Live Music Reviews

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

May 8, 2014 by Molly Kish 2 Comments

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

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

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

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

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

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

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

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

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

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

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

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

Franz Ferdinand’s nostalgic dance party at Fox Theater Oakland

May 2, 2014 by Molly Kish 1 Comment

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

Franz Ferdinand with Cate Le Bon //
Fox Theater — Oakland, CA
October 28th, 2014 //

Franz Ferdinand kicked off the North American leg of their tour this past Monday night at the Fox Theater Oakland, and we were on site, dancing ourselves into a nostalgic frenzy with the with the early weeknight crowd.

Opener Cate le Bon, (with her touring band) got the crowd fired up, playing a short but sizzling set of material from her three full lengths and highlight tracks off her latest release, Mug Museum. Although relatively new in the mainstream American market, the Welsh singer-songwriter has been making her rounds in the European festival circuit and as a supporting act for various UK artists for several years now. Beyond her commanding vocals and impressive guitar training, le Bon had the stage presence of a seasoned veteran. Directing her supporting band members into a distorted blues jam, she impressed the Monday night crowd with her howling choruses and front woman confidence.

Franz Ferdinand took the stage with little to no set up and in their matching, freshly-pressed monochromatic suits. Running with a similar aesthetic to that of other European bands of their breakthrough era, (ie: Hives, Jet, etc.) this definitely wasn’t their first rodeo. Further exemplified by a nearly two hour set list of greatest and latest hits off of their latest release, Right Words….

Their minimalistic set design staged the perfect backdrop for a show that was just as much a visual experience as it was an auditory one. Franz Ferdinand incorporated Dadaist movement-themed graphics and geometric art deco patterns into their light show. Highlight moments included crowd sing-a-longs to hits off the band’s 2004 self-titled album, an extended version of “Can’t Stop Feeling”, which trailed off into a Donna Summer disco hook from her 1977 hit “I Feel Love”, and an encore version of Blondie’s “Call Me” with Cate Le Bon pairing up on vocals.

Filed Under: Featured, Live Music Reviews Tagged With: Cate le Bon, Fox Theater Oakland, Franz Ferdinand

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

April 29, 2014 by Kevin J Quandt Leave a Comment

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

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

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

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

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

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

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

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

The National showcase natural evolution, continue to inspire

April 28, 2014 by Mike Frash 1 Comment

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

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

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

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

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

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

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

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

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

Show Notes:

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

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

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

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

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

St. Lucia go ‘Live at the Landmark’ in SF’s City Hall

April 22, 2014 by Molly Kish 1 Comment

Photos by Pedro Paredes // Written by Molly Kish

St. Lucia with Conway, benefiting Operation Gratitude //
City Hall — San Francisco
April 17th, 2014 //

Brooklyn buzz band St. Lucia took over the main lobby of City Hall this past week headlining the San Francisco edition of the Jack Daniel’s “Live at the Landmark” series. The beautiful venue accommodated an exclusive crowd of less than 200 people, providing a stunning backdrop for the electro-pop outfit and their opener, Conway. Bathed in hues of blue and purple, the setting remained in a gorgeous dusk-lit color scheme, echoing the sky-lit entry way leading you into the municipal foyer. There you were greeted by Civic Hall’s grand staircase underneath its epic dome, lined with awe-inspired crowd reveling in complementary Jack Daniels and the gorgeous stage site.

Following a short set by Conway, St. Lucia took the stage. Jean-Philip Grobler immediately commented on how excited they were to be playing such an impressive venue. Touring steadily over the past year, behind the acts’ breakout success When the Night, Grobler and his backing band members kicked directly into their performance like a well-oiled machine. Focusing on hits off the 2013 debut album, their set list ran consistent with that of most dates on their current touring schedule. Kicking things off with the building choral chant of “The Night Comes Again” straight into the tropic-themed sensory transposition of “The Old House Is Gone”, St. Lucia effortlessly prompted their crowd to start shuffling their feet and bouncing along. Grobler and crew made an extra effort to get the intimate audience involved during their mid-set crowd participation segment, consisting of a group pogo amidst back to back performances of When the Night hits “All Eyes On You”, and “Elevate”.

Known for their big sound and impassioned performances, hardcore St. Lucia fans could see that the band was struggling a bit with the limited sound equipment and confined space. Although a near perfect setting for acoustics, the speaker set up for the evening remained contentious throughout the entire concert. Although hindered by the tiny towers of pitchy speakers, Grobler and crew kept the show rolling like a pack of seasoned professionals. Exchanging sassy glances with each other throughout the entire performance, the crowd could visibly recognize that St. Lucia, despite the technical difficulties, were there to have fun. Giving an energetic show punctuated by their spot on rendition of Chaka Khan’s “Ain’t Nobody”, St. Lucia brought the party vibes to City Hall, giving the Bay Area audience a uniquely memorable evening of live music at an undeniably legendary landmark.

St. Lucia at SF's City Hall // Jack Daniel's "Live at the Landmark"

Conway at SF's City Hall // Jack Daniel's "Live at the Landmark"

Filed Under: Featured, Live Music Reviews Tagged With: Conway, Jack Daniels, San Francisco City Hall, St. Lucia

Disclosure’s ‘Wild Life’ invades the Greek

April 21, 2014 by The Bam Team Leave a Comment

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

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

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

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

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

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

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

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

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

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

Future Islands connect amid high expectations at The Chapel

April 14, 2014 by Pedro Paredes 1 Comment

By Pedro Paredes //

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

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

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

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

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

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

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

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

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

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

Paul Simon’s ‘Graceland’ gets royal treatment

April 14, 2014 by The Bam Team Leave a Comment

Fely Tchaco performing “I Know What I Know”

By Steve Roby //

Paul Simon‘s Graceland by UnderCover Presents & Faultline Studios //
Jewish Community Center – San Francisco
April 11th, 2014 //

In the not too distant past, faithful music fans purchased full-length record albums. Some contained obvious filler, but others stood out with coherent themes and not just individual tunes. You’d wear the grooves out, playing them from the beginning to the end. The hits from these LPs are played on classic rock radio stations, but the majority of the material remain deep tracks tucked away in our memories.

Some bands like The Who have performed live recreations for their “rock operas” Tommy and Quadrophenia, but founder of UnderCover Presents Lyz Luke discovered a unique chemistry occurred when multiple bands came together to perform their own interpretations. She’s recently revived this full-album listening experience in a concert setting to consistently great reviews.

“The project started about three-and-a-half years ago,” Luke says. “When musicians Charith Premawardhana (founder of Classical Revolution), Adam Theis (Jazz Mafia) and I had a very late-night conversation about assembling a live tribute for the 1967 classic LP The Velvet Underground & Nico. We wound up calling a roster of musicians the next day, and ended up with one band per song.”

The project evolved and caught the attention of Third Eye Blind frontman (and S.F. resident) Stephan Jenkins, and singer/guitarist Liz Phair, who along with 40 local musicians preformed the entire record to a sold-out crowd at the Coda Jazz Supper Club on Mission Street back in 2010.

Diana Gameros performing “Gumboots”

“The audience got to see a dozen different bands in one night, and loved it,” recalled Luke. “The connections for the musicians lasted long after this initial show, and they started recording and guesting on each other’s albums and concerts. I don’t think this would’ve happened if this performance hadn’t taken place.”

Although Luke grew up in Los Angeles, she’s now a Bay Area local, and appreciates the strength of the artistic community. She’s been involved with other large-scale events like the AIDS Walk and The San Francisco Marathon. In 2010, she co-founded UnderCover Presents, which to date has produced 9 showcases as part of their album series. The diversity of recordings covered ranges from Joni Mitchell’s Blue, a record that explored intimate relationships, to Black Sabbath’s bone-crunching Paranoid, considered by some as the best heavy metal album of all time.

Back in January, UnderCover presented Sly & The Family Stone’s Stand! at The Independent (see our recap and photos here). It was coordinated by Music Director Rob Shelton, and even had some help from former Family Stone band members. As Luke fondly remembers, “We got drummer Greg Errico, guitarist Freddie Stone, and Rustee Allen who replaced bassist Larry Graham. We also tried to get (trumpeter) Cynthia (Robinson) and (saxophonist) Jerry Martini, but it didn’t work out in time. There will be an encore show for Stand! next January [2015] at Oakland’s Fox Theater.”

Luke’s latest presentation takes on Paul Simon’s classic Graceland, which features an eclectic mixture of musical styles including pop, a cappella, isicathamiya, rock and mbaqanga. Simon’s inspiration for the album came when he listened to a cassette called Gumboots – Accordion Jive Hits Number 1 by the South African band The Boyoyo Boys. Graceland won the 1987 Grammy Award for Album of the Year, while the title song won the 1988 Grammy Award for Record of the Year.

Afrofunk Experience performing “Under African Skies”

Last Friday UnderCover Presents debuted their Graceland tribute to a sold-out crowd at SF’s Jewish Community Center. It featured 109 musicians under the direction of the very talented Rob Shelton. DJ Dizzy Victrola spun appropriate music between sets, and Elia Vargas provided amazing backdrop visuals. After Graceland, Luke plans to expand UnderCover’s horizons.

“We’ve found ourselves getting stuck in the 1970s, which is a great time in music, but we definitely don’t want to be known as the classic rock tribute show. In fact we’re working with a new music director, and plan to do a Bob Marley album next. After that, maybe a hip-hop album. We’ve also been in talks with the folks who organize the Stern Grove Festival about doing an outdoor performance that features a Bay Area band’s album. The Grateful Dead and Creedence Clearwater Revival are some suggestions that have come up so far.”

If you have missed any of the previous shows, Undercover has recorded studio versions with the musicians that performed them live. To hear a sample, or to purchase CDs, check out their online store here.

Setlist:
The Boy in the Bubble – Fanfare Zambaleta (Balkan Brass Band)
Graceland – John Vanderslice (Indie Rock)
I Know What I Know – Fely Tchaco – World Music Awards Winner (West African/World Beat/Cote d’Ivoire)
Gumboots – Diana Gameros (Indie/Latin/Pop/Folk)
Diamonds on the Soles of Her Shoes – DRMS (Noir Pop)
You Can Call Me Al – Bill Baird (Experimental Pop)
Intermission
Homeless – Pacific Boychoir,Grammy Awards Winner – (Pop-Influenced Classical Choral)
Under African Skies – Afrofunk Experience (Afrofunk)
Crazy Love, Vol. II – Guy Fox (Indie Rock)
That Was Your Mother – Trio Zincalo (Tangos/Choros/Gypsy)
All Around the World or the Myth of Fingerprints – Midtown Social (California Soul)

Stayed tuned for their next performance below:

UnderCover Presents: Paul Simon’s Graceland
Freight & Salvage – Berkeley, CA
April 20th, 2014 – show at 8 p.m.; doors open at 7 p.m.
510-644-2020 // info@freightandsalvage.org

Steve Roby is a music journalist/photographer whose work has appeared in Billboard, Rolling Stone and Guitar World. You can email him at steve@steveroby.com.

Filed Under: Featured, Live Music Reviews Tagged With: Black Sabbath, Classical Revolution, Coda Jazz Supper Club, Faultline Studios, Jazz Mafia, Jewish Community Center, Joni Mitchell, Paul Simon, Sly & The Family Stone, The Boyoyo Boys, The Independent, The Who, UnderCover, UnderCover Presents

RAC bring live remixing to The Fillmore

April 11, 2014 by Molly Kish Leave a Comment

Photos by Pedro Paredes // Written by Molly Kish //

RAC with Ghost Beach, Joywave //
The Fillmore — San Francisco
Tuesday April 8th, 2014 //

Earlier in the week at the Fillmore, SF electro-pop enthusiasts were treated to a synth-stacked lineup featuring Joywave, Ghost Beach and headliner RAC. The sold out crowd got down to this refreshing bill of talent, bringing new wave vibes to the City. The night was filled with great energy, crowd participation, surprise guest vocalists and most importantly the SF debut of RAC live! Not too shabby for a Tuesday evening.

Kicking off the night, local favorites Joywave warmed up the early evening revelers with a lively but limited opening set. Staples in the City’s local venue and indie club scene, they played to a half filled auditorium of early arrivals and established fans. Drawing in the crowd’s attention with their passionate performance and spirited stage presence, the six piece band set the tone perfectly for the rest of the evening’s bill. Celebrating the release of their EP What is This, they played a bulk of new material along with favorites off Koda Vista from last year. Joywave got the crowd bustling, offering a mere sample of what undoubtedly will be a promising year ahead.

Next up, Ghost Beach came out guns a blazing. Ready to jumpstart the evening, they instantly broke into high energy tracks off of their latest release on Crazy Heart Records, Blonde. Prompting the crowd into a coordinated routine of synchronized dance moves, Josh and Eric elevated the excitement level tenfold. Their material, drawing heavily from obvious new wave influences, echoed that of contemporary counterparts Passion Pit and Classixx and motivated crowd residencies on the main floor for the duration of the evening. Switching the second half of their set over into their recent foray into “tropical grit-pop”, the boys segued seamlessly into the main headliners of the night. Conjuring up verbal associations to a modern day Romancing the Stone soundtrack, Ghost Beach finished out their set focusing heavily on their new foray into “jungle-wave” dance floor rousers.

RAC took the stage third for a surprisingly different type of performance, not only for the Bay Area, but as an artist in general. A favorite amongst remix enthusiasts and fixture at local venues Mezzanine and the Independent, RAC’s founder and solo member Andre Allen Anjos brought along a complete backing band to properly debut material off his brand new release, Strangers. Shifting from DJ to full throttle front man didn’t seem like it was too much of a stretch for Anjos, whom casually shared the stage with numerous vocalists. Providing a set list spanning his entire career both as a remixer and collaborative artist, the crowd got treated to a innovative reimagining of old favorites and fresh takes on new material.

Highlight tracks including Lana del Rey’s “Blue Jeans” starting off the set flowing effortlessly into a punctuating performance of Phoenix’s “Armistice”, a fellow track off of 2013’s Chapter One. The audience responded to RAC’s progressive stage performance without hesitation, raging the Fillmore as though they were watching a headlining rock band as opposed to a simple DJ transition. Finishing off the evening with a venue stirring rendition of “Tongue’s” fronted by Joywave’s lead singer Daniel Armbruster, RAC culminated their set strong, leaving the crowd raring for more. Although missing on the list at this year’s Coachella and Outside Lands, Anjos is getting ready to bring the crew on the road for summer festivals nationwide. A show definitely worth catching, RAC’s new direction is as impressive as it is logical, lending way to a brand new era of live remixing and new face artistically for Anjos.

Filed Under: Featured, Live Music Reviews Tagged With: Ghost Beach, Joywave, RAC, The Fillmore

ODESZA poised to explode into electronic stratosphere

April 10, 2014 by The Bam Team 1 Comment

By Kory Thibeault //

ODESZA with D33J, Kodak to Graph //
The Independent – San Francisco
April 4th, 2014 //

If ODESZA is not on your radar, they soon will be, especially after their sold-out performance at The Independent last weekend. Friday marked the Seattle-based duo’s third appearance in the Bay Area since last fall and likely their most notable. The Independent crowd was noticeably more diverse than those present at their 1015 Folsom show, evidence that their following is seriously expanding, never mind the fact this performance was sold out over a month ahead of time.

It may be their unique sound or their ability to blend all their tracks into a musical collage that is so distinctively theirs that keeps everyone coming back for more. Whatever it may be, Friday night’s audience lapped up every minute of their set which featured everything from “iPlayYouListen” to “My Friends Never Die”, as well as their most recent track release, “Sun Models”. To be honest, there seemed to be teases of all their tracks spliced in throughout the night, leaving one to feel like they caught it all.

Openers Kodak to Graph and D33J helped to fill out the Friday’s bill of glitched out, ambient tracks that kept the room moving throughout the night. My advice? Get your tickets early next time these guys come to town.

D33J

Kodak to Graph

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: D33J, Kodak To Graph, Odesza, The Independent

ZZ Ward begins Coachella week on a high at The Independent

April 7, 2014 by Mark E. Ortega Leave a Comment

Photos by Tom Dellinger // Written by Mark E. Ortega //

ZZ Ward with Grizfolk, The O’My’s //
The Independent — San Francisco
Sunday April 6th, 2014 //

Sunday night, in front of a sold-out crowd at The Independent, emerging R&B artist ZZ Ward proved that the old adage “pressure busts pipes” doesn’t always ring true. Ward brought her “A” game as she showcased her pipes both vocally and while breaking things down on the harmonica as she is winding down her tour before heading to Coachella this weekend.

Through the first few songs of her set, it was a bit murky as to where the show was headed. The Los Angeles-based Oregon transplant played a version of her hit “Til The Casket Drops” that was a tad understated, perhaps saving her voice for more difficult vocal endeavors later on in the evening.

Right from jump, Ward brought an infectious energy, both in the course of her set and in her between song banter. Early in the set, Ward asked if SF was ready to party. “I know it’s Sunday, but I don’t give a fuck,” said Ward to the laughter and applause of the crowd.

By the time Ward kicked into “365 Days”, one of her other gems, she had things in full swing. She went from one side of the stage to the other, posing and serenading each section for moments at a time.

Midway through, Ward played a bluesy sounding cover of Drake’s “Hold On, We’re Going Home” before breaking hearts with her ballad “Last Love Song” (of which a music video shot in SF would be coming out soon according to Ward). That song didn’t seem to fit with the rest of the upbeat set, but lyrically it might be her best work and she brought back the energy right away.

Before “Cryin’ Wolf”, Ward asked the crowd about a time in their life where they met someone under tipsy circumstances, to which few in the crowd volunteered the information.

“You were completely sober and it was magical and I’m happy for you,” said Ward, which got the crowd laughing again.

Ward’s touring guitarist Erick Walls was absolutely incredible, as he wailed on the guitar all night. His contributions helped bring a more bluesy sound than what is heard on Ward’s studio work. In fact, many of Ward’s songs Sunday night sounded better live than on her studio album, a mark of a great live musician. That she’s been able to adapt her sound to the stage with ease speaks well to her future success.

Ward closed her 16-song set by coming out and performing “Blue Eyes Blind”, which had the crowd jumping up and down and waving their hands back and forth. Ward did a great job of building things up to a crescendo over the final 20 minutes, leaving fans wanting more.

Though it is still early, it is going to be hard to top her performance, which is the best I’ve seen so far in 2014. Anyone who has seen her on tour and is attending Coachella will have her marked down as must-see, and for good reason.

Filed Under: Featured, Live Music Reviews Tagged With: Coachella, Coachella 2014, Coachella Music and Arts Festival, Coachella Music and Arts Festival 2014, Coachella Valley Music & Arts Festival, Coachella Valley Music & Arts Festival 2014, Coachella Valley Music and Arts Festival, Coachella Valley Music and Arts Festival 2014, Grizfolk, The Independent, The O'My's, ZZ Ward

The War on Drugs are winning

April 7, 2014 by Kevin J Quandt Leave a Comment

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

The War On Drugs with Heron Oblivion //
The Independent — San Francisco
Wednesday April 2, 2014 //

Adam Granduciel has arrived to the next level, as The War on Drugs have broken through the underground in a big way with their latest release entitled, Lost in a Dream. The subsequent, and long awaited, tour has been nothing short of fantastic as an expanded band has led to their most sonically pleasing tour to date. Having sold out nearly their entire run of shows, the anticipation was high for a two-night stand at the Independent. Both evenings were viewed as a treat for longtime fans, but possibly bittersweet as this is sure to be their last time in rooms of this size. However, the capacity crowd on Wednesday was ready to be apart of something special – a sublime evening led by one of our generation’s brightest creators.

The second show of the series featured relatively unknown noise-rockers, Heron Oblivion, playing a blisteringly loud set of feedback-heavy rock with sultry female vocals cooed by their drummer. It was lovely and abrasive at the same time, seeming to meld Jefferson Starship with Sonic Youth in a heavy, heavy way.

A quick stage changeover led to Granduciel and band taking the stage promptly at 9:30 as the edges of the venue became tighter and tighter. “An Ocean in Between the Waves” was a pleasant, and rare, show opener as the crowd eased into the new, thicker live sound; much fuller compared to their last performance at the Independent over two years ago. Future Weather standout track “Baby Missiles” led into “Under the Pressure”, a wallop of a pairing, as each track was perfectly extended adding extra moments to bask in the aural beauty that Granduciel churns out like no other current musician. It’s not too hard to hear Granduciel’s influences when you listen to his various records as The War on Drugs, but his influence from classic artists like Tom Petty, Bruce Springsteen and Bob Dylan are represented through appropriation as opposed to imitation. The combination of these classic rock sounds have never sounded so fresh or revitalized.

At this point in the show, the core 6-piece band expanded by the addition of a pedal steel guitar player for “Suffering”, a pleasant change in sound and tempo had a receptive crowd contently eating out their hands. “I Was There” is always a highlight of any WOD show, and was no different tonight as Granduciel tenderly belted out this classic cut before launching into their latest single. “Red Eyes” had the crowd ‘wooing’ along in jubilee with the man who was front and center. One pleasant surprise for longtime fans was the inclusion of older tracks like “Arms Like Boulders” off of Wagonwheel Blues – featuring a favorite lyric of this writer, “Chasing squirrels around your property / Making sure that they know that this is your kingdom.” As the lengthy set drifted on, heavier ambient jams would take flight, eventually leading to set closer, “In Reverse”.

Few attendees made an early exit on this weeknight, and the faithful were rewarded with a big encore that started off with a newer cover being featured this tour. John Lennon’s “Mind Games” was a serious highlight, delivered in a manner that few current acts can do. “Disappearing” led into a true War on Drugs classic, “Brothers”. This song has had a long life as it first appeared on Future Weather as a stripped down acoustic track nodding to Dylan before morphing into a full-band cut off of Slave Ambient. It now it sounds almost unrecognizable as the vocal phrasing and music has been altered, demonstrating the skill of song-crafting that Granduciel has become so well known for. Expect big things from The War on Drugs as they are rising stock for all the right reasons.

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

Fitz and the Tantrums creep closer to headline status at Fox

April 4, 2014 by Mark E. Ortega 2 Comments

Photos by Steve Roby // Written by Mark E. Ortega //

Fitz And The Tantrums with Bad Suns, Nightmare and the Cat //
Fox Theater Oakland — Oakland CA
Thursday April 3rd, 2014 //

Los Angeles-band Fitz & The Tantrums proved Thursday night at the Fox Theater that they’ve moved into headliner territory — and probably for good. The venue was packed a full hour before they’d go on stage, and their charisma and energy left a major impression on all who attended.

The band played most of their 2013 album More Than Just a Dream while also reaching back for the choice nugs from their 2010 debut Pickin’ Up the Pieces. What made Fitz stand out initially was their original sound, as their debut album featured not a single song with guitar. Their recent release featured guitar, so the concern heading into the show was that their sound wouldn’t be as unique as it sounded when I first heard them at Outside Lands in 2012. Thankfully, the set applied guitar to just one or two tracks and relied on the vocals of Michael Fitzpatrick and Noelle Scaggs, as well as the unbelievable saxophone and flute work from James King and, as one fan yelled out, the “funky bass lines” of Joseph Karnes.

The chemistry between Fitzpatrick and Scaggs is part of what makes their show so enjoyable. They feed off each other and the crowd feeds off of them. During one of the ballads from the new album, the two share an “Endless Love” type moment as they serenaded each other to the crowd’s delight. The flute solo from King during “Tell Me What Ya Here For” had the crowd euphoric, as did “Moneygrabber” in the encore.

Bad Suns

Bad Suns brought an 80s sound to modern rock, helping fire people up for the headliner with a solid set. Playing to “the biggest show on the biggest stage hands down” in their career according to singer Christo Bowman. Bowman has a memorable vocal style that compares well to early-U2 Bono. Bowman could probably do a killer cover of “New Years Day” if he wanted to. At times his vocals were hard to make out but their songs are catchy and had people moving. They’re definitely a band on the rise and a recommended show.

Nightmare and the Cat (also of Los Angeles) opened things up and had a surprising number of followers out in support who were very up on their music. Singer Django Stewart displayed a memorable stage presence, as he seemed to be a graduate of the George Michael school of hip gyration, which meshed perfectly with their sound, which felt like if INXS had been brought into the 21st century with Michael Hutchence still at the forefront. “Blackbird Smile” was the high point, showcasing how well Django and brother/guitarist Samuel Stewart are at writing hooks. Interestingly, Django’s British accent is only apparent when he talks between songs and not very much so when he sings. For a band that’s been together just four years, they have things well together in a live setting, a promising sign.

Nightmare and the Cat

The only downside of the evening was some of the crowd themselves. One guy was severely intoxicated at the outset of the first opener and had to be that guy who seeks attention by yelling at the most inopportune times. Then there was the older couple that shot scowls to everyone in their vicinity, with the man putting his hands on a nearby lady for dancing too close to him and his wife. This was in the early part of Fitz’s set but luckily the wife decided to say it was time to leave, to the high-fives of everyone around who had suffered their intolerable behavior.

The Fox Theater is an excellent venue and served as a perfect stage for a fast-rising band in Fitz & The Tantrums, helping to announce the fact they can sell out well-sized venues away from their home base in SoCal.

Filed Under: Featured, Live Music Reviews Tagged With: Bad Suns, Fitz and the Tantrums, Fox Theater Oakland, Nightmare and the Cat

Cut Copy heat up the dance floor in LA

April 3, 2014 by Josh Herwitt 1 Comment

By Josh Herwitt //

Cut Copy //
Hollywood Palladium – Los Angeles
April 1st, 2014 //

Is there a band right now that throws a better dance party than Cut Copy?

In 2014, you’d be hard-pressed to find one that can even come close.

Returning to Los Angeles five months after performing at HARD Day of the Dead, the Australian four-piece played its first proper headlining show in the City of Angels since releasing its fourth full-length album Free Your Mind last November.

Though the record may not live up to the same standard set by 2011’s Zonoscope and 2009’s In Ghost Colours, there are enough winners on 2013’s Free Your Mind for Cut Copy, as a band and not just as a DJ project, to keep their all-encompassing setlists from growing moldy.

At the Hollywood Palladium, the electropop extraordinaires dug into their new material right away, opening with their latest hit “We Are Explorers” before dolling out five other songs from the 14-track LP on Modular Recordings.

And while it may have been a school night for some, it sure didn’t feel like it inside the historic ballroom.

With fan favorites “Take Me Over” and “Hearts on Fire” coming within the first 30 minutes of its set, Cut Copy had a dance-happy crowd of mostly 20-somethings moving and grooving in a matter of no time.

But what may have been the biggest highlight of the night was how well newer cuts like “Let Me Show You Love” and “Meet Me in a House of Love” on Free Your Mind translated to a live setting. Because even after seeing Cut Copy twice in 2011, I walked out the Palladium’s front doors late Tuesday night feeling just as good as I did those previous two times.

In fact, if there was any drawback to note, it was that we didn’t get a few more songs out of frontman Dan Whitford and his bandmates on the final night of their North American tour. Whitford, all things considered, knows how to energize an audience as well as anyone out there these days, whether it’s with his old-school dance moves or incessant hand clapping.

Of course, it didn’t hurt that Cut Copy took its encore break right after unleashing “Lights and Music”, the band’s most successful single to date still. So, when Whitford (vocals, keyboards, guitar), Tim Hoey (guitar, sampler, percussion, vocals), Mitchell Scott (drums, vocals) and of course Ben Browning (bass, keyboards, vocals) left the stage for a couple of minutes in what served as an encore break, they instantly had their fans begging to hear more.

The two-song encore that ensued, nevertheless, offered a snapshot of the band’s current disposition, as it left us with one more tune off Free Your Mind — the oscillating, yet also comforting “Walking in the Sky” — before closing things out with the 80’s-laced anthem “Need You Now.”

It was a fitting ending for a band that has come a long way since dropping its debut album Bright Like Neon Love a decade ago, yet isn’t looking to ease off the gas pedal any time soon.

Setlist:
We Are Explorers
Take Me Over
Free Your Mind
Where I’m Going
In Memory Capsule
So Haunted
Hearts on Fire
Saturdays
Feel the Love
Out There on the Ice
Let Me Show You Love
Meet Me in a House of Love
Lights and Music

Encore:
Walking in the Sky
Need You Now

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Cut Copy, Hollywood Palladium

Leftover Salmon cements legacy at Terrapin Crossroads

April 1, 2014 by The Bam Team Leave a Comment

By Kory Thibeault //

Leftover Salmon with Head for the Hills //
Terrapin Crossroads – San Rafael, CA
March 26th, 2014 //

Drew Emmitt and Vince Herman must feel accomplished. The driving force behind Leftover Salmon, their bluegrass outfit continues to sell out shows across the country. Why? Because it’s a damn party when they come to town. Last week’s two night run at Terrapin Crossroads fell right in line with this tradition.

In their 20 plus years of existence, Leftover Salmon’s lineup has continuously evolved. With the unfortunate passing of founding member and banjo aficionado, Mark Vann, one questioned if Salmon would ever find the right picker to fill the giant shoes Mark left behind. Fortunately for us fans, Andy Thorn has big feet.

Since Thorn’s introduction in 2010, Leftover Salmon is as vivacious and enthusiastic as ever. While classics like “Pasta On the Mountain” were embraced wholeheartedly during their performance at Terrapin, the guys truly tore apart tracks off their most recent album Aquatic Hitchhiker, most notably “Gulf of Mexico” and “Liza.”

If this is the direction the band is heading in, there is not doubt they will be selling out shows for years to come, especially when they attract keyboardists like Bill Payne, of Little Feat fame, to sit in with them. Because after all, there is nothing like bluegrass and a brew.

Filed Under: Featured, Live Music Reviews Tagged With: Head for the Hills, Leftover Salmon, Terrapin Crossroads

Stephen Malkmus shreds Slim’s

March 31, 2014 by Steven Wandrey Leave a Comment

Photos by Patrick Kelly // Written by Steven Wandrey

Stephen Malkmus & The Jicks with Speedy Ortiz //
Slim’s — San Francisco
Thursday March 27th, 2014 //

The sold-out crowd at Slim’s filled in early as many were interested in catching the opener, Speedy Ortiz. Those present weren’t disappointed with the hard-edged 90s-reminiscent indie rock, though this was in no way a nostalgia act. Fronted by frighteningly powerful female vocals from Sadie Dupuis, it’ll be exciting to see how this band develops. After only one full length, 2013’s highly acclaimed Major Arcana, the potential with this group is through the roof. Speedy Ortiz is a great fit as opener for Malkmus & The Jicks; the opener displays the grungier side of Pavement that Malkmus has left behind in favor of a cleaner, fuller sound.

That’s not to say that Malkmus is shooting for a mark and missing it. Malkmus is firmly in control of this group, heading in a tighter and more focused direction than his previous work. Malkmus exhibits tasteful restraint with ripping guitar solos in small spots. Still chock-full of dry humor and ivy-league stoner sarcasm, Malkmus surprisingly kept his between-song commentary to only a few sentences. The glib and overly witty lyrics parallel the music in that they’re both quick and jaunty, feigning heaviness, though usually lighthearted. The show quickly took off, opening with “Cinnamon and Lesbians” off of his newest LP, Wig Out At Jagbags. The night would feature almost the entire new album, with the lone Pavement cover coming in the encore slot (an amped up “Stereo” singalong).

The four piece is firing hot on all cylinders, sounding tight, focused and energized. Sometimes the second guitar player would move over to the keys, further fleshing out the band. One highlight was a spirited rendition of “Houston Hades” off the new album. The crowd was soothed and then brought to its boiling point as the band repeatedly belted out the song’s driving ending. In general, the attendees were subdued, perhaps reliving their 90s stoner history with more than just memories. However, they were also highly attentive; there weren’t many talkers and not a single person was seen walking out the door before the encore began. It’s refreshing to see someone with Malkmus’ pedigree refusing to rest on his laurels and continuously pushing himself to create modern, relevant rock. Here’s to hoping he and The Jicks continue to push themselves in new and interesting directions.

Filed Under: Featured, Live Music Reviews Tagged With: Slims, Speedy Ortiz, Stephen Malkmus, Stephen Malkmus & The Jicks

K.Flay keeps it legit on a Sunday night in SF

March 27, 2014 by Krystal Beez 1 Comment

By Krystal Beasley //

K.Flay & Air Dubai, with Itch //
Bottom of the Hill – San Francisco
March 23, 2014 //

Sometimes magical things can happen on a Sunday night. March 23rd at Bottom of the Hill was proof of that. K.Flay and Air Dubai got on that stage and kept the entire crowd awake.

Co-headlining act Air Dubai are a six-piece hip hop group from Denver, Colorado that signed to Hopeless Records in 2012. I’m not quite sure why, but when a band has more than four members, I am skeptical. But after seeing Air Dubai I understand their appeal. This group has a lot of energy on stage. The musicians are talented, the lead singer has that smooth R&B voice, and they just look like they are having the best time on stage. The highlight for me was “Warning”, their 2012 single on the EP of the same name, which definitely got me dancing.

After a short lull between sets, the crowd roars as San Francisco-based K.Flay walks onto the stage. Her melodic rhyming and mesmerizing beats fill the venue. Suddenly, it’s not Sunday night anymore. All of the focus is on her. Early in the set, we hear her two most recent singles, collaboration with Danny Brown, “Hail Mary” and “Rawks”, both off of her latest EP What If It Is. And if those two tracks aren’t enough to make you want to delve further into her catalogue, check out the more mellow fan favorite, “The Cops”, which had the crowd singing and swaying.

K.Flay’s smart, stream-of-consciousness flow is what sets her apart. And there’s something so unique about indie-electro beats this Stanford grad creates, whether the production features a sample or not. And it translates well to the stage. She tours with drummer, Nick, and their chemistry is great. I don’t know how this union came about, but luckily it did, because the result is simply magical. And when you add the really trippy visuals playing in the background, you get a really great live show that is not to be missed. Another highlight of the night was the performance of “Sunburn”, a track you might recognize if you listen to Live 105. Of course there is some head-banging on every song, but “Sunburn” is especially made for this.

The encore was another great highlight. She performed “Doctor Don’t Know” and “Waiting”, both tracks from her 2011 mixtape titled I Stopped Caring in ‘96. It was great to hear her revisit some older material.

K.Flay is a solid performer; she puts it all out on that stage. She gets you pumped up and head banging the second she steps out on the stage. And on slower songs, you get lost in the moment without even realizing it. And when you come back to reality, she is thanking you for coming out to the show. K.Flay, whose first name is Kristine, was at the merch table talking to fans and taking pictures before and after her set. This is the sixth or seventh K.Flay show I’ve attended, and I will be at her next show in the bay area. I think that speaks to her talent better than anything I could write here.

Be sure to follow K.Flay on twitter if you need some weird in your life, and on soundcloud if you need some remixes in your life. You can see K.Flay along with Air Dubai and many more on the upcoming Vans Warped Tour. Check out the dates here. I will see you at the Shoreline show.

Filed Under: Featured, Live Music Reviews Tagged With: Bottom of the Hill, k.flay

Green Jellÿ crash Winter’s Tavern in Pacifica

March 27, 2014 by Scotland Miller Leave a Comment

Photo by Robert Bejil // Written by Scotland Miller //

Green Jellÿ with BRUBAKER, Bitter Loa, FUKM //
Winter’s Tavern – Pacifica, CA
March 21st, 2014 //

The Punk Rock Puppet Show, brought to you live by Bill Manspeaker himself, descended on Pacifica last weekend and sent unsuspecting patrons of Winters Tavern fleeing for the sake of their eardrums. In case you didn’t know … Green Jellÿ sucks!

For those who are unfamiliar with the Green Jellÿ story (actually pronounced “jello” despite the spelling difference, which stems from trademark infringement lawsuits from the name-brand jiggly treat) you might want to do a quick Google search and find out. Completely ridiculous, totally absurd, and accompanied by curious videos, Green Jellÿ is the creation of Bill Manspeaker and is described as one of the worst bands in history. But don’t worry, that’s the idea!

The show started with an empty stage and blown-out voice blaring through the microphone from the parking lot…ahem, excuse me, I mean dressing-room. “Green Jellÿ is an audience participation band! The more you act like an asshole in front of your girlfriend, the more funner it will be for all of us!!” After announcing the members of the band like at a boxing arena, which by the way are nothing more than recruited fans who can play instruments, Manspeaker took the stage in a t-shirt, boots, and his underwear. “If you are not drunk, or stoned on medical marijuana, this will be the stupidest fucking thing you have ever seen, and you should leave now!” I watched several folks do just that.

He then asked 10 people to become part of the show and to proceed to the dressing room. Outside, there were a dozen giant foam and duct tape puppet heads of evil clowns, dead rock stars and other weird characters from the band’s oddball claymation videos. These things were twisted. I couldn’t help myself and chose Layne Staley Frankenstein. I was introduced as the first puppet and made my way inside. He put me on top of a large box in front of the stage and they began to play the Alice in Chains classic “Man in the Box” … ha … ha … ha.

From there, the night became a hot mess of drunken, sweaty, yelling and screaming puppets crashing around the bar, knocking over drinks and people having a blast — not to mention the crazy antics of Manspeaker and his own outlandish costume changes and bar dancing.

Green Jellÿ didn’t disappoint when it came to song selection. The band’s 1993 album Cereal Killer Soundtrack dominated the set with tracks like “Electric Harley House (of Love)”, “Obey the Cowgod”, “Anarchy in Bedrock” (yes, this is a Sex Pistols cover) and of course ending the night with “Three Little Pigs”. I fully enjoyed participating and making a fool of myself in the name of punk rock and have been wearing the gash in my forehead with pride all week.

“Not by the hair on my chinny-chin-chin!!”

Filed Under: Featured, Live Music Reviews Tagged With: Bitter Loa, BRUBAKER, FUKM, Green Jellÿ, Winters Tavern

Break Science wrap up ‘Seven Bridges’ tour in LA

March 27, 2014 by Josh Herwitt 1 Comment

By Josh Herwitt //

Break Science //
The Mint – Los Angeles
March 22nd, 2014 //

It was one of the strangest scenes I’ve witnessed since I started covering music in Los Angeles.

In all the shows I’ve attended at The Mint over the last three years, never had I seen the diminutive jazz club transform into a borderline nightclub.

That’s not to say attendees at The Mint — with just about every side project in the jam and funk realms coming through its doors year after year — don’t know how to groove, but this was a different situation.

Because with Break Science closing out its Seven Bridges tour last weekend in LA, electronic music fans arrived at The Mint ready to stomp, shake and sweat.

And sweat they most certainly did.

For almost two hours on Saturday night (technically Sunday morning), the Brooklyn-based duo made up of drummer/producer Adam Deitch and keyboardist/producer Borahm Lee dropped one banger after another, igniting a full-on dance party just minutes within stepping on stage.

While the late-night show marked the first time Break Science fans in Southern California were able to hear the band perform tracks from its full-length debut Seven Bridges since the album’s early October release, Deitch and Lee also didn’t hold back when it came to showcasing their entire catalog. From Further Than Our Eyes Can See to Monolith Code, they dished out everything you’d want to hear from those two EPs. They even briefly touched on the EP they made with their label mate Michal Menert, offering their own version of “Electric Touch” from 2012’s Twilight Frequency.

But what was even more special on this night was seeing the guests that joined Break Science midway through its set. With the members of Lettuce — one of Deitch’s other projects — also in town for a gig the following week at The Roxy, keyboardist Nigel Hall and bassist Erick “Jesus” Coomes provided a nice surprise before it was time to head home.

After all, if there’s one thing that Deitch and Lee have been known to do in a live setting, it’s collaborate with other talented musicians — no matter when or where. Just a few months ago, they were part of Pretty Lights’ live band for its fall U.S. tour, selling out venues all across the country and playing cuts off the Grammy-nominated A Color Map of the Sun.

Now, as Deitch turns his attention to Lettuce, Break Science will take a few weeks off before gearing up for the festival season, which includes stops at Wakarusa and Bonnaroo — not to mention an opening slot at Red Rocks Amphitheatre for Bassnectar.

With those kinds of opportunities ahead, only time will tell how much momentum Deitch and Lee can build together as Break Science. But if I had to bet if they’ll be back at The Mint the next time they roll through LA, I certainly wouldn’t be going all in with that wager.

Filed Under: Featured, Live Music Reviews Tagged With: Break Science, The Mint

The Orwells’ joyful anarchy underscores a band on the rise

March 27, 2014 by The Festival Lawyer Leave a Comment

By The Festival Lawyer //

The Orwells with Twin Peaks and Criminal Hygiene //
Slim’s — San Francisco
Sunday March 23, 2014 //

The Orwells ended their show at Slim’s last Sunday night in a fit of joyful anarchy. Vocalist Mario Cuomo (yeah you heard me, Mario Cuomo) ended the show by climbing the scaffolding at the right side of the stage while belting out Iggy Pop’s “I Wanna Be Your Dog”.

Beneath him, the crowd was going bananas. In the mosh pit below Cuomo, I counted 2 Descendents (!) t-shirts, a half a dozen crowd surfers and so many people were stage diving that I had to check the date on my phone to confirm that this was in fact, a Sunday night.

You may not have heard of The Orwells. If you’ve heard anything, it’s probably something about how young they are. Vocalist Cuomo, his cousin Dominic Corso (guitar), twins Grant (bass) and Henry Brinner (drums), and friend Matt O’Keefe (guitar) have been playing together since late 2009. They’ve already had quite an epic 2014. Earlier this year they had an appearance on Letterman that went viral and their set at SXSW was one of the festival’s most talked about performances. Oh and did I mention they were in the 9th grade in 2009? And that they rushed their high school graduations just last year so they could become rock stars? …Amazing.

The band opened with “Other Voices” which, besides rocking hard, has this very interesting low fi, fuzzy, 60s garage band feel to it. A lot of the band’s material feels like it would be right at home on one of those Nuggets compilation CDs, right between The Electric Prunes and The Knickerbockers. The band even worked a tiny portion of “Build Me Up Buttercup” by The Foundations into their set.

Right before their show in San Francisco, the band tweeted: “Is This It …is equivalent to death…..it’s just not fair.” It’s clear that the band loves the Strokes. But at the same time they don’t ape them. A song like “Who Needs You” has a fantastic Strokes kind of sound to it, but in a bashed up, garage band way. Other show highlights included “Mallrats La La La” and “In My Bed”.

Singer Cuomo gets most of the attention onstage because he is a maniac live. At times he is falling on the stage and screaming. Other times he stands completely still and stares into the crowd as if his mind is a million miles away. But make no mistake, the Orwells aren’t a backup band for Cuomo. This band is tight and has clearly learned a ton from their hectic touring schedule. They played a crisp, no nonsense hour-long set that left the crowd happy yet wanting more.

Within minutes of the show ending, the band was already on the floor, taking pictures and hanging out with fans. The crowd had a sweaty, happy vibe as if we had all been in the stands together and then collectively ran onto the floor after our team had hit the winning basket.

As we filed out, a young kid next to me asked, “Wasn’t that great? I don’t get why they aren’t bigger? Shouldn’t they be a huge band?”

“They really might be soon,” I told him.