First Times: Discovering what makes The Ventura Theater ‘majestic’ with DIIV closing their California tour in the wake of the Eaton Fire

February 28, 2025 by Leave a Comment

The Ventura TheaterBy Josh Herwitt //

DIIV with Kraus //
The Ventura Theater – Ventura, CA
February 24th, 2025 //

With the way the music industry has changed over the past two decades, it’s no secret that live music venues all around the world remain the lifeblood for most artists and musicians to survive in the ever-challenging streaming era.

Unfortunately the long-lasting economic impact of the COVID-19 pandemic continues to put many of these sacred spaces at risk, which is another reason, among others, why it’s essential to support live music when touring costs have spiked and so much of life is spent behind a screen now.

But for as many concerts as I attend due in large part to the “work” that ends up being published here on this website, it’s not very often I get to take in one at a music venue I have never been to before. Visiting different rooms — whether it’s a small club or large arena — has always been part of the fun that comes with going to shows and became even more of a personal interest when I took up writing about music.

More specifically, I have always been fascinated by historic theaters and growing up in an entertainment capital like Los Angeles certainly exposed me to a number of them — from Royce Hall on the campus of UCLA to the Pantages Theatre on Hollywood Blvd. — as well as the plethora of other options spread out across the Southland.

The Ventura Theater - chandelier

More than 65 miles north of LA though, The Ventura Theater is one that has been on my radar for quite a while. As the only luxury theater built in Ventura County to fit the style of the great movie palaces from the 1920s, you won’t find architecture like this anymore at a modern music venue. Designed back when architects such as Lewis Arthur Smith were influenced by the Spanish Colonial Revival movement while they developed these establishments for a burgeoning motion-picture business, its triple-arched balcony that’s recessed and divided by double Corinthian columns provides a strong indication the building was constructed a long time ago.

How long ago you ask? Well, don’t let the rather unassuming façade below the marquee fool you. At first glance you might not think the 1,200-person theater could be celebrating its centennial birthday in 2028, but once you walk past the main foyer, you can immediately understand why it proclaims to be “the best venue between LA and San Francisco” even if the Santa Barbara Bowl would rightfully have something to say about that.

What makes The Majestic Ventura Theater, as its more commonly referred to, so special is what stands out right away: the Spanish Mission style art, gilt-laden walls, intricate lighting fixtures and of course the handmade sunburst chandelier that burns bright during intermissions and accentuates the auditorium’s lavish opulence. Meanwhile, the funky, wide-reaching murals of rainbows, flowers, music and sunshine as you head upstairs to the balcony section transport you to the 60’s when the counterculture started to gain momentum. As one of the defining structures in Ventura’s downtown district, it’s no surprise nearly 50 years have passed since the elegant theater was declared a landmark by the city before later being added to the National Register of Historic Places in 1986.

Regardless of the fact that Ventura remains better known for its beaches and craft beer than any sort of live music scene at this point, there’s no question the Majestic has maintained a rich and vibrant history dedicated to showcasing all genres. And after almost 100 years, it continues to book shows throughout the calendar year featuring a wide variety of talent that don’t venture for the smaller Ventura Music Hall we checked out less than two months after officially opening its doors in 2022 to watch Royal Blood do their thing (read our show review here).

DIIV - The Ventura Theater

For us, it took an act that we just covered in June at one of LA’s most renowned theaters to convince us the moment had come for our initial trip to the Majestic. Seven months earlier DIIV made us feel hopeful at The Wiltern that there’s a future for indie rock (read our show review here), and something about The Ventura Theater’s tiered layout reminded us of the Art Deco beauty in Koreatown despite being finished three years prior. But sadly Zachary Cole Smith (lead vocals, guitar) and his sideways — one of which being the always animated, yet currently sedentary Andrew Bailey (guitar) due to a recent injury along with Colin Caulfield (bass, keyboards, guitar, vocals) and Ben Newman (drums) — have had more on their minds recently than solely music after the Eaton Fire destroyed Smith’s house in Altadena and a bunch of the band’s gear.

Somehow tragedy and trauma haven’t stopped the quartet from hitting the road this year in support of 2024’s Frog in Boiling Water however, with the Majestic serving as the fourth and final date of a brief California tour that began in Pomona where another shoegaze outfit captivated us last year thanks to their own brand of distorted guitars and dreamy vocals (read our First Times coverage here).

DIIV may lazily get lumped in with slowdive when you search online for popular shoegaze bands, but their performances have a distinct vibe and tone. On the surface, the crowd leans younger given that they have yet to reach the 15-year mark since Smith created the project as a solo endeavor, and on a deeper level, there’s a consistent stream of sociopolitical commentary that their UK counterparts have strayed away from. Because if you don’t come away with any sense of dystopian despair after seeing DIIV take the stage, then you weren’t paying close enough attention that night.

This also wasn’t the first time we have caught supporting act Kraus after witnessing their opening set at The Wiltern for Explosions in the Sky (read our show review here) and the trio led by Will Kraus (vocals, guitar) did their best to engage those of us who showed up by 8 p.m. with their noisy take on shoegaze. Had it not been a Monday, there might have been more than a few hundred people in attendance when the evening’s main act arrived onstage. In the grand scheme of things, none of that mattered for us. We were there to discover what exactly makes The Ventura Theater “majestic,” and by all accounts, we can say after this latest experience at one of Southern California’s most treasured and storied music venues that mission was accomplished.

Setlist:
In Amber
Like Before You Were Born
Brown Paper Bag
Under the Sun
Sometime
Soul-net
Frog in Boiling Water
Take Your Time
Taker
Everyone Out
Reflected
Somber the Drums
Between Tides
Blankenship
Acheron
Raining on Your Pillow

Encore:
Raining on Your Pillow
Horsehead
Doused

Filed Under: Editor's Picks, Featured, First Times, Show Experience Tagged With: , , , , , , , , , , , , , , , ,

First Times: Covering a show at Pappy and Harriet’s as Death from Above 1979 celebrate 20 years of ‘You’re a Woman, I’m a Machine’

October 18, 2024 by 2 Comments

Pappy & Harriet'sBy Josh Herwitt //

Death from Above 1979 //
Pappy and Harriet’s – Pioneertown, CA
October 11th, 2024 //

It’s easy to be spoiled by all of the opportunities to experience live music when you grow up in a city like Los Angeles. So much so, in fact, that it can often be difficult to find a good reason to venture outside of LA County for a show or festival.

Even though one of the world’s major entertainment capitals can provide endless options for fans from January to December, there’s something special about escaping the hustle and bustle of my hometown once in a while to catch a concert out in the wild.

Over the years Southern California’s Hi-Desert region has become one of those places for me that has served as a rather quick and easy getaway. Of course, sharing the same first name as the one-of-a-kind Yucca brevifolia — more commonly known as the Joshua tree — that dominates much of the landscape throughout the region might seem like the obvious reason for yours truly, but it’s no secret that interest in the area has skyrocketed globally since the invention of social media. Just look at how much an average Airbnb rental in Yucca Valley costs these days if you don’t believe me.

But ever since that first backpacking trip during my freshman year of high school, I have always held a deep connection to Joshua Tree National Park. The otherworldly feel of its rock formations and unique vegetation set against the backdrop of a stunning desert sunset is unmatched and something you can’t find anywhere else on the planet. The park, however, is only one of the Hi-Desert’s multiple attractions these days. Whether it’s a visit to The Integratron for a sound bath, Noah Purifoy’s outdoor museum or the seven-story Giant Rock that’s the largest freestanding boulder in North America and purportedly on Earth, there’s plenty to see and even more to do than one might think.

Pioneertown

Pioneertown

What we would be remiss to not have on that to-do list is a trip to Pioneertown where actor Dick Curtis built things from the ground up in 1946. Constructing a movie set for Westerns like “The Cisco Kid” and early TV shows, it would also become a regular filming location for the late Gene Autry until 1955. Both commercial production and photography are still allowed although only by permit, but many locals and visitors who turn onto Pioneertown Road from California State Route 62 and make the four-mile drive have one destination in mind: Pappy and Harriet’s.

The honky-tonk, California-style barbecue restaurant (think trip-tip sandwiches, ribs, burgers and more) where a cantina set was originally conceived during the town’s inception was ranked several years ago as one of the 100 greatest American music venues, ahead of other legendary rooms such as Radio City Music Hall and the Troubadour. Initially it was purchased in 1972 by Francis Aleba and became a biker bar serving Mexican fare that was named The Cantina before closing after a decade. In fact, it was not until Aleba’s daughter Harriet secured ownership of the building with her husband Claude “Pappy” Allen about 10 years later that Pappy & Harriet’s Pioneertown Palace as we know it today was officially born. While it continued to be a favorite watering hole for two-wheel riders with a menu featuring family-size Tex-Mex cuisine, it did not take long for fans of live music to also fall in love with different acts gracing their stage every week. It’s why top-notch artists and bands across the spectrum — Paul McCartney, Queens of the Stone Age, Lorde, Robert Plant, Arctic Monkeys, Vampire Weekend, Eagles of Death Metal, Band of Horses, Grizzly Bear, Rufus Wainwright and Alvvays to name a few — have shown up there to perform no matter how many times Pappy’s, as it’s commonly referred to now, has changed hands and who is currently running operations. That trend hasn’t slowed down either, with Phoenix, Slipknot, Modest Mouse, Patti Smith, Coheed and Cambria, Belle & Sebastian, Built to Spill, Orville Peck, Lukas Nelson & Promise of the Real, Pete Yorn, Wynona Judd, Violent Femmes, Sylvan Esso and more all dropping by over the past few years and earning the roadhouse stop a spot on the Los Angeles Times list for the 101 best California experiences in 2022.

After making visits on my own for food and drinks but having never previously taken in a concert, I can understand the appeal and how Pappy’s has turned into a well-oiled machine after more than 40 years. There’s something to be said about feeling like you have teleported back in time, and you get that sense as soon as you drive past the Pioneertown sign, pull into Pappy’s dusty parking lot and take in the smell of smoked meat. But it’s more than just aesthetics that creates the old-timey vibes at Pappy’s. On some days — usually weekends — you can find more than one show booked, and when that happens, it can certainly create for an interesting scene as fan bases collide outside at the bar and merch stand. And if one performance runs behind schedule, you can be assured that any ensuing events won’t be starting on time either. If you ever went to see a friend’s band play a local bar in high school or college, Pappy’s is not removed much from that sort of situation besides its saloon-like setting.

In addition to its diminutive indoor stage with a 350-person maximum, Pappy’s has expanded to include an outdoor stage that can host bigger names and accommodate as many as 850 folks when it’s not too cold at night. Nevertheless, I wanted to make sure that my first show was inside those wooden doors to get the true Pappy’s experience.

Death from Above 1979

Death from Above 1979

So when a band I have followed for more than a dozen years announced that it would be playing a gig inside Pappy’s to make up for the 2024 edition of Desert Daze being canceled, I finally felt moved to hit the open road and travel 140 miles east regardless of the small investment in time and resources that I knew came with my decision.

After all, this was not any performance. The first time I ever saw Death from Above 1979 in the flesh was not that far from Pappy’s. At the time, the dance-punk duo from Toronto was reuniting on the main stage at Coachella more than five years after breaking up despite the positive reception its debut LP You’re a Woman, I’m a Machine received in 2004. Jesse F. Keeler (bass, synthesizer, keyboards, backing vocals) and Sebastien Grainger (drums, vocals) have gone on to release three more full lengths since then, but this year has been dedicated to celebrating the album that gave them the chance to tour with Nine Inch Nails and QOTSA back then.

Based on the way things were unfolding at Pappy’s that evening with the preceding show not starting on time, the special midnight performance DFA 1979 booked had turned into more like a 1 a.m. set when it was all said and done, leaving me and others to wait in line and among a sold-out crowd for close to two hours. Of course, with the state’s 2 a.m. curfew in effect, the last performer of the night is always the one that pays the price — or at least its fans do — and in this case, there proved to be only enough time left on the game clock for Keeler and Grainger to run through You’re a Woman, I’m a Machine from start to finish before wrapping with a two-song encore consisting of lead single “Freeze Me” on 2017’s Outrage! Is Now and “Dead Womb” off the 2002 EP Heads Up that marked the group’s very first studio release. We might have been packed in there like sardines, but I did my best to take it all in while holding onto the rail in front of the stage for dear life — as well as my camera equipment — and trying not to stare into the red eyes of that patriotically bizarre, three-headed horse mural on the back wall.

Was it disappointing that we only got about an hour of raw, impassioned punk rock? Sure, we can’t say we would have minded hearing material from 2014’s The Physical World and the Canadian outfit’s most recent effort Is 4 Lovers that dropped more than three years ago at this point. But there’s no doubt going to a show at Pappy’s is not like any other concert experience you have had before. You don’t have to put on a pair of cowboy boots and/or Stetson hat to feel like you belong either, though it wouldn’t be frowned upon if that’s your thing. Anyone and everyone are welcome, and the same ethos has seemingly applied in showcasing all styles of music there. At one moment you might be listening to indie folk, and the next, you’re headbanging to some heavy metal — that’s what really makes Pappy’s so fun and cool. Because while it might not be a hidden gem in the desert anymore after previously hosting Coachella sideshows from Future Islands to Glass Animals, you won’t find anything quite like it to this day.

Setlist:
Turn It Out
Romantic Rights
Going Steady
Go Home, Get Down
Blood on Our Hands
Black History Month
Little Girl
Cold War
You’re a Woman, I’m a Machine
Pull Out
Sexy Results

Encore:
Freeze Me
Dead Womb

Filed Under: Editor's Picks, Featured, First Times, Live Music Reviews, Show Experience Tagged With: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

First Times: Experiencing a piece of SF history as My Morning Jacket take over The Fillmore for four sold-out nights with no repeats

June 7, 2024 by 1 Comment

My Morning Jacket - disco ball - The FillmoreBy Josh Herwitt //

My Morning Jacket //
The Fillmore – San Francisco
May 27th-28th & 30th-31st, 2024 //

Growing up in Los Angeles, I have always loved going to the Bay Area. Sure, there is definitely no love lost between SoCal and NorCal when it comes to certain professional sports teams and their fan bases, but that hasn’t changed my feelings or how I think of it now — even if I bleed Dodger blue.

With my aunt, uncle and late grandparents living in the City, I have many fond memories of our family trips up north and still consider SF to be one of my favorite towns in the world that I have ever been to (and to be honest, there are a lot I haven’t stepped foot in). But from beautiful parks and breathtaking views to world-class art and innovative cuisine among a plethora of tourist attractions, there’s never a shortage of things to do in “The City by the Bay” no matter where your interests lie or how much time and money (obvious tip: it helps to have a lot) you have on your hands.

Since I began covering concerts more than a decade ago in this space though, my adventures in “music journalism” — if we can call it that — had not yet taken me to the same city where this blog was founded for “work.” I had visited back in 2011 to attend Outside Lands and Treasure Island Music Festival before returning five years later to cover what ended up being a disastrous and largely forgettable 2016 edition of TIMF (read our festival review here). Nevertheless, the right opportunity to photograph any individual shows had not presented itself despite all the years I have lived in the Golden State. That is, until one of my favorite acts in live music announced by early March that it had booked four in the span of five days at the historic Fillmore and promised not to repeat songs.

The first time I saw My Morning Jacket in the flesh, Jim James (lead vocals, guitar), Tom Blankenship (bass), Patrick Hallahan (drums, percussion), Bo Koster (keyboards, percussion, backing vocals) and Carl Broemel (guitar, pedal steel guitar, saxophone, backing vocals) completely blew me away after a three-night run at The Wiltern in LA with a unique opener — featuring Portugal. The Man, Iron & Wine and Shabazz Palaces — and setlist (inspired by fan requests submitted online) each night serving as the impetus for the Louisville-bred band’s “Spontaneous Curation Series.” The five-piece by that point was in between albums, having already released 2011’s Circuital almost 18 months earlier and toured the country in support of it, and the circumstances in the 415 felt similar with 2021’s self-titled marking the group’s last proper studio effort (unless you are counting MMJ’s holiday-themed LP entitled Happy Holiday! that they released in late November comprised mostly of Christmas carols plus two originals).

The weeks in May leading up to The Fillmore were certainly bittersweet. After all, this wasn’t supposed to be the first time I was seeing Jacket since their rescheduled — thanks to Tropical Storm Hilary — co-headlining date with Fleet Foxes at the Hollywood Bowl in August (read our show review here) after two sold-out gigs at Red Rocks (read our show review here). That was intended to be the first week of May instead of the last one, when they were scheduled to lead the third and final day of BeachLife Festival with ZZ Top, Fleet Foxes and Trey Anastasio & Classic TAB also rounding out an excellent lineup. But after covering the event’s first two days in Redondo Beach (read our festival review here), the final four hours were unexpectedly canceled — and many would say prematurely — due to a high-wind advisory.

My Morning Jacket - The Fillmore

In the matter of an hour, the only LA date that MMJ had slated for this year had been completely wiped from the record. The decision had already been made, and with the staff and security being sent home and an earlier curfew for Sunday in place, there was no way all the remaining artists could still perform. Attendees left that day visibly frustrated and angry with the fest’s organizers for calling it off so quickly, considering the wind had died down by 7 p.m. with time left on the clock. Subsequently, we have been wondering in the aftermath why BeachLife doesn’t target a weekend in June or another summer month rather than early May when it’s not exactly “beach weather” — unless you think daytime temperatures that peak in the mid-60’s and high winds of 45-50 mph is for some reason.

Is there any chance MMJ will eventually announce a makeup date for their SoCal-based fans? No one knows right now, but alas, there we were driving along Interstate 5 through California’s Central Valley a few weeks later, excited and gratified to be making the roughly 800-mile trek roundtrip to catch them at least on one occasion in 2024 and use that, on a personal level, as a way to celebrate the beginning of a new decade. Assuredly it helps when the weather in the Bay Area cooperates over the course of your stay, and with warm, sunny days filling the forecast, the stars were finally starting to slowly align after the disappointment we had recently experienced at BeachLife. Because when I walked up those burgundy-colored carpeted stairs at The Fillmore for the first time and was greeted by hundreds of old photos and posters plus a large bucket of apples (we can’t confirm if they were organic even if they passed our taste test), I could immediately feel the history of the place. And in the leadup to these shows, I had curiously spent some time learning more about Bill Graham and became fascinated with his backstory as I dived deeper into it. The legendary promoter whose mother placed him in an orphanage that helped Graham escape Nazi Germany has been credited with hosting some of rock ‘n’ roll’s most legendary musicians — Grateful Dead, Jimi Hendrix, The Who, Janis Joplin, Jefferson Airplane, the Doors and Otis Redding — as the counterculture movement in the 60’s exploded all across Western civilization. Whether it’s the iconic Jerry Garcia photo that greets you at the top of the staircase on your way to the Poster Room or the bevy of ornate chandeliers that hang above the hardwood dance floor, there’s nothing quite like an evening at The Fillmore. It has been said that Graham wanted to make patrons believe as if they were hanging out in his own personal living room, and the warm, friendly staff we encountered matched the auditorium’s cozy vibe that he created thanks to entrepreneur and businessman Charles Sullivan, who owned the property’s master lease in 1965 and let him use his dance hall permit to put on concerts.

Holding only 1,315 guests, the former Majestic Hall built in 1912 is easily the smallest music venue that I have ever seen MMJ play. While they have never quite reached the level of an arena or stadium act like other popular rock bands, any room under a couple of thousand folks would be considered an “intimate” setting for them at this point in their 25-year-plus history. Between the live music industry shutting down during the COVID-19 pandemic and the ongoing demands of touring upon its resumption however, you also won’t find Jacket throwing down three- and four-night runs with much regularity nowadays outside of their own destination festival One Big Holiday in Mexico and a select few U.S. cities such as Denver and Chicago where some of the highest fan concentration in the MMJ community exists. That’s not to say there aren’t plenty who traveled great distances to arrive at the corner of Geary Blvd. and Fillmore St. on the edge of Japantown. One couple I met, in fact, came all the way from northeast Pennsylvania to catch all four performances, and that’s the kind of dedication you will see from longtime enthusiasts and loyal listeners.

But considering the setlists that were assembled, no one could have asked for much more when the final note of “Wordless Chorus” was struck. After an opening night that boasted a myriad of highlights, including “Master Plan” with a “China Cat Sunflower” tag as an ode to the Dead, a stretched-out “Only Memories Remain” that reached the 14-minute mark, the first “Librarian” since March 2018 and a Bob Dylan cover of “Knockin’ on Heaven’s Door” during the encore, there were more Fillmore fireworks on Night 2 when James and company broke into Neil Young’s “Harvest Moon” and later offered up “I Get Around” from The Beach Boys, which we were hoping to hear at BeachLife since MMJ performed the 1964 single last year during the GRAMMY’s televised tribute for the Rock and Roll Hall of Fame band. Yet, I knew Jacket would save some of their biggest bangers for the last two shows in SF and we can only imagine the 48-hour break between Nights 2 and 3 provided some necessary respite before they dove into another round of jams to unleash only the fourth “If It Smashes Down” ever, extend “Steam Engine” for a whopping 18 minutes, bring back “By My Car” for the first time in almost five years and close with a huge “Phone Went West” that included Journey’s “Lights” interpolated midway through.

That collection of songs would satisfy most Jacket fans on any given night, but I was sure they would save their best for last — and by “best,” I mean “Dondante” without a doubt. The Z finale has been my favorite MMJ tune for quite a while, and the nearly 22-minute version they uncorked at The Fillmore was by far the best (no pun intended) one I have witnessed out of four. You could tell by the end of it that the capacity crowd, having already been gifted “Cobra” at the onset as well as a cover of George Harrison’s “Give Me Love (Give Me Peace on Earth)” earlier, was officially on cloud nine. Something special had seemingly happened in that moment and nothing could bring us down to Earth from that point forward — only making James’ ensuing “State of the Art (A.E.I.O.U.)” all the more powerful to experience live (you would have thought “the power is going out” from the way they played it with such fervor) along with the apropos live debut of Otis Redding’s “(Sittin’ On) The Dock Of The Bay”, which was written following the 1967 Monterey Pop Festival in a Sausalito houseboat the “King of Soul” rented. The three-time Grammy nominees, on the other hand, have always made a point to mix in covers that correspond to a particular time or place, and this was one that couldn’t have been more perfect for the moment. It was just another example of what has us coming back around time and time again … and ultimately why we will have our fingers crossed for that makeup date in LA.

MAY 27TH

Setlist:
At Dawn
O Is the One That Is Real
Master Plan (with “China Cat Sunflower” by Grateful Dead tag)
Mahgeetah
Rollin Back
Run It
Evelyn Is Not Real
Carried Away (Carl Broemel song) (“Just My Imagination” by The Temptations tag)
Only Memories Remain
A New Life (Jim James song)
You Wanna Freak Out
Outta My System
Honest Man
Librarian (last played 3/5/2018; “Let’s Live for Today” by The Grass Roots tag)
What a Wonderful Man (preceded by a Jim solo version on omnichord)
In Its Infancy (The Waterfall)
Holdin On to Black Metal
Touch Me I’m Going to Scream Pt. 1
Here in Spirit (Jim James song)
Love Love Love

Encore:
Knockin’ on Heaven’s Door (Bob Dylan cover)
Feel You
Gideon
Dancefloors (with “China Cat Sunflower” and “China Cat Sunflower” > “I Know You Rider” by Grateful Dead transition teases)

MAY 28TH

Setlist:
In Color
It’s About Twilight Now
Strangulation! (instrumental intro due to technical difficulties)
War Begun
Slow Slow Tune
The Way That He Sings
X-Mas Curtain
Never in the Real World
How Could I Know (Oxen)
I Will Sing You Songs
Harvest Moon (Neil Young cover)
Come Closer
I Think I’m Going to Hell
Victory Dance
Aluminum Park
I Get Around (The Beach Boys cover)
Anytime

Encore:
Old Sept. Blues (with “Sleep Walk” by Santo & Johnny during intro)
It Beats 4 U
Spring (Among the Living) (with “Dear Prudence” by The Beatles tag)
One Big Holiday

MAY 30TH

Setlist:
Regularly Scheduled Programming
Compound Fracture
Off the Record
Tropics (Erase Traces)
Death Is the Easy Way
If It Smashes Down (only performed live three times & last played on 3/2/2018)
The Dark
Lowdown
Climbing the Ladder
Least Expected
Penny for Your Thoughts
Steam Engine
By My Car (last played 08/09/2019)
I’m Amazed
Picture of You
Believe (Nobody Knows)
Lay Low
Wasted

Encore:
Sooner
Rocket Man (I Think It’s Going to Be a Long, Long Time) (Elton John cover)
Smokin’ From Shootin’
Phone Went West (“Lights” by Journey interpolation > Phone Went West)

MAY 31ST

Setlist:
Cobra
If All Else Fails
Golden
Give Me Love (Give Me Peace on Earth) (George Harrison cover)
Circuital
Easy Morning Rebel
Nashville to Kentucky
Like a River
Thank You Too!
Lucky to Be Alive
Evil Urges
Dondante
State of the Art (A.E.I.O.U.) (Jim James song)
Remnants
Run Thru

Encore:
Highly Suspicious
Touch Me I’m Going to Scream Pt. 2
(Sittin’ On) The Dock Of The Bay (Otis Redding cover) (Live debut)
Wordless Chorus

Filed Under: Editor's Picks, Featured, First Times, Live Music Reviews, Show Experience Tagged With: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

First Times: Leaping head first into slowdive’s dreamy shoegaze at a sold-out Fox Theater Pomona

April 29, 2024 by 5 Comments

slowdive - Rachel GoswellBy Josh Herwitt //

slowdive with Drab Majesty //
Fox Theater Pomona – Pomona, CA
April 26th, 2024 //

When you live in a city as big as Los Angeles, it’s not everyday that you find yourself hopping on the 60 Freeway and embarking out to the county’s eastern edge for an evening of live music in Pomona.

But nearly 10 years after making the 45-mile trek on a weeknight to catch The Kills at The Glass House (read our show review here), I still found a good reason to do it again and endeavor trying to beat rush-hour traffic on a Friday in LA (pro tip: it takes a lot of patience).

P-Town, as the locals call it, is Goldenvoice CEO Paul Tollett’s backyard after all. It’s where he grew up and co-founded The Glass House with his brother Perry before teaming up with Goldenovice co-owner Rick Van Santen to conceive the $100 million idea that Coachella would eventually become almost two decades later.

But it was in 2007 when Tollett partnered with Ed and Jerry Tessier to purchase the historic Fox Theater Pomona, a fully restored Art Deco movie palace that remains one of the Pomona Arts Colony’s flagship attractions more than 90 years after opening. Constructed in the classic “Hollywood Style” and used by movie studios around Tinseltown to host sneak previews of their upcoming films, the building received $10 million’s worth of renovations when the Tessier family took control and restored it into a state-of-art music venue for audiences as large as 2,000.

With a capacity of that size, the Pomona Fox Theater can attract some top-notch acts every year and Tollett has seized the moment each April since 2012 by booking some big Coachella sideshows there, from Bon Iver and Modest Mouse to Blur and Jungle most recently. Yet, after all these years covering live music, it was English rockers slowdive who finally convinced me to head east again for my first trip to the Fox — and I’m glad that I didn’t miss it after being out of town during their two LA headline shows at The Bellwether in October.

slowdive - band

slowdive, believe it or not, have been around for more than three decades at this point. The five-piece out of Reading was formed back in 1989 by primary songwriter Neil Halstead and Rachel Goswell but has remained intact despite a hiatus that lasted almost 20 years.

And with the group’s label parting ways after its first three studio albums were released by the mid-90’s, it wasn’t until 2017 a few years after reuniting when slowdive dropped their self-titled LP that captivated a whole new swath of fans, who quickly jumped on the bandwagon upon hearing dreamy cuts “Slomo”, “Star Roving”, “Sugar for the Pill” and our personal favorite, “No Longer Making Time” toward the end of the eight-track effort.

I will be perfectly honest and admit that I have not always been the biggest fan of shoegaze. The alt/indie-rock sub-genre that had exploded out of Ireland and the UK in the late 80’s when I was a youngster had escaped me amidst the hair-metal scene and subsequent tidal wave of grunge rock during the early 90’s that my older brother turned me onto. I had completely missed the boat on My Bloody Valentine until much later on and never found myself diving into RIDE or Lush, which left me largely unaware of the movement that has paved the way for more recent acts, including DIIV, Hotline TNT, bdrmm and even Silversun Pickups (Pitchfork actually published a piece on shoegaze’s revival prior to the end of last year, citing slowdive’s “phoenix-like rise from the ashes in recent years” here).

Back inside the Fox where a capacity crowd eagerly awaited their arrival onstage, Goswell (vocals, guitar, keyboards, tambourine), Halstead (vocals, guitar, keyboards), Nick Chaplin (bass), Christian Savill (guitar) and Simon Scott (drums) made their presence known just after 9 p.m. with the opening track to their fifth full length Everything Is Alive that arrived in September via Dead Oceans. But it was older material such as the ensuing “She Calls” from the band’s 1992 compilation Blue Day that caught us by surprise as the constant wash of guitar distortion and echoing vocals put us in a trance-like state for the remainder of slowdive’s 90-minute performance.

If there was anything from the show we could nitpick, it was probably that we didn’t get to hear “Slomo” after it was played a day earlier at The Majestic Ventura Theater, and while we had considered heading north for that date instead, our first time seeing slowdive was far from underwhelming. “Souvlaki Space Station” followed by “kisses” served as one highlight, while an encore beginning with what has become their most popular hit “Sugar for the Pill” and a cover of Syd Barrett’s “Golden Hair” that understandably felt psychedelic in its nature provided a euphoric ending for the long drive home. slowdive might not be the loud rock ‘n’ roll concert you are looking for, but there’s no question — effects pedals and all — that they have carved out quite the following since their reformation. Because with the way things have been trending for them of late, we sure hope they don’t slow (no pun intended) down anytime soon.

Setlist:
shanty
She Calls (started, and abruptly stopped by Rachel, then played in its entirety)
Star Roving
Catch the Breeze
Avalyn
skin in the game
Crazy for You
chained to a cloud
Souvlaki Space Station
kisses
Alison
When the Sun Hits
40 Days

Encore:
Sugar for the Pill
Golden Hair (Syd Barrett cover)

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First Times: Covering a concert at Red Rocks as My Morning Jacket return to sacred ground for two awe-inspiring nights rain & shine

August 31, 2023 by 5 Comments

My Morning Jacket with M. WardBy Josh Herwitt //

My Morning Jacket with M. Ward //
Red Rocks Park and Amphitheatre – Morrison, CO
August 25th & 26th, 2023 //

No matter where you are from, a trip to Red Rocks should be on every live music fan’s bucket list. The mile-high, open-air amphitheater only a short drive from Denver in Morrison, Colo., has over the years become a destination venue for live music fans all around the globe with its otherworldly rock structure and stellar natural acoustics.

Red Rocks’ annual attendance numbers certainly prove that to be true, too. Just a couple of years ago, it received the distinct honor of being named the top-grossing and most-attended concert venue of any size in the world. For a lot of artists and bands, having the opportunity to perform in such a unique and sacred space ranks up there with playing other famous sonic sanctuaries like The Gorge Amphitheatre, Radio City Music Hall and the Hollywood Bowl.

That’s some elite company to be included with, but ask anyone who has been and they will say Red Rocks is worthy of such acclaim. It’s why the 9,525-person amphitheater also holds a special place in the hearts of so many performers, including one of live music’s absolute best: My Morning Jacket.

Since opening in 1941, Red Rocks has been home to quite a few noteworthy performances from U2 to Widespread Panic, with the latter holding the venue’s record for most consecutive sold-out shows at 69 after their latest three-night run in June. And though MMJ hasn’t nearly reached that high mark, there’s no doubt that some of their most important moments over the past quarter century have taken place in between “Creation Rock” and “Ship Rock.” So it shouldn’t be a surprise that fans travel from all corners of the country to catch the Louisville-bred outfit there.

Red Rocks Park & Amphitheatre

Jacket’s very first appearance at the amphitheater, in fact, came in 2007 opening for the legendary Bob Dylan, but it only took another year before they were being offered their own date to headline. It wasn’t until 2012 for their “Spontaneous Curation Series” when MMJ started booking two nights “on the rocks,” with this year marking the quintet’s fifth time doing so for its 14th and 15th shows.

Nevertheless, it was a pair of performances at Red Rocks in 2019 that ultimately helped reignite the band and inspired Jim James (lead vocals, guitar), Tom Blankenship (bass), Patrick Hallahan (drums, percussion), Bo Koster (keyboards, percussion, backing vocals) and Carl Broemel (guitar, pedal steel guitar, saxophone, backing vocals) — with James coining the venue as “the birth canal of the universe” that year — to get back in the studio to record their ninth full-length album. Even the cover artwork for the ensuing, self-titled My Morning Jacket directly paid homage as you can see here. That’s how much one of Colorado’s most prized possessions has meant to the group’s success and longevity.

So after making the short pilgrimage from LA for two nights of MMJ at Red Rocks last August, I wasn’t about to miss them when it was announced that they would be returning for two more gigs in 2023. This time would be a little bit different, though. Not only had the supporting act changed with M. Ward slated for both shows, but being granted a photo credential for Friday and Saturday had finally afforded me the chance to capture a concert (or two) at the one and only “RR” with my camera equipment.

Red Rocks has always been one of my favorite places to witness live music. It’s somewhere that I have found myself going back to time and time again for almost two decades because there’s really nowhere else like it. The sound, atmosphere and fans all make it a one-of-a-kind experience and one of the best spots anywhere to watch a concert. From the first to the last row, there’s truly no bad seat in the house. Plus, the tailgating in the Lower South Lots alone is worth going for — and why you should always plan to arrive early before the doors open. You might even make some new friends in the parking lot!

My Morning Jacket

For a band that rocks as hard as MMJ does, it only seems fitting that one of their beloved venues to visit would be Red Rocks. Friday’s show would see James and company not holding back as they performed their 2003 LP It Still Moves in its entirety, enlisting M. Ward to sit in on “Golden” and “Steam Engine”. As elated as I was to hear “Master Plan” again however, it was also the first time since 2018 that “Just One Thing” and “One in the Same” had been played. Thanks to an extended encore with deep cuts such as “Honest Man” from 2001’s At Dawn and “Smokin’ From Shootin'” off 2008’s Evil Urges, the evening still finished a lot better than it began after heavy rains put a damper on any pre-show partying and soaked plenty of us from head to toe.

Saturday’s forecast, on the other hand, proved to be quite the opposite. With clear skies and sunshine setting the stage for MMJ’s second night, we were treated to a setlist that was well worth hopping on a plane for. There was another sit-in from M. Ward — this time on “At Dawn” and “Off the Record” — but there was also the debut of Cat Stevens’ “The Wind” as well as a cover of Traffic’s “Feelin’ Alright?” for only the second time ever with surprise guest and Colorado native Nathaniel Rateliff on vocals. Those were definitely two of the biggest highlights (no pun intended) amid the light motif that MMJ signaled to us with “At Dawn”, “First Light”, “It’s About Twilight Now” and “The Dark” coming consecutively midway through their set, but it was the encore centered around a four-part “Cobra” — the track, after all, runs more than 24 minutes long on 2002’s Chocolate and Ice — with “Highly Suspicious”, “Off the Record” and “Touch Me I’m Going to Scream Pt. 2” interspersed in between, leaving the sold-out crowd mostly speechless. It was a setlist technique that you would see a jam band like Phish or Umphrey’s McGee employ, but not MMJ. The three-time Grammy nominees have always lived in the jam-adjacent space, even if they have been booked for some of the same music festivals you might find other jam bands at, including Bonnaroo, Hulaween and Peach. But ever since forming in 1998, MMJ have never presented or considered themselves to be a jam band and the same applies today.

Regardless of how you want to label their music, James, Blankenship, Hallahan, Koster and Broemel looked and sounded at Red Rocks as locked in as they ever have. A sincere joy emanated from all five members that was palpable the minute they walked onstage, and by the time MMJ had wound us down after more than two hours with “Love Love Love” to wrap up their two-night stand, nothing but immense gratitude and a genuine love for what we had just heard remained inside.

It’s safe to say that you can’t tell MMJ’s story now without referencing Red Rocks at some point along the way. The band knows that, and many of its most loyal enthusiasts have come to understand what’s there, too. Because if recent history serves as any indication, rocking out to MMJ under the stars while being surrounded by some red sandstone monoliths is like nothing else. Quite simply, it’s magical.

AUGUST 25TH

Setlist:
Mahgeetah (>)
Dancefloors
Golden (with M. Ward)
Master Plan (>)
One Big Holiday (>)
I Will Sing You Songs (>)
Easy Morning Rebel (>)
Run Thru
Rollin Back (>)
Just One Thing (first time since 2018)
Steam Engine (with M. Ward)
One in the Same (first time since 2018)

Encore:
Victory Dance
Least Expected (>)
The Way That He Sings
Honest Man
Feel You
Slow Slow Tune (>)
Smokin’ From Shootin’ (>)
Gideon
Wordless Chorus

Editors’ Note: “It Still Moves” 20th anniversary show; portions of “Wordless Chorus”, “At Dawn”, “Butch Cassidy”, “Feelin’ Alright?”, “Highly Suspicious” and “Cobra” were played during soundcheck.

AUGUST 26TH

Setlist:
Anytime
Touch Me I’m Going to Scream Pt. 1
Spring (Among the Living) (Beatles “Dear Prudence” outro)
Evil Urges (>)
War Begun (>)
At Dawn (with M. Ward)
First Ligh
It’s About Twilight Now (>)
The Dark
Lay Low
Only Memories Remain
Butch Cassidy (>)
The Wind (Cat Stevens cover) (first time played)
Regularly Scheduled Programming
Circuital
Feelin’ Alright? (Traffic cover) (with Nathaniel Rateliff)
Wasted

Encore:
Cobra (Pt. 1>)
Highly Suspicious
Cobra (Pt. 2>)
Off the Record (with M. Ward) (>)
Cobra (Pt. 3>)
Touch Me I’m Going to Scream Pt. 2
Cobra (Pt. 4>)
Holdin on to Black Metal
Love Love Love

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First Times: Covering a show at the Hollywood Bowl

August 12, 2016 by 4 Comments

Kurt Vile & The ViolatorsBy Josh Herwitt //

Sufjan Stevens with Kurt Vile and The Violators, Ibeyi //
Hollywood Bowl – Los Angeles
August 7th, 2016 //

No matter what you think of LA, whether you love it, hate it or hold no opinion of it at all, the Hollywood Bowl has remained universally loved as one of the city’s most prized possessions. It’s safe to say that the Bowl, as us Angelinos like to call it for short, has always stood as one of the world’s most legendary outdoor music venues. In fact, it’s still considered the “largest natural amphitheater” in the U.S. (whatever that means) at 17,500, but just do a quick Google search for “best outdoor music venues in the U.S.” and you’ll see how often it’s included in listicles ranking the best amphitheaters in the country. For that reason alone — although the glitz and glamour of LA have certainly never hurt — there has always been an understanding within the music industry that any artist who headlines a show inside the Bowl’s iconic bandshell has officially “made it.”

Though I don’t know if the same can be said for my music journalism career, there have been at least a few bright spots, one as most recently as last Sunday, when I was invited to cover my first show at the Bowl. It might sound cliché (actually it definitely sounds cliché), but never in my wildest dreams did I ever think I would get credentialed for a show at one of music’s most storied and historic venues, one that I grew up going to regularly as a kid. When you write for a small music blog like this one, getting the opportunity to cover a show at the Bowl doesn’t come around all that often, if ever. And what a show it turned out to be.

With a bill headlined by neo-psychedelic folk singer-songwriter Sufjan Stevens and featuring sets from lo-fi indie rocker Kurt Vile with his backing band, The Violators, and French-Cuban soul/R&B duo Ibeyi, the lineup of performers on this night was eclectic to say the least. Yet, with two of the three acts already in California to play Outside Lands Music and Arts Festival (read our review here), NPR member station KCRW made sure to take advantage for its World Festival series.

Sufjan Stevens


Sufjan Stevens

It’s always tough for an opener to play the Bowl, and unfortunately Ibeyi had to find that out the hard way for its first appearance. With the show’s early start time due to the Bowl’s 10:30 p.m. curfew on Sundays (it slides back to 11 p.m. Monday-Saturday), most of the seats were empty when twin sisters Lisa-Kaindé Diaz and Naomi Diaz took the stage at 7 p.m. sharp. It wasn’t until 7:40 p.m., when Vile and his three bandmates were subsequently up next, that the amphitheater started to fill up, especially in the upper-level sections. Vile, who has been touring heavily since the release of his sixth solo album b’lieve I’m goin down…, let out a few hoots and hollers as he opened his 50-minute set, doing his best to pump up the somewhat subdued crowd. But it was his music that ultimately got fans excited, leaning heavily on his newest material as he moved between electric guitar, acoustic guitar and banjo.

The spectacle of the night, however, was no doubt Sufjan Stevens’ set. The Michigan native, who professed his love for his home state on his 2003 LP, had it pretty rough growing up, as he details in “Should Have Known Better” from his latest studio effort Carrie & Lowell. The album, which recounts some of the more unsettling moments Stevens shared with his late mother (Carrie) and stepfather (Lowell) — including times when Carrie abandoned him as a child — and the emotional pain he felt following her death in 2012, has taken his career of almost 20 years to new heights, with many music critics pronouncing it his best yet.

On this evening though, Stevens did his best to spin things in a positive light, proclaiming at one point that he wanted to “sing about life” after spending “a year-and-a-half singing about death.” “Feel your heart and your lungs and the warmth of your skin, and know you’re alive,” he told us in between songs while preaching that we as a society need “less resistance” and “more acceptance.” Coming from a man who dons a pair of giant wings, a neon-colored track suit and at times, a bizarre balloon costume onstage, a spiritual pep talk as such could sound like a bunch of hocus pocus to glass-half-empty types. But the stories Stevens tells on Carrie & Lowell are real and heartfelt, ones that take guts to broadcast publicly like he does, and with a rainbow of fluorescent lights covering the Bowl’s band shell once night fell, the final stop on his 2016 summer tour felt more like a celebration of sorts than a memorial service. So, as the man in a foil-like suit ran through the crowd at the start of his encore, which concluded with a tribute to another one of his fallen heroes in Prince, I couldn’t help but smile and take it all in, knowing full well that the chance to cover a show at the Bowl may never come my way again.

SUFJAN STEVENS

Setlist:
Seven Swans
Too Much
All of Me Wants All of You
Come On! Feel the Illinoise!
I Walked
Vesuvius
Blue Bucket of Gold
Fourth of July
Should Have Known Better
Carrie & Lowell
I Want to Be Well
Impossible Soul
Chicago

Encore:
Concerning the UFO Sighting Near Highland, Illinois
For the Widows in Paradise, For the Fatherless in Ypsilanti
Kiss (Prince cover) (with Moses Sumney)

KURT VILE & THE VIOLATORS

Setlist:
Dust Bunnies
I’m an Outlaw
Jesus Fever
Goldtone
KV Krimes
Walkin’ on a Pretty Day
Pretty Pimpin’
Puppet for the Man
Freak Train

IBEYI

Setlist:
Elleggua
Lost in My Mind
Mama Says
I’m on My Way
Oya
Think of You
Oddudua
River

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

October 19, 2015 by 3 Comments

My Morning JacketBy Josh Herwitt //

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

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

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

My Morning Jacket

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

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

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

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

My Morning Jacket

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

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

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

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

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First Times: Experiencing Seattle’s music scene

July 18, 2014 by Leave a Comment

Seattle skylinePhotos by Josh Herwitt & Melissa Herwitt // Written by Josh Herwitt //

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

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

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

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

EMP Museum

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

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

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

Geographer

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

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

Geographer

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