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Fang Island/Red Sparowes | 05.07 | S.F.

May 21st, 2010 | No Comments

Words by: Justin Gillett | Images by: Kimihiro Hoshino

Fang Island/Red Sparowes :: 05.07.10 :: Great American Music Hall :: San Francisco, CA

Fang Island :: 05.07 :: S.F.

After seeing Fang Island and Red Sparowes play San Francisco’s Great American Music Hall, it was made painfully clear how divergent the indie rock spectrum has become. Brooklyn-based, prog-inspired outfit Fang Island and Los Angeles instrumental post-rock group Red Sparowes come from completely different sectors of the music community, but by being slapped on the same bill, both groups managed to complement each other. The two bands sound nothing alike, but the slightly strange musical paring managed to bring to light each group’s strengths.

Fang Island’s impressive eponymous full-length debut was recently released after two attention grabbing EPs, and it has created a certain amount of buzz for the group. It’s rare to see a band with eclectic styles receive notoriety, but it’s also satisfying on some levels to see obscure sounding bands, like Fang Island, receive attention. The group’s recent album is fairly noisy and the band’s live sound is a welcome departure from how the group comes off in the studio. Live, Fang Island’s three guitars are crisper, the vocals more apparent, and the drumming more aggressive. The group’s rather lo-fi sounding recorded material pales in comparison to the band onstage, and seeing each musician shred on his respective instrument makes it easy to see what a talented bunch of instrumentalists they are.

The band’s three guitar players all know how to play – a welcome change to a lot of recent noise rock bands that pride themselves on uneducated guitarists who think the more unrefined sound their guitar makes, the better – and all of them share vocal duties. With four of the members belting into mics, and not having a prominent singer/frontman, the band’s vocal elements come off secondary to the instrumental elements. The singing blends well with the music, but walking away from the show I was impressed with the band’s instrumental skill and not its vocal prowess.

Red Sparowes :: 05.07 :: S.F.

When Red Sparowes took the stage and lurched into its set, it was clear that the band doesn’t put on a show in the classic sense. A giant white canvas screen had been draped behind the group and as the quintet played in the utter darkness, psychedelic images were projected above them. While it was a slightly nice novelty to see a band perform like this, it was distracting and served to make the music secondary to the engaging visuals.

Possibly best known as a group that got its gear stolen out of a tour bus in Stockholm, as well as having members from the screamo band Angel Hair and the synthcore outfit VSS, Red Sparowes come off less intriguing than one might imagine. While listeners might expect unusual and amusing musical stylings from a team of players like this, the group falls short of mounting any impressive musical heights. And after 15 minutes onstage, it looked like the audience was bored. The band played on though, and by the end of the set those who stayed witnessed the group’s ability to coolly intertwine instrumental, shoe-gaze style rock with lurching post-rock grooves.

Red Sparowes Tour Dates :: Red Sparowes News :: Red Sparowes Concert Reviews

Fang Island Tour Dates :: Fang Island News :: Fang Island Concert Reviews

JamBase | San Francisco
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Dr. Dog | 04.25 | San Francisco

May 4th, 2010 | No Comments

Words by: Justin Gillett | Images by: Josh Miller

Dr. Dog :: 04.25.10 :: Great American Music Hall :: San Francisco, CA

Dr. Dog :: 04.25 :: S.F.

After releasing six albums over the better part of the past decade, with the most recent being Shame, Shame, the Philadelphia-based quintet Dr. Dog has yet to truly affirm itself as a momentous studio band. All the group’s LPs are mildly respectable, but none of the releases truly capture the band’s live character. The band’s ardent performances highlight each musician’s ability to play off one another and carry out the band’s impressive harmonies.

During the nostalgic indie rock outfit’s recent two-night layover in San Francisco, Dr. Dog was able to sell out both nights at the Great American Music Hall, an admirable feat for any group, considering S.F. is home to a good amount of smug music snobs who consider obscure forms of brash noise to be the apex of musical artistry.

As the dogged musicians took the stage and immediately locked in with one another it was made clear that the deep interplay between the members is the band’s selling point. Vocals were traded between guitarists Scott McMicken and Frank McElroy, as well as bassist Toby Leaman, and the group’s blissed out harmony arrangements sounded strong. The guys don’t necessarily sing extremely similar – Leaman’s raspy howl is a vast departure from McMicken’s mellow croon – but the pairing works and the divergent vocal styles complement each other.

An auxiliary multi-instrumentalist was recently added to the band’s live show, and he would occasionally trigger electronic samples, tap percussion devices, hit triggered drum pads and strum an acoustic guitar. While his presence added small nuanced layers to the band’s already full sound, he seemed little more than a glorified tambourine shaker and didn’t really contribute much to the group’s refined sound.

Playing hollow body guitars through a few vintage sounding effects, both McMicken and McElroy added impressive layers of feedback-fueled noise to the band’s pop-friendly tunes. Though the instrumental sections managed to propel the music, when the group added its characteristic three-part harmonies the music really shined. The teamwork of the guitarists also served to bolster many of the songs, and whenever McMicken or McElroy took a solo it was a joint effort. Both guitarists would read one another and play off each other, creating an awesome amalgamation of sound that further fueled the band’s lush grooves.

When the band left the stage after its 75-minute set, the crowd was still thirsty for more Dog, and the group obliged fans with an impressive five-song encore. Aptly concluding the show with “California” off the 2006 Takers and Leavers EP, Dr. Dog managed to, again, prove its worth as a live band and leave a lasting impression in the minds of all in attendance.

Dr. Dog Tour Dates :: Dr. Dog News :: Dr. Dog Concert Reviews

JamBase | Howling
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Vampire Weekend | 03.20 | Colorado

April 6th, 2010 | No Comments

Words by: Justin Gillett | Images by: Stewart Oksenhorn

Vampire Weekend :: 03.20.10 :: Downtown Aspen :: Aspen, CO

Ezra Koenig – Vampire Weekend :: 03.20 :: Aspen, CO

Opting to further pursue its characteristic sound, rather than totally reinvent itself, Vampire Weekend has managed to come fully realized with its recent sophomore effort Contra (JamBase review). After the band dropped its eponymous first album, everyone scrutinized the group and couldn’t stop comparing the band’s sound to Graceland-era Paul Simon and the Talking Heads. But with Contra, the band has managed to rise above the myriad of other New York-based indie rock acts out there and define itself with a representative sound that’s well polished, undoubtedly from time on the road.

During the band’s westward jaunt on its tour in support of the new album, the Columbia University educated four-piece stopped off in Aspen, Colorado for a Bud Light sponsored free show in the heart of the town’s downtown district. Seeing the band perform in freezing temperatures, during winter months, was an interesting way to see the group, and even though all four guys were obviously cold as hell, they stuck it out and played a rowdy show.

The band started off with “White Sky,” an upbeat number that perfectly encapsulates the best elements off Contra. The group’s penchant for Afrobeat style rhythms was imminently apparent with the pulsating kick drum, and it definitely inspired a livid reaction amongst the crowd. Not paying a dime for admission, as well as the show being an all ages event, created a festival atmosphere and people were getting crowd surfed from the first note played to the last.

Feeling the bitter chill of the Rocky Mountain air and energy of the rambunctious audience, lead singer Ezra Koenig quipped, “Perfect weather for an outdoor show, huh?” Then, before falling into the polyrhythmic friendly tune “Cape Cod Kwassa Kwassa,” he said, “If this next song is a little sloppy, it’s because our fingers are frozen.” The band was clearly feeling the strain of the 20-degree temperatures, but they soldiered on, playing admirably and keeping the audience’s attention. The slightly botched and unrefined instrumental solos created a more noisy sound that seemed to rile-up the crowd and work to the band’s advantage.

Chris Tomson – Vampire Weekend :: 03.20 :: Aspen, CO

After tearing through a few high-energy songs, the band shifted direction and opted to cover the Ben E. King soul standard “Stand by Me.” The doo-wop style song gave the audience an opportunity to breath, and by the second verse the ballad had turned into a sing-along between the band and the crowd.

Picking things back up with “Diplomat’s Son,” it became apparent after watching each member contribute a unique tribal style chant to the song, that every dude in the band is more than capable of pulling his own weight. Koenig is the obvious chieftain with his lead guitar playing and quasi-falsetto voice, but Rostam Batmanglij demonstrated his diversity as a musician as he switched between carefully calculated keyboard arpeggios and delicate rhythm guitar arrangements, while Chris Baio kept up the bottom end on his bass, and drummer Chris Tomson added rhythmic flourishes and impressive one-man syncopation quirks. Playing together, these musicians really complement each other and it’s nice not to see one of them hog the spotlight or blatantly call attention to themselves.

The band closed out its set with one of the most accessible songs off Contra, “Giving Up The Gun,” but Vampire Weekend seemed cold, tired and worn out by this point, and the tune didn’t really live up to the grandiose quality of its studio version. Besides not hitting his marks on guitar, Koenig’s voice seemed jarred and off kilter. The song came off very poorly and when all four members hit their last note, they left the stage with the audience questioning the strength of the band.

Luckily, the band mustered enough courage to brave the elements a little longer and got back onstage, thanking the crowd and saying, “This is by far the coldest show we’ve ever played.” The three-song encore was highlighted by “Oxford Comma,” one of the group’s best known songs and a tune that has become a sort of anthem for the band. Though there were rousing cheers, Vampire Weekend was clearly stoked to get out of the bitter cold, and when the band left the stage, the audience seemed just as excited as the musicians to retreat from the piercing chill.

Vampire Weekend Tour Dates :: Vampire Weekend News :: Vampire Weekend Concert Reviews

JamBase | Rocky
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John Butler Trio | 02.20 | San Francisco

March 12th, 2010 | No Comments

Words by: Justin Gillett | Images by: Eric Lawson

John Butler Trio :: 02.20.10 :: Great American Music Hall :: San Francisco, CA

John Butler Trio :: 02.20.10 :: San Francisco, CA

Last year John Butler started a new chapter in his storied career with the induction of two new musicians into his Trio. The new lineup signaled a change for Butler, who had been playing with his longtime bandmates bassist Shannon Birchall and drummer Michael Barker since 2003. While changing the dynamics of the band must have been a decision that required a lot of thought on behalf of Butler, the move almost seems like it was necessary to keep the vitality of the Trio alive. The new guns Butler brought aboard, Byron Luiters (bass) and Nicky Bomba (drums), have given the Trio a much needed shot of energy. The different skills Luiters and Bomba bring with them has helped brighten the band’s overall sound and remind people why, years ago, they fell in love with John Butler Trio in the first place.

Considering this was the Australian act’s first North American tour to feature Luiters and Bomba, when they touched down at San Francisco’s Great American Music Hall all three musicians seemed intent on proving themselves individually as well as validating the strength of the band’s current incarnation.

It took a few songs for the band to truly lock in, but once they found the sweet spot the Trio was playing as tight as any previous incarnation of the band. Butler wailed on his assortment of guitars – using distorted effects to add an extra push to his acoustic solos – while Bomba kept impressive time on the drum kit. Opting to keep more of a focus on toms rather than cymbals, Bomba’s playing had a distinct tribal quality and further contributed to the Trio’s alternative roots rock sound.

John Butler Trio :: 02.20.10 :: San Francisco, CA

While it was refreshing to see Luiters start off the set with an upright bass (a mainstay of the Trio’s old sound), he quickly changed to an electric four-string Fender Precision. Because the Trio’s erstwhile bass player predominantly used an upright, the changing of instruments caught some people off guard who were not expecting piercing, metallic sounding electric bass tones. But Luiters’ delicate touch and fondness for playing in a song’s pocket worked well with the Trio’s heady sound and furthered the band’s new approach.

Though it was easy it get lost in some of the band’s Afro rhythm melees, focus couldn’t be shifted from Butler and his impressive manipulation of the various instruments he played. While he was positioned stage right, Butler’s commanding demeanor and musical dexterity held the audience rapt as he shifted between six-string acoustic, banjo, 11-string acoustic (which is really just a 12-string model with the high G string removed), six-string electric and lap steel guitar. The way Butler changed guitar tones with his myriad of effects pedals further complimented his range and innovation as an instrumentalist. His intricate, ever changing sound was a testament to Butler’s development since bursting on the scene back in the mid-90s.

As the show concluded it was apparent that Butler is now venturing into unknown territory with his new band and is in the process of truly embarking on a new musical path. He’s come a long ways from busking on the streets in Western Australia, yet somehow Butler’s enduring qualities remain intact. John Butler proved with this San Francisco show that he doesn’t need to turn his back on his roots to grow and evolve as a musician.

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John Butler Trio
John Butler Trio
John Butler Trio
John Butler Trio
John Butler Trio

John Butler Trio Tour Dates :: John Butler Trio News :: John Butler Trio Concert Reviews

JamBase | Tuned Up
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Daedelus/Nosaj Thing/Jogger | 02.06 | S.F.

February 23rd, 2010 | No Comments

Words by: Justin Gillett | Images by: Eric Lawson

Daedelus/Nosaj Thing/Jogger :: 02.06.10 :: Mighty :: San Francisco, CA

Nosaj Thing :: 02.06 :: San Francisco

It’s hard for electronic artists to make their stage show visually engaging. With the majority of producers composing beats on computer programs nowadays, it’s generally impossible for these musicians to create a show that combines elements of live instrumentation, improvisation and stage theatrics. More often than not, shows are just a guy behind a laptop triggering different songs, and after seeing one of these performances (if you can call them that) it can turn many people off to seeing electronic music performed in a live setting.

Fortunately, certain musicians have taken it upon themselves to pioneer a new form of live electro that relies heavily on the musician’s performance ability and their skill at holding a crowd’s visual attention. At the recent Daedelus, Nosaj Thing and Jogger show in San Francisco it was clear that these acts were intent on doing something with their time onstage that was just as enjoyable to watch as it was to listen to.

Traveling from city to city as the “Magical Properties Tour,” all three artists hail from Los Angles and they all boast ties to the electronic music mecca Low End Theory. First to play was the duo Jogger. While it was refreshing to see a group utilizing a guitar or violin, the band never really seemed to reach their full potential and arrive at an engaging, original sound. The duo were a bit too concerned with trying to blend elements of rock with electro, which gave their sound a bit of a befuddled quality. Though it was nice to hear both guys in the band sing and employ some uncharacteristic elements in this style of music, it was obvious that Jogger still has some ground to cover before they find their voice.

As more people started to arrive at the venue, the vibe of the concert hall took on a distinct party club atmosphere. When Nosaj Thing came onstage the crowd was ready for the up and coming producer’s set and eager to see what he would pull out. As Jason Chung (a.k.a. Nosaj Thing) started things off it was clear that his set was going to be a vast departure from his polished studio sound. On his underrated 2009 debut album, Drift, Chung made a name for himself with highly produced, atmospheric tunes that build on futuristic sonic landscapes. But live, Chung mixed things up and brought in more experimental elements. Though his studio work isn’t necessarily music that’s easy to dance to, Chung fed off the crowd’s energy and matched their mood to help keep the audience moving. Chung was fun to watch as he banged on his MPC and guided his hands over various knobs, tweaking and turning them into desirable positions.

Daedelus :: 02.06 :: San Francisco

After Nosaj Thing finished a roughly one hour set, Daedelus stepped up, garbed in his characteristic Victorian attire, and began his set with an amazing display of skill on his Monome device. For those who are unfamiliar, the Monome is a futuristic instrument that connects to a computer and allows its user to play, loop and improvise samples while performing. The device has several translucent silicone buttons, backlit by LED bulbs, and makes it possible for the musician to incorporate an element of live instrumentation into a traditionally electronic sound. By fully using this instrument and playing it with uncompromising energy, Daedelus has built a reputation as a musician that cares deeply about physical performance aesthetics.

But Daedelus can’t just be pegged as a shtick-y button pusher. The music he creates is an amalgamation of sampled tracks and recorded noises. With the constant onslaught of unpredictably chopped sounds, this hodgepodge can often result in music that isn’t normally featured in a club setting. But during this show, Daedelus, like Nosaj Thing, was able to embrace a groove and allowed the crowd to do the same.

The driving beats that filled many of Daedelus’ songs were hard hitting, somewhat pre-programmed and slightly glitchy, but punctuated with the looseness that only a live musician can provide. At times it was easy to get swallowed by the insouciant beats and just dance, at others it was hard to take an eye of Daedelus as he manhandled his Monome with flair. It was slightly strange to see Daedelus toy with such an intense sound so uncharacteristic of his experimental down-tempo studio work, but it was clear that he’s a musician who thinks that each evening’s performance should be tailor made for the present crowd.

Daedelus tour dates available here.

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Daedelus
Daedelus
Daedelus & Nosaj Thing
Nosaj Thing
Nosaj Thing
Nosaj Thing
Nosaj Thing
Nosaj Thing
Jogger
Jogger
Jogger

JamBase | The Bay
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Black Lips | 01.21 | San Francisco

January 29th, 2010 | No Comments

By: Justin Gillett

Black Lips :: 01.21.10 :: Great American Music Hall :: San Francisco, CA

Black Lips :: 02.08.08 by Josh Miller

Over the past ten years, Atlanta’s Black Lips have earned a reputation for being one of the crudest live acts on the touring circuit. The band’s affinity for discharging bodily fluids while onstage, as well as playing nude and performing sexual acts on one another, has led some to consider the band distasteful at best and a gimmick at worst. While this behavior has kept the four-piece garage rock outfit from mainstream appeal, it has attracted a different audience; a sort of anti-establishment, anarchistic mass that’s drawn to artists who do what they want regardless of any possible consequences and who prove this with their actions as much as their music.

During Black Lips’ recent layover in San Francisco at the Great American Music Hall, the band was surprisingly tame compared to the depravity of its old self. The group still put on a high energy live show, to the admiration of the sold out crowd, but the band seems to have matured a bit and grown out of its “shock rock” ways. Whether this is a calculated move or something that just kinda happened naturally, it was clear that Black Lips are entering a new chapter and are intent on evolving as a band. This isn’t to say that they’ve totally changed ethos, but the group has toned down its antics a bit. However, the band still has an unpredictable stage presence and its S.F. stop proved that the rabblerousing nature of Black Lips is still somewhat intact.

At first sight of the band coming onstage, people in the audience became very agro – setting the tone for how the audience would act for the duration of the show. As Black Lips played it was clear with the liberal amount of mic reverb that the band doesn’t really care about crispness of sound or clarity of vocals. It almost sounded like they were playing through speakers that were intentionally set up to sound like they were blown out. While bassist Jared Swilley sang the majority of lead vocals, the entire band had mics and sang spastically. The guys are not accomplished singers, and the vocals sounded extremely rough, but the approach helped add to the overall renegade quality they exude.

Black Lips :: 02.08.08 by Josh Miller

As the members onstage jumped and flailed about, the rambunctious crowd matched their actions in intensity. For a bunch of pretentious looking fans, everyone really got excited by the music, with people crowd surfing, getting thrown onstage and then leaping back into the crowd to rage some more.

Throughout the show it was interesting to look at the interplay between guitarists Cole Alexander and Ian Saint Pe. As both guys played it was clear that neither of them were that skilled on their instrument. They both played well, in the confines of the music, but both rarely took a solo, and when one did it was slightly droll and uninteresting. The lack of instrumental prowess is excusable though. Black Lips is a band that doesn’t need virtuosity to propel itself. By not being tied down to playing fast or particularly adept, the band is surprisingly able to write memorable songs that are easy to listen to.

As the self-proclaimed “flower punks” kept lighting up the room, it became evident that the band has grown since its adolescent years, developing a potent stage show that mixes rock and theater with compelling results. Black Lips’ relentless touring schedule is testament to their dedication to music, and even though the band still looks like a bunch of skate rats, they are noteworthy performers who have earned their spot in the musical zeitgeist.

Black Lips tour dates available here.

JamBase | Blackened
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Fool’s Gold | 12.12.09 | San Francisco

January 13th, 2010 | No Comments

Words by: Justin Gillett | Images by: Eric Lawson

Fool’s Gold :: 12.12.09 :: Great American Music :: San Francisco, CA

Fool’s Gold :: 12.12 :: San Francisco

Trying to classify the Los Angles-based music collective Fool’s Gold in any strict genre is nearly impossible. The group is somewhat of a rogue agent with genres, and it crisscrosses so many of them that it’s almost unnecessary to apply any label to the band. At first listen, Fool’s Gold can sound like a world music ensemble, because there’s a significant amount of African rhythms and non-English vocals in many of the songs. But, at its core, Fool’s Gold is a true-to-heart band that’s intent on creating music void of any filter or inner critic.

The low profile band has largely spread its notoriety through word of mouth, as well as high-energy live shows and a recently released self-titled album. Helmed by bassist/vocalist Luke Top and guitarist/multi-instrumentalist Lewis Pesacov (also of rock outfit Foreign Born), Fool’s Gold has been gathering momentum on its home turf in Southern California as well as across the country with an impressive touring regime. Top was born in Israel to an Iraqi mother and Russian father – who moved the family to L.A. when Top was three – and Pesacov studied classical music theory under the avant-garde expatriate composers Mark Randal Osborn and Frank Cox in Berlin.

When Top and Pesacov started making music together a few years back they brought friends into their musical endeavors, starting a varied sounding collective of sorts. Since forming, the band has been honing its sound and employing a wide variety of unusual instruments including nut-rattles, axatse shell gourds, banana bells, ewe and other exotic sounding musical devices.

At Fool’s Gold’s recent performance in San Francisco at the Great American Music Hall the band demonstrated a level of uncontrived musical purity that’s a rare find in many modern acts. The group opened up its show with the angelic sounding “Nadine,” a song that brought to light the communal nature of the band immediately. Everyone onstage – especially the horn players – was locked in with one another and aware of what everyone was doing. From the tambourine shaker to Top, who was playing a bass and singing lead vocals, all the band members were very intent on contributing their part to the overarching music that was being created.

Fool’s Gold :: 12.12 :: San Francisco

Some of the songs showcased Top’s ability to sing in Hebrew, which seemed to add to the music’s resignation. By singing in the native tongue of his birthplace, Top managed to perfectly express subtle themes in his music that might have gone unnoticed if he was performing them in English. Singing the songs with obvious heart in a language that’s tied to a land full of tumultuous religious and social conflict, Top was able to touch on the tensions between cultural identity and the social mores surrounding it.

As the band played on it was clear that the group was not trying to unnecessarily impress anyone. Fool’s Gold was playing great, but they were doing it for their own reasons. The band was not trying to fool anyone with faux musical stylings or gimmicky playing. The eight musicians onstage were in command of the music and were able to carry many of the songs into extended jams and trade around solos. Even though it can be said that Top is the defined frontman, he didn’t draw a lot of attention to himself while the band played, which forced the audience to concentrate on the communal nature of the group instead of just a singular figure.

At one point the two drummers started battling it out. The percussion solo that followed was impressive, not because it was done by two of the band’s drummers but because everyone in the band picked up something to bang on – be it cowbell, tambourine or whatever – and added to the collective rhythmic noise. This contribution, on behalf of everyone in the band, really added to the group’s collective.

The group closed with the anthem-like “The World Is All There Is,” a song that once again brought to light a band intent on working together for a singular musical intention. The last song was not instrument intensive in the least bit, but it did require a lot of vocal participation on behalf of everyone in the band. And everyone from the drummers to the horn players to Top and Pesacov lent their pipes to the communal howling – further adding to the group’s mutual musical creation.

Fool’s Gold tour dates available here.

Continue reading for more pics of Fool’s Gold in San Francisco…

JamBase | Worldly
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Dark Party | 12.01 | San Francisco

December 11th, 2009 | No Comments

Words by: Justin Gillett | Images by: Michael Mullady

Dark Party :: 12.01.09 :: Mighty :: San Francisco, CA

Dark Party :: 12.01 :: San Francisco

It’s been almost four years since Eliot Lipp released his debut LP, Tacoma Mockingbird, and already the producer extraordinaire has grown into one of the preeminent names on the electro circuit. Whether he’s performing with Lipp Service (which includes Alex B and Lane Shaw of Pnuma Trio), or more recently with Dark Party, Lipp has become one of the more interesting electronic musicians to track. His unique approach to producing – a blend of retro synth noises combined with rarely predictable hip hop beats – has helped propel Lipp towards an intelligent sound that’s well crafted and original.

Lipp’s love of ’70s era electronic music, along with his impressive work ethic, has recently led him to work with the highly underrated producer Leo123. This two-man collaboration has spawned something fresh, yet still similar to Lipp’s solo work, that combines erstwhile electronic grooves with futuristic and modern drumbeats. The paring of old and new has created a sound that somehow manages to be both sedentary and danceable at the same time. When listening to Dark Party, one can either nonchalantly intake the music with little physical movement, or get down and let the low-end beats move their bones. Either way, the music is enjoyable on many levels and almost impossible to categorize in any sort of strict electronic genre.

During the recent Dark Party layover in San Francisco at Mighty, Lipp and Leo123 brought their unique outlook on music composition to a discerning Bay Area crowd. Seeing that it was a Tuesday and that the evening’s biggest name (Eliot Lipp) was performing in a group that almost no one knows about (Dark Party), the people who showed up were somewhat connoisseurs of the electro scene. It was slightly unfortunate that there was not a larger audience, although, the lucky few that did stumble across the bill were not disappointed and the calibration of the two producers was an intimate experience, which might not have been possible if throngs of faux electronic music fans were there.

Dark Party :: 12.01 :: San Francisco

Seeing Dark Party perform was a treat, especially considering that the group hasn’t released an easily accessible collection of recordings. Watching the band live was a way to absorb the songs and listen to the nuances of the tracks, opposed to struggling to fully comprehend the possibilities from the group’s MySpace page. Lipp did polish off a few solo cuts, including the finely mastered “Calling Me” off his recent release Peace Love Weed 3D. Performing this aforementioned Lipp track was an opportunity for the duo to add a few extra layers to a song that Lipp would typically be playing by himself. The group also played their remix of the STS9 tune “Shock Doctrine,” pulled from Peaceblaster (The New Orleans Make It Right Remixes) album (JamBase review).

Many of the pieces Dark Party played during their set were organized in a fashion more akin to a classic rock song structure, as opposed to a typical electronic song progression. There were defined verse-chorus-verse-chorus shifts that helped add layers of originality to the music. These tonal changes were finely executed and helped keep the audience’s attention, despite the absence of any “real” instruments.

While it was hard to really know what the two producers were doing as they hunkered down behind their laptops, it was apparent that these two musicians were locked into the groove and intent on spreading their music to the masses. It’s hard to compare musicians playing laptops to musicians playing traditional instruments, but what Lipp and Leo123 were doing onstage was worthy of recognition. There lack of overall showmanship forced the crowd to almost ignore the two artists and wholly concentrate on the music.

Performing electronic music and making it visually engaging in front of a crowd is a quandary that both Lipp and Leo123 have no doubt grappled with, but instead of making a halfhearted attempt at producing some sort of stage spectacle, the pair was keen to just let the music speak for itself. Their performance was a no nonsense electro show without any sort of impressive pageantry. Yet, despite the lack of any real presentation, the music was extremely powerful and further cemented the upward career paths of Lipp and Leo123.

JamBase | Dark
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Vic Chesnutt | 11.30 | San Francisco

December 7th, 2009 | No Comments

Words by: Justin Gillett | Images by: Eric Lawson

Vic Chesnutt :: 11.30.09 :: Great American Music Hall :: San Francisco, CA

Vic Chesnutt :: 11.30 :: San Francisco

If there’s one thing people know about Vic Chesnutt, it’s probably that he’s a paraplegic. Losing the use of his legs to a car accident when he was 18-years-old was an experience that has shaped Chesnutt’s life and the music he has come to make. While this drastic loss could inhibit some musicians, Chesnutt has used the ordeal as somewhat of a launching pad for his eclectic brand of Southern gothic folk rock. Chesnutt really knows how it feels to be dealt a shit hand and his music is evidence of that. Rolling through life and performing onstage in a wheel chair almost seems to give the guy’s music added credibility and resignation.

But, his music rarely panders for sympathy or pity. Despite the simple instrumentation of most Chesnutt songs, his laconic style of singer-songwriter tunes are humble yet striking and wholly engulfing. Chesnutt’s woeful music is depressing, at times, but not without humor and always offers fans an unfiltered view into the his life.

During Chesnutt’s recent performance at the Great American Music Hall, the Athens, Georgia-based musician was joined by a backing band to provide accompaniments to his solitary music. The band, featuring Guy Picciotto of Fugazi and members of Godspeed You! Black Emperor and Silver Mt. Zion, was able to latch onto a sound that successfully complimented Chesnutt’s haunting tunes.

Despite being confined to a wheelchair, Chesnutt ran the show with an impressive stage presence as he strummed his nylon stringed acoustic guitar and crooned into a mic. Although there were six other musicians onstage, Chesnutt was able to capture the crowd’s admiration easily with his distinctive vocals and simple guitar playing. Occasionally employing a blues style distortion pedal, Chesnutt’s guitar tone was well suited for his gruff vocal inflections and dark lyrics.

Vic Chesnutt :: 11.30 :: San Francisco

While Chesnutt was keen to overindulge himself with his powerful voice, the other musicians rarely seemed to slip out and partake in any extended instrumental forays. The drumming was predicable and little more than subtle rhythmic timing that went along with the dreary music. Picciotto’s guitar work, though, was commanding and his playing helped round out the overall sound being created.

As the band played on, it was clear that the music was having a resounding effect on the audience. Despite the social atmosphere that was created for the evening’s performance, with tables and chairs set up on the floor, no one in the crowd seemed to be partaking in any congenial talking. The woebegone music kept the audiences’ eyes fixed on the stage – forcing the crowd to stew on Chesnutt’s words instead of interacting with others at the venue.

With the melancholy tone that permeated the performance, it was only fitting that the doleful music was made by someone who has had to deal with a difficult life that’s almost unfathomable to the average person. The accident that befell Chesnutt during his early years has undoubtedly given the musician weathered character and a disconcerting outlook on life. But as Chesnutt performed, his crippled stature seemed to work to his advantage and bolster his abilities. His visceral lyrics about the downtrodden were extremely heartfelt and appeared self-confessional. It’s almost as if Chesnutt uses his music as a form of therapy, and in turn, those lucky enough to connect are healed as well.

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Julian Casablancas | 11.17 | San Francisco

November 24th, 2009 | No Comments

Words by: Justin Gillett | Images by: Eric Lawson

Julian Casablancas :: 11.17.09 :: The Regency Ballroom :: San Francisco, CA

Julian Casablancas :: 11.17 :: San Francisco, CA

Exemplifying a sound and mentality of the metropolitan-based garage rock revival that emerged at the dawn of the millennium, Julian Casablancas, lead singer for The Strokes, seemed to embody everything characteristic and almost cliche about the genre. With rock star swagger and a voice that sounded like it was coming out of blown speakers, Casablancas was the epitome of what many bands wanted to sound and look like. The frontman rode a wave of success with boyish charm and a flippant attitude that propelled his band to critical and commercial success. But after releasing three consecutively digressing albums The Strokes seemed to have had enough – leading the band to an indefinite hiatus. This lull has provided time for some of the band’s members to venture off and form their own projects. Guitarist Albert Hammond Jr. started his eponymous solo act, and drummer Fabrizio Moretti formed Little Joy.

Not to be outdone or overshadowed by his cohorts, Casablancas took his next logical step and recorded an album of his own. The LP, entitled Phrazes for the Young (released November 2 on RCA), is basically what every listener would imagine a solo Casablancas record would sound like. It’s very rich sounding, but it still manages to feel less intense and certainly less catchy than a Strokes recording. The album relies heavily on keyboards, drum machines, and studio mastery, but mainly focuses on Casablancas’ voice and lyrics. The record is worthy of recognition but it really doesn’t live up to the work that was produced with The Strokes.

Julian Casablancas :: 11.17 :: San Francisco, CA

Touring behind Phrazes has found the singer with a band of six hired guns – two keyboardists, two guitar players, one drummer, and one percussionist/multi-instrumentalist – to synthesize the album’s electronic sound. During the band’s recent layover in San Francisco at The Regency Ballroom nearly every song off Phrazes was played with a less polished and more intimate quality than their studio versions.

After watching Casablancas perform, it was clear that the now 31-year-old rocker was far less eager to partake in the old high jinks that were so characteristic of the singer in his earlier days. Drinking booze onstage and climbing up the rafters were (unfortunately) not part of his solo show. The concert opened with “River of Brakelights,” the first single off Phrazes, and the song immediately set the tone for the performance to come.

Casablancas, clutching a microphone, was the obvious focal point of the show, and the other players seemed to serve as little more than musically inclined stage decorations. They rarely moved and they didn’t seem to be enjoying themselves much. These backing musicians left a gap in the music that was luckily offset by Casablancas’ natural performance ability.

The highlights of the show came quickly as the band played their second and third songs, spot on renderings of “Left & Right in the Dark” and “11th Dimension,” probably the most listener friendly tracks off Phrazes. These songs represent the best part of Casablancas’ solo endeavors. They’re hooky, have memorable choruses, and are not bogged down by excessive guitar arrangements that oftentimes blight many Strokes songs.

Julian Casablancas :: 11.17 :: San Francisco, CA

Having only a small selection of songs to choose from off Phrazes, there was some anticipation to see if Casablancas would pull any songs from The Strokes’ catalog. The only Strokes tune played, “You Only Live Once,” was performed with one guitar player accompanying Casablancas’ vocals while the other musicians stood to the sides of the stage. Rendering the song in a manner that strongly contrasted with the original version was a way for Casablancas to appease fans hungry for Strokes material and still manage to not come off as a desperate Strokes cover band.

With no drunken stage antics – so emblematic of many Strokes shows – the now older and a possibly wiser Casablancas performed almost timidly and without complete assurance in his ability. It could have been the lack of drunken courage that was absent during the performance, or it could have just been unfamiliarity with the new songs live, but there was definitely a shortage of looseness and jubilation on behalf of everyone onstage. This seemed to make the crowd slightly disgruntled that Casablancas was not his old self.

Not one to disappoint, Casablancas belted into the mic and seemed to propel his musicians, especially both guitar players, to keep a sharp eye on the details. The harmonized electric guitar solo on the downtempo “Glass” was carried out extremely well and provided an opportunity for the spotlight to be shifted off Casablancas. But it truly was the singer’s show, and all onstage and in the crowd seemed to know this. Casablancas was the center of attention and he did an admirable job of performing his solo material – even if it’s not up to par with his work with The Strokes.

Julian Casablancas tour dates available here.

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Emmitt-Nershi Band | 10.22 | S.F.

November 9th, 2009 | No Comments

Words by: Justin Gillett

Emmitt-Nershi Band & Assembly of Dust:: 10.22.09 :: The Independent :: San Francisco, CA

Bill Nershi & Drew Emmitt by Bubba Jackson

Helmed by two of the biggest names of the jam scene, the Emmitt-Nershi Band has managed to carve an impressive reputation for itself over the past three years as a premier alt-grass outfit with a defined sound and consistent touring schedule. The band’s no nonsense shows feature Drew Emmitt (mandolin, fiddle, vocals), Bill Nershi (guitar, vocals), Tyler Grant (bass), and Andy Thorn (banjo) playing a swath of folksy Americana bluegrass that harkens back to simpler times when people didn’t need electricity to play, hear, or dance to music.

With Emmitt and Nershi being pivotal entities in two of the largest bands to emerge from the ’90s jam haze (Emmitt with Leftover Salmon and Nershi with The String Cheese Incident), one might assume that an Emmitt-Nershi Band show could be a breeding ground for musical wankery and self-indulgent solos. But the straightforward approach to making music that was on display during the band’s show at The Independent was a departure from the noodle-happy, slightly farcical shows of String Cheese and Leftover Salmon. With Emmitt-Nershi Band, both musicians seem perfectly at home playing humble tunes at intimate venues where the music can speak for itself.

Opening up the show was Assembly of Dust. While the New York-based foursome has been gaining momentum on their native soil, their sound has not quite led the group to a dedicated following on the West Coast. Even though the band has been performing since 2002, they still seem slightly unsure of themselves and not as confident as they should be. Not to say that the band isn’t good or talented – lead guitarist Adam Terrell had some amazing solos and Reid Genauer is one heck of a songwriter – but one gets the sense that this band may sadly never amount to their full potential. AoD’s songs are at times a bit too organized around a predictable pop format, and there really is no special quality or commanding stage presence that raises this band above other talented acts out there.

Emmitt & Nershi by Polly Gray

When all four members of Emmitt-Nershi Band came out to play a few songs with Assembly of Dust, though, it definitely made the set more interesting, both audibly and visually. As the eight musicians onstage traded solos, it was Nershi and Emmitt who were focal points, not members of Assembly of Dust. Nershi was in complete control of the stage as he took an acoustic guitar run, and the same could be said for Emmitt when he tore into the mandolin.

After a short set break, the four members of Emmitt-Nershi Band reemerged and lurched into an extremely soulful set that highlighted each musician’s strength as a performer. During the band’s first few songs, Emmitt’s haunting, backwoods-y croon stuck out as a driving force that the band frequently fell back on for support. While vocal duties were shared between all the musicians, it was Emmitt, in particular, who sang without restraint and almost led him to act as the leader of the group. When Nershi sang it was pleasing but it lacked a serious resonance that Emmitt’s forthright vocals possessed.

As the set progressed, Grant’s distinctive bass playing managed to add layers of originality to the band’s sound. Using an electric hollow body bass as if it were an upright, Grant propelled and motivated the rootsy bluegrass sound the other three musicians were intent on creating. Having won the National Flatpicking Championship in 2008, it could seem an odd choice to select Grant to play bass in this band, but it works and his understanding of what should be played on the bass is clearly a good fit for this outfit.

Fans of String Cheese were pleased as the band cranked out bluegrass versions of “Texas” and “Restless Wind.” These songs, while clearly more attuned to how Nershi originally envisioned them, lacked any prevalent backbone. This could be said about the first half of the band’s set as a whole; there wasn’t a consistent beat that almost seems necessary for any band to structure itself on. Picking up on this lack of forceful rhythm, almost clairvoyantly, Nershi invited Andy Herrick, the drummer from Assembly of Dust, out to finish up the remainder of the set. The percussion infusion was exactly what was needed to make the music more dynamic and danceable.

Emmitt-Nershi Band by Polly Gray

Having just released a new album, New Country Blues (released September 29 on SCI Fidelity Records), much of what the band played was understandably off the fresh studio LP. These songs seemed to epitomize Emmitt-Nershi Band. They’re uncompromising and rarely predictable. When playing tracks off New Country Blues, Nershi sported a huge smile that could be seen through his thick, white beard. Other members were also visibly giddy, and this communal glee helped articulate the music and make it more amiable.

For the encore all the members of Assembly of Dust were invited back for a rendering of the traditional “Goin’ Down the Road Feeling Bad.” Almost everyone was sharing a microphone, which helped heighten the mutual musical creation and add to the overall cooperation between the artists. Solos were passed around and every musician – especially Emmitt, who was playing a fiddle – stepped up to the plate and delivered a strong finale.

Emmitt-Nershi Band tour dates available here.

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Kyle Hollingsworth & Zach Gill | 10.10 | S.F.

October 20th, 2009 | No Comments

Words by: Justin Gillett | Images by: Nitai Vinitzky

Kyle Hollingsworth & Zach Gill :: 10.10.09 :: The Independent :: San Francisco, CA

Kyle Hollingsworth | 10.10 | San Francisco

Kyle Hollingsworth of The String Cheese Incident and Zach Gill of ALO joining forces to tour as co-headliners (almost the jam equivalent of a Billy Joel and Elton John tour) was an opportunity to watch two pivotal keyboardists perform material from their respective main bands, work from their solo endeavors, and explore a few covers as well. With remarkable talent and a relaxed vibe, both Hollingsworth and Gill rocked The Independent in San Francisco and brought out a few surprise guests to add to the show’s unique, spontaneous quality.

Gill opened the show and spent the first half of his set alone onstage – often playing an accordion or ukulele – crooning into the microphone and characteristically swaying back and forth. Covering the severely overplayed MGMT smash hit “Kids,” Gill demonstrated his knack for turning pop laden tunes into heartfelt semi-ballads. The MGMT cover turned out alright, although the song is so cliche by now that his decision to cover it arrived a year too late. Another cover featured the Charlie Daniels classic “The Devil Went Down to Georgia,” which again saw Gill manning the squeeze box.

After performing a few songs solo, Gill was joined by ALO band mate Dan Lebowitz, who did a killer job on lap steel guitar before leaving the stage. Lebo’s departure signaled three new musicians to come out. Bassist Garrett Sayers, guitarist Dan Schwindt, and drummer Dave Watts came out and would stay to help support Hollingsworth as well. Playing together as a foursome, it was clear that this ensemble was little more than Gill playing with backing musicians. The songs sounded fine, but in terms of the free flow of musical ideas between performers, it just wasn’t happening. This was not a band in the true sense of the word, more just hired guns performing with a musician who isn’t playing with his usual band.

Zach Gill | 10.10 | San Francisco

The entirety of Gill’s usual band, ALO, did end up getting onstage to play with the three other supporters. Dave Brogan (drummer) played keys, Steve Adams (bassist) picked up a hand drum, and Lebo returned to the steel guitar. Playing a few songs as this massive machine, the seven musicians traded solos and seemed to be genuinely enjoying themselves as they played a few songs that might become future ALO tunes. Two songs – one about zombies and another called “Limbs Akimbo,” which Gill co-wrote with Hot Buttered Rum‘s Nat Keefe and is the title cut to HBR’s latest album – stuck out in particular.

During Gill’s set it was surprising that Hollingsworth didn’t poke his head out to heighten the jam. Perhaps he thought holding out his musical bag of tricks for his set would be a good idea. When Hollingsworth did come out to play with the three supporting musicians all doubts of the backing band not being able to keep-up were put to rest. When Sayers, Schwindt, and Watts played with Gill they seemed to be slightly out of touch, but with Hollingsworth they were more comfortable and able to bring the music to unforeseen ranges. Hollingsworth’s opener, “Seventh Step,” was jammed with such professionalism that comparisons to String Cheese Incident couldn’t be helped. And after hearing a few Cheese tunes like “Â¡Bam!” and “Boo Boo’s Picnic,” it was almost as if Cheese was playing.

Hollingsworth & Gill | 10.10 | San Francisco

Hollingsworth was in his element and he played with unbridled passion expressed through facial expressions. Unlike many musicians, Hollingsworth really seems to be genuinely enjoying himself when he plays. This performance was no exception – Hollingsworth appeared to be extremely content and jubilant playing with his solo band. Part of his enjoyment could have been because he really was the maestro of the show. He didn’t have to contend with any other artists butting in and putting in their two cents. Hollingsworth was in command, which was evident. His backing musicians, while displaying great ability in their own right, never stepped on the proverbial musical toes of the keyboardist.

Picking a guitar player to tour with must have been a difficult decision for Hollingsworth, but choosing Schwindt was defiantly a good call. The electric guitar slinger was able to cover the bases when it came to providing tones well suited to Hollingsworth’s playing, and when soloing Schwindt was on fire. He played with such range and expertise that his talent seemed to rival Hollingsworth’s own.

Seeing Gill waiting on the side stage as Hollingsworth and his band closed out their set – which included a range of solo and Cheese material, as well as an interesting reggae rendering of Paul Simon‘s “Kodachrome” – one got the impression that the keyboardists would be playing together during the encore. When Gill was inevitably invited onstage, the crowd was blown away as the twosome played an amazing few songs sharing a workstation and microphone. They tore apart The Beatles’ “A Day in the Life,” Talking Heads‘ “This Must be the Place,” and Billy Preston’s “Will It Go Round in Circles (the last two being String Cheese favorites). A stunning way to end an amazing evening.

Continue reading for more images of Hollingsworth and Gill in San Francisco…

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Lotus | 10.07.09 | San Francisco

October 14th, 2009 | No Comments

Word by: Justin Gillett | Images by: Nitai Vinitzky

Lotus :: 10.07.09 :: The Independent :: San Francisco, CA

Lotus | 10.07 | San Francisco

As the jamtronica genre continues to grow and evolve, an emphasis has undoubtedly been placed on technology. It’s now common for bands to employ laptops and unique futuristic instruments, like ones made by Monome, into their musical endeavors to create a sound that combines instrumentation with pre-programmed high-tech noises. Many fans of the genre either tend to be supportive of using computer gadgetry or entirely against it. Some argue that using computers while performing has detracted from the overall musicianship that’s needed for a live band to succeed. Despite this, more and more bands tend to be relying on laptops and programmers.

Aware of the progression and reliance on technology, it was quite refreshing to witness Lotus – a band that seems to fully encapsulate the jamtronica genre – not open up a laptop once while performing. Yes, there were a few samples that the band played over. But there was clearly an absence of glitched-out noises and cliched dub-step dabbles. Lacking a prevalent computerized backbone, the Philadelphia-based quintet was intent on creating something organic and communal. Lotus was able to commit to instrumental jamming and take their movements to apex after apex and dictate how songs should progress without being tied down to a non-human musical entity.

During the band’s 2009 fall tour, eight dates were designated as “Pay What You Want.” This meant concert goers could purchase tickets for as low as $1 or as high as $20. The novel concept was extremely enticing for recession stricken music lovers – but as a profitable endeavor for a band, it has yet to be seen if the experiment will be repeated. The group’s San Francisco layover at The Independent sold out, although it is hard to gauge if attendees paid a fair price for a ticket.

Luke Miller – Lotus | 10.07 | San Francisco

Opening up the show was the producer and live drummer electro duo Break Science. With Adam Deitch on drums and Borahm Lee on laptop and keys, the two latched onto a surprisingly tropical and dance-y sound – heightened with the unique sounding piccolo snare Deitch played with. The varied work of Lee was quite impressive, especially when he would occasionally man a keyboard to bring a bit more of a live feel into the duo’s sound. Knowing that Deitch has played with a wide swath of musical characters ranging from Lettuce to Justin Timberlake, it was a slight disappointment to find his beats slightly convoluted and not as pronounced as they could have been.

After Lotus came out and played their first song, “Intro to a Cell,” it was clear that the band’s music has evolved quickly yet they still seem slightly timid while onstage. The pedal boards set up in font of lead guitarist Mike Rempel, secondary-guitarist and keyboardist Luke Miller and bassist Jesse Miller were elaborate and constantly employed by all three musicians. Jesse Miller was using a wah pedal to add a more funk and experimental tone to his already heady bass technique. By playing with a pick near the neck of his bass, far from the bridge, Jesse Miller has latched onto a signature tone that’s loose yet uncompromising and rarely dull.

Some of the space jams that the band fell into – notably on “Wax” and “It’s All Clear To Me Now” – were intense and engulfing. As the band kept adding to their progressions they would often peak and fall into major chord bliss. Rempel’s guitar playing tended to be slightly reserved and modest. When he did let loose though, Rempel demonstrated an understanding of his six-string that could have been highlighted more frequently in the band’s mix. While soloing, Rempel often closed his eyes and got into an almost meditative zone as his fingers scurried over the neck of his guitar.

Lotus | 10.07 | San Francisco

The drumming on behalf of Mike Greenfield was quintessential of a jam drummer. Greenfield never flirted with electro beats and his rhythmic counterpart, percussionist Chuck Morris, rarely seemed to step out of his shell and experiment with the possibilities inherent to his instruments. This lack of gumption, on behalf of Morris, seemed to establish a heightened chemistry and reliance between the Miller brothers and Greenfield. Oftentimes, the core of the band’s sound was entirely tied to these three members.

As the band moved through its show, there were a few times when samples were played. But the sounds only added to the Lotus’ overall ethereal tone and the electronic noises were by no means glitchy or obtrusive. Instead of falling back on the samples, the band relied on one another to progress the sound. A few times Luke Miller and Rempel would harmonize their guitar playing and heighten the band’s overall bond as performers. The intensive instrumental music more than made up for the near complete absence of vocals throughout the show. Not having any prevalent singer definitely made the band more narrowed in on its jams, as opposed to focusing on a verbal message that some bands feel necessary to communicate.

Lotus finished off its evening with the title track off Hammer Strike. The song saw Luke and Jesse Miller ditching their stringed instruments – opting to rely on the keyboards and sample processors set up in font of them. The song was carried out in classic Lotus fashion, with all members focusing their jam strengths towards a united sound that everyone fed off. Playing off their musical talents as live musicians – who actually play instruments – Lotus nailed the night’s last song with stunning precision.

Lotus :: 10.07.09 :: The Independent :: San Francisco, CA

Set I: Intro to a Cell, Evergreenary, Nematode, Blacklight Sunflare, In an Outline, Wax, Behind Midwest Storefronts

Set II: Simian, Spiritualize, It’s All Clear, Spiritualize, Blender, Golden Ghost, Sunrain, Flower Sermon, Sunrain

E: Hammer Strike

Lotus is on tour now; dates available here.

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Portugal. The Man | 09.23 | California

October 7th, 2009 | No Comments

Word by: Justin Gillett

Portugal. The Man :: 09.23.09 :: The Independent :: San Francisco, CA

Portugal. The Man by Emily Ibarra

When a low profile band with an underground following tries to break into the mainstream and record an album of easy to access tunes, it can often create a division between dedicated fans and the band. People who have been watching the act slowly mature since its inception often feel a type of ownership and get pissed off when a band ditches their experimental roots, instead opting for pop song structures and hooky riffs.

After listening to The Satanic Satanist (released July 21 on Equal Vision Records), the latest album from Portugal. The Man, one could assume that this is a band that has largely turned its back on its original sound and devoted fans. The songs off the recent LP are shorter and arranged in ways that beg for the admiration of new listeners who are unfamiliar with the sound that has been so characteristic of Portugal. The Man. It’s not that these new songs aren’t good – a few are amongst the group’s best – but after spending time with The Satanic Satanist listeners familiar with the band’s sound definitely get the impression that this is a band that’s striving to reinvent itself and grab hold of a larger base.

As Portugal. The Man turned a new chapter with its recent release, many followers of the Portland, Oregon-based foursome have no doubt thought that the band’s recent pop sensibilities wouldn’t translate to the stage. But, as evidenced by the group’s recent show at The Independent in San Francisco, Portugal. The Man has remained a bastion of modern indie rock while performing, often taking its short songs and stretching them into massive jams that capitalize off the band member’s individual talents.

The evening’s opening slot was filled by harmony laden pop outfit Drug Rug, whose recent LP Paint The Fence Invisible (JamBase review) has gone on to receive critical praise for its throwback ’60s musical composition. The unique brand of blues-based pop that the band played varied between sleepy grooves and fast paced numbers that brought the crowd to attention. While Drug Rug displayed a knack for musical diversity, the vocals of the band were a slight disappointment. Sarah Cronin‘s singing was borderline annoying and it severely detracted from the music’s appeal.

Portugal. The Man by Emily Ibarra

When Portugal. The Man steeped onstage and went into its first few songs, one couldn’t help but notice how focused each member was as they contributed their own distinct style to the sound. Lead singer/guitar player John Baldwin Gourley‘s Gretsch hollow body provided characteristic twang while Ryan Neighbors‘ organ laden keys added to the group’s unique appeal. While it’s hard to pigeonhole the band’s sound, by blending elements of blues, folk and experimental rock, Portugal. The Man has cultivated a distinct voice. During this performance, the band proved its live show is starkly different from the material it has recently laid down in the studio. As the band jammed out its first few songs, it almost seemed like the music carried an air of psychedelic nostalgia, although when Gourley belted into the microphone and added his characteristic vocals a more modern sound was created that helped propel the band forward.

As Portugal. The Man played on, a sharp buzzing sound permeated throughout the speakers. While a roadie quickly sprung into action to alleviate the obtrusive noise, the band played on like pros, and when it stopped it was clear they were able to concentrate harder and take the songs deeper. While the majority of Portugal. The Man’s recent material hovers around three-minutes, the band stretched many tunes into jams that often surpassed the seven minute mark. Sometimes tracks that started off as soft and pop-centric morphed into heavy grooves that gave the quartet an opportunity to experiment with their instruments.

Before playing one song, Gourley openly admitted that the band’s recent album was neatly packaged and especially accessible. The song the band went into next did start off quite pop friendly, but changed pace several times as it progressed and capitalized off the band’s historical tendency towards prog rock.

Now that Portugal. The Man has released four LPs and just as many EPs, one would imagine that the band would have stopped trying to reinvent itself. But with Satanist the band has discovered ways to entice new listeners with concentrated songs that won’t frighten unseasoned fans. The band translates well in front of a crowd and Gourley’s impressive vocal range has been honed for performing live. If a band feels the need to experiment with its sound so be it. Portugal. The Man’s recent performance shows they haven’t abandoned years of work spent perfecting a unique live show in favor of simple songs well tailored for fresh ears.

Portugal. The Man is on tour now; dates available here.

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Yeah Yeah Yeahs | 09.10 | California

September 24th, 2009 | No Comments

Words by: Justin Gillett | Images by: Steven Walter

Yeah Yeah Yeahs :: 09.10.09 :: Fox Theater :: Oakland, CA

Yeah Yeah Yeahs | 09.10 | Oakland, CA

If a band is able to fully expose itself and connect with listeners it will surely find itself with a pack of dedicated fans that only grows with time. While it is no doubt difficult to ignore the critics and make music that is personal and self-disclosing, when a band does it’s refreshing and brings to light a style of music that most would be afraid to even attempt.

For the Yeah Yeah Yeahs it seems like such character is at the cusp of its existence. The band’s very nature seems to encompass a mentality that ignores public opinion and musical mores. By doing so, the band has sharply defined itself and ridden a wave of success that has led to a spot as one of the preeminent pop rock acts of the early 21st century. With a stage show that highlights singer Karen O‘s natural performance ability as well as Nick Zinner‘s manic guitar skills and Brian Chase‘s dance inspired drumming, the band has matured and grown since releasing its debut album, Fever To Tell, in 2003. The band released its third studio LP earlier this year, and the trio has been busy on the tour and festival circuit (even replacing the Beastie Boys as a headliner at Lollapalooza). The overwhelming success that the group has experienced over the past few years has manifested itself in a band that is now playing at a peak level, and fans who showed up for the performance at the newly restored Fox Theater in Oakland bore witness to Yeah Yeah Yeahs’ steady rising excellence.

Fans of the electro dance fusion genre were in luck, as YACHT opened up with a rousing and extremely physical set. The musical duo, comprised of Jona Bechtolt and Claire Evans, came out onto the stage and immediately fell into choreographed musical dance numbers. As they moved in jerky movements and shouted into their mics it seemed like they were trying to prove their musical prowess to the crowd. YACHT’s second album, See Mystery Lights (released by the dance punk label DFA), has received significant critical praise, which has forced the band to deliver the goods live. While Bechtolt and Evans never picked up an instrument during the duration of their set – Bechtolt controlled the music via a laptop positioned at the side of the stage – the pair’s energy was enough to garner the attention and admiration of the crowd. Dressed in a white suit as he flailed onstage, Bechtolt acted like a modern version of the young David Byrne. The surprisingly industrial beats behind YACHTs music were a vast departure from the pop laden tracks that fill the group’s most recent release. While lacking any sort of instrumental forays, the performance was aesthetically pleasing and worked in favor for an act that’s in the process of defining itself. YACHT finished its set with the current single, “Psychic City,” which, due to the downtempo nature of the song, was the least enjoyable part of the set.

Yeah Yeah Yeahs | 09.10 | Oakland, CA

When the house lights dimmed in the elaborately decorated, Persian themed theater, Zinner and Chase walked to their respective instruments and the crowd burst into applause. But the collective roar that ensued when Karen O steeped up to her mic was a greeting fit for a queen. Known as a performer who garbs herself in outrageous outfits, O’s costumes at the Fox – starting with an intricately patterned green and purple poncho/throw, which was quickly shed exposing a similar colored leotard – highlighted her eccentric stage personality. As they eased into the set, it was evident, both in tracks off its most recent album as well as notable classics like “Gold Lion,” that the band is really hitting its stride right now. One would be hard pressed to find another front person with as much charisma and command of the stage as Karen O. As a band, the three members have been able to hold true to the indie scene, yet still attain commercial viability.

As Karen O frolicked across the stage and belted into the microphone, it was hard to focus on what Zinner and Chase played. The frontwoman’s all encompassing regulation of the stage made it difficult for the other two musicians to exploit a defined presence. But as the Yeah Yeah Yeahs played on it was easy to understand why the group is popular yet still musically and critically respected. As Karen O flaunted herself onstage, giving fans a finely tuned musical spectacle, the drummer and guitarist offered up impressive arrangements that oftentimes went unnoticed. Zinner’s guitar playing occasionally seemed reserved and not quite as pronounced as it could be. He used such a plethora of effects that it was hard to discern just what he was playing in certain segments. Aided at times by an extra musician at the side of the stage who occasionally came out to play keys, bass and acoustic guitar, Zinner proved more than able to hold down many of the band’s songs with striking efficiency.

Chase’s drumming, more often than not relying heavily on the hi-hat, was subtle yet oftentimes punchy, especially on dance-y numbers that required a more pronounced beat. By playing traditional, a style uncharacteristic of most modern rock drummers, Chase latched onto a sound that was not driven by precision but instead focused more on song structure and changes in tempo. His playing on slower tunes was highlighted as he got into a deeper groove than Zinner or Karen O seemed to be working in. While the group’s music doesn’t really let Chase experiment with rhythm too much, what he does in the confines of the band’s sound couldn’t be more suitable.

As Karen O stuffed the head of her microphone into her mouth for “Zero,” the first single off the band’s recent It’s Blitz, the audience definitely got the impression that this is a woman who gives 110-percent of herself in concert. Putting her leather jacket on during the song – one of her many costume changes during the show – and skipping and grinning as she yelped her distinct vocals, Karen O affirmed that she’s one of the preeminent bandleaders of her generation.

Closing the set with an acoustically refined version of “Maps,” the Yeah Yeah Yeahs demonstrated their versatility as a band that can play everything from floor stomping, disco inspired tunes to acoustic, melody driven pop songs. If the band continues on the course it outlined at The Fox they will surely continue to find success as a band that’s unafraid to experiment with its sound regardless of the consequences.

Continue reading for a few more pics of Yeah Yeah Yeahs in Oakland…

Yeah Yeah Yeahs are on tour now; dates available here.

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Golden Gate Gramble II | 08.22 | S.F.

September 21st, 2009 | No Comments

Words by: Justin Gillett | Images by: Dave Vann

Golden Gate Gramble II :: 08.22.09 :: Mezzanine :: San Francisco, CA

The Gramble :: 08.22 :: San Francisco

When San Francisco experiences a rare day of high temperatures masses of people take to the parks and streets to escape buildings that are typically without air conditioning systems. Hipsters flock to Dolores Park, hippies to hippie hill, crack heads to The Tenderloin, and so on. On Friday August 28, the first day of Outside Lands (read the review here), the heat was stifling and caused many festival-goers to seek shade during the day while eagerly anticipating the cool night to come. When the music in the park ended, due to the strictly enforced 10 p.m. noise curfew, festival revelers with no intention of sleeping headed downtown to Mezzanine for the second annual Golden Gate Gramble. The lineup featured a who’s who of Bay Area jammers including ALO, Tea Leaf Green guitar player Josh Clark‘s side project Counter Clarkwise, the Beck cover band New Fangled Wasteland and a large amount of surprise guests. While there is no solid definition of the word “gramble,” one of the founders of the musical event, Greg Loiacono of The Mother Hips, has said a gramble is “an undefinable word and or action.” However ambiguous that definition may be, all who showed up for the second annual Gramble undoubtedly came away from the amazing show with their own unique understanding of what the word means.

Beck cover band New Fangled Wasteland played first, and is comprised of bassist Steve Adams (ALO, Big Light), drummer Dave Brogan (ALO), freelance guitar extraordinary Chris Haugen and Trevor Garrod (Tea Leaf Green) on keys. For a side project/cover band, New Fangled Wasteland is as tight and just as apt to carry on musical improvisation as any of the members’ respective main bands. The group typically started off a Beck song and drifted into an extended jam that saw all the musicians playing with such commitment and skill that it’s unfortunate the band only plays special engagements; a fact that makes their rare performances something to truly appreciate. Haugen’s guitar style really added to the overall musical palette, especially on “Earthquake Weather,” “Farewell Ride” and “Mixed Bizness.”

ALO :: 08.22 :: San Francisco

Up next was Counter Clarkwise, a band formed on a whim after Stephen Perkins of Jane’s Addiction suggested the name to Josh Clark while the two were touring together with Region of Darkness. With a constantly revolving cast of musicians that has included Steve Molitz (Particle), Steve Adams and Reed Mathis (TLG), Clarkwise is used as a vehicle for Clark stay busy when his time isn’t consumed with Tea Leaf. The musical endeavor also provides an avenue for Clark to do some musical lampooning. Coming from the “jam scene” and living in San Francisco, Clarkwise songs like “Condescending Hippy” and “Ninja Hipster” seem to act as an outlet for Clark and playing the songs to a hometown audience is a form of therapy. While at its core, Counter Clarkwise is a country rock group, there are occasional bouts of psychedelia and free form jam that really highlight the ensemble’s varied talents.

When ALO took the stage, vocalist and key master Zach Gill tried to offer his understanding of what a gramble is: “[It's] some sort of combination of grinning and rambling,” although noting that his definition is still open for interpretation. Gill was in no rush with ALO, telling the crowd that the music was going to go extremely late into the night. Due to the lack of consistent touring in the past two years, the group has spent less time together as the ALO collective in recent years, instead, opting to invest time into individual solo and side projects. ALO has apparently been working on new material, though, and played some of the new songs this night. At one point, keyboards were brought out for Adams and Lebo, typically the bass player and guitarist of the band, and an electronic drum pad was carted out for Brogan. With the electronic instruments in place, the band went into an interesting version of “Girl I Want To Lay You Down.” The song sounded like the end result of a lot of Kraftwerk listening, and acted as a live PA version of the ALO classic. A cover of Steely Dan‘s “The Fez,” off the studio kings’ 1976 gem The Royal Scam, was a surprise treat. Around 2 am, as the group left the stage, the crowd looked uncertain yet extremely hopeful for the annual gramble to come.

Adams, Garrod, Gill – Grambling :: 08.22 :: San Francisco

Opening up the gramble section were keyboardists Gill and Garrod, who shared keys and vocal duties on Kenny Rogers‘ time-honored classic “The Gambler,” a truly deserving song to start off the set. With a nonstop rotation of musicians coming and going during the gramble it was hard to keep track of who was playing. All the members of New Fangled Wasteland came out and played “Devil’s Haircut” and “Scarecrow,” once again highlighting the underrated guitar talent of Chris Haugen.

Next out was Big Light, a band that has received much attention in the Bay Area and beyond over the past year. Going through several lineup changes, Big Light has been scaled back to a tight-knit four piece, including Steve Adams on bass. Big Light’s guitarist Jeremy “Swordfish” Korpas has really grown into his own as a lead six-string shredder. When Eric McFadden and New Monsoon‘s Jeff Miller came onstage and picked up guitars many musicians would have been intimidated, but Swordfish rose to the occasion and met his peers with fierce, confident playing.

Artist-at-large Charles Gonzalez came out at one point to lend vocals to The Modern Lovers’ “Pablo Picasso.” With a ragtag cast of performers onstage, Gonzalez seemed to perfectly capitalize off the anything-can-happen mentality of the gramble. Also noteworthy was a bluegrass themed cover of Radiohead‘s “Creep” some time before 4:00 am, when the night wound down after an exhausting display of grambling.

Continue reading for a few more pics of the Golden Gate Gramble II…

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Golden Gate Gramble II | 08.22 | S.F.

September 21st, 2009 | No Comments

Words by: Justin Gillett | Images by: Dave Vann

Golden Gate Gramble II :: 08.22.09 :: Mezzanine :: San Francisco, CA

The Gramble :: 08.22 :: San Francisco

ALO :: 08.22 :: San Francisco

Adams, Garrod, Gill – Grambling :: 08.22 :: San Francisco

Continue reading for a few more pics of the Golden Gate Gramble II…

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FYF Fest | 09.05 | Los Angeles

September 17th, 2009 | No Comments

Words by: Justin Gillett | Images by: Court McGee

FYF Festival :: 09.05.09 :: Los Angeles State Historic Park :: Los Angeles, CA

FYF Festival 2009

It must be daunting to orchestrate a music festival. Stress no doubt ensues when organizers have to worry about finding a suitable place to hold the event and book talent as well as secure permits, sell tickets and arrange food and alcohol vendors. Once all the necessary elements are in place, all organizers can really do is wait for the day and pray that everything goes according to plan. For music promoter Sean Carlson pulling everything together for a gathering of musicians and music lovers has been an annual occurrence ever since he organized the first F Yeah Fest in 2004, when he was just 18 years old. Over the past six years, the event has held true to its roots and brought together some of the most talented noise rock, experimental and electro acts from L.A. and around the world to play at the intimate festival, which typically caters to a crowd that wouldn’t be willing to pay more than $30 bucks to see a festival or show.

For the 2009 event, Carlson and the other organizers decided to relocate from Echo Park to the Los Angeles State Historic Park in Chinatown, change its name to the slightly redundant FYF Fest and scale the festival down from a multi-day event to a one day multifaceted musical hodgepodge. The fest was also a fundraiser to raise awareness about the possible closure of up to 100 of California’s state parks. Considering the small scale and slightly guerrilla nature of the event, it’s surprising the obstacles they had to overcome – including the fire marshal preventing the gates from opening on time, ridiculous lines for entrance, food purchases and restrooms, and the near shut down of one band’s performance because the crowd was too rowdy. However, there were some truly amazing performances that turned the woe stricken festival into a resounding success.

FYF Festival 2009

As previously mentioned, the fire marshal delayed general admission into the festival for reasons that one assumes related to emergency exits and crowd safety. This one-hour setback forced early arrivals to linger in long lines while baking in the hot sun. Waiting for entrance and looking over mountainous wildfire smoke plumes that rose in the distance, many surely thought that the event was doomed. But as the gates were opened and people slowly started to trickle in, fears were put to rest as musicians hit the stage.

While there were 33 extremely different acts playing over the course of the day – some good, others not so much – four stick out in particular that are worthy of mention and recognition.

Kurt Vile

One of the first to play was Philadelphia-based singer/songwriter Kurt Vile. Performing alone onstage with an acoustic guitar, beefed up with heavy chorus and reverb effects, Vile captured admiration of the lucky few who were able to gain entrance to the festival for his early set. Possibly best known for his work with the retro, garage-psyc outfit War On Drugs, Vile has recently been touring the country as a solo act and honing his one-man show. Even though his stage demeanor was slightly peevish, his songs were commanding and reminiscent of tracks off Springsteen‘s Nebraska. Many liken his songs to rambling era Neil Young, although after seeing Vile’s set at FYF a more appropriate comparison seems to be the later years of Bob Dylan. Either finger picking or strumming his guitar without the aid of a pick, Vile’s short set acted as an exclusive show for the sparse audience gathered around the stage.

Wavves

Wavves :: FYF Festival 2009

Upon seeing manic drum alchemist Zach Hill setting up his kit with Wavves, rumors were quickly laid to rest that the percussion virtuoso is now playing with Nathan Williams, the mastermind of the San Diego-based lo-fi act. While the band sounded like unfocused adolescents noodling before the addition of Hill, with the noted drummer on board they sound more pronounced and professional. This is possibly not what the band’s fans want, considering Wavves originally prided itself on having no real instrumental talent, but as Williams howled into a microphone overtly accented with heavy chorus effects, Hill proved his worth as he banged away on his kit and occasionally employed a double bass pedal. With the duo playing full force, the audience got riled up and eager crowd surfers floated around the audience, despite signs warning the revelers not to. Near mid-set Williams announced Hill had an abscessed tooth and was in extreme pain. Under the circumstances it wouldn’t have been out of the question for Wavves to back out of the performance, but as a testament to his uncompromising character Hill played on.

Lightning Bolt

Lightning Bolt :: FYF Festival 2009

Before this exalted Rhode Island noise rock act even hit the stage, organizers were telling the unruly crowd cramming and smashing as close to the stage as possible that if they didn’t calm down and “all take a step back” there would be no show. Fans of the band could hardly be blamed for their excitement; this was the group’s first U.S. festival appearance and one of the only times Lightning Bolt, notorious for playing on the ground, would be playing on a pedestal. When the band did hit the stage drummer/vocalist Brian Chippendale and bassist Brian Gibson got such a livid, borderline violent reaction from the crowd during the first few songs that event staff told the duo to stop playing. Organizers told the mob that if they didn’t “step back and respect one another” the fire marshal would be forced to shut down the performance. This threat seemed more genuine and got the crowd to pay attention. When there was some semblance of respect amongst the audience, the band started playing again and struck into another ferocious song. Lightning Bolt played with such primal energy that it was surprising the music didn’t inspire another manic reaction. But as the band played on, focus was shifted from the crowd to the musicians onstage. Chippendale stomped on his kick pedal and rattled his toms extremely hard while he screeched into a microphone affixed to a skintight cloth mask. The drummer had a few effects pedals set up near his kit that drastically warped his vocals, adding to the overall spastic quality of the music. Additionally, Gibson played his bass with such extreme feedback and utter distortion that the sounds coming from his Stingray 5-string were not characteristic of what a “normal” bassist would typically play. Even though the crowd raged on (at one point surfing a kid around the audience on a boogie board), the show continued without further interruption from authorities.

No Age

FYF Festival 2009

The seemingly nonstop onslaught of bands comprised of drum and guitar duos continued with the quintessential Los Angeles noise rock act No Age. With strong ties to the L.A. underground music scene and the FYF – the band claimed to have played the fest six times – No Age felt like a curator of sorts for the festival. While on studio tracks the band often sounds like it’s playing on a child’s tape recorder, live, the band is more pronounced and surprisingly crisp, a nice change for those who don’t care for No Age’s characteristic lo-fi sound. As Dean Allen Spunt banged incessantly on his simple kit – comprised of a snare, bass drum, floor tom, high hats, ride and the surprising inclusion of an electronic drum pad – he seemed to be experimenting and leading the sound while Randy Randall held down the back bone of the songs on his electric guitar. The group would occasionally fall into noise jams that got lost in the incoherent instrumentation, but their overall musicianship was impressive, especially Spunt, whose vocals rarely faltered as he played his kit. The energetic crowd was definitely stoked on the performance, and as a salute to fans in the front row Randall jumped down to the photo pit for the group’s last song, giving fans a more intimate view of his playing.

Continue reading for a few more pics of FYF Fest 2009…


Wavves
Wavves

Lightning Bolt
Lightning Bolt
No Age
No Age
No Age

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Stockholm Syndrome | 09.06 | S.F.

September 11th, 2009 | No Comments

Words by: Justin Gillett | Images by: Susan J. Weiand

Stockholm Syndrome :: 09.06.09 :: The Independent :: San Francisco, CA

Stockholm Syndrome :: 09.06 :: San Francisco

It’s interesting to see a band that rarely tours actually play live. Going into the show, concertgoers don’t know if what they are about to see will be a sloppy display due to infrequent interaction or a finely tuned act that simply lacks the ability to dedicate itself to the road due to band members’ conflicting schedules. In the case of Stockholm Syndrome, it’s undoubtedly the later.

Using the term super group to define the band almost seems cliche, but for lack of a better word that’s what the band is – a super group. What originally started as a collaboration between guitarist/vocalist Jerry Joseph (Jackmormons) and bassist Dave Schools (Widespread Panic), turned into a serious musical endeavor a few years back with the additions of lead guitar shredder Eric McFadden(EMT), drum wiz Wally Ingram and versatile keyboardist Danny Louis (Gov’t Mule). Even though the group rarely tours, a testament to how busy all the members’ respective main musical endeavors are, when Stockholm Syndrome does announce an off-hand set of dates, the shows are worth attending, if for nothing more than witnessing five musicians at the top of their game perform together. The musical backgrounds and styles of the five artists are quite different, although when playing together the collaborative rock monster that is created is truly remarkable, especially considering the band typically performs less than 10 dates a year. Stockholm Syndrome’s show at The Independent in San Francisco on Sunday night found the band in great form, performing as if the group lived on the road – which, in one way or another, they kinda do.

Dave Schools – Stockholm Syndrome :: 09.06

Opening up the show was local San Francisco blues inspired rock outfit The Stone Foxes. With two guitarists, a bass player and a drummer – all sharing vocal duties – the band displayed an impressive command of the stage. Oftentimes sounding like a classic rock throwback act, the quartet’s sound was consistently driven forward with the solid, occasionally spastic drumming of Shannon Koehler and the steady, rarely faltering bass lines of Avi Vinocur. Even though all the musicians often sang together, they did not seem to be achieving any sort of refined harmonies. Instead, their vocals acted as contrasts to one another, which added to the group’s unique sound.

As Stockholm Syndrome arrived onstage and greeted the slightly older crowd, the band tuned up and launched into a massive set that would persist for the better part of two hours. Schools, playing without his stalwart Modulus Quantum six-string, opting to play a Modulus Funk Unlimited four-string instead, imminently lit up a smoke, one of the countless number he sparked during the show, and looked eager to kick off the evening’s musical ventures. While Stockholm songs are a vast departure from the Panic songs that Schools normally plays, his dominating bass lines are still extremely similar in nature. He’s proven himself a bass player that can perform in several musical contexts, yet still hold onto a characteristic semblance that makes all of his playing unique and unmistakable.

Stockholm Syndrome :: 09.06 :: San Francisco

As the band got warmed up with its first few songs, attention shifted to Ingram’s diverse drumming. Attaching hand drums to his drum kit, Ingram occasionally tapped into a sound that deviated from the typically rock driven sound of the band. Apart from Ingram’s remarkable drumming, the songs proved that Stockholm really is the love child of Joseph and Schools. The other three musicians onstage played with as much dedication as Joseph and Schools did but occasionally it felt like they may not have invested as much heart into the songs as the noted guitarist and bass player have. The songs seemed to have been crafted by Joseph as singer-songwriter tunes, then as all the musicians in the band sear their brand onto the songs they morph into something completely different. But, the core of the songs is clearly Joseph’s lyrics, which prove above all else he is a talented storyteller.

At points during the show the two guitarists would harmonize their instruments during solos, which created an amazing sound that worked surprisingly well considering Joseph’s and McFadden’s vastly different approaches. Typically, when the band’s songs called for some sort of solo, McFadden would be the player to step up and deliver. His skill on the guitar was so impressive that it’s astonishing he doesn’t command more respect amongst serious six-string followers. His style is extremely flashy but McFadden displayed such dexterity while playing that his fellow musicians seemed to be in awe of him. His showboat style is no doubt bolstered because he looks like a bad ass when he plays, too. Sporting a sneer, thin dreadlocks and tattoo-covered forearms, McFadden just looks like a dude who plays a guitar really well.

Stockholm Syndrome :: 09.06 :: San Francisco

While many of the songs seemed to lack any sort of coherent “hook,” the extended jamming and improvisation more than made up for any sort of apparent lack of mainstream listening appeal. The band brought out several tunes that will appear on their forthcoming new album, which the band claims will drop soon. On some of these fresh songs, Joseph’s voice was extremely pronounced – a welcome change to some of the band’s songs that lacked a characteristic inflection. The song selection as the band neared the end of its set seemed to really capitalize off the musical diversity that Louis displayed behind his keyboards. Ranging from reggae to Texas rock, Louis’ knack for cross-genre competence really proved that he’s one of the more talented and severely underrated keyboardists on the circuit today.

After the unrelenting set concluded, the band bowed off the stage visibly stricken from the massive amount of musical movement all had taken part in. After the crowd cheered for a bit, they returned to the stage and launched into an extremely heavy two-song encore so intense that Ingram broke his snare.

Continue reading for Dave Vann’s pics from the previous night of Stockholm Syndrome in San Francisco…

Images by: Dave Vann

Stockholm Syndrome :: 09.05.09 :: The Independent :: San Francisco, CA

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Xavier Rudd | 08.18 | Petaluma

September 1st, 2009 | No Comments

Words by: Justin Gillett | Images by: Michael J. Mullady

Xavier Rudd :: 08.18.09 :: Mystic Theatre :: Petaluma, CA

Xavier Rudd :: 08.18 :: Petaluma, CA

Australian born multi-instrumentalist Xavier Rudd has made all the right moves in the past eight years to create a reputation for himself as a highly respected touring act and one-man-band who can play everything from didgeridoo to lap steel guitar. Releasing five studio albums and traveling the globe seemingly non-stop, Rudd has brought his signature style of music, an eclectic blend of Aboriginal influenced folk-pop with hints of reggae, to reputable concert halls around the world. Onstage, the 30-year-old Rudd is known to demonstrate a level of musical prowess that’s truly remarkable. With a wide array of instruments typically surrounding the musician, Rudd often plays something completely different with each of his limbs and still somehow manages to sing.

Bucking his trend of performing solo, Rudd has shacked up with an impressive rhythm team that has acted as a backing band for his most recent North American summer tour. Comprised of Toto Moloantoa and Andile Nqubezelo, the respected bassist and drummer of the late South African reggae legend Lucky Dube‘s musical outfit, the two bring a new and different sound to Rudd’s personal tunes. Dube’s untimely death, at the hands of car thieves in Johannesburg in 2007, left the talented rhythm section with no solid musical outlet until Rudd recently asked them to tour with him. The combined force of Rudd and his two new musical comrades is something completely fresh and original for a Xavier Rudd show. The trio’s layover at the Mystic Theatre saw the band experimenting in new musical territory, while still holding true to the musical roots that Rudd has been busy laying over the past decade.

Opening the show was Canadian singer/songwriter Jeremy Fisher. Although the crowd was clearly waiting for Rudd and his upbeat performance, Fisher’s acoustic 1960s throwback material served as nice backing music as concertgoers arrived. If Fisher had displayed more chops on his guitar things probably would have gone a bit better for the Afro-sporting musician. His lack of presence behind the microphone didn’t interest the crowd and neither did his slightly corny lyrics. The audience didn’t seem to really take notice of Fisher until he bowed off the stage, which got the crowd pumped for Rudd’s performance.

Rudd, Moloantoa & Nqubezelo :: 08.18 :: Petaluma, CA

Typically acting as a lone gunman in a live setting, it was interesting to see Rudd come out and play with other artists who hold a different understanding of music. Right off the bat, as the band played their first song, it was clear that with Moloantoa and Nqubezelo this show would be uncharacteristic of Rudd’s usual performances. The kick drum on Nqubezelo’s kit pounded non-stop and added a defined South African sound to the songs. The steady beat, Rudd’s lap guitar plucking and Moloantoa’s virtuosic bass playing created a sound that conjured thoughts of some sort of organic, world inspired house music.

As Rudd often switched between lap guitar, harmonica, percussion and electric guitar, the three musicians seemed to consistently slow down the groove to concentrate on mellow jams. At times, Rudd played exotic sounding percussion instruments that accompanied Nqubezelo’s tempo-centric drumming. The ensuing rhythms were extremely exotic and sounded like something a character in a Joseph Conrad novel would hear as he floated down an African river tributary. Moloantoa’s bass playing was equally impressive, as was his stage persona, often walking to the forefront of the stage and making music right in the faces of the crowd as he kept up the backbone of the songs. Rudd was clearly excited about the direction of the music, and his two new musicians, as he occasionally dropped his instruments and danced across the stage and in-between the two South Africans.

Normally playing from a wide selection of different didgeridoos during his live sets, at the Petaluma show Rudd rarely employed the hollowed out wooden instrument. It was surprising that Rudd chose to largely ignore the sound that gives him his notoriety. When the Australian did blow into the didge, though, he demonstrated an understanding of the unique instrument that far surpasses his years. Making an ancient tribal instrument, like the didgeridoo, work in the confines of a modern musical endeavor is no easy task, but Rudd tackles the feat with apparent ease. When he blew into the wooden trumpet, it was like being transported down under and listening to some village elder blow into the musical relic.

While Rudd seemed to be tame on the didgeridoo for the duration of his set, he more than made up for his lack of wind blowing with his encore. Charging full-boar toward an instrumental assault during the last song, the three musicians capped the evening with an unabashed jam that highlighted every performer’s talents. All in attendance at the show no doubt wondered if what they just saw between the three performers was the beginnings of a lasting musical relationship or a temporary music foray.

Continue reading for more photos of Xavier Rudd in Petaluma…