Holy smokes, 2018 … you were a blur. Maybe it’s just us, but this year really did fly right by.
Before we officially say hello to 2019 though, it’s time for us to revisit the past 12 months at Showbams. Every year we have the great privilege of witnessing some amazing moments in live music, and this year was no different. While we can’t touch upon every performance we covered in looking back at the year that was, we still managed to see a wide variety of talent over the course of 2018.
Whittling down our list is never easy. Those who didn’t make the cut but still deserve to be mentioned here include the following artists, DJs and bands (in alphabetical order), all of whom we either covered at their own show and/or at a music festival this year:
Aaron Neville, A.CHAL, Alanis Morissette, Alina Baraz, Allen Stone, Amen Dunes, Aminé, A Perfect Circle, Ari Lennox, A$AP Rocky, Aquilo, BADBADNOTGOOD, The Bangles, Belle & Sebastian, The Beta Machine, Billie Eilish, BØRNS, Carly Rae Jepsen, Cashmere Cat, Childish Major, Chromeo, CHVRCHES, Cigarettes After Sex, Cloud Nothings, Cuco, Cut Snake, CyHi the Prynce, Daniel Caesar, Deap Vally, Destroyer, Diet Cig, Drab Majesty, DRAM, The Dustbowl Revival, Erykah Badu, Fantastic Negrito, Future, Garbage, George Fitzgerald, Gomez, Gov’t Mule, Great Grandpa, Griz, The Growlers, Gucci Mane, HAERTS, H.E.R., Hot Flash Heat Wave, Ibeyi, Iggy Pop, Irma Thomas, Isaiah Rashad, Jaira Burns, Jamie xx, Jeff Goldblum and the Mildred Snitzer Orchestra, Jhené Aiko, John Maus, Josh Ritter & The Royal City Band, Joywave, JPEGMAFIA, Jungle, Kailee Morgue, Kaitlyn Aurelia Smith, Kamasi Washington, Kauf, Kelela, Kikagaku Moyo, Kings of Leon, Kopps, Laff Trax, Lion Babe, Lizzo, Lophile, Lord Huron, Los Lobos, Lucy Dacus, Margo Price, Miguel, Mija, Milk Carton Kids, ModPods, Moses Sumney, The Mother Hips, Mura Masa, Neil Young, N.E.R.D, North Mississippi Allstars, ODESZA, Pale Waves, Paula Frazer and Tarnation, Phantogram, Pharoah Sanders, Pixies, Polo & Pan, POND, Portugal. The Man, The Pretenders, Quicksand, Ravyn Lenae, Rivers Cuomo, The Revolution, Robert Plant, Rory Phillips, RÜFÜS DU SOL, Sabrina Claudio, Salt-N-Pepa, Santigold, Sasha Sloan, Seu Jorge, Shakey Graves, Shame, Shana Falana, Sharon Van Etten, Silk City, Sleigh Bells, Snoh Aalegra, Soccer Mommy, The Specials, The Spook School, Stephen Malkmus & the Jicks, Tame Impala, Tenacious D, Third Eye Blind, Tinashe, together PANGEA, TV on the Radio, Tycho, Typhoon, Uniform, Wafia, Waxahatchee, The Weeknd, Wet, William Tyler, Will Varley, Yen Yen, Zedd
Now, it’s time for The Bam Team to present our favorite performances from 2018.
The Bam Team’s 5 Favorite Shows, Albums & Songs of 2018
Listen to The Bam Team’s favorite songs of 2018:
Date: March 3rd
Location: Exposition Park – Los Angeles
For those in LA who missed Cut Copy 10 months ago when they visited the Shrine Expo Hall with De Lux, Palmbomen II and Cooper Saver also on the bill, their headlining performance last Friday at The Wiltern was another chance to dance the night away upon hearing several classics such as “Need You Now”, “Free Your Mind”, “Future”, “Hearts on Fire” and to close, “Lights & Music”. In fact, the last time that we caught them back in March, a mini downpour erupted at Shaun White’s Air + Style (read our festival review here), but it didn’t phase them. Who said playing — and dancing — in the rain isn’t fun anyway? -Josh Herwitt, photo courtesy of Air + Style
Date: March 4th
Location: Exposition Park – Los Angeles
In what was easily the most visually stimulating (and pleasing) show we witnessed at Expo Park, Ernest Greene, who performs under the moniker Washed Out, entranced a completely packed crowd at the smaller Summer Stage with a slew of trippy visuals and his chilled-out tunes. We had been wanting to see Washed Out in SoCal for several months now, ever since Greene released the project’s third LP Mister Mellow last year, and after missing his gig with Nick Murphy at the Shrine Expo Hall in October, we were glad to finally hear him play “Hard to Say Goodbye” (one of our favorite songs of 2017) and “Feel It All Around” live as any loyal “Portlandia” fan would be. With Toro y Moi venturing away from the chillwave movement he helped pioneer, it’s up to Greene to lead the charge, and so far, he has done one hell of a job. -Josh Herwitt, photo courtesy of Air + Style
Date: March 4th
Location: Exposition Park – Los Angeles
After what we thought was an underwhelming way to wrap up Day 1, Air + Style closed with a bang thanks to Phoenix’s energizing, 16-song set. The French indie-pop outfit have headlined Coachella before, and it was more than worthy of that billing for this occasion. Kicking things off with the opening track “J-Boy” from their sixth studio album Ti Amo that dropped back in June, Thomas Mars and company gave us exactly what we wanted to hear: a hit-ladden show featuring singles like “Lisztomania”, “Trying to Be Cool”, “Too Young” and “1901”. No, there wasn’t a Daft Punk or R. Kelly appearance — not that we expected one — but Phoenix put an exclamation point on an otherwise successful weekend. We may not have known the quartet could rock that hard after the last time we saw them, but we definitely do now. -Josh Herwitt, photo courtesy of Air + Style
Date: March 26th
Location: Apogee Studio – Santa Monica, CA
His guitar playing, meanwhile, may be just as impressive, if not surprising to some. Less than two weeks before Moby stepped into Bob Clearmountain’s diminutive recording studio, I was fortunate enough to catch him the final of his three shows at The Echo, and it was there as he performed a variety of songs from Everything Was Beautiful, and Nothing Hurt, Play and a few other albums, that I fully realized just how talented he is with a black Gibson SG in his hands. He may be an electronic musician, but unlike a lot of them today, Moby is a musician in every sense of the word. While his vocals at times sound more like spoken word than actual singing, he has found more than capable sidekicks in Julie Mintz (keyboards, vocals) and Mindy Jones (vocals) to assist him in that department. Jones’ ranging voice, in particular, is one that suits his music well, and when you hear her sing, her pipes elevate the song to a whole new level. -Josh Herwitt, photo by Brian Feinzimer
Date: April 13th
Location: Coachella Valley Music and Arts Festival, Weekend 1 – Indio, CA
Weeks before The War on Drugs released their fourth LP A Deeper Understanding last year, we were fortunate enough to hear Adam Granduciel and company perform a handful of cuts from the new album in an intimate setting for KCRW. It was then and there that we knew the follow-up to 2014’s Lost in a Dream was another masterpiece, and that impression was only validated when A Deeper Understanding won the Grammy for “Best Rock Album” just a few months ago. On Day 1 of Coachella, the Philadelphia band brought some of those same songs we witnessed at Apogee Studio to life, though sadly, this time “Holding On” wasn’t part of the setlist. But we did get to experience “An Ocean in Between the Waves” in all of its glory, and we still have yet to come across another piece of music in more recent years that will make you want to play air guitar as much as the seven-minute track from Lost in a Dream does. Who said rock was dead? -Josh Herwitt, photo courtesy of Goldenvoice
Date: April 13th
Location: Coachella Valley Music and Arts Festival, Weekend 1 – Indio, CA
Thirteen years. That’s how long it has been since Jamiroquai last performed in the U.S. With that in mind, there was no way we were going to miss Jay Kay and the rest of his sidekicks in favor of The Weeknd’s headlining performance (sorry, Abel), and after what ended up being close to a 90-minute set from the London nu-funk/acid jazz group, we had no regrets about our decision. The only regret we have is that they ran out of time and didn’t get to play their smash hit “Virtual Insanity” in its entirety, and you could tell Jay Kay felt bad about it as he jumped down from the stage to greet some overjoyed fans after wrapping the show up with “Love Foolosophy” from 2001’s A Funk Odyssey. But while Weekend 2 attendees got the full version of the Travelling Without Moving single, we were treated to a massive surprise when Snoop Dogg came out to rap on “Dr. Buzz” with a huge blunt in his hand. It was the kind of collaboration you never expect to see, except at Coachella of all places. -Josh Herwitt, photo courtesy of Coachella
Date: April 15th
Location: Coachella Valley Music and Arts Festival, Weekend 1 – Indio, CA
While we can’t say that we were completely thrilled with Goldenvoice’s choices for this year’s headliners, we were excited to see Eminem finally play Coachella (he had never performed in an official capacity before) and close out the festival on Sunday night. Sure, his newest album Revival didn’t exactly receive rave reviews from critics when it dropped at the end of 2017, but watching one of hip-hop’s most talented emcees run through his hits all while bringing out 50 Cent and Dr. Dre was undoubtedly THE highlight from Day 3. For this “stan,” just crossing Em off my concert bucket list would have been enough to send me home with a smile. Fortunately for those of us who were there though, the real Slim Shady lived up to the hype and more. -Josh Herwitt, photo courtesy of Coachella
Date: April 19th
Location: Echoplex – Los Angeles
At Echoplex, we were treated to the “rapper” and the man himself as bass-heavy party starters like the title-track opener and “Confetti” from 4eva Is a Mighty Long Time got everyone hyped, while Atlanta’s T.I. came out to perform his verse on “Big Bank”. After singling out one excited fan, who was wearing a shirt with a giant picture of his face, during the easygoing “1999” and paying homage to Southern rap pioneers UGK, Big K.R.I.T. took the latter half of his hour-long set to connect with the crowd. -Joseph Gray, photo by Joseph Gray
Date: April 19th
Location: The Fonda Theatre – Los Angeles
While Soulwax’s recorded music has always been perfectly enjoyable, in person it becomes something else entirely. Their new, three-drummer lineup was the ideal format to hear new tracks like “Is It Always Binary” while giving older tracks such as “KracK” a newly textured and complex sound. Sitting stage right, drummer Victoria Smith, for one, offered the group some serious personality thanks to her animated facial expressions. -Zach Bourque, photo by Zach Bourque
Date: June 16th
Location: The Queen Mary – Long Beach, CA
I fall somewhere in the middle between those two age groups, so it was fitting that the uber-talented rapper/singer/drummer Anderson .Paak had just walked onto the “Free Your Mind” main stage when I showed up. .Paak, 32, wore a smile as expressive as his music, packaged with a bright nautical-themed ensemble. He effortlessly impressed with standouts “Suede”, “Another Time” and “What More Can I Say” off Yes Lawd!, his 2016 LP with Los Angeles hip-hop producer Knxwledge as part of their collaborative project NxWorries (pronounced “No Worries”). The duo’s set would eventually culminate in a playful dance-off between women, which fans showed their appreciation for before .Paak and Knxwledge said their goodbyes. -Joseph Gray, photo by Joseph Gray
Date: June 16th
Location: The Queen Mary – Long Beach, CA
However, anticipation for The Roots kept me at the main stage. It proved to be a wise decision, as their nearly hour-long performance reminded me why the Grammy-winning band is still so revered after more than three decades. Black Thought got the crowd riled up with a 10-minute barrage of lyrical proficiency that so many have come to know as his “Hot 97 Freestyle” after it hit the internet in December and quickly went viral, while his bandmates exuberantly jumped with sousaphones and guitars during “You Got Me” and a number of other hits. But providing a jolt like he only can, the one and only Busta Rhymes showed up for a quick-but-memorable performance of “Put Your Hands Where My Eyes Can See” and “Pass the Courvoisier, Part II”. -Joseph Gray, photo by Joseph Gray
Date: July 16th
Location: Great American Music Hall – San Francisco
I’m far from an expert on this kind of thing (because I’m not), but I didn’t expect to see the Melvins perform with the amount of energy that they showcased. For a band that has been touring and putting out new material for the past 35 years, they performed as if everything depended on it. You weren’t going to catch “King Buzzo” standing in one place for too long, with his signature fro whipping in the wind from the fans that were on the stage, McDonald and Pinkus holding it down on their own instruments, and Crover beating the living hell out of his drums. Fans were ready to receive the band and responded to the various sonic blasts coming from the amplifiers. During the thrashy songs, they formed a brutal pit, and during the sludgier songs, they lit up joints and bobbed their heads to the music. -Andrew Pohl, photo by Mike Rosati
Date: July 20th
Location: Observatory OC – Santa Ana, CA
Glassjaw’s show covered their entire discography, and very few fan favorites were left off the setlist. While it was to be expected that newer tunes like “Shira” and “New White Extremity” would rock, it was staggering how well their older songs held up in a live setting. Palumbo’s voice, though slightly less manic than it once was, is still unmatched in its vocal range and shear intensity. -Zach Bourque, photo by Zach Bourque
Date: August 8th
Location: The Forum – Inglewood, CA
That’s not to say that Cuomo isn’t a talented musician. In fact, quite the opposite is true. The Harvard grad shreds without question, something I never really realized until he uncorked a number of guitar solos, whether it was during “Buddy Holly” to open Weezer’s performance or “Say It Ain’t So” (with a snippet of Black Sabbath’s “Paranoid”) to put a bow on the show. And while there aren’t many lead singers who can do both, Cuomo certainly remains among some elite company, with Jack White, Trey Anastasio (Phish), Jim James (My Morning Jacket) and Josh Homme (Queens of the Stone Age) also immediately coming to mind. -Josh Herwitt, photo by Josh Herwitt
Date: August 11th
Location: Golden Gate Park – San Francisco
There was a bit of controversy surrounding Saturday’s main slot as Florence + the Machine officially made the move to full-blown festival headliner. Some festivalgoers had their own doubts after FYF Fest 2018 was canceled with a near-identical top billing, but Florence and her bandmates proved, many times over, that she is more than capable of commanding any stage as her energy is unlike many others. She debuted a brand-new show, which featured “June” in the opening slot and was book-ended by “Big God” and “Shake It Out” for a two-song encore. -Kevin Quandt, photo by Norm de Veyra
Date: August 12th
Location: Golden Gate Park – San Francisco
The incomparable Janelle Monáe was a tad late to take the stage, as she was fighting off a stomach bug, but when she did, she captivated the masses with a suite of tracks from her most recent release Dirty Computer and tossed in a fair amount of costume changes over a nearly hour-long set. Monáe proved that she’s easily one of the best in the business at the moment and will only continue to climb upwards. -Kevin Quandt, photo by Norm de Veyra
Date: August 18th
Location: The Wiltern – Los Angeles
Fortunately, Deafheaven haven’t bowed to convention or criticism. Their fourth studio album Ordinary Corrupt Human Love, which ANTI‐ released last month, is their arguably their most experimental to date, spanning more than an hour over seven songs. There’s a sense of angst and nostalgia in the music that leans far more positive and hopeful than their previous work. There are still echoes of black metal at times, but you can feel this is a band that’s embracing its differences instead of defending them. -Zach Bourque, photo by Zach Bourque
Date: August 19th
Location: Santa Barbara Bowl – Santa Barbara, CA
Yet, for as eclectic and wide-ranging as White’s output has been over two decades, it’s the unpredictable nature of his live shows that makes them so intriguing to see. This time, we were treated to a rare cover of The Stooges’ “T.V. Eye” from their 1970 album Fun House, as well as a number of fan favorites, from set closer “Ball and Biscuit” to an eight-song encore that featured “Icky Thump” (with some amusing “Icky Trump” messaging), “Steady, as She Goes” (with a snippet of Richard Berry’s 1955 song “Louie Louie”), and of course, what has easily become the biggest stadium anthem in the world, “Seven Nation Army”. And though the show didn’t conclude without a few hiccups during some of White’s improvised playing between songs, he hasn’t lost his unique ability to surprise an audience — whether it means bringing out his mother in Detroit to perform “Hotel Yorba” with him or covering Pearl Jam’s “Daughter” in Seattle — at any given moment, especially when we all aren’t staring down at our phones. -Josh Herwitt, photo courtesy of Jack White
Date: August 22nd
Location: Bill Graham Civic Auditorium – San Francisco
As the show progressed into his songs “Here” and “Lazy”, Byrne’s band joined him onstage. The light changed and filled in the stage, giving the audience a happier tone and providing a seamless transition into a Talking Heads interlude. Then, later on during “Blind”, one of the more stunning visual elements was made possible by a simple lamp that was placed in front of the band, casting whirling shadows on the strands of beads hanging behind them. -Tim O’Shea, photo by Tim O’Shea
Date: September 20th
Location: Hollywood Palladium – Los Angeles
Right before that final aforementioned single, they brought out Phoebe Bridgers to help them perform “Sorrow” from 2010’s High Violet, as Berninger and the 24-year-old singer-songwriter, who said during her brief opening set that The National were her favorite band, traded vocals on the tune they once played 105 times in a row, with the performance at an art installation in New York lasting all of six hours. We weren’t quite as fortunate to get that kind of show in LA, as The National opted for one of their more traditional, two-hour events. But whether you’ve been a fan from the start or one like myself who arrived rather late to the party, The National continue to make some of the most compelling music in rock, expanding their fan base with each and every album they release. That’s the sign of any good band these days, and though there’s only a handful of others that could even say the same right now, The National should take comfort in knowing they’re one of those select few. -Josh Herwitt, photo by Josh Herwitt
Date: September 23rd
Location: Hollywood Bowl – Los Angeles
Similarly, the gig also marked one of Grizzly Bear’s last performances in support of their fifth LP Painted Ruins, which they released last year on RCA Records, and having already played a two-night run at The Wiltern back in December, this was more of a victory lap than a coming-out party. Unfortunately for us, the five-piece had to cut things short due to the venue’s strict Sunday night curfew, ending on a rather sudden note. That’s just part of the deal at the Bowl, though. For those of us who have to work on Monday morning, it’s actually more of a blessing in disguise than a disservice to the overall concert experience as we’ve come to realize. -Josh Herwitt, photo by Josh Herwitt
Date: October 5th
Location: Greek Theatre – Los Angeles
When she wasn’t sharing the spotlight with Waxahatchee, Barnett was sharing it equally with the rest of her stellar backing band, but it was mostly just difficult to take your eyes off of her. Everything she does feels casual, from her outfit to her guitar playing, slinging her instrument around like it was an extension of herself. Even her delivery of the wrenching reality that the 30-year-old Australian singer-songwriter articulates so well is casual, singing like the end of the world isn’t a mere 22 years away. -Rochelle Shipman, photo by Rochelle Shipman
Date: October 6th
Location: Glen Helen Regional Park & Festival Grounds – San Bernardino, CA
By the time we got through security and stepped inside the gates, Manchester Orchestra had just finished their 45-minute set on the main stage, which essentially was the 65,000-person Glen Helen Amphitheater that was constructed back in 1982 for the first US Festival. Next up was Greta Van Fleet, and boy, do these kids know how to rock. Zeppelin clearly runs deep in these four Michiganders’ veins, as they showcased songs off their forthcoming debut album Anthem of the Peaceful Army with frontman Josh Kiszka commanding the stage and offering his best Robert Plant impression. He even dresses the part, sporting some tight, white jeans with a water-colored blouse and necklace of feathers while his brothers Jake and Sam wore vests or shirts that looked like what you would find at a vintage clothing store. -Josh Herwitt, photo by Josh Herwitt
Date: October 6th
Location: Glen Helen Regional Park & Festival Grounds – San Bernardino, CA
As the Foos left the stage for their encore break, we waited patiently for them to return. The crowd, by now, had been taken for a two-hour ride with Grohl firmly at the wheel, pumping adrenaline into our veins with every minute that passed as the Foo Fighters know how to do so well during their usual two-and-a-half-hour jaunts. The video screens on each side of the stage were black until suddenly some backstage footage appeared showing Grohl with Krist Novoselic and what looked like Joan Jett. All of that would end up coming true in the last 30 minutes of Cal Jam 18, but it was a six-song encore with Grohl on drums, Novoselic on bass, the Foo Fighters’ Pat Smear on guitar and Deer Tick frontman John McAuley on both vocals and guitar as Kurt Cobain’s fill-in who got us hyped. Nirvana fans have waited 25 years for a reunion since Cobain’s sudden passing, and when you put it in perspective, it will probably go down as one of the year’s biggest surprises, even at a time in music when many industry experts say that rock now stands in the shadows of hip-hop and EDM. -Josh Herwitt, photo by Josh Herwitt
Date: October 13th
Location: Middle Harbor Shoreline Park – Oakland
But U.S. Girls were the highlight of the weekend for us. A nine-piece experimental pop act, they put on a stunning 45-minute set that culminated in an entrancing rendition of “Time”, the closing track on their critically acclaimed studio effort In a Poem Unlimited, that lasted more than 10 minutes. The energy, instrumentation and vocal capabilities were absolutely stunning. Easily one of this year’s most exciting new acts, and we can’t wait to catch them again soon. -Brett Ruffenach, photo by Brendan Mansfield
Date: October 14th
Location: Middle Harbor Shoreline Park – Oakland
But U.S. Girls were the highlight of the weekend for us. A nine-piece experimental pop act, they put on a stunning 45-minute set that culminated in an entrancing rendition of “Time”, the closing track on their critically acclaimed studio effort In a Poem Unlimited, that lasted more than 10 minutes. The energy, instrumentation and vocal capabilities were absolutely stunning. Easily one of this year’s most exciting new acts, and we can’t wait to catch them again soon. -Brett Ruffenach, photo by Josh Withers
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So often sequels don’t deliver, but ascending hip-hop stars Killer Mike and El-P have simply progressed their brilliance as Run The Jewels one year removed from their first official collaboration. From the top of RTJ2, Michael Render manages to set a higher bar for pumped-up aggression, there’s more social activism laced throughout, more special guests that only add to the fuck boy-crushing populist mentality. And compared to RTJ1, there are more stand-alone gems that are primed for remixing and cultural integration. The sequencing is superb, and El and Mike are having more fun than ever as they tour the world and snowball momentum with their brand of hardcore, yet intricate rap that contains shades of weird. Like a championship baseball team, the songs in the two hole through cleanup hitter offer the biggest impact, wreaking instant classics upon us with masterful experimental production from El-P that emits new, subtle surprises the more you listen. As the album unfolds, tales of police brutality (“Early”), introspection and personal improvement (“Crown”), along with over the top raunch (“Love Again”) prove RTJ2 shines in every moment in a variety of ways through multiple lanes of success. -Mike Frash
When a truly inspired artist borrows from the past while looking to the future, the outcome can be something fully new and exciting, which is what we have here. The brilliance of Adam Granduciel lies in his delivery, both musically and lyrically, crooning about the sometimes-not-so-simple intricacies of existence. Life, love and everything else in between can be tricky, yet Granduciel calmly assures us that things can work out.
There’s an intentional off-kilter spontaneity and cohesive force at the center of D’Angelo’s first album in 15 years, Black Messiah. The percussive and vocal syncopation here makes the off-beat feel natural — layered vocals get treated with filters and are multi-tracked to lend an unfamiliar presence to the back-and-forth vocal pitch shifts D’Angelo employs from line to line.
Singles jumps right out of the gates, showing its cards early, presenting the listener with Future Island’s trademark new-school, new-wave sound. Samuel Herring’s vocals are stunning as he pitches and growls through tales of the tougher side of love. It’s pretty, gripping and powerful while also holding certain pop sentiments, lending to an overall lightness while being arresting. “Seasons (Waiting On You)” is a quintessential slice of the emotion this band has become well known for both onstage and in the studio. “Doves” balances all the elements nicely, shining a light on the top-notch production featured on Singles. -KQ
Richard D. James has been practically an enigma for the last decade plus, hiding out in a small Scottish village of 300 and releasing no new music as Aphex Twin since 2006. But the long layoff hasn’t changed the fact that he remains one of the most unique and influential electronic producers in the game today. Some of James’ best material on Syro comes early on, from his club-oriented mixes like “minipops 67 [120.2]” to the techno funk he crafts on the ensuing “XMAS_EVET10 [120]” and “produk 29 [101].” These aren’t beats designed to make you sweat your ass off — if anything, the cerebral nature of James’ work makes him the ultimate antithesis of the current EDM scene. -Josh Herwitt 
On Flying Lotus’s latest record You’re Dead!, the Los Angeles producer forgoes the acid kool-aide test for a cyanide kool-aide dive straight into a fourth dimensional confrontation with the afterlife. You’re Dead masterfully trips through the journey of the soul into the next episode with sun-scorched psychedelia, 8-bit snapshots of g-funk and gorgeously redemptive jazz. The cold transition between the frantic jazz freak out of Kendrick Lamar featuring “Never Catch Me” and the cooled-out West Coast bounce of Snoop Dogg and FlyLo alter-ego Captain Murphy’s “Dead Man’s Tetris” highlights the producer’s prolific ability to craft varying hip-hop textures. FlyLo fully buries his new album’s death aesthetic through ecstatic, free-form layers of acid jazz and sprawling EDM planes of sound. -John Venanzi, Community Review
Annie Clark ups the electronic ante on her fourth studio album. Branching out of her experimental indie-pop compositions, she embraces more cohesive arrangements that ironically focus her creativity on deconstructed production and sound obstruction. Both equally impressive in sound quality and sass, the opening tracks “Rattlesnake” and “Birth in Reverse” set the tone for the rest of the records’ exciting stylistic shifts and the intriguing unveiling of Clark’s gritty rock goddess persona. “Digital Witness” is a spot-on snapshot of our brave new 21st century day-to-day reality. Unapologetic, raw and sonically genius, St. Vincent is Clark’s breakthrough moment, and she appears to be doing it all with ease. -Molly Kish
Mac DeMarco’s signature style is here. It’s still fresh and in ways stronger than ever; it’s more pointed, focused and accessible. DeMarco is able to write in a way that allows the listener to easily empathize with him, as he turns his issues into ones that most of us have dealt with at some point. In “Chamber of Reflection”, it’s easy to really feel a sense of solitude. “Goodbye Weekend” sounds like a stoney Sunday afternoon coming to a soothing end. Every track has a personality of its own while holding up the overall ethos of the album. This album is lighthearted enough for multiples listens in a row with its breezy beach vibe, but also easily induces deep thoughts with its many lyrical gems. -Steve Wandrey
What we have here is one of the most addictive albums of 2014. Our Love keeps deep house in its front pocket with steady beats per minute and an introspective mantra-centric lyrical conceit, but it’s also exploratory in nature, finding success in consistently building toward intense, euphoric plateaus. A steady flow of pleasant sounds ascend into impacting transcendence with “Can’t Do Without You”, “Silver” and “Your Love Will Set You Free”, and you must give Snaith extra credit for the masterful pacing and song-to-song flow — there is never a “skip ahead” moment. Like many classic albums, it opens up if you give it more time to radiate around your head, and listening to it becomes more pleasurable over time, even though it is mostly presented in poetic simplicity. -MF
Benji must be interpreted as a concept album about death, but more importantly, it’s about the importance details related to memory. For example, the title is taken from what seems like a throw-away line toward the end of the breathtaking “Micheline”. It’s powerful, visceral storytelling that is self-reflexive and biographical, yet so relatable that it compels personal introspection from the listener’s own experiences. Mark Kozelek’s lyrics are the centerpiece of the listening experience — they are so deep and resonant that the instrumentals and production are absorbed secondarily, although the stripped-down approach is intentional and noteworthy. Built around obsessing about the state of human demise — and the randomness of it — it’s easy to join Kozelek’s dire state of mind hours or days after listening. -MF
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With perhaps the most appropriate name for musical act on the planet, Massive Attack capped Treasure Island Music Festival 2014 in stunning fashion. With a balancing act of bass-infused downtempo brilliance highlighted by Martina Topley-Bird’s singing and industrialized synth-stabbing electronic pieces, a range of emotion is achieved for the listener. With contrasting tempos and a duality of tranquility then intensity, a cause-and-effect narrative starts to take shape — especially when paying attention to the video elements of the intense songs. “United Snakes” left nothing to the imagination with its barrage of corporate logos and national flags. It appeared the expanded duo slipped in one frame of a Ferris wheel, reminding us that yes, us consumers at TIMF, the only U.S. festival Massive Attack played on this tour, are part of the system. “Future Proof” visuals stripped out rows of zeroes and ones, using the simplicity of computer code to inspire multiple paths of thought, especially while absorbing this show in the Bay Area. And Tunde Adebimpe from TV On The Radio joined in for “Pray For Rain” for the grand finale.
It’s almost the end of the biggest reunion tour in decades, and TIMF patrons were lucky enough to witness one of OutKast’s last shows. The Bridge Stage was more packed in than any show in memory, and festivalgoers outwardly had more fun compared to performances from past years. The set was perfectly paced, with André 3000 seemingly having a fun time — an important part of the equation compared to Big Boi’s rock-steady appearances throughout 2014. The guys gave shout-outs to Casual and The Misfits in the “local love” part of the show, and “Roses” (including a half-hearted apology for the “crazy bitch” outro) once again was one of the highlights. The set ended at least 20 minutes before the scheduled end of the day, emptying a large percentage of patrons into the shuttle line at the same time — there were some reports of people not making it back to SF until 2 a.m.
TVOTR gave one of the best sets of the weekend with their wonderful mix of slow burners, dance-punk blasts of energy along with three new songs: “Happy Idiot”, “Careful You” and “Could You”. The latter two were particularly impressive and fit perfectly into the band’s catalog. A couple other notes on the show: producer and multi-instrumentalist David Sitek now looks like Bono, Kyp Malone is still professionally chill and Tunde Adebimpe continues to be offended when listeners don’t give him full attention. After completing “Wolf Like Me”, wherein the TI faithful went nuts, the lead singer said that he couldn’t believe he saw someone leave during the song. Agreed Tunde, and we’re looking forward to the forthcoming record.
Chet Faker had the crew bring out a huge bass speaker to put directly behind him after his first song to give his music more oomph. And when he dipped into his career-making collaborations with Flume, “Left Alone” and “Drop the Game”, the Tunnel stage instantly began moving like the rhythm of the ocean. But otherwise, the set was downtempo to the point of boredom. And it’s not a good idea to take one of your best songs, “Talk is Cheap”, and strip it down even more. Some ladies still felt compelled to rock their friend’s shoulders as if it was a dance show, something that I’m still trying to figure out.
