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

The Ventura TheaterBy Josh Herwitt //

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

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

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

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

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

The Ventura Theater - chandelier

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

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

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

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

DIIV - The Ventura Theater

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

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

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

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

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

Encore:
Raining on Your Pillow
Horsehead
Doused

With no ‘End’ in sight after 25 years, Explosions in the Sky make a statement at The Wiltern as one of post-rock’s most essential acts

Explosions in the SkyBy Josh Herwitt //

Explosions in the Sky with Kraus //
The Wiltern – Los Angeles
January 25th, 2024 //

It wasn’t until more than a decade after their inception when I first took notice of Explosions in the Sky.

I had somehow missed the boat on “Friday Night Lights” when the film came out while I was in college — despite my daily consumption of sports media and eventually finding a pathway into the industry — and again when it debuted as a TV series in the fall of 2006 shortly after receiving my diploma.

But with streaming services like Spotify fairly new to the marketplace at that time, it was one of your classic, word-of-mouth situations several years later from a former roommate who introduced me to Explosions’ music. Remember when we used to do that before we all succumbed to algorithms?

It should go without saying that the Texas outfit was a fitting choice for the soundtrack to a project about high school football in the Lone Star State. Explosions’ emotive and all-instrumental compositions have always felt right in a cinematic setting, and in that regard it’s not entirely surprising they have worked on four other soundtracks subsequently, with their latest arriving in 2021 for a documentary that premiered on PBS about a place they were all familiar with as native Texans: Big Bend National Park.

By that point, five-plus years had already passed since the release of 2016’s The Wilderness and there was no telling when we might hear new music from Chris Hrasky (drums), Michael James (guitar, bass, keyboards), Munaf Rayani (guitar, keyboards, percussion), Mark Smith (guitar) and the group’s newest member Jay Demko (bass, guitar, keyboards, percussion).

Explosions in the Sky

But any uncertainty surrounding the future of Explosions wasn’t completely cleared up last April when they announced their first North American tour in four years. Labeling the 16-date stretch of shows as “The End Tour” instead had fans quickly wondering if it would be their last time onstage together, and there’s no doubt that would have been a big loss to the post-rock community. Because in a relatively small scene led by international acts such as Sigur Rós (Iceland), Mogwai (Scotland) and Godspeed You! Black Emperor (Canada), having Explosions alive and well to lead the charge stateside remains crucial to the genre’s longevity here and around the world.

So when Explosions revealed a few months later that the name of their eighth studio LP would be End, whatever speculation that happened to still be floating around was finally dispelled. The press release accompanying the announcement, after all, explained that the seven-track effort was a concept album with a starting point of “an ending — death, or the end of a friendship or relationship.” And though the message is somber, it’s actually somewhat of a return to form sonically after seeing them incorporate more ambient sounds and electronics on The Wilderness. It didn’t garner the same amount of praise from the music media as the aforementioned, but End does represent another chapter in the quintet’s ever-growing catalog, with lead single “Ten Billion People” setting the tone at the outset and “Moving On” earning a spot as one of our favorite songs from 2023 (see our picks here).

The new material had unquestionably drew us back in after their longest gap between releases, and our excitement only grew at the end of last year upon learning that Explosions had extended “The End Tour” into early 2024 by unveiling another set of 16 shows — ultimately offering several more opportunities to catch them live.

There aren’t many, if any, post-rock bands in the U.S. that have carved out a stronger and more loyal following than Explosions with as much commercial success. Booking six shows in California for the continued stretch of “The End Tour” certainly indicated that as they took the stage at The Wiltern last Thursday to mark the second of two gigs in LA before stops in Ventura, San Diego, Anaheim and San Francisco, and as we came to discover, so did the setlist with a number of changes being made after Wednesday’s performance inside the historic Art Deco theater.

On this night, a third of the songs came from 2003’s seminal The Earth Is Not a Cold Dead Place with “First Breath After Coma” and “The Only Moment We Were Alone” bookending another epic journey of “cathartic mini-symphonies” filled with peaks and valleys over the course of 80 minutes. Nevertheless, what started 25 years ago as Breaker Morant and eventually morphed into Explosions in the Sky has stood the test of time as one of post-rock’s most essential acts. Fortunately for us, there appears to be no end — or should we write End? — in sight anytime soon. Let’s just hope things stay that way for a while longer.

EXPLOSIONS IN THE SKY

Setlist:
First Breath After Coma
Ten Billion People
The Birth and Death of the Day
All Mountains
Magic Hours
Greet Death
Your Hand in Mine
The Fight
The Only Moment We Were Alone

KRAUS

Setlist:
for now
Given
Anyone
between
Fell For It
Bum
Glass Valley

FYF Fest drops 2016 lineup, led by Kendrick Lamar, LCD Soundsystem, Tame Impala & Grace Jones

FYF Fest 2016

FYF Fest //
Exposition Park – Los Angeles
August 27th-28th, 2016 //

If you thought Kanye West and Morrissey were big gets for FYF last year, the two-day music festival is going even bigger in 2016.

Led by headliners Kendrick Lamar, LCD Soundsystem, Tame Impala and Grace Jones, the lineup for the 13th annual FYF Fest is jam-packed from top to bottom.

The rest of the bill includes performances from Air, Beach House, Anohni, Grimes, Hot Chip, Father John Misty, Explosions in the Sky, Rae Sremmurd, Blood Orange, Young Thug, Moby (DJ set), Saves the Day, Vince Staples, Wolf Parade, Shellac, Todd Terje & the Olsens, Charles Bradley, Ty Segall & the Muggers, Junior Boys, Uncle Acid & the Deadbeats, Jagwar Ma, The Black Lips, Peter Bjorn and John, DIIV, Chelsea Wolfe, Kelela, Bicep, Wild Nothing, Floating Points, Gold Panda, Corbin, Hop Along, Viet Cong, Oneohtrix Point Never, Julia Holter and more at Exposition Park near downtown LA.

UPDATE: FYF has added slacker-rock king Mac DeMarco, LA electronic duo CLASSIXX and Banks & Steelz, a new collaboration featuring Interpol frontman Paul Banks and Wu Tang original member RZA, to its already stacked 2016 lineup more than two and a half months after dropping the festival’s initial bill.

Founded by Sean Carlson back in 2004 and produced in association with LA concert promoter Goldenvoice, FYF will sell weekend passes for $199, with single-day passes also available for $125 and weekend VIP passes available for $339. Tickets can be purchased starting this Friday, April 1st at 12 p.m. here.

Excited for FYF now? Make sure to check out our coverage from 2015 here.

FYF Fest 2016 lineup

TBD Fest brings the heat amid Sacramento’s extended summer

Crowd-TBD_postPhotos by Sterling Munksgard // Written by Molly Kish //

TBD Fest //
The Bridge District (Riverfront Street) – West Sacramento, CA
October 3rd-5th, 2014 //

During last weekend’s sweltering Sacramento heatwave, the inaugural year of the TBD Festival kicked off in a dust-filled blaze of glory. Bringing heavy hitting headliners, an extremely talented undercard and a friendly bill of vendors, artists and local culinary talent, this “little festival that could” superseded its climate challenges and provided festivalgoers with a three-day dance party for the books.

Moby 1

FRIDAY HIGHLIGHTS

Top Set: Moby
For those used to Moby’s ethereal trance and commercially sampled funk beats, catching one of his “DJ sets” should be something immediately pushed to the front of your live music bucket lists. Taking the main stage of the festival after Dillion Francis and Gramatik is no easy feat, but Moby did so with authority.

Moby 3

With the bravado of an arena-headlining rock star, the diminutive DJ unleashed his electronic fury upon the Sacramento crowd, mounting his illuminated decks and demanding the audience to “get the fuck up” while donning an iconic Black Flag T-shirt.

Offering exhilarating, chaotic punk energy, he whipped the crowd into a dance-filled frenzy, ending the first night of the festival with a dirty electronic throw down and unleashing the fired-up 1 a.m. crowd into the quiet, unsuspecting West Riverfront streets of Sacramento. Final thought: “Moby doesn’t Play”.

Memorable Moments:
• MNDR joining RAC on stage for a live rendition of “Let Go” from their 2014 album Strangers
• Carousel’s sing-along cover of Drake’s “Hold On, We’re Going Home”
• Kauf’s impressive festival opening crowd at the Beautiful Buzz Stage amidst the mid-afternoon heat

Empire of The Sun 4

SATURDAY HIGHLIGHTS

Top Set: Empire of the Sun
True showmen and the epitome of “fucking rock stars”, Empire of the Sun ignited a heat-stricken, second-day crowd, closing out the night in all their grandeur.

Empire of The Sun 6Hardcore fans came dressed to the nines in their own homemade headdresses and were eventually invited on stage to be part of the production. First-time viewers were dumbfounded by the intensity of the group’s fully immersive, theatrical performance with backing band and dance crew.

The spectacle that is an Empire of the Sun stage show is something that can only be rivaled by large-scale arena tours and Broadway productions.

Blowing the minds of a festival crowd is pretty much a just another day at the office for these two, and they left the Saturday night TBD audience stunned in their wake.

Memorable Moments:
• TASK1ne’s early morning fire-spitting, nearly nude hip hop throw down on the Block Stage
• Metz and Explosions in the Sky delivering guitar-shredding, face-melting sets to an otherwise dance-heavy bill
• The inimitable Danny Brown commanding the sold-out crowd during a late afternoon set on the Lowbrau Stage

Yacht 1

SUNDAY HIGHLIGHTS

Top Set: YACHT
Owning the nu-disco slot on this year’s bill, Jona Bechtolt and Claire L. Evans brought their infectious energy and touring band members Jeffrey Brodsky and Rob Kieswetter to the early evening festival main stage.

Yacht 3An all-incorporated amalgamation of dance, punk, performance art, graphic design and party philosophy, YACHT’s conceptual stage show brought a much-needed turbo boost of energy to the festival-weary Sunday evening crowd.

At a crucially pivotal point in the weekend, YACHT mainlined their trademarked set of disco infiltration into the TBD festival audience, prepping them for a final evening filled with back-to-back dance parties spanning throughout the four various stages of the fairgrounds.

Reviving the audience as the night time approached with witty banter surrounding their abstract stage design, relentless energy and charisma, YACHT were the unsung heroes of the final hours of TBD.

Memorable Moments:
• Blondie’s free-for-all, DGAF’s set of brand new material, covers and everything in between — nothing short of the sassy, fierce and fan-blown, mini-skirt flashing Debbie everyone came to see
• Justice breaking all local sound ordinances well into the early evening hours, lighting up the surrounding suburbs with their closing set
• Viceroy’s party-rocking remix set, elevating the Sacramento crowd’s energy tenfold into a stage-wide, sing-along dance party

Flash-Mob-Dancers

OVERALL IMPRESSION

The festival, in the grand scheme of things, turned out be quite a success. Affordable prices, not only concerning tickets but also food and drinks, as well as many free samples and accommodating perks amidst the fairgrounds, made for an enjoyable experience, even amidst sold-out crowds.

The vendors had a great array of local fare, crafts, clothing and services to provide a comprehensive display of Sacramento’s budding independent culture. The art installations, cooking demonstrations, fashion displays and yoga classes were popular attractions to kill time between sets and were something everyone was generally excited to take part in all weekend.

The site and midday attendance were a little underwhelming at first impression, and there were some aspects that failed to deliver or were misleading about the location, including the complete absence of “The Barn” and a grassy park that was promised.

There were also some organizational and functionary issues on the production end of the spectrum:

• Mislabeled program guides, credential confusion and lack of signage for the stages

• Some technical issues cut into key sets, including The War on Drugs’ 45-minute soundcheck/guitar-tuning meltdown

Although with every first year festival there are complications, both anticipated and unexpected, TBD Fest made sure their problem-solving skills were on point and offered quick remedies to any issue that took place within their festival jurisdiction.

Extremely accommodating, well-organized and all in all, a very successfully tight-run ship, TBD Fest will only positively mature and evolve as a festival from this year forward. We definitely look forward to the “to be determined” future.