Sioux City Kid bring it on home at Great American Music Hall

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Photos by Dani Padget // Written by Molly Kish

Dropping their second full length album Minutes, Miles, Troubles and Trials just a few weeks back, Sioux City Kid took the stage at Great American Music Hall 9/27 for their hometown album release party. Packing the historic venue with friends, family and fans alike, the band brought an eclectic cross section of the local music scene to their feet with a rollicking show of crowd favorites and debut tracks.

A half-seated event gave way to a fully active dance floor as soon as the homegrown headliners took the stage. Rambunctious and ready for action, the audience crowded in close, providing their own soundtrack of floor stomping, hoots and hollers leading up to the band’s whimsical entrance.

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Sioux City Kid’s organist Jake Smolowe casually approached his keys as though sound checking, and he began playing a feverous rendition of “Maple Leaf Rag”. This segued into the full band entrance, where each member put their best Charleston foot forward, fingers wagging and hips shaking to the melody. With a trimmed down line up on the finishing leg of a shotgun West Coast tour, Sioux City Kid came in firing on all cylinders. Playing a bulk of the brand new album, some for the first time in a live setting, the band ate up the energy from the audience.

Soaking in the new material like an enthusiastic sponge, SCK had the audience dialed in from the sets’ opening notes. Front man Jared Griffin instructed the crowd to sing a-long, and the new material allowed ample time to both participate and actively gyrate with the characteristically elongated builds and breakdowns Sioux City Kid’s songwriting is known for. Vocals soared as both Griffin and front woman Laura Wiese commanded the stage show. They played off one another as only musical soulmates can do, all the while exchanging cheeky banter and naturally trading moments in the spotlight throughout the evening.

Griffin switched between playing both electric and acoustic guitar (with attached harmonica while Wiese wailed on her tambourine and directed the pace of the rowdy set. Equal parts musicians and performers, each member of this outfit could easily start their own solo gig, and several of them have already) — yet as a cohesive bunch, they are a force to be reckoned with. Creating a sound and overall concert experience that can both bring you to tears or cause dehydration through dance, it was an extremely intense and impulsively structured performance.

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After downing a whiskey shot delivered from the front row, Griffin ending the show by breaking into some older favorites drenched from head to toe. A few slower ballads, a new cut off of MMTT sang entirely by the ferocious Ms. Wiese and a couple choice encore tracks delighted the long term SCK fan. A prolonged standing ovation cleared the band from the stage eventually, leading into a continued post performance dance party that was initiated and included several of the band members and their sea of fans and personal acquaintances.

More of a large family gathering than a detail driven performance, Sioux City Kid accomplished their goal of truly having an album release “party” to celebrate all of their hard work. SCK proved to pick up the pace for what will undoubtedly be an exciting future of touring behind the latest album. San Francisco was treated to a special show in a venue that may not be able to handle this band the next time they come back through.

Father John Misty launches solo tour, performs with giant iPhone

Father-John-MistyPhotos by Marc Fong // Written by Brooks Rocco //

On May 1st 2011, President Barack Obama announced that nearly 10 years after the September 11 terrorist attacks on the World Trade Center in New York, the United States had killed Al-Qaeda mastermind Osama Bin Laden. But the President did not make this announcement inside of a giant iPhone.

June 12th 1987, on the 750th Anniversary of the founding of Berlin, Germany, US President Ronald Reagan challenged Soviet Leader Mikhail Gorbachev to “Tear Down This Wall!” But this was not a proclamation made from inside a giant iPhone.

July 4th 0 A.D., Yeshua of Nazareth (later canonized as ‘Jesus’) was allegedly crucified for our sins. But on a crucifix, not an iPhone.

On Thursday, October 4 2013, at Slim’s Music Club & Bar, San Francisco, California (37.771492, -122.4132385N37° 46.2895′, W122° 24.7943’), Joshua Tillman, performing under the moniker ‘Father John Misty’, played the first night of his American solo tour inside of a giant iPhone.

Perhaps as a garish nod to today’s unconscionable habit of spending too much goddamn time photographing experiences rather than actually experiencing them, or perhaps as a sardonic ‘fuck you’ to those content wizards in charge of drawing up lines around artists that turn them into slide-show ponies on the never-ending entertainment loops we despicably adore, the giant iPhone served as an unceasing and brutal reminder of what our egoistic and poisoned humanity hath wrought, which was soon lost on Father John Misty’s nearly sold out crowd when, after a sip of tea and a knowing laugh, he strummed his guitar and began to sing.

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Playing a mixture of older tracks from his now gracefully aging Fear Fun (Sub Pop, 2012), alongside a selection of new songs likely to appear on his forthcoming record, Josh Tillman channeled his former alter-ego J, taking us all on a mellow ride down his own personal lazy river. A tender version of “Nancy From Now On”, a lushly arranged “Fun Times in Babylon”, the excruciatingly honest new ballad “Bored In The USA“, and another new one chronicling the formulation of religion, language, black holes (in souls, of course), boredom, drugs, human frailty, distress, and the beautiful futility of love set the crowd quiet, considerate, and attentive.

That said, Slim’s is not an open mic cafe filled with bohemians & bean bag chairs. It is a rock n’ roll club with a full bar, and plenty of people in attendance were undoubtedly wondering when exactly we gon’ get our whiskey shoes on. The air was filled with a simmering anticipation for the savvy and snarky theatric that Father John Misty shows have become known for — which indeed he nailed during his last stint at SF’s Fillmore. This, being the first night of the solo tour, was really just the first test in this solo experiment, and due to FJM being FJM, he’s having fun toying with the ideas and clichés of the “solo show”; of the artist-as-content; as the one-man-act-cum-singer-cum-songwriter; as the “guy you’ve all paid to see”. All in all, he seemed a little nervous, though rightly so. The tour’s only just begun, he’s not the iron-clad and confident Ubermensch that played the 10th Annual Henry Miller Memorial Library Benefit two weeks earlier to a silent, attentive, and mostly stoned crowd, sitting ‘neath the redwood trees. (see video)

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I briefly spoke to Josh before that show at Henry Miller, and he mentioned that he was nicknaming this the ‘Father John Misty Disappoints Everyone Tour’, noting that there would be plenty of people unaware that this would be just a dude with a wooden string-box sitting on a stage. Though I never got that vibe from the crowd at Slim’s — I heard no audible “HEY WHAT THE SHIT IS THIS”’s from anyone. There were occasional twinges of discourtesy when it became clear that no one was going to be dancing in this club. As a result, the stunningly graceful new tune “We Met In A Store” was more than just a little marred by talking, iPhoning, heads and minds wandering, etc., which took away from the song’s soaring climax. It’s tough to get people to pay attention when you’re just an app in an iPhone.

That said, other than a few nervous hiccups, the man’s voice absolutely soared in even this early night of the tour, and it’s only bound to get better. Ditching the band in favor of a solo tour, utilizing the name that’s been on that fast ascent to wherever-the-hell-it’s-going is a ballsy move, and the hyper-aware Josh Tillman is gearing up a truly memorable run.

To anyone put off by the lack of a backing band: rest reassured that seeing this artist open up in what is likely the most vulnerable state he’s put himself in to date is well worth the price of admission for anyone who considers themselves a fan. The old songs have matured, the new songs are sickeningly sweet, and hey, he even takes questions from the crowd!

“Why haven’t you done this sooner?” one up-fronter queried.
“Well, the market research didn’t demand it,” Josh Tillman replied, inside of a giant iPhone.

It appears the market is now demanding his iTunes.

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Savages heighten contrast to achieve total live music immersion

Savages

Photos by James Nagel // Written by Mike Frash

Jenny Beth embodies the ethos of Savages‘ first record, Silence Yourself. Upon taking the stage at the Independent Friday (September 27), Beth surveyed the room to the opening instrumentals of “I Am Here”, commanding the room by darting pierced looks of fury at individuals in the audience. Everyone present at the sold out performance reciprocated with compliant reverence — entering the venue we were individually told there was a cell phone ban in effect for Savages, and multiple print outs placed on every wall in the house carried a more nuanced message than the bouncers.

The sign made waves earlier this year when Savages first started enforcing a policy that proportionately reflects the group’s music and stage presence. The most informative part of the camera ban relates to the idea of immersion, and that the four members of Savages are striving to deliver a live music experience that thrives on the idea of living in the moment and being where you are. The effect of rapturous immersion wasn’t only accomplished through the denial of modern technology though — the fierce all female foursome achieved their goal of “totally immersing ourselves” through visual aesthetics and sound that center around elements of contrast.

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Beth’s stage presence exhibits traditional masculinity and is accented by her androgynous look, but it adds up to a style of hard femininity. She engrosses herself in each moment, sending vibes out to the crowd while peering out in search of response. Her moves are like a stop-start Henry Rollins, and Beth keeps the stage banter to a minimum, letting the music speak for itself.

The Savages front woman subverts traditional gender roles by wearing mens pleated pants and sporting buzzed hair, but Beth directly contrasts this message by wearing high heels, one of the biggest feminist scorns. This juxtaposition sends a mixed message of homogeneous subversion, creating an ambiguous visual aesthetic that contrasts normalcy.

Black and white, the ultimate contrast between dark and bright, is utilized masterfully by Savages through lighting and wardrobe. The lighting at the Independent was devoid of color, deferring to darkness then illuminating the room with white light during high-impact moments. All members of Savages are clad in black from head to toe, except for Beth’s light yellow heels. This draws greater attention to the faces of the performers and aids in the immersion process.

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Much like the lighting and wardrobe, Savages’ music centers itself in duality and choice. Savages lyrics delve into strong, graphic storytelling about being present in the moment, sexual exploration, & dominance vs. submission. And it’s done through poetic prose, far from being straight-forward or didactic.

“I Am Here” is a call to action, a tone-setting statement to be where you are. “Shut Up” explores the notion of the world being a “dead sorry hole” and trying to intervene, only to find rejection. “Hit Me” finds storytelling in the form of a submissive abuse — “Hit me with your hands, oh it’s the only way I ever learn.”

The driving, dynamic drum and bass is the most immersive element of Savages in a live setting. Combine this with fuzzy guitar work from Gemma Thompson that is used as a rhythmic layer more than a lead element, and it’s impossible to not be drawn in at an aural level. All four members of Savages are constantly moving, leading by example, showing the engagement level that they expect from their audience.

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“No Face” was the first big highlight of the night. The song ends in a fury, and it brought about a huge response, prompting Beth to say “I was waiting for you.” “Husbands” was aborted after a couple measures so drummer Fay Milton could launch into an the explicit “Hit Me” before giving “Husbands” it’s proper play. The false-start to “Husbands” made the song even more enjoyable when it came back around. “Fuckers”, a song that doesn’t appear on Silence Yourself, encouraged that you “don’t let those fuckers get you down.” Opener Duke Garwood joined the headliners for an elongated and intense “Marshall Dear”.

Overall, Savages curate an immersive live music experience while contrasting with the rest of contemporary music — they’ve blasted through the doors of homogeneity and aren’t looking back. And that is a damn good thing.

SETLIST
I AM HERE
CIT’S FULL
SHUT UP
I NEED SOMETHING NEW
STRIFE
WAITING FOR A SIGN
DREAM BABY DREAM
FLYING TO BERLIN
SHE WILL
NO FACE
HIT ME
HUSBANDS
FUCKERS
HUSBANDS
FUCKERS
MARSHAL DEAR — With Duke Garwood
XXX — With Duke Garwood

Wild Belle continue fast-rising ascent at The Indy

Wild-Belle1Photos by Eldon Christenson // Written by Dara Shulman //

Wild Belle //
The Independent – San Francisco
September 26th, 2013 //

Fast-rising sibling duo Natalie and Elliot Bergman of Wild Belle impressed at the group’s sold-out show at The Independent. Lead singer Natalie remarked toward the end of the performance that “this first headlining show [in SF] has been a magical evening.” By the time the show concluded, it was obvious that many in the room were thinking the same thing.

Natalie Bergman’s sexy, raspy voice is a soulful blend of Macy Gray and M.I.A. for comparison sake and is clearly Wild Belle’s not-so-secret weapon. She fronts the four piece band, which features her songwriting partner and kin Elliot on both keys and saxophone. Natalie is an all around package of star power — from her seductive voice to her striking blonde locks, she beams on stage. Every move she makes exudes cool and a smooth style.

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The band follows her captive lead with on-point instrumentals. Jazzy, island sounds kept hips moving at a steady pace at this San Francisco show. There’s a worldly element to Wild Belle’s music, and the Chicago-based outfit’s approach to fuzing mildly psychedelic funk & reggae appeals to contemporary indie-rock fans that digest new music with a progressive twinge at a ravenous pace. It’s this amalgamation of genres that is most enticing about Wild Belle’s sound.

The talented Elliot plays a third instrument as well, the electric kalimba, keeping his worldly roots in tact from his former band NOMO. Fellow NOMO band members Erik Hall (guitar), Quinn Kirtcher (drums), and Kellen Harrison (bass) comprise the Wild Belle touring act.

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At one point during the set, the sibs traded instruments. Natalie took over on keys while Elliot projected lead vocals — are all siblings this talented? The only slight disappointment, which is typical for an act with one long player under their belt, was that the set was a short one.

Wild Belle played faithful versions of songs from their 2013 release Isles, including favorites such as “Shine,” “Keep You,” and “Backslider.” Those in attendance Thursday were treated to a sneak peak off Wild Belle’s next album, and the unnamed track possesses the same island-jazz roots but included heavy blues vocals.

This may have been the first headlining show in San Francisco for a group that is destined for bigger venues and more fans, and based on the vibes that circled around The Independent last week, things are just starting for Wild Belle.

Little Boots lights up for the encore at The Independent

Little-BootsPhotos by Marc Fong // Written by Mike Frash //

Little Boots //
The Independent – San Francisco
September 24th, 2013 //

Electro-pop darling Little Boots took the stage at The Independent on Tuesday to belt out her self-empowering anthems that mostly revolve around relationships and the search for love. Victoria Hesketh seemed slightly hesitant at first, but she grew more comfortable as her performance unfolded. The crowd was a bit lethargic for this one, save for super fan number one who was front and center and danced ecstatically throughout with a flat brimmed Amish-like hat.

The translation of Little Boots’ music in a live environment is relatively faithful to her recorded work, but a handful of extended breakdowns and seamless transitions kept things moving at a steady pace. Based in 70s disco grooves, yet rooted in the now with electronic overlays and vocoder modulation, Hesketh’s sound can safely be classified as disco nouveau. She’s backed by a drummer and two keyboard players that create the synthesized elements on the fly quite effectively while Hesketh keeps her fingers on the master controls via a stylish stand-up podium.

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The flat, projected visuals in Little Boots’ show were archaic, like something out of a screen saver from 2002. The fog that continuously pumped out of the venue infrastructure lent more effective visual enhancement then the visuals Ms. Boots brought with her.

The best highlight of the evening came at the encore, when Hesketh reappeared with a costume change and her most upbeat, dancy numbers. Little Boots sported a technicolor Rainbow Bright dress that lit up like the Electric Carnival Parade, changing colors to pulsating versions of “Remedy” and show-ender “Shake”. This impressive display of satisfying eye-candy got the entire crowd moving to the same beat as super fan number one.

During the extended outro for “Shake”, Little Boots took the flat brimmed hat off of super fan number one and placed it on her head like a crown as her dress started to spell out “S-H-A-K-E” one letter at a time. Hesketh may have begun the evening in a state of self-consciousness, but she ended it as empowered as her music, adding one final kiss into the mic to say goodbye.

MNDR put on a crazy-fun opening performance as well. Check out photos of Little Boots and MNDR shot by Marc Fong.

Gold Panda brings the worldly rhythm to The Independent

Gold-Panda Photos by Sam Heller // Written by Kevin Quandt //

It wasn’t long ago when avant-garde beat producers, like Gold Panda, would play small basement rooms filled with small crowds of dedicated music nerds watching these off-kilter musicians cook up something unique and not palpable for the masses. However, with the rise of artists such as Flying Lotus and Araabmuzik, a whole new genre has become more widely viable to the public. Not more than 2 years ago Gold Panda struggled to fill the Independent as he was still under-the-radar, but this past weekend he sold-out his Saturday showcase and nicely filled his second Sunday performance at the Independent.

Slow Magic would be the direct support for the night, and his lively show did not go unnoticed by those present early for one last weekend romp. Said opener was essentially a masked individual beating large drums to an array of pre-recorded EDM. It was energetic in it’s delivery, but failed to have much artistic merit beyond a spectacle. Enthusiasm can only go so far when paired with a live artist like Gold Panda, as he is a marvel to behold on stage.

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Gold Panda represents a vast amalgam of electronic music, borrowing influences from all over the world and sound spectrum to weave an upbeat, futuristic tapestry. His latest release Half of Where You Live has been critically hailed as his third stab at a comprehensive full-length album. Well received tracks like “Brazil” demonstrate his use of South American rhythms in a very contemporary manner while consistently maintaining a dance beat. There are no ‘drops’ or huge frills to his dance ethic, but rather a rapturing, constant beat that listeners can lose themselves in rather easily.

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Watching Gold Panda onstage is like watching a mad scientist at work, as he is fully enveloped in the process while constantly thinking about his next move, or in his case next loop or sample. The fan favorite and opening track off of Companion, “Quitters Raga”, was a blistering assault of sitar and Indian vocals that got the dwindling Sunday crowd throwing their arms in the air while busting out their best half-assed Bollywood dance moves.

This UK producer may not have risen to popularity via the hype vehicle that others like Flume and Burial have enjoyed, but Gold Panda’s steady progression gives his music a more authentic, genuine feel. Years ago, acts like this would struggle to make ends meet, especially outside their home territory. But, it’s a hopeful sign that outlying music such as this can be viable for the folks who lovingly produce it.

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St. Lucia treat POPSCENE patrons at Rickshaw Stop as full-length debut nears

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St. Lucia (aka Jean-Philip Grobler) and his live backing band commanded the weekly Thursday night Popscene stage at Rickshaw Stop in San Francisco September 12. Playing to a sold-out crowd of rambunctious party people, the Brooklyn-based group kept the energy high with layered percussion and dance heavy anthems.

Jean-Philip Grobler’s vocals bellowed throughout venue, echoed by a crowd stacked high upon each other’s shoulders, coming close to swinging from the proverbial rafters. In order to even get a chance at some personal space to enjoy the show, one had to retreat to the upstairs loft, which was packed in itself. St. Lucia had the room buzzing, culminating in an off the charts dance party which easily could have filled a space double the size of the intimate venue.

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St. Lucia’s band dynamic and infectious charisma spilled over into the crowd from the opening notes of their set. The group predominantly playing songs off the 2012 self-titled EP, and many in the audience sang and danced along with every track. Limited on material to cover at this point, the band stretched nearly every 4 to 6 minute song into extended dance floor frenzies. Grobler and company kept the crowd involved and entertained every minute of their performance with creative improvisation and an eccentric stage show.

Hinting at the soon to be released album, When the Night, due out next month, St. Lucia treated the crowd to an awe-inspiring performance of “Elevate” towards the end of the set. This is first single released off of the full length slated to drop October 8th, and crowd members reacted enthusiastically to the new material — a few even screaming out within earshot, “I fucking love this song!”


Download “Elevate” here.

Rickshaw Stop has been a venue to catch talent on the rise within the independent music scene for a while now. Clever booking and the success of their many curated evenings, including their regular Thursday installment of Popscene, play a major role in exposing many new artists to passionate young auditory pleasure seekers in the Bay Area. St. Lucia has gained enough traction at this early stage of his career to sell out much larger capacities, and it’s nights like this that truly resonate amongst music fans. A shear testament to what undoubtedly will be a successful full length debut while providing fodder for subsequent live shows going forward, St. Lucia’s performance at Rickshaw Stop was a special moment for both the band and fans alike.

Stars round out doubleheader at Slim’s

StarsPhotos by Chaya Frash // Written by Molly Kish //

Entering into the second leg of their US tour, promoting latest album The North, Montreal-based indie rock veterans Stars visited two historic venues in SF. Playing shows at both the Great American Music Hall and Slim’s, the band’s following in the Bay Area made each performance a night to remember. When asked by the band’s animated front man Torquil Campbell, “Who joined us last night at Great American?” the audience at Slim’s erupted in cheers September 18. This led into what was ultimately a set-long love letter to the city of San Francisco and its dedicated base of fans.

Stars played a set that spanned their entire discography, catering to the eclectic crew of fans they’ve accumulated over the years. Dense with emotionally charged ballads, the crowd swayed along entranced by the onstage dynamics of Torquil Campbell and Amy Milan. A much more mellow show than their previous Bay Area performance at the Fillmore this past year, the band took the focus off of their newest material and delved deep into their nostalgic, melancholy tunes.

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Stars certainly sprinkled in dance jams from The North throughout the night’s performance, but the real focus seemed to be on earlier heavy-hitting rock anthems, to the crowd’s delight. Igniting the intimate venue with “Take Me To The Riot” and “Bitches In Tokyo”, those in attendance shouted along in glee to songs that were mentioned to have not been played on stage in 14 plus years. The crowd was treated to extended stage time with the group’s touring violinist, who was celebrating an early birthday.

Matching the crowd’s enthusiasm, the band ate up the energy of the packed venue. At one point Campbell took a front row fans gift of Japanese lilies, then proceeded to bite and rip the heads off of their stalks and disseminate the bouquet into the crowd throughout the show. Campbell, who wore a handmade “Dead Child Actor” t-shirt, graciously thanked the female audience member for her help in “creating drama.”

Stars

Culminating the set with a four-song encore, punctuated by a stripped down, band pow wow of “The 400”, each member sat together in front of the drum set singing into two mics, and they ultimately turned to the audience for participation. Exiting one by one into the downstairs dressing room, Stars’ members emphatically professed their love for the bay area and promised to return soon.

The next course post tour for Stars is to finish recording their new album, then get back on the road again. Promising that SF will be one of their first stops post-production, the crowd responded with their own fond farewell, and the night came to a bittersweet end.

SETLIST:
The Night Starts Here
Ageless Beauty
A Song Is a Weapon
Death to Death
Wishful
One More Night
Fixed
Soft Revolution
Dead Hearts
Personal
Your Ex-Lover Is Dead
Backlines
We Don’t Want Your Body
Heart
Take Me to the Riot
Hold On When You Get Love and Let Go When You Give It
Walls

Encore:
Calendar Girl
The Theory of Relativity
Elevator Love Letter
The 400

Stars

Moving Units get intimate at DNA Lounge

Moving-UnitsPhotos by Eldon Christenson // Written by Molly Kish //

Moving Units //
DNA Lounge – San Francisco
September 12th, 2013 //

Kicking off their much-anticipated 2013 tour on Thursday, Moving Units dominated the upstairs loft at the DNA Lounge with an exclusive audience of die-hard locals.

Walking into a venue usually filled with 800-plus audiences, it took a minute to wrap your head around the scene. Entering through a lengthy staircase into a space originally used as the late-night lounge for the main-room festivities, the crowd’s level of intensity created an eager anticipation for the night’s main act. Filling the micro-venue with enough fog to smoke out a space twice the size, excitement filled the air. After all, this was the kick-off performance of Moving Units’ first tour and album in six years, leaving no room for mediocrity in a city known to galvanize the wider live music scene.

After a few sound check teases of familiar pulsating bass lines, drum rattles and tweaks of synthesizer knobs, Moving Units took the stage. The current lineup — consisting of Mike Delgado, Pat Heany and the ever-controversial frontman Blake Miller — started the evening off by playing tracks off their album Neurotic Exotic. Released less than 24 hours before the band’s physical set time that evening, the show served as both a triumphant return to the Bay Area music scene and a listening party for everyone in attendance. The band’s new tracks were embraced by a crowd riding high off of the surreal experience, which later evolved into a full-force dance party.

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Between the gregarious couples making out mid-floor and ladies literally pawing at the band, falling over the front of the ground-level stage, the show morphed into an off-the-charts loft party with one of the most notoriously salacious house bands around. The band’s blinding light displays, seductive stage presence and instigating crowd banter kept the energy at an all-time high.

Hitting hard late in the set with hits from Dangerous Dreams and Hexes for Exes, Moving Units inspired the sweat-soaked crowd to dance themselves into a frenzy, belting every last lyric while bouncing off each other and Miller, who decided to join in the audience’s reverie.

Nearly running through their entire catalog of quintessential dance-punk hits, the show came to an abrupt end soon thereafter, leaving the crowd salivating for more. Uncertain as to why the cords got pulled so quickly, the band exited the stage to house music, yet they remained on the dance floor drinking and talking with fans well into the closing hours.

Moving Units continue their West Coast tour throughout the remainder of the month in support of Neurotic Exotic. Be sure to pick up their brand-new album and check them out at a venue near you.

Local Natives return to Fox Theater Oakland with bag of new tricks

Local-NativesPhotos by Marc Fong // Written by Mike Frash //

Local Natives with Wild Nothing //
Fox Theater Oakland – Oakland
September 12th, 2013 //

Local Natives kicked off the first show of their new tour by returning to the Fox Theater Oakland on Thursday, the same Bay Area venue the group graced in February (see our photos from the show here). While there may have been a dose of déjà vu for super-fans that caught both shows, Local Natives’ super-charged lighting is now grander and the headliners surprised the faithful with a couple acoustic numbers for the first time.

Slow-building, three-part harmony and layered instrumentals signify the LA natives, and the group has enhanced their live performance through a strikingly new light show. Staggered floodlights are now placed behind the five performers as smoke machines continuously billowed wispy textures toward the center of the stage.

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One consistent element that can be found in Local Natives’ song structures is a mid-song break, a quiet lull that gives context and more meaning to the high-decibel crescendos. Then, to end the brief respite, the thunderous wall of sound returns — but now it’s not simply the listener’s ears that are barraged. The back lighting is blinding, almost seizer-inducing — and maybe this is what the group is going for. The absence of sight does make the process of hearing sound (including music if you are at a concert) more critical to the brain. The timing and tone of the lighting matches the music perfectly, but sunglasses would still have been useful.

My Bloody Valentine might be the loudest show I’ve ever heard, and without hesitation, it’s easy to proclaim this was the brightest show I’ve ever seen. Dangling firefly lights descended from above the stage toward the end of the set and remained for the evening. The bulbs would light in unison, then blip randomly at times to reflect sonically chaotic performance parts. The firefly lights made their biggest impact during the final encore song, “Sun Hands”, when the hanging light bulbs twirled around like a whirling dervish — this made Local Natives’ last song more memorable than usual, sending the young audience onto Telegraph Street en fuego.

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Mustachioed frontman Taylor Rice announced they would be “trying something new,” as two acoustic songs ended the main set. “Warning Sign” was first, but it was a stripped-down version of “Who Knows Who Cares” that brought pure glee to many faces in the crowd. Rice pointed out they had performed the song for La Blogotheque in 2011, but this was the first time they performed the acoustic version live.

One of the best attributes a live music group can have is passion, but if an artist doesn’t put enthusiasm front and center, what good is it? Local Natives get this concept. They seem spiritually invested in the music they have created and give to people on stage, and physically they couldn’t try any harder. Cheers to Local Natives for being one of the most enthusiastic outfits in indie rock.

Wild Nothing did a bang-up job opening to an empty-ish house, and their positively toned psych-rock is oh-so-delightful live. “Paradise”, one of Wild Nothing’s best songs, was jaw-droppingly wonderful and surprisingly heavy. Swirling instrumentals allow for floaty mind-wandering, and lead singer/songwriter Jack Tatum uses both a high and low vocal range in his singing, often in the same song. Hopefully the group swings by SF again soon for a proper show.

AlunaGeorge share ‘very sexy’ vibes in SF

AlunaGeorgePhotos by Marc Fong // Written by Mike Frash //

AlunaGeorge //
The Independent – San Francisco
September 11th, 2013 //

Buzzy British duo AlunaGeorge blasted into The Independent, proceeding to get the house bouncin’ while announcing their presence with authority. Singer and sultry frontwoman Aluna Francis referred to the clubbier-than-normal crowd as “very sexy” before launching into “You Know You Like It”. But it was Francis’ confident dance moves and spot-on vocals, combined with George Reid’s live production work, that proved sexiest.

Based on AlunaGeorge’s current tour schedule, the she-him collaboration of Francis and Reid (hence, the group’s name) are an international phenomenon in the making. How often does a group this new, who just released their first record, embark on such a long, worldwide tour? They are ready for the big spotlight — their tight, quick set packed a heavy punch, one that kept building in excitement.

Francis and Reid have expanded to a foursome on the road by adding live drums and bass, and this live instrumentation makes the beats sound more immediate, drawing you into the dreamy, sensual soundscape.

AlunaGeorge

AlunaGeorge’s show feels like a DJ performance. Sonically, the brain is processing clean sound that mashes principles of UK garage, 90’s R&B and hip-hop, but it’s all so infectiously poppy thanks to Francis’ easy-to-digest hooks, smart lyric inflection and a vocal tone that gets more addictive with each listen.

Reid creates the production elements live on MIDI pads and keys, building his studio vision on the fly — it’s the furthest thing from button-pushing EDM laziness. Low-bass vocal effect samples are utilized as hooks (like in “Your Drums, Your Love”), and these moments help to make the performance hypnotic. Every note curated by Reid is slick and seductive, and when someone as striking as Francis is the one attracting all eyes in sight, it all works perfectly.

AlunaGeorge

Highlights from Wednesday’s show included a slowed-down translation of Disclosure’s “White Noise” (which AlunaGeorge collaborated on), and a much more evolved rendition of “Analyser”, the track that put AlunaGeorge on the map early on. They also covered “This Is How We Do It” by Montell Jordan — how appropriate.

It’s as if Aaliyah came back from the dead, hooked up with Flume and put on an amazing live show — so maybe this helps to explain why AlunaGeorge is so popular. Any way you look at it, AlunaGeorge is a live-music experience worth investing in.

How to Dress Well previews new music at The Independent

How-To-Dress-Well2Photos by Sam Heller // Written by Mike Frash

“Call Your Mom!” became a phrase of humorous repetition throughout the How To Dress Well show at The Independent August 26 — And it wasn’t Tom Krell, aka How To Dress Well, who was yelling it.

Krell made the unfortunate mistake of admitting he forgot to call his Mom the day prior for her birthday due to the stresses of touring. This disclosure led to a semi-mob response as the crowd demanded that Krell call his Mom mid-show. All this is from a guy that croons “Dear Momma didn’t you tell me everything was gonna be right” in the song “When I Was In Trouble” — he clearly felt guilty.

And one female audience member kept coming back to the funny hook as she yelled “Call your Mom!!!” at opportune moments another half dozen times. Krell smiled each time it was bellowed, so it’s possible the gal giving Tom shit was a close acquaintance. The rowdy lady in the audience proclaimed one other word throughout the show: “Minna!”

How-To-Dress-Well

Minna Choi helped Krell produce the strings for his most recent album Total Loss, and for the second time she was performing live piano for How To Dress Well.

Krell usually defers to a fully electronic backing for concerts, save for his striking two-microphone singing. His right mic has a clean, true sound, while his left mic projects a heavy echo effect — and Krell has mastered the back and forth timing between his one and two mic, allowing him to replicate processed studio sounds in a live environment. Aaron Read controlled the electronics per usual while adding live violin and synthesizer play.

How To Dress Well’s biggest hit, “& It Was U”, was mashed up by Minna’s layering of “The Way It Is” by Bruce Hornsby as a keyboard melody. (You know, the Tupac “Changes” song.) How To Dress Well’s addition of live instrumentals is a welcome move — something Krell hopefully will evolve once his looming second LP is released.

One of the most noteworthy qualities of Tom Krell as a lead presence is his ability to bounce back and forth between engaged, spontaneous crowd banter and the way he falls into a trance while performing, channeling pain and projecting his inner passions without distraction. The only other contemporary performer that pulls off this “Jekyll & Hyde,” bipolar mastery is Jessie Ware.

How-To-Dress-Well

There is most definitely loads of heartache in Krell’s lyrics — the set ender “Set It Right” includes a lengthy list of family and friends whom have passed on. Between songs that often include huge bass-wall drops, Krell seems happy, smiling and radiating positivity. But Krell can also get a bit serious (and honest) during his mid-song banter, as he did with the first new song of the night “Let You Know”. Tom said, “This song is about feeling a lot of pain from the past, and trying to reckon that.”

Krell announced he has been holed up in Berlin making a new album in recent months, and he confessed that it’s “…great to play new music. We’ve been playing the same stuff for a while.” Someone in the crowd — not the “Call Your Mom!” chick — asked when the record would be coming out. In perfect timeless fashion, Krell stated, “June or April.”

The second unreleased “future” song of the night is called “Bad Shit Outweighs the Gladness”. At least, that’s what Krell said it’s called on his computer at the moment. He explained it came about as a product of his Grandmother’s very recent death, and how his Mom has now moved into a matriarch position for his family. Then Krell shifted to the point that he wants to have a baby, and how his friends have the most beautiful toddler. So this new song is about how his mom is a “Future Grandma.” Pretty heady.

The evening encored with one more new song. It was a dancy 80’s dance-pop track that is synth heavy and is a tonally upbeat departure from How To Dress Well’s typical sound. And as Krell was about to begin the final song of the night, what else would make sense but one more comical “Call Your Mom!!!”

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The Polyphonic Spree attempt to transcend technology at The Chapel

Polyphonic-SpreePhotos by Marc Fong // Written by Nikki de Martini

The size of the audience swelled after opening acts Harper Simon and Seryn Monday evening (August 19) at The Chapel, as show-goers eagerly waited to absorb The Polyphonic Spree in all of it’s glory.
 
Are they gypsies?
Are they hippies?
What will they be wearing?!
 
“There are 12 of them, yeah?” my friend asked, “No.” I replied. “I think there are more.”
 
Excitement was in the air, most notably from the two guys I found myself sandwiched between — one sported a foot-high mohawk and hugged the stage, guarding a poster tube while the other, a 50 something-year old construction worker lookin’ type firmly stood his ground. This eclectic variety of fans alone drummed up more anticipation and exemplified the headlining collective’s wide range of supporters.

Polyphonic-SpreeUnobtrusively they entered. The band wore matching citrus colored paisley choir robes, the 5 piece female back-up singers were adorned in matching white lace dresses and front man Tim DeLaughter rocked a citrus colored paisley man tunic. 

There were 18 members of the Spree in total, all of them squeezed into the frame of The Chapel’s alter-less stage when a warm, fuzzy feeling transcended throughout the picturesque venue. Tucked behind the wide array of instruments and musicians, the ladies’ angelic voices and happy faces stood out.  All eyes were transfixed on the 5 piece back-up singers for show opener “Section 12 (Hold Me Now)”, but quickly the ensemble projected exuberant optimism as a cohesive unit. The whole thing is a sight to be seen.  

Polyphonic-SpreeWhile teetering on top of a speaker joyously singing “Younger Yesterday”, DeLaughter fleetingly told an audience member to “put that (camera phone) away.” The Polyphonic Spree frontman didn’t harp on the issue as the group started “Popular by Design” amidst multi-colored swirling disco lights that turned the venue into one big happy kaleidoscope — but even more camera phones popped up as a consequence. In a year where Savages & Yeah Yeah Yeahs have scorned camera phones in favor of ‘being in the moment’, this artist trend seems to be on the rise.

The choral-symphonic-pop-rock-gospel band played cuts from their entire collection, including their fourth live performance of “Carefully Try”. DeLaughter thanked everyone for making it out the show, expressing his cheerful excitement that this performance at The Chapel was the group’s first sold out show in San Francisco. The announcement was met with an equally enthusiastic reaction.

Set List
1: Section 12 (Hold Me Now)
2: Younger Yesterday
3: Popular by Design
4: Light to Follow
5: 2000 Places
6: Carefully Try
7: I’m Calling
8: You Don’t Know Me
9: Hold Yourself Up
10: Soldier Girl
11: The Best Part
12: We Sound Amazed
13: Lithium
14: My Umbrella
15: Light and Day
 

Smallpools bring summer anthems to Popscene, their first California show

Smallpools-Popscene-August-8Nikki de Martini // Sweet Sound Bites

SF music fans were in for a treat at the Smallpools Popscene show August 8, as the Jersey foursome made their debut California performance. That could explain why Smallpools’ singer, Sean Scanlan, seemed a little nervous at the start of the show — and maybe it was the fact that the show was sold out and the group just started touring in July.
 
After a short-lived technical hiccup as they situated on stage in front of an eager, young and (always) trendy packed house at Rickshaw Stop, the band dove right into the set with “Mason Jar”, the second track off of their self titled EP.  Any nerves Smallpools may have had went away as the band’s laid-back coolness took over. The buoyant audience was already in the groove, dancing and having fun as Sean, Mike (guitar) and Joe (bass) continually connecting with SF fans.

Laughing about being stuck in Costa Rica when they created the “islandy” track “Over & Over”, the guys have a way of making you feel like you’ve been friends since way back when. Their bountiful, insightful banter about needing to get to work on their much needed (not to mention highly anticipated) LP resonated well with the excited crowd.  
 
Since the four tracks off their debut EP are their only released material, it made sense for Smallpools to cover a song or two to beef up their set list. The cheerful riff to the New Radicals’ hit “Get What You Give” was a great fit for the LA 4-piece indie-band’s mellow vibes. The song also served as the best build up for the song everyone was waiting to see live — this summer’s anthem, “Dreaming”.

Popscene burst with enthusiastic applause, breaking out into a full fledge dance party as Smallpools played their smash hit single — they definitely ended the night on a high note!


 

Rancid and The Transplants treat fans to a punk rock reunion

RancidPhotos by Marc Fong // Written by Molly Kish

Rancid returned to the Bay Area August 2 & 3 for a double header finale to their 2013 tour with The Transplants at the Warfield. Celebrating their 20st anniversary as bandmates, the East Bay punks busted out hits from their entire catalogue. A sold out crowd sang along with the boys, belting out lyrics that resonate amongst the attending generations of family members and fans alike.

The stage was filled to the brink with the bands’ entourage of friends, crew and kinfolk. A general pool of love and support, the band dipped into the VIP area throughout their set to pull members into the mix during their performance, and they sent direct dedications out the entire evening. Dancing in the corner, wearing their protective headphones, the Rancid and Transplant children remained visibly doting upon their fathers’ sets, and at times even stole the show along with the hearts of the hometown audience.

Rancid

Beyond being simply pumped for Rancid’s annual Bay Area mecca, the audience this past weekend were also treated to the return of Tim Armstrong’s side project, The Transplants. The original lineup was present throughout the entire tour, including Skinhead Rob on lead vocals, the incomparable drumming of Travis Barker and Rancid bassist extraordinaire Matt Freeman. With a lineup so intrinsically affiliated, the show felt more like a two-part act than separate bands taking the stage. Providing vocal and musical support throughout each other’s performances, and offering impromptu back up dancing, the two bands truly melded into one full-forced entity, and it inspired more crowd participation.

Treating the back to back shows as a big family reunion, the Warfield was bursting at the seams with love for the local line up this past weekend. A punk rock sing along for the decades, these shows were truly a special experience for the max capacity of hardcore fans in attendance.

El-P and Killer Mike make ‘rap church’ a reality as Run the Jewels

Run-The-JewelsPhotos by James Nagel // Written by Mike Frash //

All hyperbole aside, El-P and Killer Mike have joined forces to produce one of the best live-music experiences of the year as Run the Jewels. Those present at The Independent for sold-out shows July 30th & 31st were treated to a triple threat of sets — Killer Mike got things started with an incredibly memorable solo set before El-P took over for the second act. Then, just before midnight, the best rap duo alive joined forces to Run the Jewels in epic fashion.

Killer-Mike

Killer Mike might look and sound intimidating to some, but he’s really the Robin Hood of Rap, a populist leader at heart that looks out for the downtrodden. As much as Michael Render despises the government, racial-based violence and institutionalized religion, he sure presents himself as a preacher — a most awesome evangelist of justice and women’s rights while still enjoying life’s vices.

He connects with everyone in the room through individualized eye contact, by sitting down on the stage with his legs dangling and by projecting everything he stands for passionately, and it draws the audience in. Everything Mike does works toward the message that we (the audience and Killer Mike himself) are on the same team, working together to fight the people, actions & power that create society’s ills — most notably politicians, police and racially-based hatred.

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But let’s be clear — if you’re not on Killer Mike’s team, watch out; Mike’s foes are repeatedly the subject of his vitriol and death wishes. While introducing “Burn”, a new song dedicated to Oscar Grant, Mike simply stated that the police officer who shot the young black man should be killed. Mike cultivates an ‘Us vs. Them’ mentality, and by engaging with concert goers this way, it wills everyone to reciprocate by participating in call-and-response moments while putting hands in the air.

Killer-Mike

Mike’s banter is as entertaining as his R.A.P. music, and the control he exhibits over his rhymes, body language & subsequently the audience is admirable. Almost everyone in attendance got involved in a striking a cappella version of “Reagan”, but Mike switched up the form of the song to make “fuck Ronald Reagan” the refrain so everyone could sing along multiple times. With no instrumentals in the background, Mike slowed the song down, delivering the lyrics with whispered urgency, like he was telling a secret.

The high point of the set arrived during Mike’s introduction to “R.A.P. Music”, when he allowed himself to be vulnerable by sharing an important moment in his life. Render discussed how his mentor challenged him six years ago when he was formulating a new album. His mentor asked him if he wanted to make a party record, or something meaningful. That was clearly a turning point in Michael Render’s life, and it’s obvious he picked the correct path — Killer Mike has certainly found his calling. He continued on, saying “God is in the building tonight,” and that we were experiencing “Rap Church.” This is his standard introduction to the song — but Mike showed extra emotion Wednesday night. He said he’s never had a religious experience in a Church, but we were giving him that feeling people look for in religion. But in reality, Mike Render only gets back what he gives on stage. Hands down, Killer Mike is one of the best entertainers in music today.

El-P

El-P, the sole producer of Killer Mike’s music and their collaboration Run the Jewels, took the stage with two instrumentalists and a second MC to perform his solo work. El-P exhibited his hyperactive spits with fire, contrasting perfectly with Mike’s message-driven music. Random sounds like clown horns, crying babies and dolphin squeaks pop in to add elements of humor during otherwise serious songs. While introducing the second song of his set, El-P got serious, only to drop quickly into “The Full Retard” with spastic flair.

El Producto is such a future-forward, progressive producer, and beats from all three sets came from his pioneering brain. His style is based in weirdness — his instrumentals utilize non-standard form and his sound layering, often built off modulated vocal beats, cross-pollinates with so many genres like dance and rock music successfully.

Run-The-Jewels

El-P and Killer Mike (aka Run the Jewels) got into character with their faux-opulent chains, and they said as much before they performed their album Run the Jewels in its entirety. They held their chains in one hand and pointed at them with the other, as portrayed on the cover of the Run the Jewels album. But before starting, El-P disclosed that their jewels were fake, but the chains make them feel good and powerful when they are worn. It proved to be a candid lesson about 21st Century materialism, showing that it’s more important how you feel over how you spend.

Half way through the set, Killer Mike complained to his tour manager that they need wireless microphones — and that is a fact. He then turned his annoyance into a vaudeville-esque skit, shuffling over to EL-P to hold the twisted cables over their heads, joking that they were connected by friendship beyond the physical tanglement happening in the moment.

Run-The-Jewels

El-P stopped the set before “Get It” to tell the story of how he was discovered. El-P was at a club in San Francisco when he slipped DJ Qbert one of his early records. Qbert previewed the track in one ear, nodded in approval, then mixed in El-P’s cut, proceeding to scratch over it for four minutes. All the producers in the room ran over to meet him, and the rest is history. Then El-P introduced DJ Qbert himself to guest DJ for the song.

By seeing El-P and Killer Mike perform their solo material, then their collaborative work as Run the Jewels, adds up to the perfect equation. They are an ideal yin-yang duo, complementing each other with grace. Killer Mike has more fun but still interjects meaningful messages into a handful of songs, while El-P tones down his cartoonish antics in favor of machine gun back-and-forth rap mastery. Together they have produced a concert experience with an entertainment-first mentality, something that music fans — not just hip hop or rap fans — will enjoy thoroughly.

Fitz And The Tantrums give intense energy & crowd engagement to SF

Fitz-and-TantrumsPhotos by Marc Fong // Written by Nikki de Martini {Sweet Sound Bites}

People were still filing into the Fitz and The Tantrums show at The Warfield Sunday night as leading man Michael Fitzpatrick and leading lady Noelle Scaggs followed the rest of the band on stage. Under the glow of the same neon heart that graces the group’s new album, More Than Just a Dream, the show started with the brand new track “Keepin’ Our Eyes Out”. They carried an essence of unplanned-glam with a touch of platinum in their outfits. But Scaggs’ look triumphed, and how could it not with the cover-art heart embroidered on the back of her leather jacket!

The female firecracker vocalist burst out “San Francisco! How you feelin’ tonight?! You came to party right?!” in the middle of “Don’t Gotta Work It Out”, jolting a roaring response from fans. After that, all bets were off as Fitz himself tried spreading the band’s amped energy by vigorously starting an audience clap-along at the tail end of the song. And all this happened within the the second song! Their drive to fully engage the crowd and emerge everyone into their electrically emotional set was highly admirable.

Fitz-and-Tantrums

Fitz and the Tantrums built momentum with exuberant banter, fervid fist pumping with fans in the front row, some mean tambourine, and a sexually charged chemistry only exes can conjure up, and it all flowed naturally — though it did seem as if they were trying to prove themselves.

Covering the Eurythmics dark hit “Sweet Dreams” later on in the set made sense, seeing as Fitzpatrick’s voice definitely has a “Sweet Dreams” quality, if you will. Situated seamlessly into the overall sound and vibe of the night, Fitzpatrick and Scaggs shared the spotlight during the neo-indie version, yet they played it safe by not straying too far from the crowd-pleasing original.

James King broke out the saxophone for “Winds of Change” as Fitzpatrick’s deep Depeche Mode-esque voice blended effortlessly with Scaggs’ velvety falsetto, creating an underlying jazzy vibe.

Fitz-and-Tantrums

A good hour or so into the show, Fitzpatrick said, “You may have heard this next one, and that’s because San Francisco has been a huge supporter from the very beginning!” Sure enough, as the crowd roared in appreciation of his expressed appreciation, the cheers grew louder with the first notes of their summer smash single, “Out of My League”.

For me and every other 20-30 something present, the coolest part of the song’s introduction was how Fitzpatrick whispered Popscene into the microphone right before he began singing.

Fitz and The Tantrums played at Popscene (SF’s premiere Indie-Night Club) in 2010 when they were still finding their place in the music world, and the respect paid to the City and it’s fans who helped them get to the status the band has attained was super cool in my book.

Fitz and The Tantrums curated a setlist that balanced old and new all night — they sandwiched the funky eclectic new song, “The Walker” into two older tracks “Moneygrabber” and “News 4 You” to end the night. They raised their own bar pretty high with intense energy and a signature retro performance full of gusto from the get-go at The Warfield.

The Postal Service keep the nostalgia fresh with some help from Big Freedia & Baths at the Greek Theatre Berkeley

The-Postal-ServiceBy Mike Frash //

The Postal Service with Big Freedia, Baths //
Greek Theatre – Berkeley, CA
July 26th, 2013 //

The Postal Service played their third-ever Bay Area show at the Greek Theatre on Friday — the supergroup had previously performed at two tiny clubs, Bottom of the Hill and the Los Gatos Outhouse, respectively, in 2003 before their only record Give Up became a massive success. It was a night of nostalgia, yet The Postal Service made everything feel fresh, successfully sucking in the attention of the surprisingly youthful crowd. The audience was engaged throughout the show, a setting and mood that should be partially attributed to the night’s two openers, one that seemed completely out-of-place and another perfect.

Baths is a fast-rising electronic musician (born Will Wiesenfeld) who is touring on his excellent second record Obsidian. Baths is the ideal opener for The Postal Service — his music is more somber and moody, but his digital textures are so similar. The crunchy, industrialized beats found in “Worsening” and “Ossuary” sound related to the underlying, limping baseline in The Postal Service song “This Place Is a Prison”. Wiesenfeld and Postal Service digital mastermind Jimmy Tamborello have the same knack for atypical, Nintendo glitch production and therefore are kindred spirits.

Baths

Wiesenfeld’s live show includes another performer to help with button pushing, knob turning and electric guitar. The stage production is decidedly minimalist — both artists face each other while playing muddled, industrialized sounds from MIDI pads stacked on top of the boxed they were originally packaged in. Wiesenfeld plays the keyboard live and nails his passionate, on the brink-of-death lyrics with precision. His falsetto was on point, and all of the electronic sampling was performed live except for the driving, minimalist beats.

The audience may have been chatting away for much of Baths’ performance, but all it took was some booty twerkin’ and the first Sissy Bounce performance the Greek has witnessed to get everyone on their feet. When looking at the bill for the evening, it was hard to gauge how a Postal Service crowd would react to Big Freedia, the Queen Diva of Bounce. Bounce music is a rap-based hip-hop subgenre from New Orleans, heavy on bass with a NOLA second-line mentality — hence the booty.

Big-Freedia

If ya got it, shake it — bouncing female booty while wearing short shorts or tight spandex is virtually synonymous with bounce music itself, and Big Freedia understands this historical aspect. The Queen Diva has worked the art of booty bouncing into live production art, as her dancers know how to put on an entertaining show that is exciting and fun to watch.

The dancers performed upside-down booty rockin’ with handstands, ran the booty train with Freedia as the locomotive and climbed speakers and lighting pillars to shake that ass. It was anything but boring, either making you dance or ask yourself, “What the fuck am I watching?” The wild, random featured act was joined by Postal Service leader Ben Gibbard for some booty shakin’ to end the set — it was the final night Big Freedia opened for the headliners on this tour.

The-Postal-Service

Big Freedia ended up prepping the crowd perfectly for The Postal Service, getting everyone’s attention turned toward the stage. The crowd was attentive during The Postal Service set, adding harmonious sing-alongs to the group’s biggest songs. Some of these moments were spontaneous, others were encouraged by the performers. Opening song “The District Sleeps Alone Night” elicited a perfectly blended sing-along with the line “I was the one worth leaving” — but show closer “Brand New Colony” ended the night in a most memorable fashion. They ended the concert by encouraging the audience to join them in continuing “Everything Will Change” a cappella — and those in attendance obliged Gibbard wholeheartedly. He counted out the four beats in the measure before signaling to the crowd to yell the line, and it was clear the frontman was pleased with the participation after the final notes had been played.

The set was performed tight and cleanly — the foursome is clearly honed in at this point of the tour. The mid-set cover of Beat Happening song “Our Secret” was a highlight. The track built then segued into atmospheric territory — it was a long song but ended right as it was starting taking off. Gibbard jumped into press row for the set-ending “Natural Anthem”, leaving the rest of the group to awkwardly leave the stage for the encore.

The-Postal-Service

Once again, Jenny Lewis is the MVP. She’s so present in the moment while in control of her craft. Gibbard was enthusiastic and might be one of the worst dancers in live music today. But he owns his stage presence with gusto, and it makes you realize one possible reason why he shifted from electropop back to more indie-laden fare with Death Cab for Cutie.

At one point, Gibbard sincerely thanked everyone for being there, saying that “We know you have many options for your concert dollar. Thank you for not choosing Justin Bieber,” playfully referencing the Justin Timberlake and Jay-Z mega-show happening at Candlestick Park across the bay. While that comparison is weird, frankly, everyone present at the Greek must have had a couple goose-bumpy moments thinking back to a time 10 years ago when they first listened to The Postal Service.

Setlist:
The District Sleeps Alone Tonight
We Will Become Silhouettes
Sleeping In
Turn Around
Nothing Better
Recycled Air
Be Still My Heart
Clark Gable
Our Secret (Beat Happening cover)
This Place Is a Prison
There’s Never Enough Time
A Tattered Line of String
Such Great Heights
Natural Anthem

Encore:
(This IS) the Dream of Evan and Chan
Brand New Colony

Futurebirds & Diarrhea Planet present SF with layered southern psych-rock

Futurebirds


Futurebirds

By Mike Frash

Futurebirds with Diarrhea Planet //
The Independent – San Francisco
July 18th, 2013 //

Futurebirds are one of the best bands to emerge out of the Athens, Ga., music scene in a while, and anyone present The Independent can attest to this notion. Guitar instrumentation was the theme of the night as featured act and conversation starter Diarrhea Planet perfectly mirrored the night’s headliners through layered Southern psych-rock.

With a name that dares you to say it out loud in front of other people, Diarrhea Planet put forth a killer set. Balancing between heavy metal and punk, yet centering around accessible hooks, the Planet would rage hard then let intricate instrumentation create a floaty atmosphere.

The Nashville-based group was there to party and make a scene, something Diarrhea Planet achieved by reinforcing their music with four guitarists and a variety of stage antics. Emmett Miller on guitar led the way with the shenanigans, climbing speaker banks to jump from and by performing on the floor of the general admission area to end the set. They had fun and left a good impression in line with the Diarrhea Planet motto: “Shred till you’re dead, or go to hell.”

Diarrhea-Planet


Diarrhea Planet

As the stage was being prepared for Futurebirds, tunes from Kurt Vile and Tame Impala rang through the venue. This choice of pre-game music was highly appropriate — psychedelic guitar layering proved to be the hallmark sound of Futurebirds. The group features two electric guitarists, one acoustic and the all-important steel petal guitarist.

The stoic steel pedal guitarist added haunting accents to songs, even though he was the only performer onstage who seemed kind of bored. Futurebird’s music is rooted in alternative country, but every song transformed halfway through, morphing with a pleasant sound-shift into psychedelic-rock territory. For instance, “Death Awaits” is a wavy, country ballad until layered, electric guitar stomps into the third part of the song, adding Syd Barrett-like wails. The steel pedal ended up bringing the song together for the guitar-harmonized, blended outro.

Touring on their 2013 LP Baba Yaga, Futurebirds transformed almost every offering into a Neil Young-like slow burning jam, picking up the pace through layered Southern aural goodness.

Tea Leaf Green leave The New Parish in its wake

tea-leaf-green-new-parishBy Kevin Raos //

Tea Leaf Green //
The New Parish – Oakland
July 20th, 2013 //

Jam veterans Tea Leaf Green returned to The New Parish last Saturday, delighting the hometown crowd with a heavy dose of new material. As Bay Area natives, Tea Leaf Green have been making a name for themselves in and around San Francisco since the late 90’s, and despite a long career and a loyal fan base, they proved that they aren’t afraid to play on their own terms.

Formed in 1996, Tea Leaf Green have been a staple on the jam scene for ages. Their face-melting guitar and hypnotic keyboards have been a cornerstone to their sound, but it was the addition of bassist Reed Mathis in 2007 that has propelled the act to new heights.

The new direction of Tea Leaf Green was on full display as they ripped through tunes primarily selected from their previous three albums, including their most recent offering, In the Wake. It was no surprise the band showcased tracks from In The Wake, playing nearly the entire new album. However, it was surprising that the band broke into almost no older material for the hometown crowd. Only two songs performed were not from a Reed Mathis album, “Baseball Jam” and “Flowers and the Devil”.

Fans expecting to hear classic Tea Leaf Green songs such as “The Garden” and “Pansperdemic De-Evolution” may have been a tad disappointed with the song selections. However, take one listen to this band and any of those thoughts will be quickly thrown out the window. It is clear Tea Leaf Green is creating some of the best music of their career and they are not afraid to put it on display with ferocity. New tracks such as “Space Hero”, “Penny Saved” and “We Aren’t Done” have become instant crowd pleasers, and they demonstrate that they don’t need to reach for deep cuts to satisfy their fans. If the dancing of the crowd was any indication, the new tracks were incredibly well-received.

If there was anything to learn from this show or the general state of Tea Leaf Green, I think it is safe to say that the impact of Reed Mathis on Tea Leaf Green is creating waves, leaving the old Tea Leaf Green in their wake (see what I did there?). Yes, Josh Clark is a beast on guitar, and Trevor Garrod will always be the main voice of the band, but it is Reed Mathis’s presence on bass that takes Tea Leaf Green’s dynamic to the next level. At any moment, Reed is apt to go on a musical interlude, leading the band through an improvisational tangent. This is something Tea Leaf Green never did prior to Mathis joining. Founding bassist Ben “Milky” Chambers left the band in late 2007 to “pursue some of life’s other passions.” Chambers will always be an integral part of the group’s history, but Chambers’ departure transformed the band from a stoner jam band into a respectable improvisational rock band. Not only is a Reed a master on the bass, but he also brings a jazz element to the table and is likely to take just as many solos as Josh Clark on any given evening.

Another point of note, Tea Leaf Green did not play the traditional 2 set show that they, and many similar bands, have a tendency to do. Instead they performed one, longer set. It could have been a venue/curfew thing, but it’s noteworthy never the less.

In closing, Tea Leaf Green still has it. They’re as musically interesting as ever and still bring the heat, even when flexing their new album. They aren’t afraid to take risks and they clearly do what they love — it shows on stage.