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The Head and the Heart with rayLand baxter and Rose Windows
Fox Theater Oakland – Oakland, CA
December 5, 2013
Seattle-based The Head and the Heart brought their folk-infused feel good songs to Oakland earlier this month. Sam Heller was there to capture snaps of this fast rising group — the show had sold out months in advance. The group is touring on Let’s Be Still, their second album.
Photos by James Nagel // Written by Molly Kish //
Toro y Moi with Classixx (live)
Fox Theater Oakland – Oakland
November 15th, 2013
Toro y Moi emerged at the Fox Theater Oakland last weekend with a charming aura of confidence he communicated through his beaming, mile-wide smile. Just one week after his 27th birthday, Chaz Bundick looked happy to be home, celebrating belatedly amongst his East Bay friends, family and fans. Traveling non-stop throughout 2013 promoting his critically acclaimed third studio album Anything in Return, Bundwick embraced the local love Friday at the band’s final West Coast date of their tour. Following an electronic amuse-bouches of a set from Los Angeles-based DJ duo Classixx, Toro y Moi wasted no time continuing the dance party already set in motion by the opener.
Jumping straight into back to back tracks off the 2013 release, Toro y Moi got the crowd immediately moving with Anything In Return party-starters “Harm in Change” and “Never Matter”. The enthusiastic audience immediately responded, singing and bobbing along to the band’s funky signature style. Heavily influenced by jazz, two-step and elements of deep house, Toro y Moi’s live show usually highlights the group’s steamy R&B tracks and chill-wave dance favorites. Riding off of the energy of the nearly packed house though, saucy songs like “High Living” and “Grown Up Calls” remained on the set list but we’re revamped into much harder hitting, fast paced jams. Pulsating baselines, heavy synths and disco percussion filled the air, amplifying the groove-induced venue into a hot mess of pheromones and funk.
The theater’s general admission area got real sexy, really quick and only further intensified with Chaz Bundick’s intoxicating vocals and penchant for extended live mixing. By the time the opening notes of the set finale “So Many Details” drifted across the crowd, the audience had fully ignited. The climactic bongo crossed over into a psych-rock jam, playing out as a testament to Toro y Moi’s genre-bending capabilities and incredible aptitude as musicians. Showcasing the diversity of the band’s material, Chaz Bundick exhibited his expertise as vocalist, producer and overall center-piece of Toro y Moi.
Nowhere near ready to call it an evening, the packed venue screamed the band back onstage for a dance-heavy encore. Featuring club banger “I Can Get Love” off the 2011 EP Freaking Out, along with two more newer cuts, Toro y Moi kept the party going for a full hour and a half set. Growing leaps and bounds since we’ve last seen him during his First City Festival set and Noise Pop showcase, Chaz Bundick seems to have truly come into his own as an artist.
Rounding out the rest of their current tour at festivals and in Europe, it would be wise to catch Toro y Moi while they’re still playing mid-sized venues comparable to Fox Theater Oakland. Chaz Bundick shows no signs of slowing down — he has branched out already into several dance side projects and he’ll continue to produce as Toro y Moi. A natural born tastemaker, he has predicted and influenced what is most likely the next wave of dance music to break through to the mainstream.
Photos by James Nagel // Written by Molly Kish //
Cut Copy //
Fox Theater Oakland – Oakland
November 2nd, 2013 //
A sold-out crowd at the Fox Theater Oakland welcomed Cut Copy to the stage this past Saturday night. The fifth stop of their world tour, promoting their brand-new album Free Your Mind released November 5th, the Melbourne-based band played their only scheduled Northern California date at the historic venue. Openers Larry Gus and Kauf ignited the electric crowd, firing up the jam-packed floor section before the highly anticipated headliners. Both acts focused around live vocals layered over mid-tempo dance jams, coaxing the packed theater into a perfect pre-show groove by the time the Aussie four-piece took the stage.
Coming on strong in expected Cut Copy fashion, the guys opened the night with the title track off their new album, “Free Your Mind”. The pulsating single ignited the ecstatic crowd with its rhythmic percussion and chanting “Summer of Love” based chorus. Delving into old favorites off of their three previous albums, the audience filled in literally every open space in general admission to be a part of the tier-expanding dance pit, singing along and smiling blissfully. Highlights of the set including the bands’ archetypal hits such as “Hearts on Fire” and “Far Away” off 2008’s In Ghost Colors and Zonoscope stand out cuts “Take Me Over” and “Need You Now”, sending the venue into a euphoric frenzy.
Cut Copy’s stage set up, although minimalist in design, gave way to their luminous stage show, enhancing the band’s dramatic dance moves and perfectly syncing to the beat of the set. Lasers peaked out from behind and surrounded the band’s various synthesizers, keys and percussion instruments, washing beautiful colors over around the perimeter of the textured venue. The gorgeous light show was effective at working with Cut Copy’s sound to help activate a transcendental state of bliss.
Playing nearly 90 minutes, Cut Copy finished up the evening with the encore-solidifying favorite, “Light’s and Music”. Satisfying loyal fans while catering to recent converts alike, the band played an all-encompassing mix of their material. Dan Whitford and Ben Browning in particular projected a stage presence that was fun and upbeat, encouraging the crowd to give back physical displays of happiness to match the group’s impeccable sound. This is definitely an act not to miss over the next year when they come to a venue near you.
Photos by Marc Fong // Written by Mike Frash
Passion Pit‘s never-ending tour in support of their 2012 album continued at Fox Theater Oakland October 21, giving another example of what it takes for artists to make money in the current musical landscape. Long gone are the days of albums that cost $16.99 at Sam Goody, and for groups to turn big profits they must turn into road warriors. The group have been touring since the release of Gossamer in April 2012, and it’s been relatively smooth sailing since frontman Michael Angelakos went public with issues managing his bi-polar disorder (except for that time 75% of the group’s equipment got destroyed).
The Joy Formidable opened, and Marc Fong was on the scene catching the snaps.
Photos by Marc Fong // Written by Mike Frash //
Zedd //
Fox Theater Oakland – Oakland
October 9th, 2013 //
Zedd has settled on a pretty effective and lucrative EDM sound. Just take a look at the German DJ’s two sold-out shows in Oakland last week while on his “Moment of Clarity World Tour.”
Let’s be honest here: This is not just the future of pop music, but the immediate present. Encroaching into Kaskade’s long-developed aesthetic but producing singles like “Clarity” even more accessible for radio play, Zedd’s music is anthemic and centered around angelic female vocals.
Along these lines, Zedd is now cashing in — wouldn’t you? — by producing tracks for Lady Gaga and Justin Bieber. A Zedd show still packs a punch, giving bass heads the drops and video-game inspired noises they crave, and we were on the scene at the Fox Theater to capture every moment of it.
Setlist:
Spectrum (Tristan Garner & Gregori Klosman Knight Remix)
In My Mind (Swedish House Mafia cover)
Here & Now (Ummet Ozcan cover)
Wake Me Up (Avicii cover)
It’s You (Duck Sauce cover) (DJ Snake Remix)
Komon (Madeon cover)
Breakn’ a Sweat (Skrillex cover) (Zedd Remix)
Kick Out the Epic Motherfucker (Dada Life cover)
BBBS (Clockwork cover)
Anxiety (Charlie Darker cover)
Ode to Oi (TJR cover) (Crookers Remix)
Slam the Door
Cinema (Benny Benassi cover)
Animals (Martin Garrix cover)
Animals (Martin Garrix cover) (Martin Garrix & Victor Niglio Trap Remix)
Animals (Martin Garrix cover) (Botnek Remix)
Karmma (Deep Dish cover)
Stay the Night (DJ Snake Remix)
Toulouse (Nicky Romero cover) (Tommy Trash Remix)
Clarity
Nuke (Wolfgang Gartner cover)
Silhouettes (Avicii cover) (Syn Cole Mix)
LRAD (Knife Party cover)
Bubble Butt (Major Lazer cover) (Dada Life Remix)
Atom (Nari & Milani cover) (Afrojack Edit)
Mercy (Kanye West feat. Big Sean, Pusha T & 2 Chainz cover) (RL Grime & Salva Remix)
Clarity (Brillz Remix)
Niggas in Paris (Jay-Z & Kanye West cover)
Bird Machine (DJ Snake cover)
Coming Home (Diddy – Dirty Money cover)
Quasar (Hard Rock Sofa cover)
Follow You Down
Reload (Sebastian Ingrosso cover)
Safe and Sound (Capital Cities cover) (Tommie Sunshine & Live City Remix)
Save the World (Swedish House Mafia cover) (Zedd Remix)
ID (Dillon Francis cover)
Awooga (Calvin Harris cover)
I Love It (Icona Pop cover) (Sick Individuals Remix)
Push Play
Sub Zero (Rick Mitchells cover)
The Legend of Zelda Theme (Koji Kondo cover)
Just Another Groove (Mighty Dub Katz cover) (Lookback Remix)
Datsun Tropicalia (2 Edit cover) (Torro Torro Remix)
Through the Night (Botnek cover)
Codec
Sweet Nothing (Calvin Harris cover)
Greyhound (Swedish House Mafia cover)
Tung! (Deniz Koyu cover)
Stache
Fall Into the Sky
Freak (Lucky Date cover)
Bender (Tom Piper cover) (Angger Dimas Remix)
Bounce (Marco del Horno cover)
Uncle Sam (Dirty Disco Youth cover)
Spectrum
Lost at Sea
Alive (Empire of the Sun cover) (Zedd Remix)
Photos 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.
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.
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.
Photos by Marc Fong // Written by Mike Frash //
Big Gigantic //
Fox Theater Oakland – Oakland
September 6th, 2013 //
Big Gigantic have built a hefty following by producing an eclectic dance music experience that layers live saxophone and drums. Producer/melody-maker Dominic Lalli and drummer Jeremy Salken harness a sound that doesn’t discriminate, making room for hip-hop, house, funk and dubstep.
The Colorado-based duo brought their raging party to the Fox Theater Oakland last Friday, allowing the youthful crowd to get the weekend going properly. Marc Fong was on hand to capture the moment.
Photos by Sam Heller // Written by Mike Frash
In just under nine months, quirky Brit-rockers alt-J have graduated from a double header at Bottom of the Hill to a two-night run at Fox Theatre Oakland — an impressive feat for any new band still touring on their first album.
The group’s meteoric rise can be attributed to their highly regarded 2012 record An Awesome Wave. Alt-J exhibit unique vocal syncopation, treating lyrics with off-beat rhythmic timing while also blending out-of-the-mouth sounds like a pleasant synth chord. Throw this in with some breathtaking bass drops and a drummer that performs cymbal-less, and you’ve got an exciting, breakthrough act.
In their third return to the Bay Area August 29 at a sold out Fox Theatre, the quartet seemed more comfortable than prior shows — and they delivered the proper, dreary set one would expect. Songs were played straight forward, but alt-J barely performed for an hour. Their live show should expand with additional material.
Photos by Sam Heller, Marc Fong, Maggie Corwin, James Nagel & Mike Frash
San Francisco is one of the best live music cities in the world — if an act is touring the western United States, they will most likely swing through SF. Packed into 7×7 square miles, the City by the Bay offers some kind of concert nightly. The East Bay, Oakland and Berkeley, respectively, is home to a growing number of live music options as more and more folks flee the City for better living costs.
Here are the best places to catch a show in or near San Francisco.
628 Divisadero St. San Francisco, CA 94117
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What To Expect: The Independent boasts the best sound, artist curation and lighting in the Bay Area for any room close to it’s 500-person max capacity — and you can count on 3-5 shows per week. It’s a great venue to catch artists on the rise from virtually every music genre, and already-established groups such as Phoenix, Green Day, TV on the Radio and Band of Horses have performed at this intimate musical oasis.
Best Features: The general admission venue is a conveniently-shaped square; no matter where you watch the show, the sound is stellar and you can see what’s happening on the lifted stage. The staff is professional, friendly and drinks are easy to procure. The Independent is simple and perfect, an ideal platform to witness bands and DJs live before they get bigger.
Drawbacks: Bring earplugs and sunglasses if sensitive to sound and light. Arrive early to secure a parking spot if driving — if possible, take public transportation and grab a drink nearby before the show. Get there when doors open if you need a seat.
1807 Telegraph Ave. Oakland, CA 94612
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What To Expect: Fox Theater Oakland is a premium, large theater-style venue with a general admission floor and sizable, assigned-seated balcony overhead. The renovation of this historic site was masterfully achieved in 2009, conserving the stellar artwork and design features.
Best Features: No expense was spared in this renovation. Cool air rises from hundreds of vents in the floor, keeping attendees comfortable. The multitude of bars are fully staffed and efficient.
Drawbacks: In order to accommodate BART travelers, the venue has a pretty strict curfew, with shows ending well before midnight.
1805 Geary Blvd. San Francisco, CA 94115
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What To Expect: The Fillmore is nondescript from the outside, but a classic gem once you enter and climb the stairs. Expect a warm welcome, a selection of free fresh apples in the tradition of Fillmore founder Bill Graham and a free poster of the evening’s show (if the event sold out three weeks in advance usually).
Best Features: A large general admission floor area (1,200 capacity), surrounded by adult-beverage facilitators, is overshadowed by the venue’s iconic chandeliers that add a touch of sophistication to any affair. There is an additional saloon upstairs with ample seating away from the stage, and live acts will perform here on occasion before and during the opening act. Also, be sure to head upstairs to view previous show posters.
Drawbacks: If having a seat is on the agenda, arrive early and head for the poster room. Snag a seat and cozy up to the balcony rail for the best view in the house, but the best sound can be found on the floor.
*Bonus Venue: The BooM BooM RooM across Geary Blvd. is an excellent place for a pre-show martini and to keep the party going once The Fillmore has wrapped for the evening. This room focuses on jamming into the late night, often until 4 a.m.
859 O’Farrell St. San Francisco, CA 94109
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What To Expect: This historic space has been a beloved jewel for live music for well over 100 years, able to house some 600 attendees on any given night. As SF’s oldest nightclub, the Great American Music Hall can transport music fans to a more elegant era with its ornate balconies, soaring marble columns and elaborate ceiling frescoes.
Best Features: The Great American features a great variety of acts over the year and offers something for everybody. The space, sound and staff are top-notch. Opt for dinner and a show (quick tip: the food is great) to secure a seat on the balcony rail upstairs.
Drawbacks: The location is rather central to many areas of the city, though it’s not the safest in the the City. The venue’s lights are rather basic, but they aren’t needed in a room with such grand decor.
2001 Gayley Rd. Berkeley, CA 94720
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What To Expect: A seasonal venue from the Spring to the Fall at the top of the UC Berkeley campus, The Greek Theatre can pack 8,500 folks into their popular, yet infrequent concerts. Constructed after the ancient Greek theater of Epidaurus in 1903 and listed on the National Register of Historic Places in 1982, this space often inspires magical performances.
Best Features: The sound from within the bowl provides incredible acoustics, but get there early for a spot in the seated steps or within the pit. If all seats are taken, get closer and stand in the general admission area as close as possible for a memorable live music experience.
Drawbacks: Don’t retreat to the grass — the magic is lost outside of the main bowl area. Getting to the venue (and back) requires walking up the campus, or driving to the top. Parking near the theater also means it will take forever to leave, and it will cost you $20 or more. Give yourself plenty of time and plan on walking. Shows won’t go past 11 p.m. due to the campus’ curfew, and be sure to head to the top of the grass for the quickest bathroom lines.
982 Market St. San Francisco, CA 94102
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What To Expect: A 2,300-capacity theater located on Market Street, The Warfield beckons a near century-long history as a premier downtown music venue. Ornate gilding and details are found throughout this lovely space, and a recent renovation upgraded many areas in need of a little help.
Best Features: The tiered floor has become a staple for California mid-size venues like The Fox in Oakland and The Wiltern in Los Angeles, allowing an array of sight-lines for attendees. It’s in an easily accessible location with decent bars and restaurants within proximity.
Drawbacks: Mid-Market is trying to revive itself from a once-peppered history. Similar to many other “overhang” theater venues, the sound can leave a bit to be desired if in the middle or back of the general admission floor.
1025 Columbus Ave. San Francisco, CA 94133
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What To Expect: Bimbo’s 365 Club, located on the fringes of North Beach, offers one of the most unique live concert settings in SF. Red velour curtains and exquisite details lend to an entirely classy experience in this 685-capacity, theater-like live performance space.
Best Features: It’s not like any other venue in the City in regards to location and style — side rooms and bars create an ideal pre-show place to socialize and imbibe. The low stage creates an intimate atmosphere with the limited acts that grace the stage over the year.
Drawbacks: The North Beach location is not the easiest venue to reach in comparison to others, and the booking leaves much to be desired as folks love this space.
155 Fell St. San Francisco, CA 94102
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What To Expect: This recent hot-spot hosts many up-and-coming indie acts bursting onto the scene before they graduate to larger rooms. Expect a hip crowd sipping on strong drinks in a no-frills room, enjoying heat-seeking artists from across the globe. Shows start late, even on weekdays.
Best Features: Rickshaw Stop has very dynamic booking, bringing in all sorts of parties to utilize this Civic Center area venue. The bar is efficient for a small-ish room that can fill up nicely, but not overly.
Drawbacks: It’s basically a long narrow room with a small “balcony”, therefore sight-lines can be rough for those who are vertically challenged on the main floor.
444 Jessie St. San Francisco, CA 94103
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What To Expect: Mezzanine specializes in up-and-coming club scene shows, hosting DJs from all over the world and bands that incorporate electronic elements into their music. Expect young people ready to party in a rectangular room that can hold up to 1,000 people.
Best Features: DJs will perform on the ‘side stage’, cultivating a dance-centric environment before and after live acts. A great choice for birthdays, bachelor parties and other special occasions, secure a table and bottle service on the floor or in a private area upstairs.
Drawbacks: Ins and outs are not permitted, and it can get a bit crunchy near the front and in the smoking area. Getting drinks can be a challenge during peak times.
1710 Mission St. San Francisco, CA 94103
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What To Expect: An intimate, square space for live music, Brick and Mortar Music Hall in the Mission hosts concerts almost nightly, and they are always affordable. Rock, bluegrass, funk, soul and many more types of shows go down here.
Best Features: Brick and Mortar has that “neighborhood rock/club” feel — if you are in the ‘front row’, then you are basically on the stage — and it just became the new home of outcast swine-house Bacon Bacon during lunchtime.
Drawbacks: Cash only at the box office. It can get a little tight during capacity shows unless you squiggle to your left against the wall.
777 Valencia St. San Francisco, CA 94110
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What To Expect: The newest venue in the heart of San Francisco’s Mission District, The Chapel opened in 2012 and includes an attached restaurant and bar. The building was originally built as a mortuary, so the funeral home’s Chapel was converted to the music room upon renovation. There is a mezzanine above the floor level of the Chapel for bird’s-eye view observing.
Best Features: The restaurant and bar is brand-new and swanky, and the high ceilings and beams in the formerly sacred space give it a unique, striking feel for live music. More acts are booked with each passing month, and bigger names becoming more frequent too. Artists usually have a rootsy and indie sound aesthetic, but The Chapel recently had their first DJ night.
Drawbacks: It’s a great location for nightlife, but not for parking. The stage is small, and it can be tough to secure a drink at peak moments.
579 18th St. Oakland, CA 94612
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What To Expect: This unique venue has recently sprouted up in the East Bay, and many are taking notice of their recent success. With a courtyard and large, wrap-around balcony, The New Parish offers many options for patrons to get down, watch the act or be social with friends.
Best Features: A plethora of national touring acts are opting to stay east of the bay and hold court in this ever-rising space. Securing a view of the stage isn’t terribly tough with a less traditional venue setup. Proximity to the Fox Theater makes it a popular place to keep the night going.
Drawbacks: The design of the space is unlike any other, and this has a few negatives regarding access to the bar or sound being optimal. It’s in Oakland and goes late, so not great for SF-bound BART riders.
99 Grove St. San Francisco, CA 94102
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What To Expect: As big an open, indoor floor space that exists in the Bay Area (not including arenas), the Bill Graham Civic Auditorium can fit 7,000 people into its vast confines.
Best Features: There’s plenty of floor space — and plenty of seats upstairs if you arrive early enough. The location adjacent to City Hall makes it easy to get to via public transportation. When the Civic Auditorium is packed and full of energy, it comes alive.
Drawbacks:
When the venue isn’t sold out, there’s an empty, hollow feel to live music here. The sound can seriously lack at times, especially from the sides. The best bet is to get in front of the large speaker banks (duh). Some acts, like Phish, bring additional sound equipment to fill out the copious space in the building.
1233 17th St. San Francisco, CA 94107
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What To Expect: This legendary little rock club at the foot of Potrero Hill has room for 350 partygoers of varying ages. It’s a well-oiled and well-regarded space that breeds lively shows by bands of all sizes and eras.
Best Features: Not exclusively a 21-and-over club, Bottom of the Hill allows patrons of all ages the chance to enjoy a high-energy show in this wacky space. Ample parking, a large smoking section and reasonably priced drinks as well as tickets make it an ideal spot to rock out.
Drawbacks: The booking doesn’t veer terribly far off the path of rock ‘n’ roll. The lights are simple, as one might expect from a venue like this.
2170 Market St. San Francisco, CA 94114
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What To Expect: Walking down the stairs into the main room lends the vibe of a classic speakeasy with red velour and classical seating in the back. It’s yet another historic space to enjoy some fresh artists of the 21st century in an intimate setting.
Best Features: Located rather conveniently on Market Street makes Cafe Du Nord both accessible and flush with pre-show drink options. Cafe du Nord is amazing for the fan hoping to engage with his or her favorite artists.
Drawbacks: The room has an odd shape with a bar, seating and even a pool table in the back, while the front is slightly sectioned off for live music.
333 11th St. San Francisco, CA 94103
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What To Expect: Slim’s is located in a lively section of SOMA, and the venue hosts a vast array of lively acts for an all-ages crowd with a maximum capacity of 400. A high-ceiling room with few frills makes it a good option for dedicated fans.
Best Features: A large bar makes grabbing a beer or cocktail a snap, and they offer dinner with premium, upstairs seating if that’s your thing. The sound is just fine to accommodate either hardcore punk-rock or some of the Bay’s finest hip-hop.
Drawbacks: Oddly-placed pillars can obstruct attendees’ views and make a sold-out room that much more less appealing.
161 Erie St. San Francisco, CA 94103
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What To Expect:
Expect two venues in one. Public Works offers a live music space and a separate room dedicated to dance music curated by some of the best DJs around. A separate ticket is needed for each option.
Best Features: The location is pretty central to most of the City. The live venue offers a balcony overhang — get there early for the best spot in the house. The staff is friendly.
Drawbacks: There are a few columns that make the live space a bit cumbersome at times, and the mobility at sold-out shows can be tough.
1290 Sutter St. San Francisco, CA 94109
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What To Expect: The large, well-worn ballroom with a horseshoe-shaped, wrap-around balcony and teardrop chandeliers can hold plenty of people at The Regency Ballroom. Most shows are general admission.
Best Features: There are plenty of seats to grab upstairs if sitting is a must.
Drawbacks: Shows here are infrequent, and the sound can get drowned out at times by the massive space of the ballroom, especially from the seats. Drinks are priced astronomically.
With the house lights still up at the beautiful Fox Theatre in Oakland July 21, a youthful-sounding David Byrne got on the mic backstage to greet the audience. He jovially and politely asked the audience to put their “gadgets” away; “we’ve worked really hard on this show and we’re really proud of it…you don’t need a gadget to enjoy it.” The packed house enthusiastically applauded in agreement.
The audience was regaled with booming sounds from the sousaphone, trumpets, trombones, French horn, and sax. Byrne’s voice, as strong and sharp as it was in his Talking Heads days harmonized handsomely with Annie Clark, the lead creative force behind St. Vincent. The group opened with “Who”, the opening track on David Byrne and St. Vincent’s 2012 album Love This Giant.
The show was so beautifully epic. The eight-piece marching horn section, Annie Clark’s crystal clear voice, and Byrne’s notorious quirkiness were in sync all evening — the show was more of a theatrical production than a concert. The choreography, the musicianship, the talent, the lighting; the entire production was so seamless and so much fun to watch. During the Talking Heads cover “Wild, Wild Life”, the talented horn section marched in a circle while each member gave a quick line into the mic. “I wrestle with your conscious, you wrestle with your partner.”
Byrne, clad in all white, bopped along while the band led many of the numbers. While the upbeat songs were great to dance to, it was the more mellow songs such as “Outside Space and Time” that brought the warmth and power out of the horns. One had to wonder where the sound of strings was coming from? The French horn perhaps? Each song portrayed it’s own story: the tone, choreography, and sound adapted delightfully for each number. It kept you wondering, where are we going next?
The crowd rallied and cheered during the Talking Heads songs of the evening. Byrne projected joy during a lovely rendition of “Naïve Melody (This Must Be the Place)”. The real crowd-pleaser turned out to be during the encore, when Byrne’s “Burning Down the House” literally brought the entire packed Fox to their feet to bust out some moves. They exited the stage after their second encore, a New Orleans second line-style “Road to Nowhere.”
Another striking moment happened when Clark thanked her “bitchin’ crew” for their dedication during their full year tour, as this show marked the conclusion of the US tour. Not only did she thank the road crew and band members, but gave a lovely homage to Byrne himself. She first discovered Byrne’s music after viewing Revenge of the Nerds in her youth (“Burning Down the House” was featured in a scene). She went on to explain the impact of his music and how honored she was to be on stage performing with him. To paraphrase, “Thank you David for bringing your music into the world, you have made it a better place.”
A brief personal anecdote:
I was first introduced to David Byrne and The Talking Heads in high school when I was told to listen to the Stop Making Sense album: that was a life-changer. As an avid Talking Heads fan, this was really a dream come true for me. It only got better when he played “Naïve Melody”, the song I hold so dear to my heart and walked down the aisle to at my wedding. I try to make Byrne’s lyrics my motto, “Feet on the ground, Head in the Sky.”
My husband and I had seats literally in the last row of the balcony, BB. They turned out to be the best seats in the house! Not only are the acoustics amazing from anywhere in the gorgeous Fox Theatre, but some of the numbers are almost meant to be watched as if watching a play; thus seats were nice to have. Being in the back row also allowed us to pop up and dance when the mood struck us, which was often. The show was truly a beautiful work of art — It was an honor to see David Byrne, weird and as awesome as ever.
Photos by Marc Fong ~ Written by Mike Frash
The alt-rockin’ punk-pop theatrics of Fall Out Boy returned to the Bay Area Sunday (June 16) at Fox Theater Oakland. Frontman Patrick Stump, bassist Pete Wentz, guitarist Joe Trohman, and drummer Andy Hurley had been on hiatus from 2010-2013, but they’ve returned to play a sold out US theater-based tour in June before stepping it up a notch with arenas in the fall. Fall Out Boy is on the road in support of their new record Save Rock and Roll. Marc Fong was on the scene in Oakland Sunday to catch some snaps.
Photos by Marc Fong ~ Written by Mike Frash
Of Monsters and Men‘s meteoric rise since stomping onto the music scene in early 2012 is something to behold. Sure, one-album phenomenons like Alabama Shakes and Imagine Dragons have become more common in the age of streaming, where easier and earlier access to music has created legions of burgeoning critics and a generation of music ‘experts’ who spread opinion faster than it took the same folks to judge the new Daft Punk album. In early 2012, it was these early adaptors that catapulted the Icelandic upstarts to buzz-worthy status, securing venues for Of Monsters and Men before they had even released an album.
And here they are 14 months later, selling out venues in minutes and rocking a visual aesthetic that’s gone gothic-chic, the effect of making money hand over-fist and having a promoter that cares about your long-term success. Of Monsters and Men have themselves to thank for success, as their anthemic songs are some of the catchiest material to come around in a while; you can listen to one of their songs like “Six Weeks” and you’ll be singing along to the refrain by the end of the first time you hear it. Nanna Bryndís Hilmarsdóttir and Ragnar Þórhallsson are the heart and soul of the group, but it’s the collective wall-of-sound this seven-piece touring act creates that has made Of Monsters and Men one of the most popular groups around.
Of Monsters and Men performed at Fox Theatre Oakland May 16. View their setlist below the photo gallery.
Encore
13. “Numb Bears”
14. “Little Talks”
15. “Yellow Light”
Photos by Marc Fong ~ Written by Mike Frash
Progressive trance DJ, producer & consistent innovator Armin Van Buuren performed at Fox Theater Oakland to a super-sold out Bay Area crowd May 5th ready to rage.
Considered by many to be the Ambassador of Trance, Van Buuren hosts a weekly radio show dubbed “A State of Trance”, which has around 25 million weekly listeners in 26 countries around the world. The Dutch selector was named the number one DJ in the world a fifth time in 2012 by DJ Magazine’s Top 100 DJs fan poll.
Armin Van Buuren just dropped his fifth studio album Intense April 30th in the United States, and it combines techno, house & pop elements based around a mostly euphoric tone.
Photos by Marc Fong ~ Written by Mike Frash
Groundbreaking electronic duo Crystal Castles brandished controlled chaos Saturday April 27 at Fox Theater Oakland, with featured acts Doldrums & Buried Child setting the stage. Still touring in support of their excellent 2012 record (III), their live show tiptoes on the edge of bedlam, utilizing intense strobe lights that flash to the beat & intensity of Ethan Kath’s noisy, dystopian hooks. Front-woman Alice Glass whips her hair without restraint and smokes cigarettes while dancing, singing & feverishly trashing away. And as you can see below, Ethan Kath has one hell of a photographer stare-down.
Written by Kevin Quandt ~ Photos by Sam Heller
After releasing Traveler in October to mixed reviews, fans wondered when the subsequent tour would take place. For the West Coast, that happened to fall in mid-April at theaters up and down the western seaboard. Oakland, and the Bay Area, were thrilled that the circus would be a two night affair at the Fox revolving around the unofficial April 20th holiday that fans know, love and observe thoroughly.
It was the usual cast of characters accompanying Trey onstage, but the bulk of Friday’s night material was largely fresh to the sold out crowd. The first set was a veritable grab-bag of different eras in Trey’s career with a few obscure covers peppered in for good measure. “Mozambique” featured a guest appearance by former TAB horn section trombonist Jeff Cressman, who is the father of current trombonist, Natalie Cressman. The always energetic “Push On Till the Day” punctuated the end to the first set with Anastasio spinning in circles with a devilish grin wiped all over his face, and it’s clear to see he really enjoys these non-Phish outings.
The second set opened with Phish favorite “Sand” before launching into a set heavy with new tracks off Traveler. “Valentine” is a introspective ballad that has been played for years, a song which seemingly speaks to Anastasio’s post-addiction life and it’s possibilities for greatness, while maintaining sobriety. “Alaska” was the last Phish song of the night, and this solid rendition was highlighted by the multi-part horn section, adding an enjoyable funk element. Shine track “Tuesday” was featured as the encore, and the first of two nights came to a wrap.
Second night would feature popular covers like “Black Dog” and “Clint Eastwood”, but the Friday show was more about Trey opening up and taking chances, which is something he has been increasingly fond of on his solo tours.
Set One: Drifting, Cayman Review, Alive Again, O-o-h Child (Five Stairsteps cover), Magilla, Money Love and Change, Wherever You Find It, Greyhound Rising, Scabbard, Mozambique*, Dark and Down, Push On Till the Day
Set Two: Sand, Valentine, Night Speaks to a Woman, Architect, Gone, Pigtail, Alaska, Traveler
Encore: Tuesday
*with Jeff Cressman(trombone)
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
Seven-Piece celtic punk outfit Flogging Molly, fronted by the ever-passionate Dave King, jigged their way through Fox Theater Oakland this past Saturday. Mariachi El Bronx & Donots opened.
Marc Fong was on the Scene in Oakland getting some sick snaps.
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.
Encore:
Gospel Song
I Ain’t The Same
Heat Lightning
Photos by Sam Heller // Written by Mike Frash //
STS9 with Tycho //
Fox Theater Oakland – Oakland
March 1st, 2013 //
Santa Cruz’s STS9 flowed through the Fox Theater Oakland Friday evening, delivering a couple sets that were heavy on newer material from their 2011 EP When the Dust Settles. The second set began with an unexpected treat; a horn section joined the electronic jam band for the first four songs of the second set.
More than any other live act, STS9 straddles the line between jam band and electronic act, but they usually defer to their live instruments. However, most members have a laptop nearby, and the second layer of the band on stage are on an elevated platform, as most big-name DJ acts are these days.
There was a duality to the night Friday, as rising SF-based Tycho had plenty of his own fans in attendance since he was the opening act. It seemed like Tycho would be a perfect opening act for STS9 based on both group’s musical output, but the bridge was never finished, as a surprising amount of concertgoers left before STS9 performed. This only gave more room for the Sound Tribe faithful to get down and celebrate live music.
Set 1: This, Us!, When The Dust Settles > Arigato, Beyond Right Now, T.W.E.L.V.E > Warrior, Metameme, Simulator
Set 2: Revolutions 1993*, End Titles*, Be Nice*, Firewall*, Golden Gate, Rent, Biggs >New Song, What is Love, Awesome, The Unquestionable Supremacy of Nature
Encore: By The Morning Sun, Scheme
*with horns
Genre-bending pop queen in waiting Ellie Goulding performed to a sold-out Fox Theater Oakland on Friday in continued support of her 2012 long-player Halcyon.
Marc Fong was in the pit grabbing great snaps of the singer songwriter & multi-instrumentalist.
