casey and Dim Peaks //
Rickshaw Stop — San Francisco
January 25, 2014 //

Last Saturday night, Hayes Valley’s Rickshaw Stop saw an unusual transformation, and thanks to the warmth of Mutual Benefit’s debut LP, Love’s Crushing Diamond, it metamorphosed from a brick and mortar venue into a mother’s undisturbed womb, as Jordan Lee’s gentle voice transported us back in time to a place where ‘we aren’t meant to be afraid‘.

The transformation didn’t last long — Mutual Benefit is a young band with only one LP equipped with seven awe-inspiring songs — but it was enough to make you listen, as it’s message is delivered in the form of a crushing diamond, sticking deep, hard to shake off: there’s always love, even when there’s no love to give.

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Jake Bugg headlines modern-day Americana showcase at Fox Theater Oakland

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

Jake Bugg with Albert Hammond Jr., The Skins //
Fox Theater Oakland — Oakland, CA
Janaury 23, 2014 //

A stacked bill of guitar-driven talent commanded the stage at Fox Theater Oakland this past Thursday night. Opening the show Brooklyn based powerhouses, The Skins and Albert Hammond Jr. ignited the crowd for a headlining set from the nineteen-year-old British prodigy, Jake Bugg.

The McKeithan siblings tore through their set, bringing youthful energy and infectious charisma starting the night off with their five piece rock band, The Skins. Bayli McKeithan had the prowess of a front woman well beyond her years, mesmerizing the audience with her rich, soulful vocals along with an insatiable stage presence. This stellar team of underage musicians are the epitome of up-and-coming rock stars. Treating the audience to a stunning performance, this band won’t be playing the role of opening act for too much longer.

Albert Hammond Jr. took the stage next, displaying his characteristic bravado and charm. Entering amidst sea of red light with an ensemble of musicians, he immediately broke into some crowd favorites off of his 2006 debut album Yours to Keep. Filling the venue with his guitar-shredding pop-riffs and howling vocals, Hammond Jr. impressed the crowd that seemed equally in attendance for his set as the headliner.

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Highlights from his hour-long performance included a rousing rendition of “Postal Blowfish”, along with the extended album version of “Hard To Live(In The City)”. Playing to the enthusiastic crowd, Hammond expressed his gratitude towards being part of such a talented bill and excitement to be playing the historic venue intermittently throughout his set. Hammond and band ended the performance, which featured nearly all the material off of his two solo releases, with a surprisingly impressive cover of East Coast punk legends the Misfits’ “Last Caress”.

Approaching Jake Bugg’s headlining set, the ‘couple-centric’ Thursday night audience filed into the main floor quickly. The crowd anxiously waited, murmuring audibly about their excitement for Bugg’s first Bay Area performance since dropping his sophomore album last November. The songwriter’s setlist was dominated by familiar favorites off his critically acclaimed debut while also offering a generous sampling of the rollicking tunes featured on 2013’s Shangri La. Impossible to not draw comparisons between his adenoidal vocals, stoic stage presence and archetypical sound, Bugg’s performance played out as a modern day tribute to various Americana legends and rhythm and blues pioneers. Beyond the general artistic nods to his genre’s predecessors and stylistic similarities of his work, Bugg also included notable tributes to Howlin’ Wolf and Neil Young, which were woven perfectly into his main set and encore. Rounding out the show with an explosive rendition of his hit single, “Lightning Bolt”, the audience bobbed around euphorically singing along through the last notes of the evening.

Ambitiously orchestrated, the evening offered an insight into three artists that should easily be booked on top of their own bill in the coming years. Providing a taste of youthful talent, exciting solo efforts and a headliner possibly hitting the peak of his creative stride, one could only hope that this type of lineup is demonstrative of the future state of modern folk.

PHOTOS: Nicki Bluhm & The Gramblers at The Fillmore 1/25

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Photos by Susan J Weiand //

Nicki Bluhm & The Gramblers with Goodnight, Texas //
The Fillmore — San Francisco
Saturday, January 25 2014 //

Your first show at the Fillmore is a big deal for any musician or band, but when that show sells out weeks in advance, you know you are on the right track. Nicki Bluhm and the Gramblers are squarely on that track and this train ain’t slowing down. Saturday night’s show was a special one for the local rising stars anchored by the charismatic and emotional songstress, Nicki Bluhm. “Jetplane” would open the evening in grand style as the eclectic crowd got their dancing feet moving, gearing up for one of the bands biggest shows to date. Old favorite, “Barbary Blues” eventually led into the first guesting spot by fellow locals Magik*Magik Orchestra (who they will be joining at the Fox this Friday) as they joined the Gramblers on the track, “Nothin'”. A cover of the Easy Leaves’ “Another Rolling Stone” was another highlight before wrapping it all up with a 3-song encore featuring the return of members of Magik*Magik. Nicki’s stage presence is electric, and we can only expect to see and hear more exciting things from this local group.

DARKSIDE reward the patient at The Fillmore

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

DARKSIDE with High Water //
The Fillmore — San Francisco
January 24, 2014 //

Word is out on 24-year-old pioneering electronic musician Nicolas Jaar and what he does live. Improvising and looping live instrumentals to craft ambient soundscapes, experimental downtempo beats & ruminative house, Jaar is the king of control, doing it all with a healthy dose of patience.

Teaming up with college friend Dave Harrington to form DARKSIDE presented a new challenge for the Chilean born man that calls Brooklyn home — Jaar had never worked with electric guitar. Nico first brought Harrington into the fold to support his 2011 album Space Is Only Noise on the road, giving the two ample time to test an intermingling of electronic music and the instrument that signifies rock & roll.

On their first US tour as DARKSIDE, Nicolas Jaar & Dave Harrington together are monumental in their minimalist approach to sound, progressive in form, and mind-blowing in combination with suitable visual production.

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In true SF fashion, fog filled the stage and the front of the Fillmore prior to the show’s start, and it was still there after the first song, a 22 minute “Freak, Go Home”. The first recognizable part of the track didn’t begin until about 12 minutes in.

In many ways, DARKSIDE function as a jamband. Harrington recently explained to LA Weekly, “…what we do every night is so steeped in improvisation, and that’s what is exciting for us…Once we get through the two or three minutes that we planned, that song will probably go on for another ten or fifteen, and then we take it in whatever direction we see fit at the moment.”

Throughout the evening, the duo played only a handful of recognizable songs, proving improv is more important than preplanning. While improvisation is often a jamband’s calling card, the aspect of this Fillmore performance that was most reminiscent of a good jamband proved to be DARKSIDE’s expert use of tension and release.

Simmering melodic-based atmosphere moved to dramatic slow builds, Jaar would introduce a track along the way — all creating tension. Then well-deserved bass drops revealed themselves in both sneaky and progressive ways, establishing a prolonged release in the form of the crowd losing their shit to four on the floor house beats and body-shaking bass. While jambands release the stress with instrumental jamming, DARKSIDE rewards with a bass-heavy house.

One of the most memorable transitions came deep into “Paper Trails” when the drop developed over four quick beats in a measure, from no bass to full on bass domination. It was a striking example of Jaar’s original, crafty abilities in the moment.

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The stage visuals added a positive impact to the overall experience, working ideally with this 21st Century jamband. DARKSIDE used smoke & mirrors to breathtaking effect, creating semi-optical illusions that were most entrancing at the more intense sections of the show.

The lighting was deliberate and paced on track with the methodical yet improvisational nature of the show. It began with contrast-heavy black and white, the two performers backlit by spotlights. An orange hue arrived mid-show, then blue took over for a bit. Banks of floodlights were timed to a big drop during an elongated, magnificent “Paper Trails”, but the effect I referred to as the “Eye of Sauron” stole the show.

A large mirror hanging above the stage was angled toward Jaar for much of the concert, refracting light onto the true right of the stage. But the mirror unsuspectedly swung toward the stage, and once swirling fog spewed around it and a spotlight from the back of the house was pointed directly at it, a portal-like wormhole to another dimension panned back and forth over the crowd. It was trippy, heady, the kind of thing you would expect from a band like STS9. It was pretty amazing.

SF must have been good to DARKSIDE, as we were treated with not one, but two encores. After another ambient, slow building stretch of sound, the crowd showed their love in unison, impressing Jaar to grab his microphone stand one more time. “Golden Arrow” then appeared out of the ether to finish the evening with the long opening track from Psychic.

DARKSIDE provided an experimental aural journey, one that paid off by being as patient as the musicians on stage.

Nico and Dave probably won’t have dance-heads following them from city to city like the Grateful Dead or Phish, but they’re certainly worth seeing more than once.

Volcano Choir, Justin Vernon want you to Repave at The Fillmore

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Photos by Chaya Frash // Written by Mike Frash //

Volcano Choir with The Cloak Ox //
The Fillmore — San Francisco
January 21, 2014 //

So poetic the prose of preacher Justin Vernon, in fact he performs behind a podium that doubles as a pulpit and modulation center with Volcano Choir. The Bon Iver creator and frontman may still be known for his cabin in the woods triumph turned ten-piece alt-rock behemoth, but not for much longer.

Casting away Bon Iver to the land of hiatus opened the door for Vernon to join forces with a Wisconsin outfit he has always admired, Collections of Colonies of Bees. Based on the group’s second LP Repave, released last year, and their live performance at The Fillmore in San Francisco January 21, the idea of Volcano Choir becoming a permanent band rather than a semi-regular collaboration makes too much sense.

Repave’s core philosophy revolves around rebirth, finding the right path, rediscovering oneself. Vernon explains, “…the changes that we go through personally, metaphorically, and sort of knowing that you have to change if you’re having a tough time in your life or if you’re just hitting walls constantly, or if you keep having bold spiritual questions you can’t answer, it’s usually because there’s not a path for you…”

So it’s not about changing so much, or dealing with the consequence of change. Rather, Repave and subsequently the ethos of this tour attempts to grapple with the process of realization and acceptance prior to change — some might call this self control, others might say it’s embracing personal evolution.

The message is effectively delivered through a vehicle of duality — Volcano Choir specialize in exploring the full range of sound, from minimalist textures to extended crescendos, often with intentionally jarring transitions. The flip side of this mechanism is Vernon’s dedication to avoiding didactic straightforwardness, concentrating on keeping this introspective course correction message mostly subtle.

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The show at the Fillmore contained many memorable moments, the first coming with the song “Alaskans”. Nary a peep emerged from the immersed crowd, even as the Charles Bukowski sample from his poem “The Shower” was laced in. The all around reverence must have been unique, as the reaction from Vernon, Daniel Spack and Chris Rosenau exuded glances and smirks that said “Wow, that’s a first.”

Reminiscent of the Bon Iver show at the Greek Theater in 2011, rapturous silence during hushed vocal textures added immense value to each moment. But now with Volcano Choir, Vernon’s vocals are so over-processed and auto-tuned, to the point that his voice acts as a digitized instrument along with the other six performers.

“Still”, confused by many as Bon Iver’s “Woods” (or possibly even Kanye West’s “Lost In The World”), showcased how the group can tamper with sound to the point of creating something completely different and original, all through floaty restraint. This aural rebirth also shined in “Dancepack”, where the line “There’s still a hole in your heart” was repeated for many measures, yet it never sounded quite the same.

The concept of exploring new sound spaces emerged explicitly for the second encore, something that seemed like a rare treat to finish the evening. Likely improvised, the spacey instrumental unfolded as a slow churning jam that imprinted extra heady spiritual undertones onto the performance.

It was these minimalist songs, complimented by reverent crowd silence and attention, that were the highlights of the performance.

But in the prior encore, a Vernon-less instrumental jam offered a monstrous wall of sound slap to the face that contrasted so many of the show’s subtleties. A newer song “Valleyonaire” brought an upbeat, more traditional song structure to the table, helping to balance the set early on.

Also the bombastic singles “Comrade” & “Bygone” offered measured, mostly faithful versions from last year’s album — and speeding up the “legend” part in “Bygone” helped to avoid a narcissistic singalong.

The attempt at discovering new sound spaces is an absolute success for Volcano Choir, making Bon Iver seem almost boring in retrospect. It’s understandable why Vernon said this might be his new band — Bon Iver almost seems superfluous now.

As much as the layered instrumentals from former members from Collections of Colonies of Bees thrives on non-standard form, Vernon’s lyric emphasis focuses on keywords and phrases one wouldn’t quite expect from their live performance.

Vernon’s vocal emphasis plays into the Repave mantra — “Build up that benevolence,” “Behave, behave, behave, behave, behave” and “When all of us are sober” were all phrashes treated with extra clarity of voice to help ingrain fragments of thought into the listener’s brain.

Vernon is willfully taking on the role of guiding preacher. He’s got the pulpit, he actually scorned some in the crowd for being on “more than normal drugs”, and he wants his lost souls to find the right path.

At the end of the set, while the instrumentals for “Almanac” were finishing, Vernon stepped down from the pulpit, bent down on one knee and seemingly prayed, perhaps for his flock of followers.

Volcano Choir’s full sound exploration through an atypical form, including hyper-modulated vocals and pin-pointed phrase emphasis, creates a live music ambiance that ultimately acts as a mirror. The subtle, yet striking delivery allows the message to sink in deeply, maybe affecting some to consider change.

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The Crystal Method take over El Rey

The-Crystal-MethodBy Josh Herwitt //

The Crystal Method (Live) featuring Richard Fortus, Danny Lohner, Bryan “Brain” Mantia & special guests //
El Rey Theatre – Los Angeles
January 16th, 2014 //

With the release of their new self-titled album just two days prior, electronic music pioneers The Crystal Method took over the El Rey Theatre to celebrate the latest accomplishment in its impressive 20-year run.

Sporting a star-studded band consisting of former Guns N’ Roses guitarist Richard Fortus, former Nine Inch Nails bassist Danny Lohner and former Primus drummer Bryan “Brain” Mantia, Ken Jordan and Scott Kirkland made sure to do it up big for their hometown fans — and that meant having a few surprises up their sleeve, too.

With vocalists Dia Frampton, Franky Perez and Ryan Maginn making guest appearances over the course of the night, the two-time Grammy Award nominees pulled out all the stops to keep an older, yet passionate EDM crowd on its toes.

But in the end, there was no bigger surprise than when Filter frontman Richard Patrick stepped on stage for the show’s final song and belted out the lyrics to “Trip Like I Do,” the original version of the song he remixed with The Crystal Method way back in 1997.

Front and center, Josh Herwitt was there to catch all the action from the LA-based duo.

John Newman’s gospel essence impresses at Rickshaw Stop

John-Newman1Photos by Marc Fong // Written by Nikki de Martini

John Newman
Rickshaw Stop – San Francisco
January 16, 2014

A mature crowd got to the 18 and up weekly club event Popscene early to secure their spot to see 23 year old, multi-talented singer/songwriter/producer John Newman January 16th.

And with good reason.

Every stop of the US tour in support of his debut album Tribute sold-out, including San Francisco. So, needless to say, after waiting over an hour, SF fans were ready for the show to begin.

John-Newman

Focus swiftly shifted to John Newman as he appeared on stage moments after the band and two back up singers preluded the gracious title track, “Tribute”.

A powerful, gospel like essence swelled prominently as respectful cheers from the crowd gave way to an admirable vibe throughout the venue.

Belting out each soulful ballad track with an effervescent, angelic swagger, John Newman undeniably dominated throughout the performance while simultaneously letting his well-orchestrated band shine.
 
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While the set did include the smash single “Love Me Again”, which was introduced on an earlier EP, Newman noted himself it was all about Tribute. The young, talented artist thanked fans for making it happen.

As this leg of the Tribute tour continues on with sold-out shows across the States, John Newman’s popularity rightfully, continuously grows.

Another 13 shows were announced last week: starting March 27th at the 9:30 Club in DC all the way to The Doug Fur Lounge in Portland Oregon on April 18th!

Sound good? Get your tickets for John Newman at the Independent April 14 before they sell out, too.