Best live music venues in San Francisco // Bay Area

Photos by Sam Heller, Marc Fong, Maggie Corwin, James Nagel & Mike Frash

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.

The-Independent

The Independent

628 Divisadero St. San Francisco, CA 94117
View Current Show Listings

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.

The-Fox

Fox Theater – Oakland

1807 Telegraph Ave. Oakland, CA 94612
View Current Show Listings

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.

The-Fillmore

The Fillmore

1805 Geary Blvd. San Francisco, CA 94115
View Current Show Listings

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.

Great-American-Music-Hall

Great American Music Hall

859 O’Farrell St. San Francisco, CA 94109
View Current Show Listings

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.

The-Greek

The Greek Theatre – UC Berkeley

2001 Gayley Rd. Berkeley, CA 94720
View Current Show Listings

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.

The-Warfield

The Warfield

982 Market St. San Francisco, CA 94102
View Current Show Listings

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.

Bimbos 365 Club

Bimbo’s 365 Club

1025 Columbus Ave. San Francisco, CA 94133
View Current Show Listings

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.

Rickshaw-Stop

Rickshaw Stop

155 Fell St. San Francisco, CA 94102
View Current Show Listings

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.

Mezzanine

Mezzanine

444 Jessie St. San Francisco, CA 94103
View Current Show Listings

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.

Brick and Mortar

Brick and Mortar Music Hall

1710 Mission St. San Francisco, CA 94103
View Current Show Listings

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.

The-Chapel

The Chapel

777 Valencia St. San Francisco, CA 94110
View Current Show Listings

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.

The-New-Parish-why

The New Parish

579 18th St. Oakland, CA 94612
View Current Show Listings

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.

Civic-Center

Bill Graham Civic Auditorium

99 Grove St. San Francisco, CA 94102
View Current Show Listings

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.

Bottom-of-the-Hill

Bottom of the Hill

1233 17th St. San Francisco, CA 94107
View Current Show Listings

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.

Cafe-Du-Nord

Cafe Du Nord

2170 Market St. San Francisco, CA 94114
View Current Show Listings

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.

Slim's

Slim’s

333 11th St. San Francisco, CA 94103
View Current Show Listings

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.

Public-Works

Public Works

161 Erie St. San Francisco, CA 94103
View Current Show Listings

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.

The-Recency

The Regency Ballroom

1290 Sutter St. San Francisco, CA 94109
View Current Show Listings

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.

Your guide to all the Phish after parties in Tahoe, SF

PhishPhotos by Sam Heller // Written by Kevin Raos //

Phish is currently in the middle of their West Coast swing. After slaying two nights at The Gorge, the caravan heads south to California for two nights in Lake Tahoe at Harvey’s Outdoor Arena and three nights in SF at Bill Graham Civic Auditorium.

Many people will want to keep the party going long after Phish has ended — that is why we have compiled this list of after parties (and one pre-party) to keep you twirling into the wee hours of the night (morning?). Most shows have a price tag, but a couple are FREE.

Enter below for a chance to win tickets to Conspirator at Mezzanine this Saturday, August 3rd.

CONTEST CLOSED.

Like us on Facebook and follow us on Twitter to stay in the loop for more contest giveaways.

Contest ends Friday, August 2 at Noon. The winners will be picked at random & notified by email. Your email will be kept private – we will share your email with no one. 21+ only.

Trey-Anastasio-Band

Tahoe After Parties:

Tuesday, July 30th

Horizon Casino Resort
Sam Bush Band w/ Polecat
ALO w/ Magic Gravy
10:30pm
Price: $35.00
Tickets

MontBleu
Greensky Bluegrass – Blu
12:00am
Price: $25.00 advance, $30.00 day of show
Tickets

edIT w/ SubTripixxx & Coop da Loop – Opal Ultra Lounge
11:00pm
Price: $20.00 advance, $25.00 day of show
Tickets

Harrah’s Lake Tahoe
The Meter Men – George Porter, Jr, Zigaboo Modeliste, and Leo Nocentelli with special guest John “Papa” Gros of Papa Grows Funk
11:30pm
Price: $62.50
Tickets

Crystal Bay Club
FREE Reggae
10pm
Price: FREE
Info


Wednesday, July 31st

Horizon Casino Resort
Karl Denson’s Tiny Universe w/ The Pimps of Joytime
Hot Buttered Rum ft. Allie Kral of Cornmeal w/ Poor Man’s Whiskey
10:30pm
Price: $35.00
Tickets

MontBleu
Emancipator – Opal Ultra Lounge
11:00pm
Price: $25.00 advance, $30.00 day of show
Tickets

Moksha ft. Jen Hartswick & Skerik – Blu
12:00am
Price: $20.00 advance, $23.00 day of show
Tickets

Tahoe Steamer
magicgravy
12:30am-3:30am
Price: $45.00
Tickets


San Francisco After Parties:

Friday, August 2nd

50 Mason Social House
Phish After Party with Garrin Benfield, Jordan Feinstein, Murph Murphy and Lucas Carlton!
11:30pm
Price: n/a
Info

BooM BooM RooM
Moksha w/ Carlos Santana Horns
9:30pm
Price: $10.00
Info
Tickets


Saturday, August 3rd

Mezzanine
Conspirator
9pm
Price: FREE?? WIN FREE TICKETS ABOVE. Or $20.00, here.

BooM BooM RooM
Polyrhythmics
9:30pm
Price: $10.00
Info
Tickets


Sunday, August 4th
Jerry Day
11:30am
Price: FREE
Info

Matthew Dear’s captivating theatrics woo intimate crowd at Mezzanine

Matthew-DearPhotos by Mike Frash ~ Written by Molly Kish

White rose petals littered the stage and dance floor Wednesday May 22 after the amazing, underrated Matthew Dear headlined at Mezzanine in San Francisco. Playing to a crowd nowhere near half the capacity of the SOMA venue, the Brooklyn native gave an electrifying performance accompanied by an equally charismatic live band. Playing as though they were in front of a festival crowd, the group held nothing back, delivering a stunning set that covered material spanning his entire catalogue with a focus on dance-inducing crowd favorites and most of the material off of his 2012 album Beams.

The magic of Matthew Dear’s live performance was set up by the meticulous details and artistic ingenuity he has crafted through years of touring. Dimly lit stage lights achieved a minimalist ambiance and five bouquets of white roses were strategically tied to each of the member’s bandstands.

Matthew-Dear

The band hit the stage ready to get people moving with four back to back tracks off Beams, providing steady, understated beats before segueing into “Slow Dance”, a stand out track from 2010’s Black City. Each track was knitted together perfectly, entrancing the intimate audience and setting a perfect early pace for the crowd to assimilate into the inevitable dance party at their own leisure.

Absent of stage banter, Dear instead spoke to the audience through his theatrical stage presence and intense energy. As a front man, he commanded the stage with his expressive movements and unrestrained dance moves. Equally as enthralling, his band members’ passionate intensity permeated through their facial expressions and delivery.

Matthew-Dear

The stand out jam of the evening toned down the BPM and brought the set to a standstill. With the house lights completely down except for a blinding spotlight silhouetted directly on Matthew, he broke into a riveting, angst filled rendition of “Shake Me” for the second to last song of his set. Playing off of the several bouquets of freshly picked white roses that had been added to his stage design, Dear slowly began picking apart one of the buds as soon as he uttered the opening line of the song. About mid way through the emotionally charged tune, he had plucked the petals off at least three to four different stems, then he accentuated the song’s big breakdown by de-flowering an entire dozen all over the stage. Tearing apart the rosebuds feverishly and throwing their debris into the polarized audience, Matthew Dear honed in on the disparity of the track, taking the evening to a darker place emotionally.

He encored the night powerfully with a duo of dance hits, “Her Fantasy” and old school favorite “Don and Sherri”, leaving the initially timid crowd reeling for more.

Matthew-Dear

It’s no surprise that this Ghostly International co-founder is capable of captivating audiences on the regular, and that he’s had a steady career as a DJ, producer and experimental dance artist. Matthew Dear’s raw talent and charisma showed at Mezzanine; he took immediate command of the room upon entering, has an undeniable, enrapturing presence and is responsible for breaking some the best talent currently running the EDM scene. One question I have is, why wasn’t this show packed to the brim with people to have the same experience I did? He might be in that last sliver of time where he can claim to be slightly under the radar as a tastemaker in the indie scene.

Big Boi and Killer Mike bring much-needed R.A.P. Music to SF

Big-Boi

Two of the most ferocious names in hip hop descended upon Mezzanine in San Francisco May 17, as Southern fire-breather Big Boi and force of nature Killer Mike brought some much needed rhymes to the bay. Killer Mike made his debut on Outkast’s landmark LP Stankonia, and he also is featured on “The Whole World”, which the two giants of R.A.P. Music performed together during Big Boi’s set.

Killer Mike knows how to command a room’s collective attention, which is something of a challenge for an opening act, as many a show-goer will defer to chatting and drinking while waiting for the main act. During the third song Thursday night, two intrusive security guards trounced through the middle of the crowd with flashlights at a top down, forty-five degree angle, presumably looking for pot-smokers. Killer Mike stopped mid-spit, the music was halted, and the larger-than-life nonconformist launched into his first anti-establishment argument. In this case it was lighthearted; “Everyone smoke your weed – they can’t get everybody.” Most likely the security guards were roadies and it was all part of the act, but either way it effectively established pin-drop silence and crowd attentiveness.

Killer-Mike

His command is impressive, and Michael Render is also accessible, engaging while acting politically assertive, asking you to join his thought process. His energy, charming smile & effective use of language draws you into him, which allows his points to absorb in the listener, making even overt political statements sink in easier. With “Reagan”, Mike puts a large dent into the idealized memory the Republican Party celebrates daily for their most adored president. He began the song with a long soliloquy that set the stage for Mike to entice a large portion of the crowd to chant “I’m glad Reagan’s dead” by the end of the best political protest song in recent memory, essentially spitting on his grave. Single handedly, Killer Mike is a force that is battling the right wing celebration of everything Ronald Reagan, and when the the American right moves to put him on the twenty dollar bill, watch for this song to be the opposition anthem.

Mike took pride in his political, but not partisan focus before finishing the set, showing that standing up against Establishment wrongs can be entertaining and fun, and his take-charge tone projects pure leadership and is slightly contageous. It’s easy to imagine Killer Mike as a leading figure in hip-hop within one more album cycle. He’s already completed a new album with El-P, and they’ll be heading out on tour together this summer, stopping in SF July 30.

While Killer Mike might say things some people don’t want to hear (I think he’s dead on), San Francisco concert goers were treated Thursday night to a satisfying greatest hits show by Big Boi. The half of Outkast that was more likely to deliver dexterous, lightning-fast lyrics than hooky refrains understands what people want to hear when they see him live. The set blasted off with an Outkast medley, featuring “ATliens”, “Skew it on the Bar-B”, & “Rosa Parks” in mash-up fashion. Sir Lucious tapped into his catchiest, most upbeat solo songs from his 2012 LP Vicious Lies and Dangerous Rumors like “Apple of My Eye” and “CPU”. One of the only surprising drawbacks was the lack of solo tracks from his two excellent solo records and a glutton of Outkast jams.

Big-Boi

Big Boi may be performing “solo” these days, but he’s anything but alone. Throughout the evening he was joined by his live band, DJ, female backup singer Keisha Jackson, a geeky white guy, his entourage, a gaggle of dancing women, Killer Mike for four songs and BlackOwned C-Bone, who played hype-man and oddly filled the André 3000 role at times. Big Boi even took a break, allowing C-Bone to have the stage for a song to up his importance. He’s certainly as entertaining a stage presence as Big Boi, and he psyched out the audience by saying they were slowing things down before launching into “Shutterbugg”.

Big Boi still projects bravado, and he’s a showman that’s has curated a live concert experience that caters to his most well known work. His joy and love for SF seemed true this night, so much that he reappeared for four encore songs and a 1am shutdown.

Yeasayer show mad love for SF at Mezzanine

YeasayerPhotos by Sam Heller

A highlight performance for Mezzanine’s 10 year Anniversary concert series in San Francisco, Yeasayer performed this past Friday to a sold out crowd, and they were accompanied by fast-rising Wild Belle as the featured act.

The club-sized venue provided the crowd with the most intimate show that Yeasayer has played in the Bay Area over the past 5 years. Having sold out both The Fillmore and Fox Theater their last two visits, the audience was treated to a side of the band that most had likely not yet witnessed. Stripped down to simple house lights and absent of their optically illusive stage designs, the band kept the show simple, treating the crowd to a performance-based set absent of the frills.

Their set list pulled from from all three of their full lengths with highlights such as “Ambling Alp,” “One” and “Reagan’s Skeleton” whipping the crowd into a full frenzy. The band fed off the energy running through the audience, which remained at an all time high throughout. At any point you could look around and catch crowd members fully immersed, singing along and dancing to every song. Everyone knew how lucky they were to be there and the feeling resonated mutually with the band.

At the end of their set, front man Chris Keating said, “I don’t live here, but I truly believe this is the best city.” Directly after the words were uttered, I received a text confirmation that they will be included on the Outside Lands 2013 bill. The Yeasayer love remains reciprocal in the Bay Area, and if last Friday is any indicator of what they have in store for August, their OSL festival set should not be missed.

Remix-loving characters get down to RAC, Classixx & Cosmic Kids

Reviewing DJ sets isn’t an easy thing to do, unless it’s a producer with an album or more of work in their quiver that the crowd can identify with. So in reviewing this show, which featured remix specialists RAC, Classixx & Cosmic Kids November 15th at the Mezzanine, it comes down to describing the command of selections, the vibe of the room and the people that were there.

I arrived during the Cosmic Kids set, and they might have been my favorite set of the night. Their sound is deep, heavy 90’s influenced house that blended seamlessly from one song to the next. Cosmic Kids kept the Mezzanie dancing without interruption, and their use of flow really impressed me.

At one point I saw a blacked out girl with a half-shaved head putting her head down and plowing through people just standing there yelling “I’m empowered!” really angrily. No one knew what the fuck she was talking about, or what she was on, but I would like to think she was high on Cosmic Kids. In reality though, judging by how much she was sweating and the nonsense she was yelling, I think she was probably on some serious uppers and not even aware she was at a show.

Classixx between Two Ferns

Next up were Classixx. This was my fourth time seeing them, and I always really love their shows. Their sound was more tropical disco, which went along nicely with the potted palm trees they had flanking the DJ booth. I saw them a few years ago open for Cut Copy at The Echo in LA, then again at V Lounge in Santa Monica opening for The Twelves and Grum. Between those two sets they had improved immensely, and their Mezzanine continued the upward trend.

The show flowed really well, and the crowd seemed to be really into it as they played a few of their remixes and originals, plus tracks from other producers. The person who seemed to be into it the most was a guy with a haircut that I can only describe as Post Apocolyptic Fabulous. It was like half a star on the right side of his head trailing into a sideburn, one sideburn, while the rest was shaved bald. This guy was going off to Classixx, presumably because if you have a haircut that looks like it was given by an epileptic Karl Lagerfield, you reserve the right rage like no one’s watching.

Classixx ended their set with their track “I’ll Get You,” which is one of the first tracks that really got the daytime disco sound going with U.S. born producers. It’s a few years old but always a jam, no matter what party you’re at, and it gave them a strong end to the show.

This is RAC

Next up was RAC, and everyone went nuts once they started. RAC is so prolific with their production and remixes that they could have just played their own material, and they pretty much did, sprinkling in other great tracks of the moment and songs they are into. “When You’re Dancing” is their own track that seemed to get the most people moving, and their remix of Foster The People’s “Houdini” brought the place down.

They dropped Marcus Marr’s “The Music,” a track with a funky bass line that has been getting a lot of support from DJ’s lately, and the Mezzanine crowd approved. There was a girl holding a library book and dancing with it, and she was trying really hard to make a library book the next must-have accessory at a late-night dance club.

It’s an awful picture, but you can sort of make out the book in the girls hand in the bottom-center. I was too much of a pussy to just walk up and take a flash photo of her from two feet away.

She seemed to be enjoying RAC and doing the most actual dancing, and not just jumping or fist pumping. When I finally left just before the show ended, she was still out there clutching “To Kill A Mockingbird” and getting down for all the literate dance hounds.

All in all, this show delivered and the crowd kept me interested and laughing, even when there were intermittent lulls or down points, which were few and far between. Check out any of these acts if you get a chance to see them.

This artsy bum-ster was outside with a typewriter, just typing in the rain as we left. She may have been Book Girl’s literacy accomplice.

WKEND MIXTAPE: The Twelves + Penguin Prison

The Twelves

Our installment this week is a double dose to coincide with the Kitsuné Club Night coming through SF this Saturday at The Mezzanine.

Our first mix is from Brazil’s The Twelves. Although it’s not a new mix, their Essential Mix is a two-hour showcase of the live remixing and covers they are famous for now (track list below).

Next up is a mix from New York’s Penguin Prison with a short megamix of their self-titled debut album. Singer/producer/remixer Chris Glover will be delivering a vocal DJ set before The Twelves hit the stage.

The Twelves and Penguin Prison are playing Saturday as part of the Kitsuné Club Night at Mezzanine in SF. Tickets are still available here.

Twelves Track List:
Fever Ray — Seven (The Twelves Remix)
The Rapture — Sister Saviour (DFA Dub)
Phoenix — Fences (Accapella)
Cerrone — Look for Love
Kraftwerk — Music Non Stop (Vocoder)
Daft Punk — Da Funk
Glass Candy — Last Night I Met a Costume
LCD Soundsystem — Nike Run (Excerpt)
Yelle — Ce Jeu (The Twelves Remix)
The Chemical Brothers — Music-Response
Mr. Oizo — Two Takes It
D-Train — You’re The One For Me
Metric — Help I’m Alive (The Twelves Remix)
Roger Sanchez — Computabank
Chilly — For Your Love
Dynasty — I Don’t Wanna Be a Freak
Radiohead — Reckoner (The Twelves Remix)
Siriusmo — Last Dear
Empire of the Sun — Walking on a Dream (Accapella)
Zeigeist — Humanitarianism (The Twelves Remix)
Eddie Tour — Up the Glitter
Gaznevada — I.C. Love Affair
Phoenix — Lisztomania (Accapella)
Groove Armada — Drop The Tough (The Twelves Remix)
Methusalem — Robotism
Gossip — Standing in the Way of Control (Accapella)
Chromatics — I Want Your Love (The Twelves Remix)
Laid Back — White Horse
Metronomy — Radio Ladio
Sparks — Tryouts for the Human Race
M.I.A. — Boyz (The Twelves Remix)
Daft Punk — Voyager
Indeep — Last Night a DJ Saved My Life (Accapella)
The Virgins — Rich Girls (The Twelves Remix)
Fleetwood Mac — Dreams (The Twelves Remix)
In Flagranti — Just Gazing
The Alan Parsons Project — Be Like You (The Twelves Remix)
B.W.H. — Stop
The Chemical Brothers — Block Rockin’ Beats
Karen O and the Kids — All Is Love (The Twelves Remix)
Fleet Foxes — Mykonos (The Twelves Remix)
Patrick Alavi — Power
Michael Jackson — Thriller (Instrumental)
Justice — Stress (Siren)
Kano — Ahjia
Mr. Oizo — Gay Dentists
Donna Summer — I Feel Love
Cerrone — Give Me Love
Mr. Oizo — Hun
Chic — Everybody Dance
Coldcut — Timber
Basement Jaxx — Rendez-Vous
Les Rythmes Digitales — From Disco to Disco
Alex Gopher — Motorcycle
Nirvana — All Apologies (The Twelves Remix)
Kraftwerk — Trans Europe Express
Black Kids — I’m Not Gonna Teach Your Boyfriend How to Dance With You (The Twelves Remix)
The Rapture — House Of Jealous
Scenario Rock — Skitzo Dancer (Justice Remix)
Daft Punk — Aerodynamic
Boys Noize — Arcade Robot
Basement Jaxx — Good Luck (Accapella)
The Beatles — Eleanor Rigby (The Twelves Remix)
The Twelves — Nightvision (Daft Punk)
La Roux — In for the Kill (Twelves Remix)

From subway platforms to the ‘musical stratosphere’ with Freelance Whales

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

Showbams spoke with Jake Hyman (drums, percussion, vocals) and Kevin Read (acoustic and electric guitar, glockenspiel, mandolin, synthesizer, vocals) from Freelance Whales on October 18th before their sold-out show at Mezzanine.


Showbams: I know you guys formed in 2008 having met through shared friends and Craigslist. Was there a singular ad you put out or was this something you guys all collectively went into looking for a music gig?

Read: Um, I don’t think that there was one singular ad, I know that I put out an ad on Craigslist, Chuck (bass & synth) put an ad out on Craigslist. Jake actually knew Judah (lead singer), or already had ties with Judah.

Hyman: We had connections through college, we were actually in the same year from George Washington University. So when I went to try out for the band, I was like ‘Oh it’s that guy?’ Really I didn’t know who it was and it was that guy.

Showbams: Like a serendipitous type of case. I know that your name is a derivative of this kind of process and sort of appeals to the independent environment of the city you lived in and you’re early start as musicians. So where does the whale part come in?

Hyman: Well, there’s a few answers to the question. The most interesting answer is that when Judah was a kid he was staying w/his father in Israel on the Sea of Galilee when he was swimming and had a near drowning incident. When he was pulled out of the water, there was an old fisherman that would go and sit by the water all day, & he said he looked like a free whale, like a whale that had been freed. So, that’s where the whale comes from.

Showbams: As a band you guys started to first gain notoriety by playing on Subway platforms and out in public places over in the East Coast. What was the specific choice behind those type of locations?

Hyman: Well, it was a practical choice initially, we were playing in New York where there are like 35 venues on every block and each one has five bands playing every night. The only way you get paid is if you bring 15 friends at least, for most of them. So we were relying on our friends every two weeks to come out for our entire fan base, and we were tired on leaning on them so hard. Also, them feeling guilty and there’s no guest list … so everyone had to pay $15 to come. We decided to see if we could go play on the subway and get people to come.

It started actually, we were on a random street corner and then we moved down to the subways later, as a more accessible approach. It sounded great, it’s funny b/c it’s like one of the least original things in the world. Preforming on the street, you know busking, people have been doing it for thousands of years and it’s funny that it’s become such a story you know, that that’s how we started.

Read: Yeah, well I think you know what’s kind of cool is that we took electronic arrangements and made them acoustic arrangements, so I think maybe we did something kind of original I guess. Haha, yeah, maybe? The sound is really amazing down there, the echoes and re verb are really cool, unlike anywhere else.

Showbams: Also, in 2009 before Weathervanes was officially released on Frenchkiss/Mom & Pop Records, you guys self-released the album. How did you go about the recording and production process of that?

Read: Well, the early Weathervanes stuff was actually recorded and arranged mostly by Judah on the weekends. We’d come up every once in a while and assist with some of the aspects of the recording and lay down parts. We would come up to the rehearsal space, but a lot of the early stuff was really just, Judah. Jake’s on Mohawk for sure because he plays all of the drums.

Hyman: But that was after the fact. Judah even actually arranged most of the drum tracks over the twelve hour day we had in the studio. I had some chance to mess around, but mostly I was more true to what he arranged.

Showbams: How did you guys get it out to the record labels?

Hyman: Uh, that was from the subway as well. Yeah, pretty much everything that happened to us when we were starting out was because of someone we met via playing publicly. Like we would play house parties because someone would come up to us on the street and be like, “Hey, we’ll give you a hundred bucks to come play at our place.” And we were like, “Alright, fine.” It turned out at one of those places we met Paul Hanley, who works at Frenchkiss, and we still work with him to this day. We also met our manager Andrew through those performances.

Showbams: I know the newest album Diluvia came out a few weeks ago and it was featured on NPR Music’s “First Listen”, and in that review, they focus on how playful the album is and that it “had an utter indifference to sounding cool” and that it was “unselfishly charming.” Is that the kind of sound you were going for? How do you feel about that review?

Read: I think it’s pretty good. It’s not something that we thought about. We were in the house in Upstate New York, Tannersville and just trying to write the best songs we could. I guess it’s better than them having said “we try really hard to be cool.”

Hyman: Yeah, I’d definitely rather you know be considered unpretentiously cool, than ya know … I guess the key is to look cool without trying. So, that’s what you got to look forward to for LP3 — “cool without trying.”

Showbams: I know that with Weathervanes it was largely composed by Judah, with the lyrics coming from a combo of dream journals and childhood memories. What was the inspiration for Diluvia?

Hyman: I think we spent so much time together over the past four years, since we’ve found each other. Our pop culture consumption has sort of come from many different places and we’ve all started to overlap. We’ve gotten really interested in science fiction, fantasy and astrophysics. One of the first emails I have from Judah is just a long list of Ted Talks and theory, because we had a long conversation on ‘String Theron.’ So I think a lot of the lyrical content, was formed by the musical content which came first and the music just sounds like it’s in a bigger space, that it’s further out. Like Judah says, that it’s out in the stratosphere of sound and it really is! It sounds like it takes place in that part of the atmosphere where the earth meets “quote” outer space. So the lyrical content reflects that book Carl Sagan’s ‘Cosmos,’ and things that are scientific or play with science in an emotional way., which are things we wanted to reference a lot.

Showbams: You guys just kicked off the U.S. leg of the tour and broadcasted your performance via YouTube live stream. Does it feels different playing when cameras are on vs. off?

Hyman: You know there’s always so much at a festival, especially there’s so much going on in the lead up to playing because everybody’s on. You have 20 minutes to get all your garbage up there and start playing. There’s just so much happening that you don’t have time to think about anything like that. It’s great, I’m glad that we don’t have time to sit and stress about the exponential number of people watching on YouTube.

Read: It’s actually better when there’s more people because then it becomes hard to individually pick out somebody. The early shows we played where there were like 5 people in the audience, it was really hard. Haha yeah b/c you would be making eye contact and get all insecure. You’d be like, “You’re looking at me, I can see you, you’re the only person in that corner. You’re staring at me.”

Showbams: Throughout your travels you guys are very socially connected, how do feel like this type of communication has influenced the success of your band?

Read: I think social media is a pretty cool tool, when it comes to interacting with people. I think if you do it in a way where you’re actually talking to somebody and in times trying to get a conversation back from them, that’s pretty cool. If it’s like just shooting out information, “Try this, buy this, come here”, it’s kind of lame. I think trying to be interactive is what makes it work.

Hyman: Definitely, you know, it’s a tough balance. We Just put a record out so we want people to buy it, we do want you to come to shows, we want to play for people so we have to kind of promote ourselves. At the same time however, it definitely is a balancing act between too much self promotion and too much meaninglessness. You see so many tweets from somebody like, NY Times is a great source for news but if they're tweeting every three minutes about something you just kind of go numb.

I don’t want to throw The New York Times under the bus. I wish I had picked anybody else like somebody terrible, like if you subscribe to the Romney campaign, you probably get a lot of things popping up to just ignore all of them. There’s too many things.

The Very Best might not be dealing in hyperbole

By Mike Frash //

The Very Best //
Mezzanine – San Francisco
August 24th, 2012 //

The Very Best, a refreshingly unique mix of contemporary EDM-pop and the traditional music of Malawi, performed at Mezzanine to an oddly thin audience. MTMTMK, the group’s fourth studio album released recently to critical and general acclaim, and Malawi-born frontman Esau Mwamwaya along with London based DJ/producer Radioclit have produced a live production that is gearing up to sub-headline festivals by the 2013 festival season.

The show began with two top cuts from MTMTMK, “Adani” and “Moto”, and it was immediately clear Esau has a star quality — a combination of having an infectiously positive presence about him that matches the upbeat pace and tone of the group’s music and actually delivering on his vocal chops.

The duo is joined on tour by hype man and background singer Seye (pronounced “Cher” and is “Eyes Backwards” as he explained when performing the opening set). Seye certainly added an element of upbeat youthfulness with his super-upbeat kinetic energy on stage and early 80’s-inspired style. Two percussionists, mostly enhancing the dance tracks with driving bongos, helped connect Esau’s voice to the EDM build-ups and drops. All together, this hodgepodge of Afro-Western dance, hip-hop, pop and Malawian singing and percussion elements produces a sound that is uniquely theirs: They are not a simple Amadou and Mariam knockoff, nor do they pander to the most homogenous EDM trends of the moment.

The aspect of the beats and drops from Radioclit that are most memorable is the bass. Plain and simple. Drum and bass was the dominating factor in almost every song at this Very Best show until the disappointing encore, a half-baked overlay tracing Michael Jackson’s “Will You Be There.” But it didn’t matter — after 90 minutes of non-stop dance and positive grooves, it was an appropriate wave goodbye.