BottleRock Napa Valley //
Napa Valley Expo – Napa, CA
May 27th-29th, 2022 //
Buckle up, BottleRockers! Your favorite Napa Valley music festival is getting back on schedule this year.
Despite COVID-19 cases skyrocketing across the U.S. with the coronavirus’ omicron variant spreading like a wildfire, the three-day event is marching ahead toward its usual timing of Memorial Day weekend after canceling in 2020 and moving to Labor Day weekend in 2021.
And much like BottleRock’s previous rosters, 2022’s follows very much in the same vein (i.e. lots of rock ‘n’ roll) with Metallica, P!NK, Twenty One Pilots and Luke Combs topping the bill. The fest’s ninth edition should serve as a special performance for Metallica no less, considering that the legendary heavy-metal band has called the Bay Area home for almost three decades.
The BottleRock 2022 lineup is HERE! 🙌 🎶
3-day tickets go on sale tomorrow, January 11th, at 10 a.m. PT.
PLUS: You could win 2 VIP passes to BottleRock 2022 by replying to this tweet telling us who you would give your second ticket to. pic.twitter.com/gcAqeB3Nq0
— BottleRock Napa (@BottleRockNapa) January 10, 2022
But plenty of other household names have also been procured to fill out the undercard, including The Black Crowes, Kygo, Pitbull, Greta Van Fleet, Mount Westmore (the new hip-hop supergroup formed by Snoop Dogg, Ice Cube, E-40 and Too $hort in 2020), Rainbow Kitten Surprise, CHVRCHES, Bleachers, Spoon, BANKS, Alessia Cara, SAINt JHN, Vance Joy, Michael Franti & Spearhead, Silversun Pickups, The Wailers feat. Julian Marley, Iration, Greensky Bluegrass, Grandson, Amos Lee and more. See the poster above for the rest of the lineup.
In addition to all of the artists and bands slated to perform, BottleRock will once again host its annual live cooking demonstrations that see celebrity chefs team up with a variety of musicians — from Alice Cooper to Warren G — and athletes at the Williams-Sonoma Culinary Stage.
With tickets going on sale here this Tuesday, January 11th at 10 a.m. PT, there’s no time to wait so don’t forget to set those alarms now! Three-day GA passes will start at $369 plus fees with VIP, Skydeck, The Suites and Platinum experiences also available for purchase. Who’s ready to rock at BottleRock?!?!
UPDATE (January 12th): BottleRock has unloaded its daily lineups for 2022, with Metallica rocking Friday, Twenty One Pilots performing Saturday, and P!NK and Luke Combs closing things down on Sunday. You can find the list of artists for each day above before single-day tickets go on sale here starting this Thursday, January 13th at 10 a.m. PT.
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So often sequels don’t deliver, but ascending hip-hop stars Killer Mike and El-P have simply progressed their brilliance as Run The Jewels one year removed from their first official collaboration. From the top of RTJ2, Michael Render manages to set a higher bar for pumped-up aggression, there’s more social activism laced throughout, more special guests that only add to the fuck boy-crushing populist mentality. And compared to RTJ1, there are more stand-alone gems that are primed for remixing and cultural integration. The sequencing is superb, and El and Mike are having more fun than ever as they tour the world and snowball momentum with their brand of hardcore, yet intricate rap that contains shades of weird. Like a championship baseball team, the songs in the two hole through cleanup hitter offer the biggest impact, wreaking instant classics upon us with masterful experimental production from El-P that emits new, subtle surprises the more you listen. As the album unfolds, tales of police brutality (“Early”), introspection and personal improvement (“Crown”), along with over the top raunch (“Love Again”) prove RTJ2 shines in every moment in a variety of ways through multiple lanes of success. -Mike Frash
When a truly inspired artist borrows from the past while looking to the future, the outcome can be something fully new and exciting, which is what we have here. The brilliance of Adam Granduciel lies in his delivery, both musically and lyrically, crooning about the sometimes-not-so-simple intricacies of existence. Life, love and everything else in between can be tricky, yet Granduciel calmly assures us that things can work out.
There’s an intentional off-kilter spontaneity and cohesive force at the center of D’Angelo’s first album in 15 years, Black Messiah. The percussive and vocal syncopation here makes the off-beat feel natural — layered vocals get treated with filters and are multi-tracked to lend an unfamiliar presence to the back-and-forth vocal pitch shifts D’Angelo employs from line to line.
Singles jumps right out of the gates, showing its cards early, presenting the listener with Future Island’s trademark new-school, new-wave sound. Samuel Herring’s vocals are stunning as he pitches and growls through tales of the tougher side of love. It’s pretty, gripping and powerful while also holding certain pop sentiments, lending to an overall lightness while being arresting. “Seasons (Waiting On You)” is a quintessential slice of the emotion this band has become well known for both onstage and in the studio. “Doves” balances all the elements nicely, shining a light on the top-notch production featured on Singles. -KQ
Richard D. James has been practically an enigma for the last decade plus, hiding out in a small Scottish village of 300 and releasing no new music as Aphex Twin since 2006. But the long layoff hasn’t changed the fact that he remains one of the most unique and influential electronic producers in the game today. Some of James’ best material on Syro comes early on, from his club-oriented mixes like “minipops 67 [120.2]” to the techno funk he crafts on the ensuing “XMAS_EVET10 [120]” and “produk 29 [101].” These aren’t beats designed to make you sweat your ass off — if anything, the cerebral nature of James’ work makes him the ultimate antithesis of the current EDM scene. -Josh Herwitt 
On Flying Lotus’s latest record You’re Dead!, the Los Angeles producer forgoes the acid kool-aide test for a cyanide kool-aide dive straight into a fourth dimensional confrontation with the afterlife. You’re Dead masterfully trips through the journey of the soul into the next episode with sun-scorched psychedelia, 8-bit snapshots of g-funk and gorgeously redemptive jazz. The cold transition between the frantic jazz freak out of Kendrick Lamar featuring “Never Catch Me” and the cooled-out West Coast bounce of Snoop Dogg and FlyLo alter-ego Captain Murphy’s “Dead Man’s Tetris” highlights the producer’s prolific ability to craft varying hip-hop textures. FlyLo fully buries his new album’s death aesthetic through ecstatic, free-form layers of acid jazz and sprawling EDM planes of sound. -John Venanzi, Community Review
Annie Clark ups the electronic ante on her fourth studio album. Branching out of her experimental indie-pop compositions, she embraces more cohesive arrangements that ironically focus her creativity on deconstructed production and sound obstruction. Both equally impressive in sound quality and sass, the opening tracks “Rattlesnake” and “Birth in Reverse” set the tone for the rest of the records’ exciting stylistic shifts and the intriguing unveiling of Clark’s gritty rock goddess persona. “Digital Witness” is a spot-on snapshot of our brave new 21st century day-to-day reality. Unapologetic, raw and sonically genius, St. Vincent is Clark’s breakthrough moment, and she appears to be doing it all with ease. -Molly Kish
Mac DeMarco’s signature style is here. It’s still fresh and in ways stronger than ever; it’s more pointed, focused and accessible. DeMarco is able to write in a way that allows the listener to easily empathize with him, as he turns his issues into ones that most of us have dealt with at some point. In “Chamber of Reflection”, it’s easy to really feel a sense of solitude. “Goodbye Weekend” sounds like a stoney Sunday afternoon coming to a soothing end. Every track has a personality of its own while holding up the overall ethos of the album. This album is lighthearted enough for multiples listens in a row with its breezy beach vibe, but also easily induces deep thoughts with its many lyrical gems. -Steve Wandrey
What we have here is one of the most addictive albums of 2014. Our Love keeps deep house in its front pocket with steady beats per minute and an introspective mantra-centric lyrical conceit, but it’s also exploratory in nature, finding success in consistently building toward intense, euphoric plateaus. A steady flow of pleasant sounds ascend into impacting transcendence with “Can’t Do Without You”, “Silver” and “Your Love Will Set You Free”, and you must give Snaith extra credit for the masterful pacing and song-to-song flow — there is never a “skip ahead” moment. Like many classic albums, it opens up if you give it more time to radiate around your head, and listening to it becomes more pleasurable over time, even though it is mostly presented in poetic simplicity. -MF
Benji must be interpreted as a concept album about death, but more importantly, it’s about the importance details related to memory. For example, the title is taken from what seems like a throw-away line toward the end of the breathtaking “Micheline”. It’s powerful, visceral storytelling that is self-reflexive and biographical, yet so relatable that it compels personal introspection from the listener’s own experiences. Mark Kozelek’s lyrics are the centerpiece of the listening experience — they are so deep and resonant that the instrumentals and production are absorbed secondarily, although the stripped-down approach is intentional and noteworthy. Built around obsessing about the state of human demise — and the randomness of it — it’s easy to join Kozelek’s dire state of mind hours or days after listening. -MF
