12 reasons to grab a Noise Pop festival badge

NP-cover-postWritten by Mike Frash, Molly Kish, Kevin Quandt & Kevin Raos //

Noise Pop //
Bay Area venues – San Francisco & Oakland
February 25th-March 2nd, 2014 //

This time of year can often be a bit slow for live music, but not during Noise Pop Festival in San Francisco. This week-long event spread out amongst the 22 finest venues in the City by the Bay makes for the best extended independent music showcase on the west coast. Noise Pop Fest shows offer in-depth evenings — the best thing to do is to show up early and catch emerging artists before they graduate to headliner status.

One great way to get the most value out of the week is with by springing for a badge. The purchase of a General or Super Fan badge gets you into all general admission shows, films, happy hours, NPHQ and more, along with a screen-printed festival poster. There’s also a Noise Pop Fest app to help keep you connected.

The lineup is as good as ever this year — our list doesn’t include top-notch artists Com Truise, Rogue Wave, Throwing Muses, Beardyman, Ladytron, No Age, Shabazz Palaces, Mikal Cronin, Bleached, Trails and Ways, The Fresh & Onlys, The Limousines, The Soft White Sixties, amongst others. Presented here are 12 compelling reasons to consider a badge upgrade, in day-to-day order.

Click artist names to buy individual tickets below, or simply buy a General or Super Fan badge.

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Noise Pop HeadQuarters (NPHQ @ The NWBLK) //
All week //

New this year in Noise Pop’s 22nd incarnation, Noise Pop Headquarters at The NWBLK is now the centerpiece of Noise Pop Festival. Festivalgoers can swing by the stunning gallery-turned-multimedia-space to grab a drink, watch a film, get some food, do some shopping, and experience a pivotal part of this year’s festival with friends and artists before heading out for the night’s events. Purchase tickets or RSVP to all free shows, which will grant you priority entry once capacity has been reached. Yet another reason to go big with a badge.


Lord-Huron

Lord Huron, Superhumanoids //
The Fillmore – San Francisco
Tuesday, February 25 //
SOLD OUT // BUY A BADGE

A coupled bill of indie folk, rich with thick vocal harmonies and dense soulful compositions, Lord Huron and Superhumanoids pair perfectly to cover the modern state of rhythm and blues. Americana based, the Lord Huron dabble in psychedelic and experimental pop elements, which also can be heard in their counterparts Superhumanoids. The Los Angeles-based trio features genre bending soundscapes, delivering a groove-driven journey through layers of pop, soul and electronic musical arrangements. Each band, although unique in their melodious executions, cover a vast array of roots-rock influences while updating the archetypal sounds in their own innovative manners. This sold out show highlights a great pair of bands to kick off the festival and is one worth splurging a bit extra on a badge to guarantee entry. -MK


Audion

Matthew Dear Presents Audion Live: Subverticul //
The Regency Ballroom – San Francisco
Wednesday, February 26th //

The latest project from Ghostly International co-founder and experimental artist Matthew Dear, Audion Live: Subverticul is an all-encompassing multi-media experience. Teaming up with the innovative crew from LA-based design studio Vita Motus, Subverticul features a live set debuting new material from Matthew Dear. Audion Live promises to be a unique show, fashioned to resemble a moving audio visual sculpture. Composed of multi-layered experimental EDM and dazzling abstract art installations, Subverticul is an impressive feat in both live music entertainment and creative enterprises. Making its Bay Area debut in celebration of the Noise Pop 2014 and playing unreleased tracks off of his upcoming album, Matthew Dear’s Audion Live: Subverticul will undoubtedly be a highlight performance of this year’s festival. -MK


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Mistaken for Strangers (Film) //
Roxie Theater – San Francisco
Wednesday, February 26th //

Let’s not forget that live concerts aren’t the only offering from the citywide Noise Pop Festival as the film series has some gems being screened, including Mistaken for Strangers. This documentary follows budding horror filmmaker, Tom Berninger, embarking on a massive national tour with his brother’s little band that some may know as the National. The ensuing months shows the younger Berninger brother tossed into the indie touring machine as a functioning crew member while keeping focus on his ambitions as a creator himself. -KQ


Papercuts

Papercuts, Vetiver, The Donkeys, EDJ, Vinyl DJ Selections by Britt Govea //
The Chapel – San Francisco
Wednesday, February 26th //

Artists under brand new label Easy Sound Recording Co. plan on presenting the future of folk at The Chapel during Noise Pop week. Jason Quever’s SF-based Papercuts have a new album Life Among the Savages in the works. The group’s sixth LP is set to release in May, so plan on seeing the group preview new tracks from their forthcoming album. They just released the albums’s lead single “Still Knocking at the Door”, and it’s promising. Vetiver is on the roster, another local group led by Andy Cabic. Their 2011 record The Errant Charm is oh so mellow and excellent, and we expect good things coming soon. The Donkeys are an emerging psyche-garage rock formation from San Diego, blending surf rock and jam sentiments into a bouncy, enjoyable time. -MF


Our-Vinyl

“Our Vinyl Weighs A Ton” Film Screening and Live Show //
The NWBLK (NPHQ) – San Francisco
Wednesday, February 26th (6:30 pm) //

Gain access to rare concert footage, backstage documentation, home videos and intimate portrayals of some of the most influential hip hop artists of our time in this cutting edge documentary brought to you by the iconic Stone Throw Records posse. Featuring appearances by Snoop Dogg, Mike D, Talib Kweli, Kanye West, Tyler the Creator and more, this feature length delves into the inner circle of the groundbreaking label to bring you a fresh perspective on the evolution and current state of modern day hip hop. Followed by a Q&A with director Jeff Broadway and Stones Throw Records founder Peanut Butter Wolf, tickets are still available with an additional option to upgrade to a “Film and Live Show Ticket”, granting access to a live performance after party with Peanut Butter Wolf, J Rocc, JonWayne and Knxledge. Happening at the Noise Pop 2014 headquarters NWBLK, this event is a great way to get into celebratory spirit and check out the brand new festival facility. — MK


Bob-Mould

Bob Mould: 25 Years of Workbook, Zach Rogue, Jon Ginoli //
Great American Music Hall – San Francisco
Thursday, February 27th //
SOLD OUT // BUY A BADGE

Celebrating the groundbreaking icon’s diversion from his scene-defining hardcore act Husker Du, Bob Mould revisits his first album as a solo artist, Workbook, with help from fellow artists and friends. Mould pushed the boundaries of the independent rock scene with this record whilst mapping out an era of alternative music that influenced generations of artists for years to come. Mould will be joined on stage by longtime bassist Jason Narducy, along with Rogue Wave’s Zach Rogue and Jon Gignoli of San Francisco’s own Pansy Division. Gearing up for the deluxe double-album edition of this seminal record to be released February 25, this show will be the first live revisiting of the material in full since its 1989 debut. One of the first shows of the festival to have sold out, a badge is necessary for entry and in this case is well worth the cost of this once in a lifetime experience. — MK


Digital-Mystizk

Digital Mystikz, DJ Rashad //
1015 Folsom – San Francisco
Thursday, February 27th //

Sure, Digital Mystikz may be one of the higher listed names you have never heard of, but producers, Mala and Coki, nearly single-handedly built the UK bass-culture scene which eventually was termed, dubstep. This South London duo has been working together since teenagers, while also maintaining solo careers, eventually starting the progressive label, and club night, that goes by DMZ. After a few failed attempts to perform on the West Coast as a duo, it appears the day is almost here for Digital Mystizk to make their big San Francisco debut at 1015 Folsom with DJ Rashad and a slew of local warriors to back ‘em all up. —KQ


Cold-Cave

Cold Cave, Painted Palms, Dirty Ghosts, Happy Fangs //
Slim’s – San Francisco
Friday, February 28th //

Truly one of the more stacked bills this year will feature LA darkwave mastermind Wesley Eisold, popularly known as Cold Cave. With a release slated for 2014, expect new material that Eisold describes as a “mix between some of the bigger sounds on Cherish and more minimal stuff I’m interested in now.” Local psych-pop duo, Painted Palms are also featured on this bill after the release of a recent album on Polyvinyl. Expect a breezier affair before the headliner with these San Francisco rising stars. Local trio Dirty Ghosts will also be on hand to lend support via their female-fronted take on psych-pop with a tinge of world influence. —KQ


Real-Estate

Real Estate, The Shilohs, Dream Boys, Dominant Legs //
The Independent – San Francisco
Friday & Saturday, February 28th & 29th //
SOLD OUT // BUY A BADGE

It wasn’t too long ago that fans of breezy surf-rock were enjoying Real Estate at Treasure Island, but this time we get a pair of more intimate shows over the busy Noise Pop weekend. The recently expanded 5-piece band is prepping their third studio album set for release the first week of March and will go by the title, Atlas. Expect new songs peppered with old favorites for these sold out shows, which will be supported by Vancouver songsters The Shilohs, along with Dominant Legs on Friday and Dream Boys on Saturday. —KQ


Mark-Kozelek

An Evening with Mark Kozelek (Sun Kil Moon) //
Great American Music Hall – San Francisco
Saturday, March 1st //

While Mark Kozelek’s music comes in the form of many groups and collaborations, his new record Benji with Sun Kil Moon will likely solidify this group as his legacy. The lyrics are heartbreaking, the control of his cadence immaculate, and the words often relate to Bay Area locales, a place he calls home — there’s the Night Stalkers’ final victim who lived in San Mateo, barbecues in San Rafael, his Tenderloin summer (when he likely made the album), and going seeing the Postal Service perform at the Greek Theater only to rush to a hot tub-refuge in Tahoe. Billed as an evening with Mark Kozelek, an incredible live artist with throngs of records under his belt with Red House Painters, Sun Kil Moon and by his lonesome, expect a varied setlist with a heavy doses of cuts from Benji stealing the show. — MF


Dr-Dog

Dr. Dog, Saint Rich, Moses Sumney //
The Warfield – San Francisco
Saturday, March 1 //

Dr. Dog make their Noise Pop debut as headliners atop a talented lineup of performers. Road warriors and prolific song writers, these indie rockers from Pennsylvania make the west coast swing in support of their latest album, 2013’s B-Room. Dr. Dog has been making a name for themselves for 15 years, building a loyal fan base and graduating to larger venues along the way. Supported by Saint Rich and Moses Sumney, Saturday March 1st at the Warfield will showcase some of the finest indie rock around. Floor seats may be sold out, but you can still make your way to the dance floor with a Noise Pop badge. Don’t sleep on this show. -KR

Noise Pop 2014

PHOTOS: The Wood Brothers at The Fillmore 2/1

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By Sam Heller

The Wood Brothers with Amy Helm //
The Fillmore — San Francisco
February 1st, 2014 //

Oliver and Chris Wood, popularly known the Wood Brothers, held acoustic court at the world famous Fillmore on February 1st, lighting up the stage with soaring melodies, new tracks and even a special guest. Amy Helm opened the evening before the main act opened their headlining set with “The Muse’, the opening track off of 2013’s album of the same name. Their sound is loaded with blues influences while melding in some of the most authentic Americana style in the business. Amy Helm returned halfway through the set to guest on a pair of tracks before the wonderful Amos Lee joined in for “The Luckiest Man”. Amos returned for the first encore which featured a rendition of Michael Jackson’s “P.Y.T.”. The second encore would display the cover of Lee Dorsey’s “Get Out of My Life Woman” before the familial duo bid the crowd adieu.

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PHOTOS: Nicki Bluhm & The Gramblers at The Fillmore 1/25

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Photos by Susan J Weiand //

Nicki Bluhm & The Gramblers with Goodnight, Texas //
The Fillmore — San Francisco
Saturday, January 25 2014 //

Your first show at the Fillmore is a big deal for any musician or band, but when that show sells out weeks in advance, you know you are on the right track. Nicki Bluhm and the Gramblers are squarely on that track and this train ain’t slowing down. Saturday night’s show was a special one for the local rising stars anchored by the charismatic and emotional songstress, Nicki Bluhm. “Jetplane” would open the evening in grand style as the eclectic crowd got their dancing feet moving, gearing up for one of the bands biggest shows to date. Old favorite, “Barbary Blues” eventually led into the first guesting spot by fellow locals Magik*Magik Orchestra (who they will be joining at the Fox this Friday) as they joined the Gramblers on the track, “Nothin'”. A cover of the Easy Leaves’ “Another Rolling Stone” was another highlight before wrapping it all up with a 3-song encore featuring the return of members of Magik*Magik. Nicki’s stage presence is electric, and we can only expect to see and hear more exciting things from this local group.

DARKSIDE reward the patient at The Fillmore

Nico

Photos by James Nagel // Written by Mike Frash //

DARKSIDE with High Water //
The Fillmore — San Francisco
January 24, 2014 //

Word is out on 24-year-old pioneering electronic musician Nicolas Jaar and what he does live. Improvising and looping live instrumentals to craft ambient soundscapes, experimental downtempo beats & ruminative house, Jaar is the king of control, doing it all with a healthy dose of patience.

Teaming up with college friend Dave Harrington to form DARKSIDE presented a new challenge for the Chilean born man that calls Brooklyn home — Jaar had never worked with electric guitar. Nico first brought Harrington into the fold to support his 2011 album Space Is Only Noise on the road, giving the two ample time to test an intermingling of electronic music and the instrument that signifies rock & roll.

On their first US tour as DARKSIDE, Nicolas Jaar & Dave Harrington together are monumental in their minimalist approach to sound, progressive in form, and mind-blowing in combination with suitable visual production.

DARKSIDE

In true SF fashion, fog filled the stage and the front of the Fillmore prior to the show’s start, and it was still there after the first song, a 22 minute “Freak, Go Home”. The first recognizable part of the track didn’t begin until about 12 minutes in.

In many ways, DARKSIDE function as a jamband. Harrington recently explained to LA Weekly, “…what we do every night is so steeped in improvisation, and that’s what is exciting for us…Once we get through the two or three minutes that we planned, that song will probably go on for another ten or fifteen, and then we take it in whatever direction we see fit at the moment.”

Throughout the evening, the duo played only a handful of recognizable songs, proving improv is more important than preplanning. While improvisation is often a jamband’s calling card, the aspect of this Fillmore performance that was most reminiscent of a good jamband proved to be DARKSIDE’s expert use of tension and release.

Simmering melodic-based atmosphere moved to dramatic slow builds, Jaar would introduce a track along the way — all creating tension. Then well-deserved bass drops revealed themselves in both sneaky and progressive ways, establishing a prolonged release in the form of the crowd losing their shit to four on the floor house beats and body-shaking bass. While jambands release the stress with instrumental jamming, DARKSIDE rewards with a bass-heavy house.

One of the most memorable transitions came deep into “Paper Trails” when the drop developed over four quick beats in a measure, from no bass to full on bass domination. It was a striking example of Jaar’s original, crafty abilities in the moment.

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The stage visuals added a positive impact to the overall experience, working ideally with this 21st Century jamband. DARKSIDE used smoke & mirrors to breathtaking effect, creating semi-optical illusions that were most entrancing at the more intense sections of the show.

The lighting was deliberate and paced on track with the methodical yet improvisational nature of the show. It began with contrast-heavy black and white, the two performers backlit by spotlights. An orange hue arrived mid-show, then blue took over for a bit. Banks of floodlights were timed to a big drop during an elongated, magnificent “Paper Trails”, but the effect I referred to as the “Eye of Sauron” stole the show.

A large mirror hanging above the stage was angled toward Jaar for much of the concert, refracting light onto the true right of the stage. But the mirror unsuspectedly swung toward the stage, and once swirling fog spewed around it and a spotlight from the back of the house was pointed directly at it, a portal-like wormhole to another dimension panned back and forth over the crowd. It was trippy, heady, the kind of thing you would expect from a band like STS9. It was pretty amazing.

SF must have been good to DARKSIDE, as we were treated with not one, but two encores. After another ambient, slow building stretch of sound, the crowd showed their love in unison, impressing Jaar to grab his microphone stand one more time. “Golden Arrow” then appeared out of the ether to finish the evening with the long opening track from Psychic.

DARKSIDE provided an experimental aural journey, one that paid off by being as patient as the musicians on stage.

Nico and Dave probably won’t have dance-heads following them from city to city like the Grateful Dead or Phish, but they’re certainly worth seeing more than once.

Volcano Choir, Justin Vernon want you to Repave at The Fillmore

Volcano-Choir

Photos by Chaya Frash // Written by Mike Frash //

Volcano Choir with The Cloak Ox //
The Fillmore — San Francisco
January 21, 2014 //

So poetic the prose of preacher Justin Vernon, in fact he performs behind a podium that doubles as a pulpit and modulation center with Volcano Choir. The Bon Iver creator and frontman may still be known for his cabin in the woods triumph turned ten-piece alt-rock behemoth, but not for much longer.

Casting away Bon Iver to the land of hiatus opened the door for Vernon to join forces with a Wisconsin outfit he has always admired, Collections of Colonies of Bees. Based on the group’s second LP Repave, released last year, and their live performance at The Fillmore in San Francisco January 21, the idea of Volcano Choir becoming a permanent band rather than a semi-regular collaboration makes too much sense.

Repave’s core philosophy revolves around rebirth, finding the right path, rediscovering oneself. Vernon explains, “…the changes that we go through personally, metaphorically, and sort of knowing that you have to change if you’re having a tough time in your life or if you’re just hitting walls constantly, or if you keep having bold spiritual questions you can’t answer, it’s usually because there’s not a path for you…”

So it’s not about changing so much, or dealing with the consequence of change. Rather, Repave and subsequently the ethos of this tour attempts to grapple with the process of realization and acceptance prior to change — some might call this self control, others might say it’s embracing personal evolution.

The message is effectively delivered through a vehicle of duality — Volcano Choir specialize in exploring the full range of sound, from minimalist textures to extended crescendos, often with intentionally jarring transitions. The flip side of this mechanism is Vernon’s dedication to avoiding didactic straightforwardness, concentrating on keeping this introspective course correction message mostly subtle.

Volcano-Choir

The show at the Fillmore contained many memorable moments, the first coming with the song “Alaskans”. Nary a peep emerged from the immersed crowd, even as the Charles Bukowski sample from his poem “The Shower” was laced in. The all around reverence must have been unique, as the reaction from Vernon, Daniel Spack and Chris Rosenau exuded glances and smirks that said “Wow, that’s a first.”

Reminiscent of the Bon Iver show at the Greek Theater in 2011, rapturous silence during hushed vocal textures added immense value to each moment. But now with Volcano Choir, Vernon’s vocals are so over-processed and auto-tuned, to the point that his voice acts as a digitized instrument along with the other six performers.

“Still”, confused by many as Bon Iver’s “Woods” (or possibly even Kanye West’s “Lost In The World”), showcased how the group can tamper with sound to the point of creating something completely different and original, all through floaty restraint. This aural rebirth also shined in “Dancepack”, where the line “There’s still a hole in your heart” was repeated for many measures, yet it never sounded quite the same.

The concept of exploring new sound spaces emerged explicitly for the second encore, something that seemed like a rare treat to finish the evening. Likely improvised, the spacey instrumental unfolded as a slow churning jam that imprinted extra heady spiritual undertones onto the performance.

It was these minimalist songs, complimented by reverent crowd silence and attention, that were the highlights of the performance.

But in the prior encore, a Vernon-less instrumental jam offered a monstrous wall of sound slap to the face that contrasted so many of the show’s subtleties. A newer song “Valleyonaire” brought an upbeat, more traditional song structure to the table, helping to balance the set early on.

Also the bombastic singles “Comrade” & “Bygone” offered measured, mostly faithful versions from last year’s album — and speeding up the “legend” part in “Bygone” helped to avoid a narcissistic singalong.

The attempt at discovering new sound spaces is an absolute success for Volcano Choir, making Bon Iver seem almost boring in retrospect. It’s understandable why Vernon said this might be his new band — Bon Iver almost seems superfluous now.

As much as the layered instrumentals from former members from Collections of Colonies of Bees thrives on non-standard form, Vernon’s lyric emphasis focuses on keywords and phrases one wouldn’t quite expect from their live performance.

Vernon’s vocal emphasis plays into the Repave mantra — “Build up that benevolence,” “Behave, behave, behave, behave, behave” and “When all of us are sober” were all phrashes treated with extra clarity of voice to help ingrain fragments of thought into the listener’s brain.

Vernon is willfully taking on the role of guiding preacher. He’s got the pulpit, he actually scorned some in the crowd for being on “more than normal drugs”, and he wants his lost souls to find the right path.

At the end of the set, while the instrumentals for “Almanac” were finishing, Vernon stepped down from the pulpit, bent down on one knee and seemingly prayed, perhaps for his flock of followers.

Volcano Choir’s full sound exploration through an atypical form, including hyper-modulated vocals and pin-pointed phrase emphasis, creates a live music ambiance that ultimately acts as a mirror. The subtle, yet striking delivery allows the message to sink in deeply, maybe affecting some to consider change.

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PHOTOS: JJ Grey & Mofro with The Stone Foxes at The Fillmore 11/15

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Photos by Sterling Munksgard

JJ Grey & Mofro with The Stone Foxes
The Fillmore – San Francisco, CA
November 15, 2013

JJ Grey & Mofro, along with local favorites the Stone Foxes, lit up the Fillmore stage with a blend of rock and roll tinged with Southern blues, funkified soul and folky americana. This national tour has criss-crossed the states touring behind the release This River, and a ruckus crowd ate up JJ’s heartfelt ballads and grooved away to his jammed-out sonic odysseys.

Atlas Genius connect with crowd at The Fillmore

Atlas Genius @ The Fillmore Nov.7th, 2013 #17By Nikki de Martini //

Atlas Genius //
The Fillmore – San Francisco
November 7th, 2013 //

Before the release of their first full-length studio album When It Was Now, the Australian-born-and-bred boys from Atlas Genius built a studio from the ground up where they wrote and recorded music for three years before even considered to tour as a band.  Since then, this (sorta) newbie Aussie Indie band continues gaining popularity in the states with two hit singles, “If So” and “Trojans”, all over the air-waves. Their headlining US tour arrived at The Fillmore on November 7th and sold-out a couple of hours before doors opened.

Inside the atmosphere was brimming with an enthusiastic anticipation, and when Keith, Michael and Darren hit the stage waving to fans, they were met with blissful cheers from the female-dominant crowd.

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Basking in a flood of indigo lights and aquatic instrumentals, Atlas Genius opened with “On a Day”, subtly building up to the climatic chorus as pockets of fans began to dance. Keith (lead vocals) and Darren (keys/guitar) fed off that energy while rousing more of it. The repeated rhythmic end of the first song flowed into the relaxed yet up tempo beat of the second song, “If So”, igniting the first of many a sing along responses from an adoring crowd.

Singing from behind his mic on stage left, only to make his way over to stage right repeatedly, and even playing guitar from the photo pit on occasion, front man Keith Jeffery made sure to engage with as much of the sold out crowd as possible.

The first real crowd interaction happened right after ending the well harmonized, romantic mood-seducing “Back Seat” when Jeffery expressed the band’s excitement for playing at the historic San Francisco venue: “We have been excited about this particular show for a very long time, so thank you very much for coming down.” The good mood soared as he invited everyone to thank what he called two of the greatest bands ever, openers Family of the Year and Dale Earnhart Jr. Jr.

Atlas Genius @ The Fillmore Nov.7th, 2013 #7

Playing a set consisting of songs off of their only album to date, it was pleasing that Atlas Genius were able to make the most out of the limited amount of material. For example, Darren and Michael stepped off the stage to leave Keith to preform an intimate solo performance of “Symptoms”, morphing the otherwise plugged-in, some what experimental rock song into a heartfelt, acoustic ballad. Then there was when “Electric” was teased with a guitar heavy intro and an extended, garage band-esque ending. As a loud applause arose after “Electric”, it took a minute for fans to realize that it was now time to react and encourage an encore. Atlas Genius reappeared to jump right into “Centered on You”, a track reminiscent of another Aussie Indie act, The Temper Trap.

Not surprisingly, Atlas Genius saved their hit single “Trojans” for last, and this placement genuinely suited the show well. It’s bubbly melody and overall contradicting disposition rounded out the whole performance, which balanced high and low tempos so well through out the night.  Moreover, it felt that fans hadn’t been waiting to hear the hit but rather they were elated to hear it live.

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Half way through, as fans began to clap along, Atlas Genius asked everyone to raise their hands, capturing a Kodak moment of their own, connecting with SF fans once more before the show was over.

Though I do dig listening to When It Was Now, when I left The Fillmore that night, Atlas Genius had totally won me over. Their hour long set was upbeat, light-hearted, fun, genuine and the setting was a great match for their laid back vibe. Atlas Genius is an essential band to see this year, and the show November 7th confirmed this sentiment.

@SweetSoundBites

Atlas Genius @ The Fillmore Nov.7th, 2013 #1

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 Boulevard 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.

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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
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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.

Bimbos 365 Club

Bimbo’s 365 Club

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.

Rickshaw-Stop

Rickshaw Stop

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.

Mezzanine

Mezzanine

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.

Brick and Mortar

Brick and Mortar Music Hall

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.

The-Chapel

The Chapel

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.

The-New-Parish-why

The New Parish

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.

Civic-Center

Bill Graham Civic Auditorium

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.

Bottom-of-the-Hill

Bottom of the Hill

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.

Cafe-Du-Nord

Cafe Du Nord

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.

Slim's

Slim’s

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.

Public-Works

Public Works

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.

The-Recency

The Regency Ballroom

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.

Greensky Bluegrass make it to the big stage in SF

Greensky-BluegrassPhotos by Mike Frash // Written by Kevin Quandt //

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

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

Greensky-Bluegrass

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

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

Greensky-Bluegrass

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

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

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

Sam Bush to join Greensky Bluegrass at The Fillmore

Greensky Bluegrass

So, the weekend is rapidly approaching in the City, and like normal, there are lots of amazing options for your weekend nightlife. Might we suggest checking out the blistering renegade string band named, Greensky Bluegrass on Friday, March 15th at the Fillmore San Francisco. This isn’t just any night of picking and strumming helmed by the Kalamazoo native string quintet, but rather a spotlight on a rising acoustic force that will be welcoming none other than legendary San Bush onto the Fillmore stage. Opening duties will be held by folk-funk group, Ryan Montbleau Band.

Greensky do things a little different than their contemporaries as demonstrated by their poignant rural ballads, clean dobro tone, use of distortion pedals and true road warrior status. When you add the virtuosic mandolin and fiddle playing of Sam Bush to the mix, it can only produce some serious string action. It’s gearing up to be a huge year for Greensky Bluegrass with slots at some of the premier festivals; Electric Forest, DelFest, Northwest String Summit even a gig at Red Rocks.

Buy tickets to the Fillmore Show.

Greensky

Greensky

Check out the Greensky Bluegrass Facebook page.

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

Materialized
Photos by Sam Heller

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

Materialized

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

Materialized

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

Materialized

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

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

Materialized

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

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

Materialized

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

Listen to the sounds of Materialized at their site.

Materialized

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

The-WalkmenPhotos by Sam Heller // Written by Kevin Quandt //

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

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

Father-John-Misty

Father-John-Misty

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

Father-John-Misty

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

Father-John-Misty

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

The-Walkmen

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

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

The-Walkmen

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

The-Walkmen

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

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

The-Walkmen

Father-John-Misty

Father-John-Misty

Trombone Shorty & Orleans Avenue elevate The Fillmore

Trombone-Shorty

Trombone Shorty is probably the most important cultural ambassador for New Orleans today. This seems like obvious sentiment after witnessing the the second of three sold out shows to end 2012 at The Fillmore in San Francisco.

The evening’s set was laced with cover songs, many directly from the Crescent City, but Trombone Shorty and Orleans Avenue were willing to cover songs from almost any genre. The familiar song selections along with Trombone Short’s smart band leadership and charming stage presence elated the older audience at The Fillmore, San Francisco.

Trombone-Shorty

Trombone-Shorty

This young NOLA musician has gotten surprisingly popular; when an artist can sell out three consecutive nights at The Fillmore without ever having a bonafide hit single, something special must be going on, right? After seeing Trombone Shorty and Orleans Avenue perform on December 30th, the reason for his popularity came into focus.

Trombone-Shorty

He’s an amazing trombone & trumpet player, but we already knew that. He’s also a thrilling lead performer without his brass in hand. When he put down his instrument and just rocked the mic, Troy Andrews was just as captivating. Once the show was over though, it appeared his best quality as a performer might be his work as a bandleader and teacher.

Trombone-Shorty

Trombone-Shorty

The Orleans Avenue band members got to shine properly because Trombone Shorty allows them space to improvise and perform solos, but you never forget whose show it is. And for the encore, Trombone Shorty brought out three youngsters to perform, & thay impressed on brass while performing solos during “When the Saints Come Marching In.” Troy Andrews, aka Trombone Shorty, watched “his local students” closely as they performed, as if they were in a one-on-one class. What a treat and gift to give his brightest students: a taste of success & something to strive for by performing to a sold out crowd at The Fillmore.

Trombone-Shorty

The crowd ate up the songs with the young performers, and “Saints” started and ended a NOLA medley that included the theme song from “Treme” and an interlude of “Who Dat,” which was made famous by Rebirth Brass Band. Other covers included The Guess Who’s “American Woman,” Ray Charles’ “I Got a Woman,” & Snoop Dogg’s “Who Am I (What’s My Name)?”

Trombone Shorty kept coming back to familiar tunes, which kept recharging the mostly 40+ crowd. While the medley felt like canned “NOLA” culture compared to what you might experience in New Orleans itself, you’ve got to give the man credit for showcasing his roots and keeping this important American culture alive.

Trombone-Shorty

Trombone-Shorty

The positive energy Trombone Shorty circulated on stage clearly effected the band members in a positive way. And since everyone on stage was truly having a fun time, this real energy permeated into the audience. Trombone Shorty knows how to work a crowd, make his band better by giving them space, and plays his instruments with passion and mastery that is unmatched.

Trombone-Shorty

Trombone-Shorty

Trombone-Shorty

Trombone-Shorty

Trombone-Shorty

Trombone-Shorty

Trombone-Shorty

Trombone-Shorty

Trombone-Shorty

Feeling the ‘Janxta Funk’ spirit with The Pimps of Joytime

Pimps-of-JoytimePhotos by Mike Frash // Written by Molly Kish //

Showbams interviewed Pimps of Joytime bandleader Brian J on December 30th after the group’s performance in San Francisco at The Fillmore.


Showbams: Currently you’re on tour promoting Janxta funk, both the album and the ideology, which you describe as part gangsta and part janky. Can you elaborate a little more on that?

Brian: Yeah, you know it’s kind of a vibe thing. You’ve got the gansta’ part which is the style and the janky, in that it’s a little rugged. That’s the way we roll you know, not everything is perfect. Sometimes the door comes off the hinge or you gotta make it to the gig and you get a flat tire. The operation’s a little bit janky, but you just gotta spin it and make it positive. We call it Janxta.

Pimps-of-Joytime

Showbams: Your influences draw a lot from the live music and DJ scene of your hometown Brooklyn, New York where you guys emerged from initially. Who were some of the artists that inspired your sound and live performance?

Brian: Certainly a bunch of the DJ’s out there like Nicodemus, DJ Concern, Monk One, Chico Man. There are so many great bands. We just collaborated with Alex from Rubblebucket on a song that should be on the new record — they’re doing a lot of good stuff. Also, everyone in the Pimps has other really great projects, like Mayteana has Stereo Fights, Cole has That’s My Cole, David Balis has Baja and the Dry Eye Crew and Eric plays with Ander’s Osborne. You know, so everybody’s doing their thing.

Pimps-of-Joytime

Showbams: On the new album, you also are featuring working with both the Neville Brothers and Roy Ayers. Having spent some time in New Orleans Brian, was this something you always wanted to do?

New Orleans music has a big influence on me, and just the energy of that city I have a connection with. For me it’s a spiritual home, although Brooklyn is where I’m from, spiritually I just love New Orleans. The artists are just so talented and soulful. Getting to work with Ceril, after we collaborated on a song on my first record High Steppin, he called me to produce his record Brand New Blues, which was really cool.

When we were working on that I had him sing on a couple Pimps things and I just threw it in the session. Kind of the same thing happened with Art Neville. He was recording on Ceril’s album and I was like “Hey could you record on mine?” He was like, “I tell you what, you come over and if you can fix my computer I’ll do it.” So we did a little trade, I came over and helped him set up his computer and I got to hang out all day. We ate po’ boys and he was telling me stories about The Meters. It was cool. It was a special day.

Pimps-of-Joytime

Showbams: The New Orleans culture is really prevalent in the Pimps stage presence, and the band is known to bring a big sound and infectious funk to your live performances. How have the crowds responded to the new album’s material while on tour?

Brian: It’s been steadily growing. You know we do a good show, then everybody at that show tells a few people and the next time we come around, there’s larger crowds. The good ol’ fashion word of mouth type thing, pretty much how we’ve been doing it.

Showbams: Has there been any particular show or venue that was more difficult to play than others?

Brian: Yeah, we’ve done some challenging gigs. Like a couple times when going through Colorado in the winter, having to play outside. Promoters don’t understand that when you play music you can’t wear a heavy jacket and big ol’ gloves, they don’t quite get that so … They’re like, “What’s a matter, everybody else is outside?” A couple of those were kind of tough, and you know you just gotta take the good with the bad.

Pimps-of-Joytime

Showbams: You guys have a very rigorous tour schedule. How do you respond to constant travelling and performing?

Brian: Well, we have an expression, that if something is really difficult, we call it “character building.” So, if somebody’s like, “How was the show?” We’re all, “It was character building.” (laughs)

Showbams: Conversely, what’s your ideal show or best outcome when walking off stage?

Brian: It’s a combination of me loving the sound that myself and the band’s making and the crowd’s really receiving it, when we get that energy flow going. I love when people have a great time and they love the show, but the best is when I love it, too. There are different levels on different nights, but sometimes the spirit really hits, and everybody’s in the vibe. That’s just a magical thing!

Pimps-of-Joytime

Showbams: After the show, you guys are headed to play the Black and White Ball for New Year’s Eve in Nevada. And on that trip, do you have any resolutions or plans for 2013?

Brian: I’m always, and I think I can say this for everybody in the band, we’re spiritual people and always trying to work on ourselves to become better people on multiple levels, and I’m going to continue to do that. But, I think I need to get a little more in shape, so I started playing tennis and have been working out a little bit. It’s pretty common, and probably the most broken resolution ever.

We also got a new record in the works that I think is going to be the best, most cohesive record to date. It has really good songs, singing and great playing. I recorded it in a different way and did the rhythm section live, which I’ve never done before. It’s going to be our best record, so I’m going to put it out there in the world and be like, “Here, here you go!” and see what happens.

Pimps-of-Joytime

Showbams’ best shows of 2012

Showbams contributors name their favorite shows of 2012.

It has been a top-notch year for live music, and we witnessed some great acts that have come through California over the past 12 months. Check out our favorite shows from 2012.

What was your favorite concert in 2012? Let us know in the comments below.

The xx at Treasure Island Music Festival

The xx at Treasure Island Music Festival

Mike FrashSan Francisco

1. Sigur Rós at Outside Lands Music Festival – San Francisco, CA – August 11th
Leaving Metallica for Sigur Rós to end the second day at Outside Lands was a torturous decision. Metallica was a warzone spectacle, but i stuck to my guns and headed to the Twin Peaks stage. I’m glad I did. Jonsi now conducts a mini orchestra, and the eerie SF fog lowered on command to the slow builds & crescendos. It was a spiritual show that effected me more than any other concert in 2012.

2. Japandroids at The Independent – San Francisco, CA – June 14th
Brian King and David Prowse brought ecstatic energy to the sold out Independent in June the week after Celebration Rock was released. Brian King understands how to control the pace of his set, offering fun pre-song statements that prepare you for what’s next. Their songs are vibrant live – it doesn’t sound like only two people are playing instruments. They truly seem to live the life they glorify on their 2012 album – still drinking, still smokin, and full of hyperactive desperation.

3. Phish (Night #3) at Bill Grahm Civic Auditorium – San Francisco, CA – August 19th
The highly anticipated phish three-show SF run in August started off a bit slowly. Saturday’s show left me a little bummed about Phish due to some sloppy play (“Split open and melt”) and what felt like a lack of enthusiasm. I was questioning why I still see Phish live heading into the last show of the weekend. My lowered expectations combined with a killer show quashed those thoughts. “Crosseyed and Painless” > “Light” > “Sneakin’ Sally” > “Crosseyed” was some of the best Phish I’ve ever heard, “Boogie on” redeemed Stevie Wonder’s omission of the song at Outside Lands the week before, “Meatstick” made me really happy, and the San Francisco-mentioning “Ride Captain Ride” made a surprise encore appearance. The show was pure bliss.

4. The Rapture at Coachella – Indio, CA – April 13th
5. The xx at Treasure Island Music Festival – San Francisco, CA – October 14th
6. The Presets at The Independent – San Francisco, CA – October 12th
7. STS9 at High Sierra Music Festival – Quincy, CA – July 5th-6th
8. Head and the Heart at Hardly Strictly Bluegrass – San Francisco, CA – October 6th
9. Tame Impala at The Fillmore – San Francisco, CA – November 15th
10. My Morning Jacket at Greek Theatre Berkeley – Berkeley, CA – September 15th

Honorable Mentions:
Father John Misty at Jansport Bonfire – San Francisco, CA – September 30th
Of Monsters and Men at The Independent – San Francisco, CA – March 22nd

My Morning Jacket

My Morning Jacket at The Wiltern

Pete MauchLos Angeles

1. My Morning Jacket at The Wiltern – Los Angeles, CA – September 13th
MMJ capped off the best three-night run I saw this year with this stellar closing show complete with a horns section. This is a big statement for a band I knew I loved but wasn’t fully convinced about until this night. Highlights: “All Night Long” and “Movin On Up” with horns.

2. Phish at Bill Graham Civic Auditorium – San Francisco, CA – August 19th
Phish played a terrific 3-night run, and topped off by an amazing Sunday night show that proves that Phish is still top of the Jam Scene. Highlight: Light > Sneakin Sally Through the Alley

3. Ryan Adams at Walt Disney Concert Hall – Los Angeles, CA – February 17th
Ryan Adams, an acoustic Guitar, and a Piano is all this show contained, and it was truly special. Adams’ classic songs stripped down with his raspy croons is all I needed to make this a top show of the year. Highlight: “Rescue Blues” on Piano “Holy Diver” on Guitar

4. Trey Anastasio and LA Philharmonic at Walt Disney Concert Hall – Los Angeles, CA – March 10th
5. Neil Young & Crazy Horse at Hollywood Bowl – Los Angeles, CA – October 17th
6. Charles Bradley with Menahan Street Band at Royce Hall – Los Angeles, CA – November 29th
7. Radiohead at Coachella Music Festival – Indio, CA – April 21st
8. Trombone Shorty at Key Club – West Hollywood, CA – February 11th
9. Wilco at Hollywood Palladium – Los Angeles, CA – January 24th
10. New Multitudes (tribute to Woody Guthrie) at Mayan Theater – Los Angeles, CA – March 7th

Honorable Mentions:
Phish at Long Beach Arena – Long Beach, CA – August 15th
String Cheese Incident at Greek Theatre Berkeley – Berkeley, CA – July 14th
Roger Waters presents “The Wall” at LA Memorial Coliseum – Los Angeles, CA – May 21st
Umphrey’s Mcgee (True Hollywood Stories acoustic show) at House of Blues – West Hollywood, CA – March 16th

The Faint

The Faint at The Regency Ballroom

Molly KishSan Francisco

1. Radiohead at HP Pavilion – San Jose, CA – April 12th
After merely catching glimpses of them while shoved against thousands of festivalgoers at Outside Lands 2008, I was determined to catch Radiohead the next time they came through the Bay Area. The sound, visuals, performance and energy of the evening were electrifying. Although I was extremely lucky to have been viewing the concert from the sixth row, the entire crowd looked as though they were just as lost in the moment as I was. The band’s enigmatic stage presence, fully developed set composition and career-spanning choice of material made for one of the most collectively impressive concert experiences that I have ever witnessed.

2. Of Montreal with Deerhoof, Kishi Bashi at Slim’s – San Francisco, CA – March 22nd
As a long time Of Montreal fan, I was ecstatic to get the opportunity to interview their opening act and latest addition to the lineup (Kishi Bashi) the night of their Slim’s performance. It wasn’t only for the sake of getting a personal perspective on the band, but also due to the fact that this would actually be my first time catching them performing live. The entire show and evening that followed was everything I could’ve wanted for my first experience seeing Of Montreal. Accompanied by three screens of psychedelic visuals, various costumed extras, balloon drops, props and whole score of vaudevillian rivalry, the band took the crowd and venue by storm. During the encore to top it off, I was able to reconnect with Kishi Bashi and ended up initiating an after-party with the entire band, crew and record label affiliates at an industrial themed “dark carnival,” taking place across the street at local dive bar Butter. Several jello shots, deep-fried twinkies and contortionist carnie-prompted dance battles later, I looked around and felt assured that I had enough material to develop my own personal “Of Montreal” concert story contender.

3. The Presets at Treasure Island Music Festival – San Francisco, CA – October 13th
Completely blown away by their performance the night before, I was overwhelmed with excitement and intrigue to see how the Presets could accomplish translating such energy to a festival setting. Anyone who had caught their Treasure Island Music Festival opener at the Independent instantly was taken over by sensory recall as they broke into song almost right where they left us hanging less than 24 hours earlier. Almost in homage to those who witnessed them destroy their previous set, they picked the dance party up right where they left off, only this time kicking it up about ten notches with the accompanied stage show, visual intensity and professional grade sound of seasoned professionals. Completely upstaging their more commercially recognized headliner and showing the younger generation how it should be done, they stole the show and were easily the stand out act of the 2012 TIMF. To this day I still find myself saying that I wish I could continually be going to a Presets show, based off of the concert experience I had at these two performances.

4. Dan Deacon at Great American Music Hall – San Francisco, CA – October 23rd
5. Against Me! at The Catalyst – Santa Cruz, CA – September 10th
6. The Faint at The Regency Ballroom – San Francisco, CA – November 18th
7. Justice at Fox Theater Oakland – Oakland, CA – November 4th
8. Metallica at Outside Lands Music Festival – San Francisco, CA – August 10th
9. Animal Collective at Fox Theater Oakland – Oakland, CA – September 21st
10. The Shins at Santa Cruz Civic Auditorium – Santa Cruz, CA – April 22nd

Honorable Mentions:
Yeah Yeah Yeahs at Creators Project – San Francisco, CA – March 17th
Cold War Kids at Bottom of the Hill – San Francisco, CA – March 5th
Dr. John at The Independent – San Francisco, CA – August 17th
Girl Talk at Sasquatch! Music Festival – George, WA – May 25th

David Byrnes & St. Vincent

David Byrnes & St. Vincent

Kevin RaosSan Francisco

1. David Byrne & St. Vincent at Orpheum Theater – San Francisco, CA – October 15th
This is my number one show of 2012 for a couple of reasons. First off, Love this Giant, the recently released collaborative album between Byrne and St. Vincent, was a major disappointment. One of my most anticipated albums of the year ended up being one of the most disappointing. All was redeemed, however, when I saw these songs performed live. The accompanying brass band and the chemistry on stage breathed new life into was I felt was a stale album. Playfully executed and precisely choreographed, these songs shined live.

Secondly, I am a huge David Byrne fan and was able to check a big one off my bucket list of musical artists. Byrne’s career needs no introduction, and this evening we were treated to a few Talking Heads classics such as “Burning Down the House”, “This Must Be the Place (Naive Melody)” and “Like Humans Do”.

This show was simply a once in a lifetime experience.

2. Phish at Bill Graham Civic Auditorium – San Francisco, CA – August 19th
A three night run at the Bill Graham Civic Auditorium was capped off with a masterful performance by jamband kings, Phish. The final night of the run was easily the best night as the band flexed their improvisational muscles in a blistering two-set performance, highlighted by covers of the Talking Heads’ “Crosseyed and Painless” and Robert Palmer’s “Sneakin’ Sally Through the Alley.”

3. Sigur Rós at Outside Lands Music Festival – San Francisco, CA – August 11th
Sigur Rós on my birthday to cap off an unbelievable festival day? How could it possibly get any better? It can’t really.

4. Duo de Twang at Terrapin Crossroads – San Rafael, CA – October 4th
5. Keller Williams, Steve Kimock & Kyle Hollingsworth feat. Bernie Worrell, Wally Ingram & Andy Hess at Hardly Strictly Bluegrass Music Festival – San Francisco, CA – October 7th
6. Miike Snow with Penguin Prison at Fox Theater Oakland – Oakland, CA – April 12th
7. Washed Out at Mezzanine – San Francisco, CA – May 4th
8. Electric Guest at The Independent – San Francisco, CA – November 2nd
9. The Album Leaf with Blackbird Blackbird at Bottom of the Hill – San Francisco, CA – September 30th
10. CITIZENS! with Tomorrow’s World, Lescop and Housse de Racket at Rickshaw Stop – San Francisco, CA – October 12th

Honorable Mentions:
Zee Avi at The New Parish – Oakland, CA – September 28th
M83 at The Fillmore – San Francisco, CA – April 22nd

Japandroids

Japandroids

Eric ShadenSan Francisco

1. D’Angelo at House of Blues – West Hollywood, CA – July 4th

2. Passion Pit at Rock en Seine – Paris, France – August 26th

3. STRFKR at The Independent – San Francisco, CA – January 7th

4. Stevie Wonder at Outside Lands Music Festival – San Francisco, CA – August 12th
5. Miike Snow with Penguin Prison at Fox Theater Oakland – Oakland, CA – April 12th
6. A.Skillz + Krafty Kuts Presents Tricka Technology at MIGHTY – San Francisco, CA – June 1st
7. Aaron Freeman (Gene Ween) at The Independent – San Francisco, CA – October 19th
8. Japandroids at The Independent – San Francisco, CA – June 14th
9. Guns N’ Roses (Bridge School Benefit) at Shoreline Amphitheatre – Mountain View, CA – October 21st
10. Kid Koala (Vinyl Vaudeville Tour) at The Independent – San Francisco, CA – November 4th

The Lumineers

The Lumineers at The Chapel

Marc FongSan Francisco

1. Edward Sharpe and the Magnetic Zeros at Slim’s – San Francisco, CA – March 25th
It’s not often I gush like a school girl (only about once or twice a week), but seeing ESatMZ at Slim’s was panty dropping. Can I say that? Well, I just did. It was a secret/private show so Slim’s was overcrowded. I stood center stage close enough to see the dirt on Alex Ebert’s suit. The sound was great, and the band always puts on a damn fine show.

2. The Lumineers at The Chapel – San Francisco, CA – October 11th
LIVE 105 brought the Lumineers to newly opened Chapel in SF and the band didn’t disappoint. The venue was the perfect size for the band and like most of the other bands on this list, the Lumineers had fun playing and it made for a great show.

3. Kronos Quartet at Greek Theatre Berkeley – Berkeley, CA – October 5th
OK, this was really Amon Tobin’s show, but Kronos opened and performed beautifully. Being a longtime fan, it’s not a surprise these openers made my list. Great music from great performers. And the Greek Theatre in Berkeley was the best venue to see them at … and most other concerts.

4. Willie Nelson and Family at Fox Theater Oakland – Oakland, CA – March 15th
5. Of Monsters and Men at The Independent – San Francisco, CA – May 22nd
6. Fun. at The Independent – San Francisco, CA – May 28th
7. Sage Francis at The Independent – San Francisco, CA – March 17th
8. Steve Aoki at Bill Graham Civic Auditorium – San Francisco, CA – January 21st
9. Edward Sharpe and the Magnetic Zeros at Fox Theater Oakland – Oakland, CA – May 12th
10. Avicii at Bill Graham Civic Auditorium – San Francisco, CA – June 28th

Tame Impala at The Fillmore in November

Tame Impala at The Fillmore

Kevin QuandtSan Francisco

1. The Walkmen at The Independent – San Francisco, CA – January 20th-21st
These 10th anniversary shows were a Walkmen fan’s wet dream as they played their first album in full among multiple sets and configurations including a horn section. Over 30 songs of Hamilton Leithauser and company churning out their own brand of rock and roll to devote fans from across the States.

2. Refused with The Hives, The Bronx at The Warfield – San Francisco, CA – April 18th
Having seen their Coachella show a week prior, the anticipation was less palpable, yet the reigning post-punk champs delighted a more rowdy and dedicated crowd with a spirited set for the masses who patiently waited a decade to witness.

3. Trey Anastasio with Los Angeles Philharmonic at Walt Disney Concert Hall – Los Angeles, CA – March 10th
Dressing up for a show is fun, especially when Trey is at the helm of philharmonic symphony in one of the best rooms to hear, and see, music in. From the playful rendition of “Guyute” to the half hour “Time Turns Elasctic,” this night had the packed concert hall re-charmed by Ernest and his recharged song book.

4. Tame Impala at The Fillmore – San Francisco, CA – November 15th
5. Phish at Bill Graham Civic Auditorium – San Francisco, CA – August 19th
6. Woods & White Fence at The Chapel (Preservation Hall West) – San Francisco, CA – October 17th
7. Howlin Rain at The Independent – San Francisco, CA – February 18th
8. Radiohead at Santa Barbara Bowl – Santa Barbara, CA – April 12th
9. Father John Misty with Har Mar Superstar at Bottom of the Hill – San Francisco, CA – May 5th
10. Mala at Yoshi’s – Oakland, CA – June 23rd

Festival sets:
Sigur Rós at Outside Lands Music Festival – San Francisco, CA – August 11th
Future Islands at FYF Fest – Los Angeles, CA – September 1st
Flying Lotus at Coachella – Indio, CA – April 14th

Justice

Justice at The Warfield

Sean LittleSan Francisco

1. Justice at The Warfield – San Francisco, CA – November 4th
What else is there to say about Justice that hasn’t already been said. They came, they saw, and they melted faces with an amazing set the blew fans away and converted first timers alike. At least half my friends decided to go last minute (tickets were still available because it was a Sunday) and all of them became huge fans. Some of these friends are not into electronic music of any kind either, so that really says something. It was one of those rare shows where you leave euphoric and can’t stop saying “wow” to the people you went with.

2. Florence & the Machine at Coachella – Indio, CA – April 15th
The only other performer I’ve ever seen that commanded an audience like Florence did was Snoop Dogg back in 02 at the Smoke Out (stop-you’re not better than me so put that eyebrow back down). It was one of the rare festival sets where everyone felt really in tune with the performer and each other, singing along and knowing when to interact with each other and the songs. She was absolutely amazing, and the set was a dark horse highlight to my festival as I didn’t expect her to command the audience like she did. She’s truly a presence.

Showbams

Tame Impala unleash a blissful fuzz assault at The Fillmore

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

Tame Impala with The Amazing //
The Fillmore – San Francisco
November 15th, 2012 //

Kevin Parker brought his psychedelic soundscape Tame Impala to The Fillmore last Thursday evening, continuing a well-sold-out North American tour. Touring off their second LP Lonerism has advanced their already stellar critical acclaim to new heights. The five-piece outfit cut through a career-expanding set with lysergic precision to a packed venue.

Any band honored with the opening duties for Tame Impala have some big shoes to fill, and in this tour’s case, those honors were bestowed upon Swedish act The Amazing. This new group spun out of Swedish jazz-prog band Dungen a few years ago, and they have released some impressive albums that fall somewhere between Gomez and Bon Iver. The group’s soaring vocals and guitar effects lent well to ease the crowd into the fuzz assault that would be the headliner.

Parker and his shaggy crew of sidemen arrived on stage and quickly launched into the Lonerism opening track “Be Above It”. From there, they jumped into the debut single
“Solitude Is Bliss” from their premier LP InnerSpeaker. Swirling guitars met a penetrating beat and the ever-present angelic vocals of Parker, almost defining the sound that he would craft into perfection over the coming years. A large backdrop behind the band was set ablaze by some sort of military-grade oscilloscope, creating a green kaleidoscope of hallucinatory visuals.

Yes, Parker is the primary source of writing and recording, but do not think that his touring band are minor players or unfamiliar with the frontman’s vision. Altogether, they could be easily confused for extras from Dazed and Confused, but this image fits well with the psychedelic garage band sound that they do so well. “Enders Toi” and “Feels Like We Only Go Backwards” were highlights off of Lonerism, along with the first single “Elephant”, a weighty song that could summon John Bonham’s attention from beyond. “Mind Mischief” was strong as three-part vocal harmonies flexed the band’s tightness after months on the worldwide circuit. “Desire Be Desire Go” beckons a likeness to The Beatles at the beginning of their more mind-expanding days, both musically and lyrically.

They wrapped up the set with a lofty version of “Apocalypse Dream”, performed with lysergic precision. This song demonstrates some of the newer characteristics, mainly more keyboards and piano as a driving force to the backbone. From there, Parker launched into his trademarked fuzz guitar flight, it feels as if he has the ability to make time slow down as swabs of fans close their eyes in ecstatic bliss. Once he returns the flight safely back to ground, the band bows in appreciation and are off the stage.

Luckily, we were treated to “Half Full Glass of Wine,” which is an older fan favorite and clocks in at around 15 minutes after an extended jam, punctuated with a sublimely timed pause before catapulting back into the original riff. From multiple Tame Impala releases and work with side project, Pond, Parker is a busy Aussie. It is artists and creators like him who will be a true pleasure to watch mature over the coming years and likely decades.

Setlist:
Be Above It
Solitude Is Bliss
Endors Toi
It’s Not Meant to Be
Music to Walk Home By
Elephant
Feels Like We Only Go Backwards
Lucidity
Alter Ego
Mind Mischief
Why Won’t You Make Up Your Mind?
Desire Be Desire Go
Apocalypse Dreams

Encore:
Half Full Glass of Wine

Japandroids ignite a Monday crowd at The Fillmore

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

Japandroids //
The Fillmore – San Francisco
November 12th, 2012 //

Brian King wouldn’t let the crowd forget it was a work night, and then did the most likely thing and played a blistering set that ticked in at just under two hours. You could count the released songs not played on one hand, which for a band with a couple of EPs and albums, was an impressive feat on a Monday night.

Brian King and David Prowes brought their rising star Japandroids back to The Fillmore, but this time, their name was top billing. Having seen this duo in the closet-like Hemlock Tavern not much longer than a year ago, one can only marvel at the success garnered from their early summer release Celebration Rock.

“Adrenaline Nightshift” was the first song played after a little intro jam, and the crowd ignited quickly and passionately. They tackled a crowd favorite off the new LP, “Fire’s Highway”, next displaying a new tightness that wasn’t their strong suit a couple of years ago. Luckily, this precise playing did not deter from any of the energy these two Canucks are well known for. Like other guitar and drum duos, such as Helio Sequence, these two guys have a lot on their plate, night after night, creating rhythm, energy and creativity from only 2 sources. Brian and David share the vocal duties rather evenly, and a better sense of harmony has grown apparent since last seeing them.

These new singing chops were well demonstrated on Post-Nothing track, “The Boys Are Leaving Town”. This song seemed rather apt as Brian kept reminding us that these road warriors had to be in Portland very soon for tomorrow’s show. Yet, as he seemed concerned with lengthy travel ahead, not a soul would have made this assessment as King twisted, contorted and generally rocked the fuck out. He kept the energy high with “Night of Wine and Roses” and “Rockers East Vancouver”, before launching into “Heart Sweats”. Though the masses are more familiar with Celebration Rock, the material from first record, Post-Nothing, still had the piercing intensity and good-times vibe that led these guys to a critical plateau.

As the duo led into their single, “House That Heaven Built”, a handful of guys and girls couldn’t help themselves and darted into the center front of the stage, pogoing and shoving with the ignited few. King pours his heart into every song, and you can visibly see him go through this process. This was demonstrated by the mighty huff for air just as he pounced back into the chorus of this chant-along song. “Crazy/Forever” led into “Sovereignty”, seamlessly, and is truly a gem of a combination, going from ballad to screamer in seconds flat.

King and Prowse weren’t close to done with the evening, so they catapulted into even more previous LP tracks, “Young Hearts Spark Fire”. This one truly represents the carpe diem/YOLO aspect of their lyrics and music, even as they creep into their 30s. As the extended set winded down, it was evident they had a little more in them, and not just a Jonny Rivers tease of “Secret Agent Man”.

Though the band may come after me for disclosing the secret of the evening, a rare encore was in store for the patient midweek crowd. King went as far as to turn off, even unplug, his amps but the fans chanted for one more. “I Quit Girls” would be the last track, effectively playing both albums in full. The slow drudge of the final track on Post-Nothing let everyone catch their breath for the final moments.

The success earned by these two is impressive and deserved, even as 4-5 years ago they seriously contemplated hanging up the project. The infectious hooks and energy coupled with a fuck-all, yet accessible, sense of rebellion makes these guys pure rock and roll, if just a 2-piece act. This characteristic can be summed up easily for this writer in a lyric from Young Hearts: “I don’t wanna worry about dying, I just wanna worry about those sunshine girls.”

Setlist:
Adrenaline Nightshift
Fire’s Highway
Art Czars
The Boys Are Leaving Town
The Nights of Wine and Roses
Rockers East Vancouver
Younger Us
Heart Sweats
Wet Hair
Evil’s Sway
To Hell With Good Intentions (Mclusky cover)
The House That Heaven Built
Crazy/Forever
Sovereignty
Continuous Thunder
Young Hearts Spark Fire
For the Love of Ivy (The Gun Club cover)

Encore:
I Quit Girls

A fully-packed Fillmore can’t stop the party after Bombay Bicycle Club

Photos by Chaya Frash // Written by Molly Kish //

This past Friday, the streets outside of The Fillmore were lined with the usual mix of eager concertgoers, ticket seekers and subsequent scalpers collecting inflated profit on the up sell on the sold-out show. This is a very typical scene for the start of a weekend.

However, to my surprise and to that of the headlining act, it was one that was otherwise unanticipated. Then, there is the venue, known for booking big-name talent with the ability to fill their space that’s suited for 1,200 people, who may have had clearer foresight into the evening.

I definitely was surprised that a band from overseas, who lack commercial radio airplay and have limited stateside coverage, could execute such a feat. I had interviewed bassist Ed Nash from Bombay Bicycle Club three days earlier, and upon thinking back on the interview, it became apparent that this is a running theme throughout Bombay Bicycle Club’s charmed career.

The show Friday night was jam-packed with people from all different walks of life, further enhanced by no age limit on the ticket. Enthusiastically attentive during the opening act, the crowd showed energy that was in anticipation of the London group’s set. As if playing The Fillmore wasn’t an already overwhelming experience, the BBC fan base that evening made sure that this was a night the boys would remember. The crowd enthusiasm, which included screeches of joy as a new song began, was something that lead singer Jack Steadman commented on several times throughout their set to humbly acknowledge and to show their appreciation for their loyal audience.

Preceding the encore, the band called up a someone from their entourage to confirm “in all sincerity, this show was easily the best of the tour so far.” This very typical, applause-friendly comment most band’s fall back upon, was actually very plausible for this Fillmore show, and probably sincerely meant. Especially considering that after the show-pinnacle, three song encore with the house lights on, I experienced something that in all my years of show-going made even a normal Friday at The Fillmore stand out for me.

Possibly as a result of the all-age crowd or more likely the kinetic energy that Bombay Bicycle Club brought with them to the venue, one-fourth of the sold-out audience decided that the party wasn’t over. Amidst an otherwise terribly obnoxious disco-laden setlist meant to clear even the most excited of concert goers, a full-on, post-show dance party ensued. Large group circles formed and conga trains ran throughout, all of which only seemed second nature in the moment and was being further encouraged by the boy’s whom were watching from the balconies.

You could tell by the genuine delight on the group’s faces and by the fact that they were recording the event on their phones that this must have been a rare occurrence. It was a moment that otherwise unanticipated, cohesively falls into place and further accentuates the delightfully laissez-faire celebrity of Bombay Bicycle Club.

Earlier in the week before the show at The Fillmore, Showbams spoke with Nash over the phone about the band’s name, bold recording decisions and what performing at the London Olympics was like.


Showbams: Starting out in 2006, I know you guys got your name from a chain of Indian restaurants, hence Bombay Bicycle Club. Did they ever catch onto that or has it just persisted as an homage or running joke?

Nash: Well, They actually took us for a free meal about 4-5 years ago, the owner found out that there was a band with the same name. We were about 16 or 17 and weren’t doing anything particularly worthwhile at the time, so yeah he took us out for a meal and had a chat and actually they’ve closed down now. They’ve stopped doing Bombay Bicycle Club now, so I think we’ve won that war. Yeah, we’re first on Google and I don’t think there’s a restaurant anymore.

Showbams: In 2006, you guys were entered into Virgin Mobile’s “Road to V” contest and won and have been going really full throttle into your career as a band since. Who initially decided to enter into the contest?

Nash: That was Jamie, our guitarist. A friend of his recommended he enter so he did and then completely forgot that we’d been entered into it. We got this email probably a couple of months later saying that we’d won and we thought it was a joke. None of us knew what it was. Then, we looked it up and were like, “Oh, oh, this is for real. I guess we should probably do this.” But for a while, we thought it was a joke. We didn’t know what we were doing.

Showbams: The prize was an opening spot at V Fest. Was that nerve-wracking?

Nash: I think it might have been more nerve-wracking had we done it later on in our career or if we were in a different place. We were literally 16 years old having the funnest time of our lives. The thing was that all of the other bands in that competition took it so seriously, and it was like their big break. We were just these silly little kids who went mucking around, and we were amazed we were getting free beer backstage at the fest and things like that. It was all just a very surreal, hilarious experience for us. I don’t think we realized how much of a big deal it was for us.

Showbams: Over the next few years, the band was involved in numerous festivals, revues and even headlining performances like the Levi’s “One to Watch”, which was broadcasted all before you even recorded your first full-length album. Did this affect the writing process for you guys at all?

Nash: Not really. After we did the “Road to V”, we went back to school for two years and finished up our A Levels, kind of the equivalent of high school. I think when we finished “Road to V”, there was quite a bit of hype then about the band, but that died down pretty quickly afterward. We could’ve taken advantage of that, left and recorded the album then, do things that way, but we wanted to kind of lay low and write the songs that we think we could write, but didn’t have and think about the album. We’re going to record more and do it when we were ready to do it. I think by the time we got around to recording the album, the “Road to V” hype had died down, obviously we had done some other things, but that initial part of it died down a bit and we were ready to make the album we wanted to make. I think that had we not gone off the “Road to V” a success, I wouldn’t be here talking like this right now. It wouldn’t have been the best route.

Showbams: The band’s album Flaws was recorded shortly thereafter but in a different fashion. You guys opted to do a completely acoustic sophomore effort, which is kind of a big gamble and a bold choice for your second album. What made you decide to go that route?

Nash: Again, kind of looking back, it was a very unexpected thing to do, and I think a lot of people thought we were crazy for doing it. That album pretty much came around, we were recording some B-sides for the first album, literally like B-sides and they were acoustic because it was always something that we used to be into before doing tours. We realized that we had a large amount of acoustic songs and thought they were better than just B-sides and could stand alone. We recorded this album ourselves over the course of that year and then released it. In our minds at the time, it wasn’t really a second album — it was just something that we did that was fun on the side. We didn’t think anyone would pick up on it. Then, people ended up picking up on it more than they had the first album, which was great and that’s it. It became something bigger than we intended it to.

Showbams: This past year, you released your new album A Different Kind of Fix and rounded off the album with a later adding pf “Beg” for its final release this past July. Why did it get left off the initial LP?

Nash: Man, I don’t know. I kind of regret not putting it on the album the first time around. I think all of us did. At the time, we felt it didn’t fit with the actual sound of the album, even though we loved the song. So, we all realized this and wanted to have a proper release for it, but I think it probably should’ve gone on the album the first time around. That’s one little thing I regret.

Showbams: You also were part of the closing performance at the London Olympics in Hyde Park. How was it being a part of such a large-scale event?

Nash: That was absolutely incredible, for more than one reason actually. We started the band in London, all of us grew up in London. I went to a few shows in Hyde Park when I was a kid, you know. It meant a lot to be involved in something that close to us all. The other part of it was the direct lineup of bands that I have always loved, some of my favorite bands were playing like Blur, The Specials and New Order. It kind of blew my mind that we were amongst those people. It was pretty crazy.