Live Music Reviews

Django Django, Night Moves pack in Public Works

March 26, 2013 by Mike Frash Leave a Comment

Django Django with Night Moves //
Public Works – San Francisco
March 22nd, 2013 //

London-based Django Django returned to SF to play Public Work last Friday. The show sold out months in advance, an indicator that the hypnotic headliners have become increasingly popular since their first SF appearance in September.

Vincent Neff is the frontman for Django Django, and he did a top-notch job getting the crowd pumped up, but this foursome that met at University in 2009 is clearly a tight unit. Drummer David Maclean produced their self-titled debut record, which was nominated for the 2012 Mercury Prize. As they normally do, all members of the group wore matching outfits and are connected through someone synchronized movements on stage.

One of the most impressive aspects of Django Django is how they create sounds and make them work in a live environment. As the show was set to start Friday, about 30 noise-making devices were placed next to a swath of pedals and loopers at the foot of the stage. Django Django creates their unique sound through a plethora of methods, using claves, coconuts, cowbells and much more. Then, they loop the sounds and modulate the noises to recreate their cuts in a live environment.

The featured group out of Minneapolis Night Moves kicked off the evening with John Pelant’s beautiful, even angelic voice taking center stage. Night Moves presented songs that came off as more palatable Portugal. The Man — they are worth checking out. Night Moves will be performing with Poliça at Mezzanine in April.

Filed Under: Featured, Live Music Reviews Tagged With: Django Django, Night Moves, Public Works, Public Works SF

Umphrey’s McGee display technical prowess at Fox Theater Oakland

March 20, 2013 by Kevin J Quandt 1 Comment

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

Umphrey’s McGee //
Fox Theater Oakland – Oakland
March 16th, 2013 //

Umphrey’s McGee proved yet again that they are one of the most concise and consistent bands playing live. Saturday’s show at the Fox Theater Oakland further demonstrated the technical prowess that has launched these guys from a bar band to a contending headliner across America, popular in almost every demographic.

A recorded intro welcomed the six members before launching head first into a relatively new song by the name of “Depth Charge”. “2×2” was nicely welcomed by this writer who has been seeing this band for well over a decade, as it is one they have been playing for quite some time. The guitar work of Brendan Bayliss and Jake Cinniger has always been a spotlight for the band as they play so well together and push the progressive boundaries of rock guitar.

“Nemo” demonstrated their ability to showcase their talent on acoustic guitars, which was a refreshing surprise on a fan-favorite track. The longtime party anthem that is “Pay the Snuck” would end a well-received set full of funk jams and note-slaying prog-rock.

The second set opened with the Anchor Drops track “In the Kitchen” before heading into the West Coast premier of Tool’s epic “Forty Six & 2” off of Ænima. The heaviness of Tool was very well transcribed by the band as drummer Kris Myers belted out his best Maynard impression. More favorites like “The Triple Wide” kept fans moving throughout the set before culminating with the Paul McCartney classic “Live and Let Die.” Songs like this allow percussionist Andy Farag to crash his way through his extensive array of percussive instruments. Umphrey’s has few boundaries as a band, and though they may lack a little of the creative chances, they still enthrall all levels of music fans, some at die-hard status.

Set 1: Depth Charge, Plunger, 2×2, Padgett’s Profile, Conduit, Plunger, 1348[1], Nemo[2], Hey, Hey What Can I Do[2], Nemo[2], Pay the Snucka

Set 2: In the Kitchen, Forty Six & 2, The Triple Wide, Puppet String, Dump City, Hajimemashite, Puppet String, Live and Let Die

Encore: All In Time[3]

[1] with Rapper’s Delight (The Sugarhill Gang) teases
[2] with Brendan and Jake on acoustics
[3] with How Many More Times? (Led Zeppelin) teases

Filed Under: Featured, Live Music Reviews Tagged With: Fox Theater Oakland, Paul McCartney, Tool, Umphrey's McGee

Greensky Bluegrass make it to the big stage in SF

March 18, 2013 by Kevin J Quandt Leave a Comment

Photos by Mike Frash // Written by Kevin Quandt //

There are few bigger honors in the San Francisco music scene than a bands first time headlining the Fillmore, and on Friday March 15th, it was Greensky Bluegrass’ night to shine on the big stage. They were not alone on this evening as Ryan Montbleau Band handled opening duties, and the one and only Sam Bush decided to make a trip out to support his brothers in bluegrass. A sizable crowd welcomed all the musicians over the night, and stayed dancing well into the late hours of the night underneath those brilliant chandeliers.

Ryan Montbleau warmed up those in attendance early with a set of his brand of folkified, soul funk. Having been a constant, and respected, personality in the jam scene for almost a decade now, he has garnered some devote fans. His style is pleasing to the ear, and can easily get a room dancing to his booming voice.

Greensky Bluegrass was anxious to get going, and wasted little time jumping head first into their dynamic style of renegade string music. Their knack for life on the road is evident by the ease of communication between the members, as they toss solos back and forth in a truly effortless manner. The quintet blazed through some of their original material in competent manner, but it was somewhat evident that the crowd was ready to expand this group with the addition of legend, Sam Bush.

Fiddle would be Bush’s instrument of choice to start out the evening, busting into a romp of an instrumental piece before the first few notes of “Same Ol’ River” rung through the venue. This standout track featured Bush on mandolin, and included an extended jam with fellow mandolin player Paul Hoffman of Greensky. Sam Bush possesses this great musical leadership skill that allows him to seamlessly play with almost any acoustic bluegrass band with such professional competence that you forget it’s not his band.

“Girl From the North Country” featured a duet between Bush and Anders Beck, who has become a highly respected dobro player in their music circle. His tone shines through on so many songs, and this one was no exception. Another duet was on deck, this time between Paul and Sam playing the crowd pleasing song, “Sailing Shoes.” A nod to Robert Johnson’s famous song “Crossroads” earned a howl and applause from the crowd before heading back into “Sailing Shoes.” “Bringing in the Georgia Mill” closed out the well built set.

A setbreak led into the Greensky Bluegrass original “Jaywalking,” a track they have become rather well known for over the past years. It was no surprise that this show was a little more anticipated than others on the tour, and the band truly nailed the evening with a mix of original songs, thoughtful covers and one legendary guest to help out when needed. “Could You Be Loved” slowed the frantic pace and allowed some clouds to billow into the lights before dedicating the next song to Fillmore founder Bill Graham. “Working on a Building” by Bill Monroe was a highlight of the second set as the vocal pitches were skillfully nailed.

The band played solidly into the one o’clock hours, picking up the pace to please dancing feet throughout. Greensky is on the up and up as contemporary string music creeps from the shadows into a more palpable, even popular, light.

Filed Under: Live Music Reviews Tagged With: Greensky Bluegrass, Sam Bush, The Fillmore

Pickwick set The Independent ablaze on their way to SXSW

March 12, 2013 by Kevin J Quandt 1 Comment

Seattle’s rising soul-rock band, Pickwick, have arrived and music fans of San Francisco have taken notice, selling out The Independent on a windy Friday night. The band is early in their first true American tour, spanning from their Pacific Northwest home to Eastern Canada, and it was evident to see that they are charging full speed, hitting every demographic they can. The timing couldn’t be better as the band is in the midst of releasing their first album, Can’t Talk Medicine.

Sandy’s provided local support, while Portland’s Radiation City took the second slot as the venue filled up to enthusiastic onlookers. The sound of Radiation City flutters between experimental pop and nostalgic lounge rock, featuring dreamy multi-part vocals and a mildly psych sound. Early arrivals signaled a band on the rise, a common theme for the evening.

Take a look at the Showbams review of “Can’t Talk Medicine.”

Photos by Sam Heller at Hangtown Festival 10/27/12 Placerville, CA

It was time for Pickwick’s first sold out headlining San Francisco show and the expanded 6-piece group casually walked onto stage and began the show with the soul-churning track off the new LP, “Brother Roland.” Galen Disston, the vocal powerhouse and lead man, was not alone on vocals this night as it was evident that the secret of Pickwick is out and spreading like wildfire. Exuberant fans sang along in an impressive manner and number, showing that they are a big deal, even outside Seattle and it’s surrounding areas. It’s tough to ignore such passionate and engaging music when confronted with it, and there’s no reason why these guys should not gain waves of fans across the nation over the upcoming months.

The infectiousness of their songs come from many sources, giving the ability to clap, tap or stomp along with the beat, which seems to please the crowd. This rhythm is now further augmented by new 6th member, and album producer, Kory Kruckenberg. His inclusion on this tour takes the full sounding live act to an even higher plateau as he bounces between guitar, keys, even vibraphone.

Photos by Sam Heller at Hangtown Festival 10/27/12 Placerville, CA

Galen Disston is a true vocal force to watch and admire as he paces the stage, truly feeling every note that he sings, treating his voice more like an instrument than a vessel for lyrical content. “The Round” displayed this vocal instrumentation paired with a warm sounding Wurlitzer and grooving bass line for one of the highlights of the night. Lizzy Ellison of Radiation City joined the band for a spirited rendition of Richard Swift’s “Lady Luck.” This cover track, appearing on a Covers EP and the new album, originally features Sharon von Etten, but on this night Lizzy coupled her sultry vocals to Disston’s tasteful falsetto while Kruckenberg plays the rarely-toured vibraphone.

From there, the band played a new song which noticeably featured even singing efforts by Disston, guitarist Michael Parker and keyboardist Cassady Lillstrom. Album opener “Halls of Columbia” was a highlight of the set, as was longtime favorite “Hacienda Motel.” Both these songs are amazing examples of the dynamic nature of their writing, blending genres into a sound which is uniquely their own.

The art of the encore is not lost on these guys as they delivered a scorcher, leaving people stunned and gleeful on there way out the doors. “The Ostrich” has become quite the energetic cover. Originally by Lou Reed, it’s a driving riff took precedent while Disston pogoed and stomped his way across the stage. One can’t help see a little bit of Jerry Lee Lewis in Disston’s possessed stage mannerisms along with his booming vocals. “Window Sill” was to be the last song of the night, leaving with a bang rather than a whisper. Many of the opening band’s personnel came out bearing tambourines and various rhythmic instruments as this track’s beat can only be aided by more willing bodies. A warm keyboard hook led into Disston and Parker belting out lyrics followed by a section of shouted “whoa”s only to be volleyed by the enraptured audience. By the time the last notes rang through, the crowd was eating it up and hungry for more, but alas they’d have to wait till next time.

Having been a fan of this band from around the time of their inception, it is nothing but a joy to see them receive the success they have prepared for over the past couple of years. Can’t Talk Medicine is sure to get attention outside of their hometown, hopefully while blowing minds in Austin next weekend.

Filed Under: Live Music Reviews Tagged With: Pickwick, The Independent

Synthpop trio CHVRCHES play first U.S. show in SF

March 11, 2013 by Mike Frash 1 Comment

By Mike Frash //

CHVRCHES //
The Independent – San Francisco
March 10th, 2016 //

Super-buzzy Scottish electronic pop group CHVRCHES (pronounced as you would expect, “Churches”) played their debut show in the U.S. on Sunday night. The Independent in SF hosted the synth-heavy trio, which sold out their first U.S. concert months in advance. CHVRCHES have only two shows on the docket, this SF performance and one down the California coast in Los Angeles, before heading to South by Southwest to likely make a big splash.

This was a brief show (around 47 minutes), but it’s not surprising since CHVRCHES have not released their debut EP yet, let alone a full album. The good news is their songs are well-developed for the stage, and Lauren Mayberry’s vocals deliver in a live setting. Mayberry exhibited some nerves at the beginning of the set, but she grew more comfortable with each song. By the time Mayberry revealed she might have left the iron on in her hotel room and she neurotically kept thinking she might burn down the hotel even after alerting hotel staff, she had connected with the crowd packed into The Indy.

The show finished with the track that put CHVRCHES on the map, “The Mother We Share”. This addictive song, along with “Recover”, are so accessible they could be radio hits a year from now. Surely CHVRCHES are a group on the rise; any artist that can get a Monday crowd rowdy and materialize fans who sing along to songs without a proper record release foreshadows good things to come.

Setlist:
Lies
We Sink
Lungs
Now Is Not the Time
Gun
Science/Visions
Night Sky
Recover
Under the Tide
The Mother We Share

Encore:
I Would Die 4 U (Prince cover)

Filed Under: Featured, Live Music Reviews Tagged With: Chvrches, The Independent

Alabama Shakes’ Brittany Howard roars as the new lioness of Rock

March 7, 2013 by Kevin Raos 2 Comments

Photos by Marc Fong ~ View photo gallery & setlist below

Brittany Howard, the heart and soul of Alabama Shakes, affirmed her unmitigated eminence as the premiere lioness of rock and roll at Fox Theater Oakland Tuesday. Her raw, ferocious vocals and expressive demeanor mixed with her 50’s southern style, complete her cat eye glasses, gave her a vintage look that matches the Shake’s throwback sound. The only thing missing was an iconic unidyne microphone.

Alabama Shakes formed in 2009 while the members were still in high school (feel old yet?), and they have only been touring nationally for about a year. Recent Grammy nominees for Best New Artist, their astonishing rise to festival sub-headliner status hints Brittany and the gang are only at the beginning of a long and successful career.

The Shake’s breathtaking Brittany Howard somehow has already reached legendary status in this brief amount of time. In the tradition of American blues, Howard “ain’t afraid to wear her heart on her sleeve,” telling her life story through her music. Howard’s fervid vocals belt from the depths of her soul as she erupts with impassioned intensity. A native of Alabama (duh?), her southern roots are apparent in her quirky, grimy howls that reverberate from her brilliant spirit.

All the sold out shows should be attributed to the unparalleled vocal stylings of Brittany Howard. Her stage presence captivated and enthralled the ardent audience at the Fox Theater on this rainy night. Howard’s delivery gives her songs new life that’s isn’t apparent on their record, and perfectly timed smoke wisps float onto the stage to frame Brittany’s grit and determination.

Alabama Shakes satisfied the crowd by playing two of their more popular songs, “Hang Loose” and “Hold On,” early in the show, smartly getting the radio hits out of the way so the audience could focus on deeper cuts from their only album Boys & Girls. Brittany had strong command of the microphone as she belted out tunes like “I Found You,” “Be Mine” and “On Your Way.” Whether Howard was inspiring pin-drop silence during slower tunes, or creating upbeat, euphoric moments, Alabama Shakes sang to our hearts then rocked our souls.

Setlist:
Goin’ To The Party
Hang Loose
Hold On
Always Alright
I Found You
Rise To The Sun
Boys & Girls
Be Mine
Worryin’ Blues
On Your Way
You Ain’t Alone
Heavy Chevy

Encore:
Gospel Song
I Ain’t The Same
Heat Lightning

Filed Under: Live Music Reviews Tagged With: Alabama Shakes, Brittany Howard, Fox Theater Oakland

STRFKR play new material, party with furries at Noise Pop

March 6, 2013 by Molly Kish Leave a Comment

Photos by Mike Frash ~ View Photo gallery below

Fresh off the release of their brand new album Miracle Mile, Starfucker sub-headlined Noise Pop Fest 2013 with a sold out and furry-friendly performance at the Regency Ballroom this past Friday night. A line wrapping around Van Ness and eager fans filled the venue to capacity during the opening set from Blackbird Blackbird. Re-visiting a familiar setting, the foursome whom played to a similar crowd back in September for Will Call’s pop up show took the stage with the confidence and casual demeanor of well-seasoned professionals.

Riding off the energy of local indie rock outfit Blackbird Blackbird’s opening set, the audience began to stir in anticipation for STRFKR to take the stage. Usually a high energy show right off the bat, people began to shuffle toward the front of the venue for better views of what would be an antic-filled stage show.

This time around though, the band had a different agenda, and took advantage of the crowd’s steadfast attention, utilizing the first half of their set to introduce their newer, more experimental tracks. Catching the audience off guard with early performances of dreamy pop songs like “Last Words,” and a crooning rendition of “Say to You,” the overtly ecstatic energy of the crowd was lulled into an ambient haze, transfixed by the band’s new material.

Beyond the adjustments made to their set list, the group dynamic and their new visual stage design also showcased a higher level of professionalism. In past performances, the band’s stage presence was wrought with sarcasm and comedic undertones, but the guys took command without a hint of levity this time with their game faces on. Friday’s show was a well-manicured performance, the new LED screen with synchronized lighting certainly enhanced the experience.

Growing antsy with predetermined expectations, the crowd’s early response to STRFKR’s new material was mixed but easily appeased once the band broke into “While I’m Alive,” and subsequently the second half of the show. From there the audience exploded into a full-fledged dance party, screaming lyrics to familiar favorites off of previous releases Jupiter and Reptilians.

Highlight track’s included “Julius” and “Bury Us Alive,” and the audience was deluged with balloons from the end of the first set through the encore. The evening ended with Starfucker’s accustomed cover of “Girl’s Just Wanna Have Fun,” and before that with a San Francisco fashioned performance of “Boy Toy,” accompanied by a stage full of “furries”. Finishing the night strong with a cast of characters including a giant banana, panda bear, Gumby and two dudes in skin tight body suits, STRFKR left the Noise Pop 2013 crowd satisfied and impressed.

Filed Under: Live Music Reviews Tagged With: Blackbird Blackbird, Noise Pop, Regency Ballroom, Starfucker, STRFKR

Toro y Moi headlines two nights at The Independent for Noise Pop

March 4, 2013 by Mike Frash 5 Comments

Photos by Mike Frash, Marc Fong & Sam Heller // Written by Mike Frash //

Toro y Moi with Sinkane //
The Independent – San Francisco
March 1st-2nd, 2013 //

Toro y Moi headlined two nights of Noise Pop at The Independent last Friday and Saturday, closing a spectacular week of live music at the place where Noise Pop started 21 years ago. Chaz Bundick, who goes by Toro y Moi as his multilingual stage name, proved that he can captivate a room while barely budging from his statuesque position at his command central, surrounded by keyboard, synthesizer & other sound modulation technology.

Chazwick Bundick, one of the leading early influences behind the “chillwave” movement, played his new material from Anything in Return to perfection, proving that Toro y Moi has progressed further into dance territory. “Rose Quartz” opened the night, setting the crowd off into a show full of swaying, psychedelic music moments. The jam of the show Saturday night was “So Many Details.” The live-performance outro to this song is an impressive sonic blast of building, repetitious beeps and the looping lyrics “You send my life, into somewhere I can’t describe … so many details.” Moments like this showcase Toro y Moi’s dexterity performing live, as Bundick’s seemingly uses his Jedi mind-powers to subliminally convince a 450-pax crowd to jump on his wave, sway-dance a bit and chill the fuck out.

It must have been a banner weekend for Bundick, as he headlined Noise Pop and joined his buddy Ernest Greene (aka Washed Out) at 1015 Folsom on Friday night for a DJ performance. The two know each other from school days at the University of South Carolina, where they influenced one another and basically established this much ballyhooed chillwave music subgenre. But at least one thing is clear after hearing Toro y Moi perform live this past weekend: Chaz Bundick has no interest in being constrained within the chillwave box.

Filed Under: Featured, Live Music Reviews Tagged With: Sinkane, The Independent, Toro Y Moi

Chk Chk Chk “Slyd” their way through Noise Pop!!!

March 1, 2013 by Mike Frash 4 Comments

Photos by James Nagel

!!! is back, so put on your short shorts, locate those dancing shoes and get prepared to rock out and rage. Sacramento’s Chk Chk Chk pulled tracks from the scope of their discography Thursday night at Great American Music Hall in San Francisco, but new tracks from their forthcoming record Thr!!!er provided the evening highlights.

Midway throughout the set, lead singer and single-handed party starter Nic Offer launched into “Slyde,” the first track unleashed upon the (mostly) unknowing public. Those lucky enough to be in attendance at this Noise Pop-headlining event witnessed the first of a few US shows before the new LP drops in late April. Nic and the rest of the incredible band members in Chk Chk Chk have put in proper practice, because they nailed the first performance of their lead single.

Just as “Slyde” finished, Offer snarked “Tricky one I tell ya!” Then, for the first time of the night, the most upbeat man in music looked at his bandmates and proclaimed “We did it!!!” Offer’s joy was palpable from every corner of Great American Music Hall, and it’s moments like this that make you root for Chk Chk Chk. “You can say you were there the first time we played that.”

No one is better at showing a crowd how to get down. Climb the speaker banks at regular intervals? Check. Jump in the crowd and create a mob scene? Check. Inspire the rest of the patrons to loose their collective shit since the ceiling of temperance & reservations has been shattered by pure musical leadership? Triple chk.

The most certain sure thing is that Offer doesn’t do it alone. The nouveau-disco jams are steady and polished, producing a groovy canvas that allows Nic’s freak flag to fly high, and subsequently take everyone else present along for the ride.

“There’s a new album coming…You were here, so I want you to know all the lyrics.
~Nic Offer at Great American Music Hall”

Filed Under: Live Music Reviews Tagged With: !!!, CHK CHK CHK, Great American Music Hall

Sailing away with Kishi Bashi at Great American Music Hall

February 28, 2013 by Kevin Raos Leave a Comment

Photos by Mike Frash // Written by Kevin Raos //

Kishi Bashi with Tall Tall Trees //
Great American Music Hall – San Francisco
February 27, 2013 //

After releasing one of the top albums of 2012, it was hard not to have high expectations going into Kishi Bashi’s Tuesday night show at the Great American Music Hall. K Ishibashi, a blossoming solo artist who has adopted Kishi Bashi as his artistic moniker, made his full-length debut last year with 151a after years of touring with musicians such as Regina Spektor and Of Monteal, to name a couple.

K’s solo material is vibrantly upbeat and refreshing, and he has already been commissioned for numerous commercials. A virtuosic violin player, Kishi Bashi’s solo approach makes you wonder how the songs could be translated in a live setting. With the use of a looper and his own voice, both beatboxing and singing, K was able to recreate the layered complexity of 151a while still allowing enough room for exploration.

It cannot be stated enough just how good Kishi Bashi is at violin. His skills were on marveling display as he would effortlessly shred up and down the fret board, creating a cascade of sound akin to a De Beers commercial. After creating basic song structures with his looper, K is able to orchestrate an ascending symphony of violins. This unparalleled sound establishes a fascinating dichotomy between a boisterous blend of classical and contemporary, bridging the past with the present.

With the intermittent help of two other musicians, opening act Tall Tall Trees on the space banjo and Elizabeth Ziman on percussion and keyboard, K Ishibashi was able to create a thick sound at times without the aid of the looper. Don’t expect a carbon copy of his album live; the inclusion of Tall Tall Tree’s banjo lends a bluegrass sense to the live versions of Kishi Bashi’s music.

With only one full-length album and one EP under his belt, it was clear that K would need to add a little extra to his repertoire to satiate the audience. Boy did he not disappoint. Kishi Bashi played nearly his entire catalogue of songs this night at Great American Music Hall in San Francisco. In addition to his two albums, K pulled out two covers during the show, Enya’s “Orinoco Flow (Sail Away)” and U2’s “With of Without You.” “Orinoco Flow” was a clear evening highlight, and featured an extended jam/hoedown in which K and Tall Tall Trees dueled back and forth before finally segueing into “Bright Whites,” one of Kishi Bashi’s most popular tunes.

K’s friendly banter with the audience was a welcome contrast to the inflated egos many musicians possess. He mentioned his rising popularity in Japan for a commercial song he wrote called “Philosophize in it! Chemicalize with it!” “It’s charting,” he added with a smile.

He seems like an approachable person, someone you could have a beer with after the show, even with his recent success and growing popularity. Even when up on stage, you could feel the humbleness and kindness in his heart, something that does not come through with many musicians. In fact, he announced an after party at a nearby bar, and K challenged the audience to get him drunk by saying he was the designated driver.

As K mentioned toward the end of the evening, he has come a long way in his brief solo career. Kishi Bashi opened for Of Montreal at Slim’s in March 2012, and one short year later he has sold out Great American Music Hall. K earned this full circle moment by producing a classic album that he recreates sublimely live.

Setlist:
Intro/Pathos, Pathos
Atticus, in the Desert
Evalyn, Summer Has Arrived
Wonder Woman, Wonder Me
Chester’s Burst Over The Hamptons
Beat the Bright Out of Me
Conversations at the End of the World
I Am the Antichrist to You
Philosophize in It! Chemicalize With It!
Orinoco Flow (Enya cover)
Hoe Down
Bright Whites
It All Began With a Burst

Encore:
With or Without You (U2 cover)
Manchester

Filed Under: Featured, Live Music Reviews Tagged With: Great American Music Hall, Kishi Bashi, Tall Tall Trees

Noise Pop Wednesday: Ramona Falls, Social Studies, Harriet, Mahgeetah

February 28, 2013 by Mike Frash 86 Comments

View our Noise Pop preview.

Noise Pop offered excellent mid-week options Wednesday, and while Rickshaw stop welcomed a post-hardcore bill headlined by Ceremony and Bottom of the Hill hosted local faves The Fresh & Onlys, the place to be Wednesday was at Brick & Mortar Music Hall, where the capacity crowd dug into indie rock with a tinge of electronica.

The Wednesday night Noise-Pop show glimmered with hopes and high expectations, as Ramona Falls & Social Studies showed off their road-perfected sets, Harriet got back in the live music game, and Mahgeetah showed that it’s bit foolish to arrive late during Noise Pop week.

Ramona Falls have a smiley stage presence and friendly vibe in a live setting that doesn’t prepare you for their hyper-charged, synth-serious sound aesthetic. Portland based Brent Knopf is the leading creative force behind Ramona Falls, and he expanded the project for his 2012 LP Prophet to include a full band in the recording process. Knopf’s warm voice and lyrical delivery is pleasantly reminiscent of Ben Gibbard (The Postal Service & Death Cab for Cutie) and John Darnielle (Mountain Goats).

And it’s a live treat that Ramona Falls is touring with violinist Lauren Jacobson. Her strings added an extra emotional layer that isn’t present on Prophet. Much of the school night crowd thinned out early, and they missed a stellar set.

Social Studies is a local SF group led by Natalia Rogovin, and her sultry vocals combined with her stunning, classic beauty will surely continue to elevate the group. They sound like slightly faster Beach house with an electronic jolt. Rogovin exhibits in-the-moment stage presence similar to Ruth Radelet from Chroamatics, and she is adept enough to guide auditory pleasure seekers into a hypnotic trance. Unfortunately, the drunk chick toward the front who continued to loudly proclaim “you’re killing it” and “keep going” at quiet moments did not allow herself to drift away with the chill waves.

The penultimate performers this night have been touring with Ramona Falls, and Rogovin made sure it was clear that they were happy to be home for Noise Pop. And since Social Studies are hometown heroes, it makes sense that they drew a denser audience than the headliners. Holler & swaller!

Contrasting Ramona Falls & Social Study’s endless touring, Harriet came to Noise Pop from LA with a fistful of new material never performed to a live audience. Based on this performance, Harriet is a band to keep both eyes on. Alex Casnoff’s stage banter is delightfully devious; he introduced a song by saying it is “about strippers you feel connected to after a lap dance.”

Casnoff promised an album to be released later this year, and it should be a good one.

Local SF group Mahgeetah were on fire when I walked in, but it was their last song of the night. They were thrashing away at a raging jam, finishing with a fuzzy wall of sound that was impressive. Instantly upon walking into Brick and Mortar I regretted leaving the house a bit late.

And to a certain degree, the opening acts are what Noise Pop week is all about. Most Noise Pop shows have two or three openers, and the supporting acts are almost exclusively from the best coast. If you can swing it, get to the venue early and discover an up-and-coming act.

•!!! (Chk Chk Chk) tickest are somehow still available for Thursday night. Get ’em while you can. Don’t count on walking up to Great American Music Hall to buy tickets at the door.

•Free Energy will be performing Thursday at Brick and Mortar Music Hall. Wednesday night’s B&M show sold out, so buy tickets while you can.

Filed Under: Live Music Reviews Tagged With: Brick & Mortar Music Hall, Harriet, Mahgeetah, Noise Pop, Ramona Falls, Social Studies

Dirty Dozen Brass Band and Toubab Krewe are Instrumental at The Independent

February 18, 2013 by Mike Frash 1 Comment

Photos by Sam Heller

Two instrumental groups with fairly different musical palates joined forces at The Independent Friday for a pleasing one-off combination. Dirty Dozen Brass Band and Toubab Krewe have been making their way through California on different paths, but their travels united them for one night over the past weekend.

Live music fans that embrace a variety of instrumental-based live music walked away happy, as these two groups provided a juxtaposition to the evening that isn’t often found in the standard headliner/opener format. The duality of sound from these two groups provided a welcome mental get-away from the city.

Toubab Krewe invoked visions of Africa with their swelling percussion and diverse melody that emits from instruments such as the soku (Malian horsehair fiddle), kora (21-string harp-lute) and kamelengoni (12-string harp-lute). These foreign sounding (and looking) instruments are played in unison with the more familiar guitar and bass, and the result is a nuanced world-music sound.

The opening performers, whom could normally headline the Independent on their own as judged by the amount of early arrivers, are heavily influenced by traditional West African music. It wasn’t just Toubab Krewe’s take on world music that impressed, but it was the wall of sound that brought the most intense auditory pleasure, especially when the wall of sound built to a release point. There is no doubt these moments were enhanced by the house lights at The Independent.

Once the excursion to Mali was complete, it was time to head back to New Orleans for some southern love. There is a special place in my heart for NOLA brass, and Friday’s headlining performance from New Orleans institution Dirty Dozen Brass Band reminded me why: It’s all about the party and feeling good!

The Dirty Dozen opened with “Ain’t Nothin But a Party,” getting the crowd involved early with the call and response of “Paaaartay.” The legendary brass group then launched into “Papa Was a Rolling Stone” and then worked it back into “Ain’t Nothin But a Party.” “Dirty Old Man” was a highlight toward the end of the set, as three ladies made their way on stage to make the song more of an interactive skit than the telling of a story.

It must be noted that the current keys performer that is touring with the Dirty Dozen did a top-notch job of keeping the show going, not allowing songs end for the most part. Instead, the keys created a bridge from song to song. The keys were a welcome addition to the group, as the addition of the keyboard player made the show sound more jam-based and less classical New Orleans. But there was plenty of brass of course, and what is left of the original Dirty Dozen performed wonderfully over grooves that were locked in by the keyboards and drums.

Both groups had almost equal amounts of time to perform on Friday, and that was a fair move since so many people were in attendance for Toubab Krewe. It was a night to remember as two excellent instrumental bands, one string-based and the other brass-based, brought their music and culture to San Francisco.

Upcoming Shows at The Independent:
Israel Vibration – Tuesday February 19
Con Brio – Friday February 22
Ivan Neville’s Dumpstaphunk – Friday April 5

Filed Under: Live Music Reviews Tagged With: Dirty Dozen Brass Band, The Independent, Toubab Krewe

Materialized bring their brand of live EDM to the Cosmic Love Ball

February 12, 2013 by Kevin J Quandt 2 Comments

Photos by Sam Heller

Yet another Cosmic Love Ball took place on Saturday Febraury 9th at the famed Fillmore in San Francisco, headlined by Rubblebucket with support from North Bech Brass Band and local mad geniuses Materialized. This annual event has grown significantly over the past decade, from CellSpace to Mezzanine and now the Fillmore is home to this locally produced, multi-media celebration of music, art and the beautiful people of San Francisco.

On this night, the room many music lovers frequent was transformed into a wonderfully decorated adult playland with North Beach Brass Band holding pre-Mardi Gras court in the poster room, while the main room housed the headliners and DJ Wyllys. Live visuals flanked the main stage, which truly augmented the various sounds pumping through the venue to the joy the dressed up masses. This event is produced by the long running “conscious production” outfit Star Sapphire, which has been hosting dynamic events in the city for almost a decade now.

Once North Beach Brass had paraded into the venue, playing some NOLA standards like “When the Saints Go Marching In,” it was about time for the live electronic barrage that is Materialized. This trio is anchored by long time West Coast artists Dale Fanning and Mighty Dave Pellicciario, on drums and keys respectively. The group has since grown from a duo to include bass master Carlitos del Puerto for an added layer to an already dense sound. Some may be familiar with Dale as the rhythm section of legendary jazz fusion group, Living Daylights, while others may know Mighty Dave from his B3 mastery and host of various B3 organ summits at High Sierra or the now defunct Justice League. These two have played together for years and this comes through onstage quite clearly.

Live electronica and other variations of EDM performed live is a growing trend, and Materialized have made a unique sound in a sea of many similar acts. The slow build introduction of the set featured Pellicciario on a decent array of keys, synths and samplers until Dale kicked in.

One striking aspect of the performance was the inclusion of jazz rock drumming and not solely relying on repetitive house drumming. History with fusion drumming sets the group apart from many comparable acts. Dave’s playing on the other hand was amplified by creative uses of pitch shifting and frequency manipulation. His understanding of various dance music styles coupled with years of improvisational live playing melds into a thick sound.

Playing was continuous for the set, further demonstrating a brilliant cross pollination of EDM and improvisational music. The segues were seamless even when shifting the tempo, which led some members of the crowd to get lost in the music. Since the first main stage act was three and a half hours after the doors opened, the decent sized crowd was lubed up and ready to get down. Further into the set Materialized used more vocal samples, giving the music a house influence, and even these samples were manipulated slightly.

The dance troupe, Galactic Muses, made two appearances onstage. First, they performed a karate inspired dance routine backed by a sound that could be described as ‘world bass.’ A second performance towards the end of the show had the trio of gals stripping from haz-mat suits to scandalous sequence outfits, amping the crowd nicely.

Materialized bring a nice spin on the ever-popular style of live performed electronic dance music, with dynamic drumming and mad-scientist keyboard playing. Expect to see more of this local San Francisco act in the coming year with the release of the new EP, Space Junk, which dropped Tuesday, February 12. Many years of producing and playing various forms of fusion music is what Dale and Dave do best, and one can tell they are amped to strike a new accord.

Listen to the sounds of Materialized at their site.

Filed Under: Live Music Reviews Tagged With: Materialized, The Fillmore

Solange breaks away from sister’s shadow at The Independent

February 7, 2013 by Mike Frash Leave a Comment

Solange played to packed house at The Independent Tuesday night. A diverse, young & mainstream crowd gathered early to find out what all the hype is about. While Solange has proven to be a talented hit-maker in her own right, it must be mentioned that Solange Knowles is the younger sister of Beyoncé (she’s so hot right now).

Solange is a different artist than her mega-star sis. Solange’s music is rooted in R&B 80’s Pop, as opposed to producing catchy girl-power anthems. If you came to this show looking for something similar to the swagger and control Beyoncé exuded at her much ballyhooed Superbowl halftime performance, you failed the expectation game.

This show marked the opening of Solange’s stateside tour, and the quick 11-song set was heavy in tracks from her third LP True, which was released at the end of 2012 to critical acclaim. At one point Solange admitted she was “out of shape” after a dance number toward the end of the set. She allows her personality to show with her stage banter and facial expressions, but Solange’s stage presence and dancing is relatively reserved. And that’s fine – it matches the tone and mood of her music.

Overall, the set felt extremely short and the best song live was a cover of Selena’s “I Could Fall in Love.” Solange should hone in on her live act as her tour progresses – Just don’t expect Beyoncé Jr.

Filed Under: Live Music Reviews Tagged With: Solange, The Independent

Marco Benevento gets TigerFaced at The Independent

February 5, 2013 by Mike Frash 2 Comments

Marco Benevento and Mike Dillon, the melodic elements behind the jazz-fusion supergroup Garage A Trios, played a long and excellent show at The Independent on Saturday, February 2.

It was a night of delightfully endless jams and improvisation, and the fun crowd was there to party, dance and celebrate life behind the exuberant leadership of the Tigerfaced headliner Marco Benevento.

Mike Dillon began the evening with an eclectic “New Orleans Punk” set. Since last summer, Mike Dillon has been touring with trombone upstart Carley Meyers, who is a New Orleans-based star in the making. Meyers plays the trombone with perfection, passion and she matches Mike Dillon’s punk rock stage persona. Meyers should be part of the NOLA staple of musicians that reign over Jazzfest for the foreseeable future.

Marco Benevento joined the Mike Dillon group for their final song in his casual pre-show digs.

Marco Benevento joined Mike Dillon, Carly Meyers & the rest of Dillon’s band for their final song
in his casual pre-show digs.

Benevento’s positive vibes and mellow, zen-like leadership capabilities are something to behold at a live show. He listens, adapts, reacts and obviously gets high from music. You can see it in Marco’s face when a song hits a peak or euphoric point. Benevento soaks up the moments, taking them in with a genuine smile.

This tour, Marco Benevento has been rockin’ futuristic coke-bottle glasses, and this night he didn’t leave the piano until the end of the set, when he put the tiger-face that had been adorning his piano on his head. This led to a couple more tracks from his 2012 LP TigerFace, and a show closing number with “Limbs of a Pine.”

Upcoming shows like Marco Benevento at The Independent:
•The Wailers perform Survival on Thursday, February 7.
•North Mississippi Allstars – Friday February 8, Saturday February 9
•The Dirty Dozen Brass Band – Friday February 15, Saturday February 16

Filed Under: Live Music Reviews Tagged With: Carly Meyers, Marco Benevento, Mike Dillon, The Independent

Reggie Watts & Michael Winslow join forces for the “Sound Effects Summit”

January 30, 2013 by Mike Frash 1 Comment

Pop-culture nostalgia was in full swing Monday night at The Independent, as live sound effects expert Michael Winslow (from the Police Academy movies) joined Reggie Watts for part two of his “Reggidency” for SF Sketchfest.

Winslow started with a solo set, followed by a Watts solo set. Then the two joined forces for a very weird, one-off performance dubbed “The Sound Effects Summit.”

Watts welcomed the audience and introduced Winslow, and Winslow launched into his audio/visual act that is completely pre-conceived; Winslow’s set was accompanied by a DVD menu, so it looks like this is an act he has done many times. Watts watched from the side of the stage taking in the set, enjoying it with those at the sold out show.

And it was pretty fun and entertaining. He pleased the crowd with his trademark voices and sound effects. Winslow created an alternate take on a scene from Star Wars, providing all of the dialogue, sound effects and musical score from his mouth. (Princess Leah: “Ahhhh! I have to go the bathroom!”)

The set ended in costume, as Winslow impersonated Jimi Hendrix fully glitched-out.

Watts then took over with his delightfully awkward pauses, anticipatory teasing and unique, looping songs. In the end, it would have been nice to have a little more Watts solo time.

He seems to thrive on improvisation, avoiding routine and repetition. For example, at his Outside Lands set in 2012, he walked off stage halfway through, thanking the crowd. He came back a minute later, saying “They tell me I have 25 minutes” and launched into improv. It’s almost as if he tests himself on improvisation, forcing situations where he has to dig his way out. And he usually thrives in this situation.

Watts’ ramblings are entertaining; he’s able to captivate a 450-person room talking under his breath, promising to start his first song 5 times before actually doing so. Part of the comedy is that he is shy and understated at times, then he’ll build a tasty groove and get sassy.

The third set of the evening was what everyone was waiting for, and both solo sets had already delivered.

This wacky collaboration started with two songs pretty quickly, and Winslow provided beats and sounds a capella while Watts layered in instrumentals and provided the lead singing. It was a strong start to an experience that got increasingly awkward.

From there it became Andy Kauffman-esque, as it seemed like the duo were playing a trick on the audience. And it probably wasn’t intentional. The awkwardness was a product of improvisation meeting rehearsed comedy.

Winslow started relying on some of his female character voices and bad jokes, which was a little over-the-top, and you could tell it was throwing Watts off his improv game. He even asked if this was the Carol Burnett show or if he was Gilda Ratner. Yes, those two are comedy icons, but that is not exactly why folks were here.

Beyond the unfunny tangents and self-conscious moments Reggie Watts was having, it was a set worth seeing. Overall, the “Sound Effects Summit” delivered on its titled premise.

SIDENOTE: There was a 3-camera crew and sign-off waivers present on the door to The Independent, as Watts was filming an “Untitled Reggie Watts Documentary.” I’m sure they got some usable footage for whatever Watts is producing.

Filed Under: Live Music Reviews Tagged With: Michael Winslow, Reggidency, Reggie Watts, SF Sketchfest, Sound Effects Summit, The Independent

The Walkmen, Father John Misty team up to rock The Fillmore

January 28, 2013 by Kevin J Quandt 3 Comments

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

The Walkmen & Father John Misty //
The Fillmore – San Francisco
January 24th, 2013 //

2012 marked successful years for both Father John Misty and The Walkmen, as one sprouted to life and another continued on their steady ascent. However the pairing of these two groups over a few dates came as a bit of a surprise for some West Coast fans. Luckily, you knew you were guaranteed an amazing night of music at The Fillmore with this co-bill.

The growth and popularity of Father John Misty is little surprise to this writer as Fear Fun was easily one of the best albums of the 2012. Naturally, Josh Tillman and band opened with its leading track, “Fun Times in Babylon.” From there they played a bevy of stellar tracks from their banner debut album highlighted by “Nancy From Now On” and “Only Son of a Ladiesman”. Tillman’s demeanor on stage is so casual and effortless; full of banter, dance moves and general merriment. One track that has become a live highlight over the past year is “This is Sally Hatchet”, full of slow build till Tillman and band explode into a frenzied noise before crashing back to Earth.

The element of storytelling these tracks have taken on is part of the wonder that has attracted fans to this band. It’s even more bizarre when you find out Tillman served as the drummer in Fleet Foxes over the past many years. “Everyman Needs a Companion” brought the pace down for a few before capping the set with spotlight track “Hollywood Forever Cemetery Sings”. It’s songs like these that make so many thrilled at what this freshman act are capable of in the future, as Tillman has proven to be an incredibly dynamic songwriter and performer.

The Walkmen took headlining privileges this night, delivering a career-spanning set to the sold-out crowd. “On the Water”, off of You and Me, was the set opener, which is rarely featured in the No. 1 spot. The Walkmen had a busy year with the release of Heaven coupled with relentless touring and festival appearances. Hamilton Leithauser’s style of singing is both impressive and powerful, which lends his voice to be strained on certain nights. But tonight he sounded rested and fresh.

From there the all original 5-piece band launched into some crowd favorites like “The Rat” and “In the New Year,” creating a sing along for the capacity crowd. “Woe is Me” changed the pace and tempo of the show to a more light, calypso-esque tone with this standout track from Lisbon. Songs like this show the true variety of sounds and tempos this band has mastered over their 11 year history. One aspect of The Walkmen that is truly astounding is the maturity they have garnered and displayed through these years, growing from youthful angst to aged wisdom in a genuine manner.

“Line by Line” was once a quiet, yet powerful, show opener, while Hamilton and Paul Maroon’s duo rendition has grown to the full band for this contemplative song. It is still a tender bit to an emotionally charged act. The Walkmen have the reputation of using vintage instruments to compose their unique sound, whether it be stand-up pianos older than the members themselves or well used guitars. “Blue as Your Blood” features the latter instrument, giving the song an almost haunting quality while Hamilton croons, “The sky above is blue as your blood.” The set continued on with more selections from Lisbon.

The raucous bop of “Angela Surf City” led into the introduction of tonight’s horn section, provided by San Francisco’s own Magik*Magik Orchestra. The expanded collective played “Stranded” in beautiful form, beckoning a sound one might hear walking the streets of the Portuguese capital city for which this album is titled. Once this Lisbon suite had been rounded out, the band led into a highlight track from their seminal early album, Bows and Arrows. “138th Street” was a pleasant surprise, keeping things subdued and a bit contemplative while Leithauser eloquently crawled through the angst ridden lyrics, even painting a picture of some desolate Manhattan evening.

The band ended their set with a pair of selections off their latest release. “We Can’t Be Beat” and “Heaven” displayed more of the band’s maturity, both lyrically and musically. The encore brought the return of the horn section for the Sun Studios inspired track “Louisiana,” peaking with a truly revelrous section of horns and stand-up piano flourishes. An old classic would be the last song played on this Thursday night. “We’ve Been Had” is the quintessential early career Walkmen track featuring their own unique jangly instrumentation, capped with the powerful vocals of Hamilton coupled with the every-man life-lesson lyrics.

Pairing an exciting fresh act like Father John Misty with the perpetually consistent warriors like The Walkmen is a brilliant plan, hopefully introducing fans to unknown acts. We can only look forward to the directions both of them take in 2013, likely collecting devotees and winning accolades with songwriting and performing equally.

Filed Under: Live Music Reviews Tagged With: Father John Misty, The Fillmore, The Walkmen

Femi Kuti and The Positive Force bring their Booty-Shaking Grooves to LA

January 23, 2013 by Pete Mauch 2 Comments

Veteran afrobeat musician Femi Kuti and his band marched into the El Rey Theater last Friday and performed an inspiring set of African grooves. Femi, the son of the late legendary musician and activist Fela Anikulapo-Kuti carries on his fathers mission of performing politically-charged dance anthems to the masses.

Femi Kuti and his band, The Positive Force, started the night off with their classic opener “Truth Don Die.” The song proved to be a perfect way to begin a show, as it starts with an instrumental jam and makes way to Femi singing and playing keys. As always, Femi has a couple dancers hypnotizing the crowd with their non-stop booty shaking, and I must say, the dancers are quite impressive.

Femi Kuti knows how to keep the audience engaged at all times, whether it be from his amazing leads on saxophone, trumpet, keyboards, or with his powerful lyrics. In between a couple songs, Femi took the time to give short speeches about violence and awareness of many different topics around the world. But he kept the talking short overall and got right back to the show, so it never seemed too preachy.

The band went thru many staples like “Beng Beng Beng” and “Dem Bobo.” They also played a lot of newer tracks, which I’m sure will be on his upcoming album No Place For My Dream which is due out later this year.

Femi Kuti and The Positive Force are truly a fun and inspiring show to see live and I can’t wait to hear his new album. BAM!

Filed Under: Live Music Reviews Tagged With: El Rey Theater, Femi Kuti, Femi Kuti and The Positive Force

Tycho guide fans into an ethereal trance in SF

January 21, 2013 by Mike Frash 1 Comment

Photos & videos by Kevin Raos // Written by Mike Frash //

Tycho //
The Independent – San Francisco
January 18th-19th, 2013 //

SF ambient-techno producer Scott Hansen, better known by his stage name Tycho, played two sold-out shows at The Independent last weekend to highly attentive audiences. Tycho’s music has the uncanny ability to lull you into into a semi-dream state with ambient melodies, then a well-timed minimalist house beat kicks in to pick up the pace and euphoria.

Friday’s crowd was guided into a hypnotic trance by Scott Hansen, who has been playing live shows with drummer Rory O’Connor and bassist/guitarist Zac Brown for more than a couple years now.

The visual imagery at a Tycho live show is striking and certainly complimentary to Hansen’s unique sound. For his photographic and design works, he also goes by the moniker ISO50, so Hansen is clearly a man of many aliases. The timing of the visual editing matches the beats and emotional builds perfectly.

The chillwave, downtempo adventure Tycho leads in a live environment provides a floaty, ethereal experience. More than most other live shows, a Tycho set allows the concertgoer to close their eyes and forget where they are.

Filed Under: Featured, Live Music Reviews Tagged With: ISO50, Scott Hansen, The Independent, Tycho

Eric McFadden and his star-studded cast shred The Mint in LA

January 18, 2013 by Pete Mauch 3 Comments

By Pete Mauch //

Eric McFadden //
The Mint – Los Angeles
January 16th, 2013 //

The Mint is hosting San Francisco native Eric McFadden every Wednesday this month, and I was fortunate enough to catch the most anticipated third Wednesday show in January. The evening’s All-Star lineup featured guitarist Nels Cline from Wilco and bassist Mike Watt from The Minutemen.

Eric McFadden is considered by many, especially his peers, to be a straight-up, bad-ass guitar virtuoso, and he showcased his many different skills on this night.

McFadden started things off with a couple solo songs with just him and an acoustic guitar, which he actually plays more like an electric. His playing is hard to pin-point because he can switch from a hard-rocking solo to a finger-picking flamenco jam. I particularly liked the second song he played called “Sister Maggie, Brother Sam”, which has a Western feel to it — almost to the point where it should be on the soundtrack for “Django Unchained”. McFadden has a very dark side to his songs, and this one definitely fits the category.

Throughout the night, McFadden would alternate his cast of All-Stars, but he started with Seth Ford-Young from Edward Sharpe & The Magnetic Zeros on bass and studio drummer Curt Bisquera on the skins.

Also, the amazing Norton Wisdom was painting live on stage, which was truly amazing to see. He never stays with one painting, but instead just wipes it away and starts on a new one. He repeated this at least ten times and he truly added to the overall atmosphere, which was a little twisted.

Staying with the theme, McFadden then covered “Blight”, which pleased the Widespread Panic fans in attendance. The song is a nod to his bandmate Dave Schools, who he plays with in the band Stockholm Syndrome.

Nels Cline and Mike Watt finally joined forces in the second set, and they absolutely rocked out. It got really loud and a little drowned out, but the fire between Cline and Watt is undeniable. They play in a supergroup together called Banyan with Stephen Perkins of Jane’s Addiction and Wisdom, who paints at every show of theirs as well.

Mike Watt only stayed on stage for about t30 minutes, but he definitely made his presence known. Nels Cline stayed on stage for the majority of the second set, and he never disappoints. He is a master of the whammy bar, alternating his tone all while wailing away.

McFadden and company encored with “Maggot Brain” by Parliament Funkadelic. McFadden previously toured with P-Funk as their first mandolin player but later played guitar with the band.

It was one hell of a night out, and I can’t wait to do it all again next week when McFadden once again brings some amazing talent, including Steve Molitz of Particle, to the stage.

You can buy tickets here for the next Eric McFadden residency show on Wednesday, January 23rd at The Mint.