San Francisco Bay Area Concerts

Review - Burning Witches @ the Goldfield Trading Post (12/17/23)

2023-12-18T20:39:00.000-08:00

Laura Guldemond of Burning Witches @ the Goldfield Trading Post (Photo: Sean Reiter)

Burning Witches flew into Roseville last weekend for the last stop of their US Tour and rocked Goldfield Trading Post with their unique sound that blends classic 80’s metal (Iron Maiden, Judas Priest) with the more contemporary tones of European metal bands such as Ghost and Avatar. The all-female band brought an energy that was in large contrast with Sacramento area death metal opening bands Cemetery Legacy and Black.

Burning Witches @ the Goldfield Trading Post (Photo: Sean Reiter)

Dutch Lead singer Laura Guldemond, who joined the Witches in 2019, served as the master of ceremonies and was a whirling, twirling lightning bolt for the entirety of their 1 hour 15-minute set. She took to the stage on the run with a high-flying kick and full-throated scream as they began the night with “Unleash the Beast” – the opening song off their latest Napalm Records release “The Dark Tower.” Songs flew in rapid succession with only the occasional break for the smiling Guldemond to speak with the audience.

Burning Witches @ the Goldfield Trading Post (Photo: Sean Reiter)

As the band went into three songs off their 2020 album “Dance with the Devil,” founding rhythm guitarist Romana Kalkuhl and touring lead guitarist Courtney Cox (from the band Iron Maidens – not Friends) created a twin-engine guitar attack reminiscent of the glory days of both Maiden and Judas Priest. Bassist Jeanine Grob and drummer Lala Frishknecht kept things heavy and hard on a night that had none of the ballads that many would associate with female metal bands of the past. Both Kalkuhl and Cox impressed with their frequent soloing and Grob’s bass lines were front and center throughout much of the concert. Guldemond provides pinup looks (think Margot Robbie with spikes) with energy, charisma and the vocal chops to deliver songs that provide few vocal breaks.

Burning Witches @ the Goldfield Trading Post (Photo: Sean Reiter)

“Wings of Steel” and “Sea of Lies” led to the title track of the 2020 album “Dance with the Devil.” Before “Sea of Lies” Guldemond asked how many in the audience were seeing them perform live for the first time and nearly every hand went up. “We Stand as One” off the 2021’s “The Witch of the North.” Throughout the entire show, heads were banging and hair flying - both on stage and in the audience as the Witches kept a stirring their cauldron of metal. The band dipped once more into 2020 with “Lucid Nightmare” and the song saw Guldemond coming down into the pit in front to sing along with the crowd. She returned to the stage and the current album with “Evil Witch” and the title track “The Dark Tower.”

Burning Witches @ the Goldfield Trading Post (Photo: Sean Reiter)

The band briefly caught their breath on the side stage to the intro for 2018’s “Hexenhammer” before delivering a masterful version of one of only two pre-Guldemond songs. Guldemond led the audience in chanting along and then seemed to love Cox’s screeching solo came right before this year’s “World on Fire” and the main set finale of “Flight of the Valkyries” with the crowd swinging their arms and phone lights back and forth as the two guitars soared and Frishknecht drove machine gun style bass drums.

Burning Witches @ the Goldfield Trading Post (Photo: Sean Reiter)

If there was any disappointment on the night, it was that the audience wasn’t treated to any of the terrific covers Burning Witches have cast their spell over in recent times. Ozzy Osbourne’s “Shot in the Dark,” W.A.S.P.’s “I Wanna’ Be Somebody” and Dio’s “Holy Diver” are all out in the digital streaming world to enjoy. Without touching the covers, The Witches returned to the stage for the final time in 2023 for a two-song encore of “The Witch of the North” and their theme song “Burning Witches” – delivered as a furious, roaring anthem with Guldemond going to the deepest growls and highest screams of her register.

Cemetary Legacy @ the Goldfield Trading Post (Photo: Sean Reiter)

Opening the show were a pair of Sacramento-area death metal acts. Both opening band Cemetery Legacy and middle act Black brought the hard and heavy guitars and growls and showed how the Sacramento-area carries the speed metal / death metal family flag just as proudly as their more-known cousins in the Bay Area. Cemetery Legacy describes their music as Tech Death Metal with lead guitarist Steve Lujan providing much of the on-stage leadership on the night of his birthday. The five-piece band showcased their new single “Divine Desecration” and may have brought the largest audience with them on the Sunday night.

Black @ the Goldfield Trading Post (Photo: Sean Reiter)

Long-time thrash metal band Black was led by lead singer Don McMillan III and featured driving bassist Kelley Brown – whose movements and string pounding were reminiscent of both Red Hot Chili Pepper’ bassist Flea and Metallica’s Robert Trujillo. As with all the night’s bands, Black featured two guitarists – Erick Von Krauss and Austin Elkington provided hair-flying speed fretting throughout while able drummer Gregorio Jimenez Jr. drove the band’s pace with songs such as “Untouched by Light.” Like their fellow openers, they received a very warm hometown welcome.

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Review - Music Heals International’s 10th Anniversary Concert @ Sweetwater Music Hall (11/20/23)

2023-11-22T22:21:00.000-08:00

Jennifer Hartswick & Christian McBride @ Sweetwater Music Hall (Photo: Sean Reiter)

Music Heals International’s 10th Anniversary concert Monday night at Sweetwater Music Hall in Mill Valley was a memorable evening for a terrific cause. Rising out of the devastating 2010 earthquake in Haiti, the organization funds music education and delivers hope to children at eight schools in Haiti – where gangs control an estimated 80% of capital city Port-au-Prince. In a situation where survival and fear often rule childhoods – MHI provides hope through giving young people the opportunity to develop musical talents - along with life skills and confidence – via instruments, instruction and opportunities to play. With much success achieved in Haiti, MHI has expanded their efforts to Venezuela as well.

Sara Wasserman @ Sweetwater Music Hall (Photo: Sean Reiter)

MHI Executive Director and Founder Sara Wasserman (daughter of RatDog cofounder and bassist Rob Wasserman and a touring musician in her own right) served as host of the evening and introduced a particularly poignant piece of the night. For this night only, Sara brought her father’s standup bass out of its retirement to be played by legendary jazz bassist and eight-time Grammy Award winner Christian McBride.

Paul Beaubrun @ Sweetwater Music Hall (Photo: Sean Reiter)

As Rob Wasserman’s bass stood watch over the first set, Paul Beaubrun (Arcade Fire) - a mainstay of the annual Music Heals International events took the stage. The Haitian singer-guitarist brought his infectious happiness and positivity and circulated throughout the room during his time on stage. After starting out his set solo, he was joined by crossover turntablist DJ Logic and then by drummer Jay Lane of Dead & Company, Bob Weir & Wolf Bros and RatDog for an experimental jam that had the benefit crowd swaying.

Crosby, Lebo, Beaubrun, and Grisman @ Sweetwater Music Hall (Photo: Sean Reiter)

Beaubrun soon widened the all-star event by bringing up jam band royalty and Bay Area favorites to join him. Guitarist/singer Dan “Lebo” Lebowitz (ALO) and bassist Sam Grisman (son of legendary bluegrass musician and Jerry Garcia co-conspirator David “Dawg” Grisman) joined Beaubrun, along with multi-instrumentalist Jason Crosby on keyboards. Beaubrun rode the energy of the group and then extended into the crowd – calling for everyone to raise and then hold hands. The entire room joined along in one of the night’s most memorable moments.

Lebo, Nelson, and Grisman @ Sweetwater Music Hall (Photo: Sean Reiter)

After a terrific Bob Marley cover, Beaubrun yielded the stage to more Bay Area music loyalty as surprise guest David Nelson (New Riders of the Purple Sage, Jerry Garcia Band, David Nelson Band) came out and sat center stage with both the audience and his fellow musicians giving rapt attention. Nelson, who played as a guest artist on Grateful Dead’s original “Aoxomoxoa”, “Workingman’s Dead” and “American Beauty” albums delivered an excellent version of “Friend of the Devil” among other songs. Crosby led a compelling “Lazy River Road” after Nelson exited the stage, before Lebo introduced singer, trumpeter Jennifer Hartswick to join. Those familiar with the jam band scene know that Hartswick is renowned for her soulful voice and she wowed throughout the rest of the night.

Jay Blakesberg, Sara Wasserman, and Richard Habib @ Sweetwater Music Hall (Photo: Sean Reiter)

The intermission saw Sara Wasserman and MHI Advisory Board Member Richard Habib conducting a very successful auction that was highlighted by contributions from photographer Jay Blakesberg and guitars from Martin (signed by the night’s performers) and a very special Gibson collector’s edition to be signed to the winner by Willie Nelson and his son Lukas Nelson (a frequent performer at these benefits and a MHI Board Member). The younger Nelson, who was unable to attend due to touring conflicts that arose from his Maui fire relief work, sent a heartfelt video for the occasion. Sara Wasserman announced that a share of the night’s proceeds would also go towards Maui’s recovery. The auction itself appeared to generate $20,000 or more in donations.

Sara Wasserman & Richard Habib @ Sweetwater Music Hall (Photo: Sean Reiter)

Following the auction, Wasserman introduced the night’s headliner McBride. The Philadelphia native proudly raised her father’s bass and played an engrossing solo bass before once again welcoming Hartswick to the stage. The two had a magic on-stage connection with Hartswick’s voice and trumpet-playing complementing McBride’s spectacular work on bass. The rest of the night saw the lineup mix multiple times as the Dead and jam catalogs were explored. Lebo, Crosby and Lane returned to the stage for several songs and then McBride, Lane and DJ Logic put on a three-man improvisational lesson for all in attendance. Later, Lane (who has a terrific voice and can often be heard providing extra vocal depth for Weir & Wolf Bros) even took a turn as lead singer.

Lebo, Hartswick, and McBride @ Sweetwater Music Hall (Photo: Sean Reiter)

The Music Heals International benefit was once again a triumphant and memorable fund-raiser - fueled by Sara Wasserman’s dedication and the contributions of the Bay’s music royalty and Christian McBride. If you are looking to help their efforts, online donations are accepted at this link.

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Review - Little Miss Nasty @ Jolene's (11/19/23)

2023-11-21T21:15:00.000-08:00

Little Miss Nasty @ Jolene's (Photo: Sean Reiter)

I wasn’t sure what to expect when I went to cover Little Miss Nasty on the final date of their US 21 city “Bad Girls Romance” tour Sunday in San Francisco. LMN’s unique brand of “heavy metal burlesque” was a blend of dance, theater, contortion, live music and advocating for the rights of women. Started over a decade ago, LMN has toured the world and maintained residencies in cities like Las Vegas and New York.

Gina Katon (center) of Little Miss Nasty @ Jolene's (Photo: Sean Reiter)

While their performances are normally staged in theaters with full stages, Jolene’s Bar & Grill has been the San Francisco venue of choice since their first touring days. The performance was immersive throughout the bar with the pool table converted to a small stage on the bar floor, a free-standing contortionist bar positioned near the front entrance and the bar top itself converted into the main stage for the various performance scenes. “This is a different show because of the venue size, but Jolene’s has always been great to us and we love coming here” manager Marc Jordan told me before the show.

Little Miss Nasty @ Jolene's (Photo: Sean Reiter)

The audience was energetic and impassioned. Jolene’s is self-described as “San Francisco’s queer destination” and while the lesbian community was heavily represented, there was diversity among the audience and a welcoming and open spirit. While it appeared obvious that I was the only 50+ male in the crowd, crowd members were graciously friendly and I was asked many times before the show how many times I had seen or photographed LMN previously. Though it was my first time, every attendee I spoke with had seen their show before and one by one, they smiled knowingly and told me that the show would be wild and I would love it – and they were right!

Little Miss Nasty @ Jolene's (Photo: Sean Reiter)

There is nothing that brings people together more than the joy of shared experiences and LMN’s performance demonstrated that once again. The first set was filled with rapid-fire short performance dance numbers with most set to the pounding heavy metal. Routines alternated between the stages and even out into the audience on occasion. The crowd roared with approval for every one of them. Several times I heard audience members recognizing the next scene with an “Oh, I love this one!”

Little Miss Nasty @ Jolene's (Photo: Sean Reiter)

Throughout the night, the six female performers onstage moved between various costumes and states of dress (in line with the traditions of burlesque, there was no “nudity” as each of the women wore black tape to cover their nipples). Routines poked at organized religion, authoritarianism and traditional sexual roles.

Little Miss Nasty @ Jolene's (Photo: Sean Reiter)

The second set took the act to the next level - musically and politically. LMN introduced their live musical element. While most of the members took to the mic at some point, LMN leader Gina Katon stood out as their musical leader. Katon serves as lead singer of the band Gina and the Eastern Block and much of the second act centered around performance pieces focused on songs such as “Bad Girls Romance”, “Me and You” and “Freak on a Leash.” Meanwhile, LMN were stressing messages of female empowerment and freedoms that resonated universally with the crowd on hand. Video boards behind the act sent multiple messages including one extended segment that leaned heavily into video around the “Woman, Life, Freedom” movement in Iran. The performances stressed women taking back power over their own bodies and sexual experiences or preferences.

Little Miss Nasty @ Jolene's (Photo: Sean Reiter)

The audience stayed throughout the entire two-set two-hour performance and seemed to gain strength in appreciating and enjoying the routines. As the night went on, they got louder and more boisterous and the performers reciprocated and continually taking the energy higher. At the finish, Katon took the microphone to issue thanks to the audience for their contribution to the night’s success. While I didn’t know what to expect going in, I knew coming out that I had been lucky enough to see a powerful and unique spectacle. I would wholeheartedly recommend the LMN to anyone open to liberal (and liberating) entertainment experiences.

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Review - ZZ Ward @ Bimbo's 365 Club (11/16/23)

2023-11-18T21:56:00.000-08:00

ZZ Ward @ Bimbo's 365 (Photo: Sean Reiter)

It was a family affair Thursday night in San Francisco as headliner ZZ Ward brought her father and 3-year-old son, along with a well-along-the-way pregnancy into a sold-out Bimbo’s 365 Club. “I’ve got a lot of plans for next year. This is one of them,” she joked – introducing the elephant in the room late in her 90-minute set.

ZZ Ward @ Bimbo's 365 (Photo: Sean Reiter)

Ward may have sat down for a couple more songs than she would have normally, but she delivered a no excuses, full-speed ahead set that leaned into her fun, sexy, and sometimes self-described “sleazy” songs. She displayed her impressive musical range – shape shifting between country, blues, rock and club music and leaned nicely into the wide-ranging tracks on her latest album Dirty Shine. Never one to be shackled by one genre – Ward now finds herself on the label she and her husband founded “Dirty Shine Records” and her album shouts of a newfound creative freedom.

ZZ Ward @ Bimbo's 365 (Photo: Sean Reiter)

Ward took the stage to new album tracks “Forget About Us” and the twangy, ripe for a singalong "Baby Don’t” and it was immediately clear that most in the audience were very familiar with the most recent entries into her catalog. She drifted back eleven years for two songs off 2012’s Til the Casket Drops with “Put the Gun Down” – a song that straddles country, pop and rap - and the title track a more straight-ahead rocker. The pace got much faster with “Ride” – a song originally performed with Gary Clark, Jr for the Cars 3 Soundtrack. Wednesday, the song was delivered at a breakneck pace as her accompanying band showed their flexibility to change gears at a moment’s notice.

ZZ Ward @ Bimbo's 365 (Photo: Sean Reiter)

“Tin Cups,” her duet with Aloe Blacc, showcased the new album’s genre variety, while staying close to Ward’s favored themes of whiskey, love and sex. Blacc’s vocals were added into the songs gravelly intro and then gave way as she sang; “Oh my my, these whiskey lies ain’t ever gonna tell the truth” and “Oh, line ‘em up, line ‘em up like a tin cup. Yeah, I love ‘em, then I let them down.” Ward followed with the slow, beautiful “Last Love Song” – a heartbreaker off her debut album that she sang with authentic and magnetic emotion.

ZZ Ward @ Bimbo's 365 (Photo: Sean Reiter)

After “Bag of Bones,” Ward warned the audience “We are going to continue to get a little more sleazy” before going into “Charlie Ain’t Home.” The band then went into a three-song mini-set of blues standards with Ward demonstrating her deep love of her father’s favorite music – including a cover of Son House’s “Grinning in Your Face” – as she sang and played terrific harmonica while seated. “Lil Darlin” followed the blues interlude with a terrific bluesy guitar solo and 70’s vibe.

ZZ Ward @ Bimbo's 365 (Photo: Sean Reiter)

Two songs that leaned on piano followed with “The Dark” and then “365 Days” with the audience clapping along. She wrapped up the main set with an extremely fun “If I Could Be Her” and over the top “Move Like You Stole It.” The encore saw the new dance song “OverdoZZe” and then a return to 2012 with an electric “Blue Eyes Blind” that sent the crowd home buzzing.

Lanie Gardner @ Bimbo's 365 (Photo: Sean Reiter)

Opening the night, singer Lanie Gardner started the show accompanied only by the acoustic guitar of Vance Mazure. The North Carolina native might well be called an “internet sensation” (her cover of Fleetwood Mac’s “Dreams” has had over 100 million YouTube views), but her online success was more than backed up by her in person talent and humble spirit. Gardner wowed the crowd not only with “Dreams,” but also her own “Daughter of a Gun,” “Rose & Wildfire” and the vengeance song “6 Feet Deep.” There’s no doubt that Gardner has a huge near future ahead.

Lanie Gardner @ Bimbo's 365 (Photo: Sean Reiter)

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Review - Nathaniel Rateliff @ the Orpheum Theatre (11/15/23)

2023-11-17T22:45:00.000-08:00

Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter)

It seems almost nonsensical to say that Nathaniel Rateliff and his 10-piece band brought an intimate performance to San Francisco’s Orpheum Theatre on Wednesday night, but that is exactly what the passionate audience received. His “And It’s Still Alright Tour” focused on Rateliff’s more sensitive solo material, rather than his high energy work with “The Night Sweats” that made him a household name. The tour that began before Covid in 2020 and was interrupted by a full band tour - was finally approaching its finish. “It took us four years to bring you this show,” Rateliff told the audience.

Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter)

“For those of you who are surprised by the songs in this setlist and didn’t read the very large print about this tour, I’m sorry.” Indeed, the only Night Sweats song to show up Wednesday was “Still Out There Running.” “We never play it with the Night Sweats because it feels like it’s gonna take the steam out of the show.” Indeed, the show didn’t have a steam engine locomotive pace he’s known for. Rather, it felt like a lovely Sunday drive through the redwoods and along the Pacific coast. The songs found their power in Rateliff’s clear voice bringing home all their emotions, the elevating harmonies of his terrific backing band and the added depth of well-timed inclusions of the 4-person strings section.

Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter)

“Tonight #2” saw a darkened start to the concert with Rateliff and his acoustic guitar illuminated by barely a candle’s worth of light as his haunting vocals filled the packed theater before the string section kicked in and the supporting musicians layered in their backing vocals. The lights came up brighter and the full band kicked in for “All of Nothing.” “Expecting to Lose” found a fun groove – the song’s vibe had it stagger down the street like a happy drunk walking home after closing time.

Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter)

“Shroud” was delivered as the night’s first big rocker – supported by red lighting and keeping a skip pace with interludes of Rateliff and his beautiful harmonizers interspersing lines like “I’ve got no feeling about it at all” stretched out gracefully. Rateliff’s two drummer support was crucial in this song, driving the pace forward and adding layers to the rhythm. The string accompaniment of “Something Beautiful” was spectacular as the song was elevated from a piano-focused fun, frustrated love song to a symphonic expression of its possibilities.

Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter)

“You Need Me” was highlighted by lighting that was reminiscent of the late 60’s – early 70’s American Bandstand with the lyric “It’s like you’re telling me now in the middle of the shit “I need you”” sung so sweetly. “What a Drag” took the crowd into a Phil Specter-like mixing with Laurel Canyon guitar sounds. After playing the lone Night Sweats’ entry of “Still Out There Running,” Rateliff stripped the sound way down with just his guitar to open “I Am,” before he was slowly joined by keyboards, and the two drummers to bring the song to a powerful end.

Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter)

“These songs were huge in Germany and the Netherlands and then no one cared about them,” Rateliff joked. “But I’m excited to share them with you tonight.” With that, he launched into “Boil & Fight” off 2010’s In Memory of Loss. He was supported by beautiful slide guitar throughout the song. Rateliff dedicated “You Should’ve Seen the Other Guy” to his bootlegging great grandfather and then went into the tender “Early Spring Till” delivered with acoustic guitar and piano accompaniment and sung with a wounded howl. Indeed, Rateliff’s solo songs are deeply personal and often at least semi-autobiographical of a long, not easy journey with loss and pain dotting his path.

Nathaniel Rateliff @ the Orpheum Theatre (Photo: Sean Reiter)

On the other hand, “Kissing Our Friends” was presented as a sweet take on being lonely before a gorgeous version of “Oil & Lavender” gave another opportunity for the string section to add deep emotion to a song. Rateliff delivered the song at a crawl, plucking every feather of emotion as the strings filled the nearly century-old theater (1926).

Nathaniel Rateliff & Kevin Morby @ the Orpheum Theatre (Photo: Sean Reiter)

“Putting (“And It’s Still Alright”) out in 2020 was my way of figuring out how to deal with loss.” The album’s title track was accompanied by images of a psychedelic drive through a forest. “This” came forth with a spooky 1930’s style haunting song with a tango pace and vibe. Opener Kevin Morby joined Rateliff and his band for a cover of Leonard Cohen’s “There is a War” (more about Morby in a moment). Rateliff closed the set with a sparse, acoustic “Still Trying” (with its anchor lyric of “I don’t know a goddamn thing”) and a big, powerful version of “Time Stands.” Returning for the encore, Rateliff encouraged the crowd to stand and the entire audience rose for “Redemption” and its elevating chorus of “Just set me Free” followed by the closing “Mavis.”

Kevin Morby @ the Orpheum Theatre (Photo: Sean Reiter)

Kevin Morby served as the perfect opener for this tour of Rateliff – provided a transcendent mixture of energy and haunting vocals. It was at least the second time through the Bay Area this year for the prolific Kansas City songwriter who was last seen around here up on Mount Tam for Sound Summit. Morby made multiple mentions of San Francisco and seemed generally thrilled to be back in The City. He dedicated “City Music” to San Francisco and included multiple regional references within Wednesday night’s version.

Kevin Morby @ the Orpheum Theatre (Photo: Sean Reiter)

Delivering songs as a trio with a fellow guitarist and drummer, Morby’s version of “This is a Photograph” – the title track off his 2022 album – with terrific energy and set the crowd abuzz. He followed with an almost spoken word version of “Five Easy Pieces” before sitting at the piano for “Destroyer” and then delivering “Rock Bottom” as he aggressively played his guitar. He finished with a sweet and slow version of “Beautiful Stranger” and received a very warm ovation from the capacity crowd.

Kevin Morby @ the Orpheum Theatre (Photo: Sean Reiter)

As many conflicts raged throughout San Francisco with the APEC controversies, Nathaniel Rateliff and Kevin Morby brought forth a supreme night of inner, emotional turmoil brought forward in a heartfelt, accessible and beautiful concert that will be well remembered by those in attendance. The demonstrated the power of great songwriting and soul-filled performances to resonate inside each of us internally while pulling us together as a collective.

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Review - Queen + Adam Lambert @ the Chase Center (11/8/23)

2023-11-09T19:22:00.001-08:00

Queen + Adam Lambert @ the Chase Center (Photo: Kevin Keating)

As the clock approached 8:30 pm on a Wednesday night, anticipation built within the Chase Center in San Francisco. A mesmerizing display of mechanical gears unfolded on a vast screen that spanned the front of the colossal stage. Slowly, robots emerged, navigating the turning gears, and signaling the imminent commencement of the show. The atmospheric introduction gave way to the rhythmic resonance of drum cymbals and keyboard synths, heralding the beginning of Queen's "Machines (or Back to Humans)." Freddie Mercury's recorded vocals pierced the air with the opening lyric, 'When the Machines Take Over.' And the arena was instantly bathed in a kaleidoscope of lasers emanating from every angle, creating a dazzling spectacle. Simultaneously, the mammoth screen ascended toward the rafters, unveiling the legendary collaboration of Queen + Adam Lambert.

Adam Lambert & Roger Taylor @ the Chase Center (Photo: Kevin Keating)

The transition from "Machines" seamlessly flowed into "Radio Ga Ga," where Adam's dynamic vocals enveloped the audience at the Chase Center in a spiritual experience. It was only the first song of the night and already it felt as though Freddie Mercury's presence was casting a benevolent gaze, manifesting through Adam and connecting with the crowd in a profound way.

Adam Lambert @ the Chase Center (Photo: Kevin Keating)

Renowned for his theatrical flair, Adam Lambert appeared onstage adorned in a musical superhero ensemble. His silver and purple attire featured a flowing cape, chest plate, arm-length gloves, and oversized sunglasses reminiscent of Bono's iconic Fly glasses. Positioned just behind Adam's central stage location, Roger Taylor held his place behind the drum kit, while the legendary guitarist, Brian May, occupied a spot not far from the center-right of the stage. Throughout the night, both Adam and Brian gracefully took turns navigating the 50-foot long catwalk, which extended from the stage towards the center floor of the arena.

Adam Lambert & Brian May @ the Chase Center (Photo: Kevin Keating)

From my perspective, I can't stress enough how well Adam Lambert fits into the monumental role left behind by Freddie Mercury's passing. There's simply no other living singer who can capture the flamboyance and master the vocal range that Freddie so brilliantly possessed. Despite Adam's decade-long tenure touring with Queen, this marked my inaugural experience witnessing their performance, and it left me utterly captivated. The evening unfolded as a tour de force, guiding the audience through a spectacular array of Queen's greatest hits. It effortlessly highlighted not only the dynamic range of Adam's vocals but also underscored the remarkable diversity found within the extensive catalog of Queen's hits.

Queen's Brian May @ the Chase Center (Photo: Kevin Keating)

Honestly, it's a challenge for me to pinpoint my favorite moments from the night because there were just so many remarkable ones! In a particularly memorable instance during "A Kind of Magic," Brian May graced the end of the catwalk, treating the audience to a guitar solo while launching fireworks from the neck of his guitar. Another poignant moment unfolded when Brian paused to address the crowd before "Love of My Life," a song dedicated to Freddie. He candidly shared his feelings of insecurity, expressing, 'you know I love to hear you sing, and I love to see your lights.' As he sat at the edge of the catwalk, playing the opening notes on his acoustic, the Chase Center illuminated with the glow of the crowd's collective phone lights.

Adam Lambert @ the Chase Center (Photo: Kevin Keating)

If I had to choose just one song from the night, it would undoubtedly be the rendition of "Who Wants to Live Forever." The performance started with Freddie's recorded harmonized vocals, seamlessly transitioning into a hauntingly melodic crescendo of Adam's beautifully elongated verses. His notes resonated, gracefully soaring throughout the entire arena, leaving an indelible impression that still gives me goosebumps when recalling the performance. Brian's guitar introduced an additional layer, employing a slow, layered effect that perfectly complemented Adam's emotive delivery.

Adam Lambert & Roger Taylor @ the Chase Center (Photo: Kevin Keating)

Undoubtedly, the biggest hits of the night were the true crowd-pleasers – a well-deserved accolade. The main set concluded with the powerful performances of "The Show Must Go On" and the timeless "Bohemian Rhapsody." Following a brief intermission, the band returned to deliver a spectacular encore featuring the anthems "We Will Rock You," a reprisal of "Radio Ga Ga," and the triumphant finale, "We Are the Champions." As we, the audience, exited the venue that night, there was an unmistakable sense that we had all just experienced a musical victory akin to winning the Super Bowl. Champions indeed, and what an extraordinary night it was!

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Review - Phil Lesh & Friends @ the Fillmore (11/3/23)

2023-11-05T16:51:00.000-08:00

Phil Lesh & Friends @ the Fillmore (Photo: Sean Reiter)

“My nephew says this is Phil Lesh’s last concert,” a man in his 60’s said to me as we stood outside The Fillmore on Friday night. I couldn’t help but laugh a little as false reports of 83-year-old Phil’s health and impending inability to perform seem to have circulated in whispers and murmurs for more than a decade around the scene. “Not that I’m aware of. That’s the first I have heard of it – this time,” I replied. Spoiler alert: Phil Lesh is going anywhere - except to the stage. Four hours later, Lesh had put the night’s configuration of “Phil Lesh and Friends” through fourteen jam-filled songs over two sets in a performance that lasted nearly two and a half hours. He laid the rumors to rest before the encore, letting the crowd know that he would be back to the Fillmore for two more concerts in December and encouraging everyone to keep an eye on a new website. “Terrapin is not a physical place,” he said. “It’s this community.”

Phil Lesh @ the Fillmore (Photo: Sean Reiter)

Phil had taken the stage smiling at 8:30 pm – bringing with him a band composed of his son Grahame Lesh on guitar, Eric Krasno on the other guitar, the eclectic keyboardist (and video game music director) Steve Molitz and drummer Nathan Graham – the younger Lesh’s bandmate in Midnight North. Leading off with Krasno singing the frequent Grateful Dead opener “Playing in the Band” – the band delivered a heavily psychedelic, slithery version of the song that saw each of the members given a chance to stretch and finished with wild, spacey sound effects before they transitioned into “Bertha.” Grahame Lesh led the vocals as the band leaned heavily into Molitz’s organ in the early going and then saw Krasno light a fire with his clean, jazzy guitar on his signature guitar followed by Grahame taking his bluesy Gibson for a ride. Throughout the song, Phil and Graham delivered an accelerated pace that drove the song forward.

Grahame Lesh @ the Fillmore (Photo: Sean Reiter)

Phil Lesh called for a timeout following “Bertha” to address what he deemed some technical difficulties. The author of Searching for the Sound has never been one to settle for anything less than ideal sound. As levels were adjusted and new cables and connections were tested, I was reminded of the time he halted a free outdoor show at Terrapin Crossroads to replace a speaker that wasn’t to his liking. On this night, the solution was about ten minutes in coming before Grahame Lesh struck the familiar opening of “China Cat Sunflower.” Phil’s bass led the band through a five-minute version that segued smoothly into its couplet companion of “I Know You Rider.” The song saw all three front strings players harmonizing on the early vocals as spiraling graphics were projected behind them. While the night’s music was completely top-notch, the lighting and projections seemed uninspired Friday – especially compared with the visual extravaganza that Lesh’s Dead bandmate Bob Weir had put on less than a week earlier at Frost Amphitheatre. On this night, the light show leaned too heavily on just flooding the stage with minimal house spots of only blue and magenta tones. The occasional use of the house disco ball added a bit to the audience spectacle on a few occasions. The most interesting visual dynamic of the concert was the leveraging of The Fillmore’s famous chandeliers (all too often ignored in performances at the historic venue) with variable illumination levels and colors.

The Fillmore's chandeliers (Photo: Sean Reiter)

Grahame Lesh and Krasno played tight synchronized solos on “Rider” before Lesh laid in his patented “Phil Bombs” on bass as the front three once again harmonized at the song’s end. Krasno then led the way on the last two songs of the first set. “Brown Eyed Women” once again saw solos handed across the stage with Krasno yielding to Molitz before Grahame Lesh soared once more on guitar. Krasno showcased his terrifically soulful voice with the ending of the song. A fun, long version of “Ramble on Rose” followed and carried the crowd into a brief reprise of “Playing in the Band” and then on to intermission.

Eric Krasno @ the Fillmore (Photo: Sean Reiter)

The first half hour of the second set delivered a charge to the audience as Grahame Lesh took lead vocals on a terrific “Help on the Way” with Molitz’s organ and sound effect work once again serving as a rightful center of attention. Nathan Graham then led the band into a wild “Slipknot” that saw the drummer getting the opportunity to deliver his sound forward. Rather than completing the traditional “Help->Slip->Frank” triplet with “Franklin’s Tower,” the band then rocketed into a fast-paced “Deal” with Krasno taking lead vocals and showing his most bluesy guitar-playing of the evening following more heroics from Molitz on organ and Grahame Lesh on guitar.

Phil Lesh & Friends @ the Fillmore (Photo: Sean Reiter)

The “Disco Dead”-era staple of “Shakedown Street" was delivered at a blistering, full-speed ahead pace with Krasno bringing the psychedelic guitar sound and Phil Lesh and Nathan Graham driving a breakneck pace. Grahame Lesh took the first round of vocals before Krasno took the second and leading the crowd into a hearty “WOOOO” before the song finished with Grahame Lesh assuming main mic duties once more.

Nathan Graham @ the Fillmore (Photo: Sean Reiter)

The second half-hour of the second set began with a gorgeous version of “Lady with a Fan” and then led into “Terrapin Station”. Grahame Lesh sang the first verse with Phil Lesh taking the second and the two passed lead vocal duties back and forth throughout. It was a joyful sight to watch a father and son share such a special moment and when Phil struggled to recall a lyric – shaking his hand to a round of encouragement from the crowd - Grahame jumped in to complete it and lead his father back to the path. Molitz laid in beautiful piano throughout the song and as Terrapin reached its crescendo - Krasno and Graham’s guitars took the spotlight as the crowd raised their arms triumphantly to unite in the chorus.

Steve Molitz @ the Fillmore (Photo: Sean Reiter)

Grahame Lesh then delivered the most beautiful song of the night as they performed a cover of Robert Hunter’s “Jack O’Roses” – the seventh song of the original “Terrapin Station Suite” that was never performed by the Grateful Dead and has been molded and shaped by Grahame and his brother Brian since Hunter. On this night, Grahame Lesh’s vocals were full of longing and heartbreak while Krasno added a deeply bluesy guitar to the proceedings. The song was the highlight of the night to me.

Phil Lesh & Eric Krasno @ the Fillmore (Photo: Sean Reiter)

After the band briefly conferred on stage, they dropped back into “Slipknot” before closing the still open triplet as Krasno and Molitz then led them into a rollicking version of “Franklin’s Tower.” The crowd shrieked with delight as Phil sang “God save the child that rings that bell” and as Grahame Lesh went into a riveting solo that sent his fingers on a wild tour up and down the fretboard. The whole auditorium sang along with the “Roll Away the Dew” chorus to end the main set.

Phil Lesh & Friends @ the Fillmore (Photo: Sean Reiter)

Phil Lesh returned to the stage to make his announcement about returning to The Fillmore in December and hint at much more to come with Terrapin Clubhouse. He then brought everyone back on stage and the band blistered through an incredibly fast-paced, electric version of the traditional encore favorite of “Ripple.” five-minute version with Phil taking lead vocals sent the crowd happily out into the street with the promise that there would be more “songs to fill the air” to come.

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Review - Bob Weir & Wolf Bros. with the Stanford Symphony @ the Frost Amphitheater (10/29/23)

2023-10-30T23:58:00.001-07:00

Bob Weir & Wolf Bros with the Stanford Symphony Orchestra @ the Frost Amphitheater (Photo: Sean Reiter)

The wizardry of Bobby Weir was on full display as he cast his latest musical spell on the Bay Area by adding the Stanford Symphony Orchestra to his Wolf Bros and Wolfpack lineup for a breathtaking Sunday night concert at Stanford’s Frost Amphitheater. Birthed from an idea that began with a request to do a benefit for the Marin Symphony over a decade ago, Weir and co-conspirator composer Giancarlo Aquilanti readied some of the most treasured songs of the Grateful Dead songbook for a grand symphonic expression. Having previously performed the reworked and reinvigorated compositions with the National Symphony in Washington DC and the Atlanta Symphony, Sunday marked their West Coast premiere.

Bob Weir & Wolf Bros with the Stanford Symphony Orchestra @ the Frost Amphitheater (Photo: Sean Reiter)

Perhaps no better venue could have been selected than the Frost. It was a home gig for Aquilanti – Stanford’s Director of Music Theory Program and Music Director for the Wind Symphony – and Weir was just miles away from his boyhood home in nearby Menlo Park. The last October weekend night at the outdoor venue harkened back to the traditional weekend of Neil Young’s beloved Bridge School benefit concerts at Shoreline for several decades. As it did for those concerts, the night started out warm and comfortable, but saw the Fall effect as the temperature dropped more than 20 degrees from the start of the concert to the end. Of course, with this being a Bobby Weir concert that meant a concert that started at 6:30 went all the way to the 10pm curfew (and shhhh…. maybe a few minutes beyond). Given that Weir and the orchestra took only about a twenty-minute break, the concert clocked in at over 3 hours of playing time.

Bob Weir & Wolf Bros with the Stanford Symphony Orchestra @ the Frost Amphitheater (Photo: Sean Reiter)

The evening began right on time at 6:30pm with the orchestra taking their seats and putting the crowd in the mood as conductor Paul Philips led them in delivering a ten-minute overture that saw brief snippets of many beloved Dead favorites. Then Weir, the Wolf Bros and Wolfpack took to the stage. Drummer Jay Lane and bassist/producer/record label president Don Was formed the original Wolf Brothers trio that was quickly added to with Dead & Company / Further keyboardist Jeff Chimenti and slide guitarist Barry Sless. Weir – who has continually looked to both strip down and expand the Dead sound over the last decade - also brought on the string and brass section of Mads Tolling, Adam Theis, Alex Kelly, Brian Switzer and Sheldon Brown and labeled them the Wolfpack. On this night, the group of 10 players was joined onstage by nearly 100 other players -- all of which were Stanford students.

Bob Weir & Wolf Bros with the Stanford Symphony Orchestra @ the Frost Amphitheater (Photo: Sean Reiter)

Conductor Phillips welcomed Weir by introducing his many achievements culminating with “and quarterback of the Tamalpais Chiefs” – a reference to Bobby’s Mill Valley flag football team that he captained back in the day. “Jack Straw” started out the main set with its slow and soft beginning that grew in both energy and power throughout the song. If there was to be any criticism of the night it would be for the sound in the early going. The symphony sound seemed to be pulled forward and enveloping the music of Weir & the Wolf Bros. While having Weir’s signature guitar work too low in the mix was a loss, it made for unique, strongly symphonic presentations of the first set starters – particularly “Playing in the Band” and “Uncle John’s Band.” By the time the traditional “Sailor-Saint” couplet of the heartaching “Lost Sailor” and the rapturous celebration of “Saint of Circumstance” was underway, it felt like the songs had always been meant for this treatment. Weir the Wizard and his companions had the capacity crowd both mesmerized and celebrating with all aisle restraint having been lovingly compromised by twirlers and fans aiming for a better view.

Bob Weir & Wolf Bros with the Stanford Symphony Orchestra @ the Frost Amphitheater (Photo: Sean Reiter)

It would be impossible to heap too much praise on the masterful lighting technicians that continue to provide visual magic to Weir’s stage performance. Given the sun being completely set this late in the season, magnificent lighting illuminated the stonework behind the stage on either side of a black backdrop and lights shone in the trees that flank the sides of the bowl. Set one was brought to a strong close with the symphony premiere of the “Weather Report Suite” and then an energizing “Let It Grow.” Unlike his usual “We’ll see you in just a bit” intros to the set break, on Sunday Weir and the cast of 100 had the lights come up and took a brief bow before exiting the stage. As a result, there were quite a few questioning murmurs of “Is That It?” as people searched for confirmation that there would be a second set. But Weir had no plans on an early exit.

Bob Weir & Wolf Bros with the Stanford Symphony Orchestra @ the Frost Amphitheater (Photo: Sean Reiter)

The ensemble returned to the stage barely twenty minutes later and launched into “Shakedown Street” with the sound mix clearly adjusted to better feature Weir’s guitar and the core band members. “Shakedown” saw several moments where the band stopped to allow various sections of the orchestra to take over before falling back into their traditional playing. Another classic Dead couplet of “China-Rider” followed. The orchestration of "China Cat Sunflower" – supported by red and white swirling lights seemed to add volumes of depth to the song with spectacular feature moments finishing out the song with the strings taking it up to its highest peaks before the horns and percussion brought the transition over to “I Know You Rider” that Bobby launched full blast from the opening lyric. The audience gasped and roared as the always energizing song was taking in new directions and expanded beyond any of its normal confines until reaching a huge crescendo. Shouts of “Thank you Bobby” came from the audience as the song garnered the loudest roar of the night.

Bob Weir & Wolf Bros with the Stanford Symphony Orchestra @ the Frost Amphitheater (Photo: Sean Reiter)

The strings blended in behind the band on the psychedelic classic “Dark Star” as horns, triangles and inventive percussion added in before Weir’s guitar work returned to the front and center. Unlike its normal transition into another song, here “Dark Star” was landed to an apparent close before the band started up with “The Other One” – which featured a long intro that threw many in the crowd off the trail several times before the song was fully engaged. One of the fun components of any Dead-related performance is to watch the audience playing “Name that tune” during the introductions to songs. The more experienced Deadheads are rarely thrown off the scent once they have a whiff of the song, while more inexperienced audience members might throw out nearly a handful of guesses as to what song is coming. On this night, the deftly delivered false starts and fakes in the intro by Weir and his extended collection had at least four different waves of recognition from the crowd before the final roar as Jay Lane kicked the song completely out of anonymity with thunderous drumming and the rest of the band fell in. “The Other One” featured terrific horn and string solos by the Wolfpack.

Bob Weir & Wolf Bros with the Stanford Symphony Orchestra @ the Frost Amphitheater (Photo: Sean Reiter)

Weir then told the more than a decade-old origin story of his journey into the symphony. He promised that in the coming years there will be “much more of this to come” and expressed that his desire was to get an entire orchestra to improvise in sections. “They say it’s impossible,” he told the crowd, “But we’re going to do it because these kids don’t know what can’t be done.” He introduced and thanked Aquilanti as the crowd lustily applauded in appreciation. The rest of the Wolf Bros and Wolfpack then exited the stage leaving Weir standing center stage with the entirety of the orchestra around him. Weir then set down his guitar and stood behind the microphone with his thumbs hooked into his pants pockets. It was the perfect way to deliver one of the most stirring and mournful “Days Between” I can recall. All the haunting, mourning and regrets of the song were brought to life and cast throughout the amphitheater as Weir sang softly and vulnerably while supported by the symphony. It was the most special and unique moment of the night – an unforgettable twist and instant classic for all of those who were there.

Bob Weir, Giancarlo Aquilanti, and Paul Philips @ the Frost Amphitheater (Photo: Sean Reiter)

The full band then returned and brought the evening to a close with a masterful, deeply expressive version of the full “Terrapin Station Suite”. The orchestra launched into “Lady with a Fan” (after what seemed a brief false start by the band) and then a huge “Terrapin Station” was undertaken going nearly 20 minutes and then was completed by “Terrapin Transit,” “At a Siding” and “Terrapin Flyer.” Delivered as a complete package, in a beautiful setting and with the vast expansion of an orchestra behind it, the work took on a far grander scale. As the 10 pm curfew approached, a reprise was launched with “Dark Star verse 2” leading into “Uncle John’s Band” and finally into a triumphant “Playing in the Band” ending. As the clock moved past 10, Weir looked at his watch and with a mischievous look in his eyes appeared to contemplate picking things back up for another song but seemed to be dissuaded. He shrugged his shoulders and held up his hands to the crowd and then Weir, Aquilanti and Philips locked hands to take a triumphant bow to the loud and lusty cheers of an audience that had been dazzled by Weir’s latest trick.

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Review - Peter Gabriel @ the Chase Center (10/11/23)

2023-10-12T21:30:00.005-07:00

Peter Gabriel @ the Chase Center (Photo: Eric Ananmalay)

SAN FRANCISCO - 2023 has been a banner year for Peter Gabriel fans. Not only did Peter kick off the new year by releasing a new song with each full moon -- effectively a new song each month! But he also kicked off his first North American tour since the his last short run of dates with Sting in 2016, the 2023 'I/O' tour. The monthly singles that Peter's been releasing throughout the year have been his first new original material since 2005 and will culminate with the release of his new I/O album before the end of the year. This has been a long time coming for die-hard Peter Gabriel fans (myself included!) His tour made a stop at the Chase Center in San Francisco this past Wednesday night and we were lucky to be in attendance to witness the return of Peter and his incredible backing band that included: the incredible bassist, Mr. Tony Levin, phenomenal French drummer, Manu Katché, the ever-so-cool, Mr. David Rhodes on guitar, and Richard Evans (guitar, flute)! Newcomers to the band included: Ayanna Witter-Johnson (cello, piano, vocals), Marina Moore (violin, viola, vocals), Don-E (keyboards), and Walnut Creek native, Josh Shpak (trumpet, french horn, keys, vocals).

Peter Gabriel @ the Chase Center (Photo: Eric Ananmalay)

Without an opening act to start the night, fans entered the Chase Center to find a giant circular screen hanging above the stage with roman numerals dotted around the circumference of the screen. As a neat little visual trick, a window washer would first paint the arms of a clock and then wash-off the arms of the clock as the real time ticked by and got closer to the 8pm start time. When the clock struck 8:05pm, the lights went out and Peter Gabriel strode to center stage to speak with all in attendance. He told a story of the origins of the earth and prompted the stage hands to lower a shining light from the rafters that he used to mimic a meteor screaming from space to crash land into earth and start a fire that was shown as a prop camp fire. Both the timing of the spotlight dropping from the rafters and the smoke/light effect of the log fire weren't timed well and Peter joked with his stage hands by saying 'let's try this again'.

Once the fire was lit, Peter was joined by Mr. Tony Levin and then the rest of the band where they sat semi-circle around the camp fire to perform "Washing of the Water." It was during Peter's speech that the circular screen overhead changed to a picture of a full moon -- clearly a double-meaning and effect to relate to Peter's story of the origins of earth, but maybe also a connection to how he's been releasing each new song from I/O this past year?

Mr. Tony Levin @ the Chase Center (Photo: Eric Ananmalay)

The band stayed seated around the camp fire as Peter introduced the band -- joking that he's worked with Tony for 47 years and with David for a 'mere' 44 years. As part of the intros, Peter then introduced the 2nd song of the night as "Growing Up." Although it was still early in the night, the band was gelling and sounding great together. The combination of violin, cello, mandolin, trumpet, along with Mr. Tony Levin's characteristic bass technique sounded amazing, but the real highlight of "Growing Up" was the line in the chorus, 'my ghost likes to travel' -- it was a moment where the harmonies across all the performers as they sang that line gave me chills.

With the closing of that number, the band stood up and made their way to their normal positions onstage -- Peter on the far left behind a keyboard rig, Richard Evans on guitar/mandolin to his right, Josh Shpak on trumpet and french horn at about the 10 o'clock position on the stage, Mr. Tony Levin close to center stage with Manu Katche on the drums and on a riser just behind Mr. Tony Levin. David Rhodes was on the center-right side of the stage, with Don-E on keyboards/key-tar just behind him. And the multi-talented Ayanna Witter-Johnson on cello and Marina Moore on violin on the far right of the stage.

Ayanna Witter-Johnson @ the Chase Center (Photo: Eric Ananmalay)

Peter had a story before just about every song through the night, and before their 3rd number, "Panopticom," Peter told the story of growing up on a farm where the only 'AI' that they knew was artificial insemination. He spoke about the profound opportunities that AI can open up for humanity -- not only the possibility of personalized education for every child around the world, but even made the leap for humans to be able to communicate with animals, which led into I/O's "Panopticom."

Before the band launched into the next song, "Four Kinds of Horses," Peter explained how throughout the evening's performance, we'd be witness to a number of art installations from various artists that he was able to work with as part of this tour. The artists contributed to the beautiful imagery that was generally animated in some way. Besides being another track from the forthcoming I/O, the catchy slow burn of a song showed off the trumpet skills of Josh Shpak.

Peter Gabriel @ the Chase Center (Photo: Eric Ananmalay)

Thru the first four songs of the night, the crowd were taking in the sensory overload in stride but staying relatively subdued and seated so far through the performance which was understandable given half of what we'd heard so far were new to the majority of folks in the audience -- certainly not the hits that I'd argue most were there to hear. But the energy was finally cranked up a bit when the chorus of "I/O" sparked through the air of the Chase Center and Peter's wringing hand shook above his head to the beat. The audience was starting to get into the mood and the excitement was building to a palpable level.

Peter embraced the energy by going back to the more familiar hits with "Digging in the Dirt" next which again, featured the blistering trumpet of Josh Shpak that gave the song a fresh update and reinforced the melodic tonics of David's guitar. Finally, folks on the floor of the Chase were on their feet, but only temporarily. Peter slowed the tempo back down with another new track from I/O, the string and piano heavy, "Playing for Time" -- a beautiful piece that also featured Mr. Tony Levin's upright fretless bass make a reappearance, but overall, a down-tempo track that gave everyone in the Chase a chance to catch their breath.

Peter Gabriel @ the Chase Center (Photo: Eric Ananmalay)

The crowd stayed seated for the next two -- another set of songs from I/O, "Olive Tree" and "This is Home" -- great songs, but relatively new and unfamiliar to the vast majority in the audience.

Peter then spoke about how 'this show is divided into two halves, just like the country, and this is the end of the first half. just so you know' when David's guitar started playing the familiar notes of "Sledgehammer." And like a cyclone hitting all at once, the crowd was on their feet and singing and dancing to the fan favorite. This was another track where Josh Shpak on the trumpet showed off his skills with slow builds that led to the fierce blaring trumpet as part of the song's chorus. The band could have honestly called it quits at that point in the night and I think the crowd would have left feeling completely satisfied with the performance they'd witnessed so far -- especially being able to close on "Sledgehammer." But that was only the end of the first half of the night!

David Rhodes @ the Chase Center (Photo: Eric Ananmalay)

The second set started with a screen stretched across the front of the stage that was at times fully translucent, but at other times, able to block the visibility through the screen itself. It was a pretty neat trick and Peter used the technology to his full advantage. When the visibility was blocked, he used a spotlight to project his shadow on the far left panel of the screen that was then stretched and morphed on the subsequent screen panels to the right. At other times when the screen was semi-transparent, he used a wand from behind the screen to 'paint' a smoke effect on the screen throughout the song "Love Can Heal." I'd never seen anything like it before, and it was an amazing visual effect.

"Road to Joy" featured what I believe was a 12-string bass played of course by Mr. Tony Levin, but he quickly changed to a 5-string for the next track, the emotionally powerful "Don't Give Up" from the classic So album. Ayanna sang the vocals that Kate Bush originally recorded on the album version and between Mr. Tony Levin's bass line, and Peter and Ayanna's back and forth, the song was another highlight of the night and also showcased Ayanna's vocal prowess. During this song, both Peter and Ayanna also ascended to a stage that was just above Manu for their key duet parts of the song and it was just beautiful.

Peter Gabriel @ the Chase Center (Photo: Eric Ananmalay)

The next real highlight for me was with another track from So... "Red Rain." It's always been one of my favorites and prior to the band kicking off, Peter introduced the track by saying 'every year the weather gets a little stranger.' This was another song where Josh Shpak really shined. Not only did his trumpet standout, but he seemed to relish being on stage near his home town at the Chase Center playing with Rock & Roll Hall of Famer and music icon, Peter Gabriel. Peter's core group (Mr. Tony Levin, David and Manu) are used to the fanfare that comes with Peter's outings, but you could see how Josh was relishing every moment and letting his horn shape the sonics of a number of classic Gabriel hits.

I loved the story that Peter shared before "Live and Let Live' -- he'd made a comment about how we could all learn this lesson in life and that he was amazed to hear Nelson Mandela speak shortly after he was released from prison and when he said that he had fear, but that he needed to forgive his captors or be ruled by fear for the rest of his life. The stage lighting during this song was also particularly impressive with a vibrance that I've rarely seen in the past. A full spectrum of colors illuminated the back drop and helped to create an aura of hope and optimism.

Mr. Tony Levin @ the Chase Center (Photo: Eric Ananmalay)

As the night was coming to a close, Peter ended on an incredible high note -- or notes -- with "Solsbury Hill" to close out the second set, and then returning for just an amazing redition of "In Your Eyes" and continuing his tradition of closing each concert with a dedication to human rights activist and martyr, Steven Biko with the song that will always give me chills, "Biko." That song, from the very start of Manu's driving rythem on the tom-toms... it's a song that will always signify and represent the impact that each and every one of us can have on the world and a reminder to engage and speak up. It's such a powerful song and the performance tonight at the Chase was exactly what I'd hoped and expected.

Let's hope it's not another 7 years before Mr. Peter Gabriel and company return to the Bay Area!

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Review - Hardly Strictly Bluegrass 2023 @ Golden Gate Park (9/28-10/1/23)

2023-10-02T20:25:00.002-07:00

Hardly Strictly Bluegrass Festival @ Golden Gate Park (Photo: Sean Reiter)

What a weekend it was in Golden Gate Park as the Hardly Strictly Bluegrass Festival welcomed in October with three days full of music free for the San Francisco masses. Warren Hellman’s gift that will keep on giving was full of incredible entertainment of varied styles on six stages – not to mention the many after-events spread throughout the Bay Area in the weekend and surrounding days.

Covering Hardly Strictly requires many choices to be made (“Rufus Wainwright or Jason Isbell?” “Kurt Vile or Emmylou Harris?”). Festival organizers have done a great job of improving the flow of the masses through artist timing and better paths of travel. I’m still a little spooked by my memory of 2016’s Saturday crowd where for a not-so-brief-moment I thought I might be crushed to death traversing from Cyndi Lauper to Jackson Browne as people screamed and begged for relief. I remember saying to the person next to me “Of all the metal and punk shows, I’m going to die at Cyndi Lauper.” This year, there were still six stages and well over 100,000 people on hand, but it had none of the fear factor and even room for quite a few dogs. Still, I made a strategic decision that I would focus on the Swan and Towers of Gold Stage which were back-to-back and easy to get to without much hassle.

Orchestra Gold @ Golden Gate Park (Photo: Sean Reiter)

Friday kicked off on the Towers of Gold stage with Oakland’s Orchestra Gold – a band self-described as “African Psychedelic Rock” and led by energetic lead singer and head dancer Mariam Diakite. While the lyrics were delivered in the Malian’s native tongue, the music and rhythms were highly accessible. The band had held a similar spot at this year’s Mill Valley Music Festival and much like there, the initial “Who is Orchestra Gold?” question was quickly turned into audience adoration as the crowd moved to the beat and roared in appreciation.

Vetiver @ Golden Gate Park (Photo: Sean Reiter)

San Francisco-formed Vetiver began the festivities over on the Swan Stage. Andy Cabic and his bandmates brought their Americana folk guitar based music to a large early arriving crowd. Despite not performing for more than a year, songs like “Rolling Sea” seemed to perfectly fit the foggy early Friday afternoon.

Kingfish @ Golden Gate Park (Photo: Sean Reiter)

Friday arguably belonged to Christone “Kingfish” Ingram. The Grammy-winning blues guitarist from Mississippi had the crowd buzzing in anticipation and the hill and grass of Lindley Meadow full of people who had either seen some of his more recent shows locally or caught wind of the labels being applied to his talent. Kingfish let no one down. His 50-minute set had an entire day’s worth of guitar wizardry and demonstrated his stirring command of the stage.

Kingfish @ Golden Gate Park (Photo: Sean Reiter)

Imagine if you gave guitars to Stevie Ray Vaughan, Prince and Buddy Guy to record a song and then picked the best moments from each of them to form a track. Kingfish shapeshifts back and forth seamlessly from deep blues to screaming rock to pounding funk. The weather may have been foggy, but he was a bright light for the entire park.

Kingfish @ Golden Gate Park (Photo: Sean Reiter)

Songs like the bluesy “Fresh Out” and the funky “Hard Times” allowed Kingfish to shine and also displayed the talents of his band. Bassist Paul Rogers, keyboard/organ artist Deshawn “D-Vibes” Alexanderon and drummer Christopher Black added deep, rich layers of sound behind Kingfish’s playing and singing. The band ended with “662” featuring an intro that could have belonged to AC/DC and a super pace fueled by D-Vibes keys. What is the significance of “662?” That’s the area code for northern Mississippi – the dead center origin point and the famous Crossroads of Clarksdale. It will be interesting to see how Kingfish’s enormous talents are marketed in coming years as he is still only 24 years old with a ridiculous amount of inertia and talent. To get a great taste of his music delivered live, check out the just-released Live in London that was released just a few weeks ago.

John Craigie @ Golden Gate Park (Photo: Sean Reiter)

John Craigie over on Swan stage talked about how this was his third Hardly Strictly and told the crowd how much he appreciated being on one of the large stages. “They had me playing late in the day on a small stage by an exit and told me that I would get a good crowd as people headed out. I did get some to stop, but I saw a lot of people pause briefly to check me out and then say, “Nah. We’re outta here.” The singer-songwriter, accompanied by his bassist and electric guitarist delivered a nice, witty set highlighted by songs like “Hustlin’” and “Part Wolf.”

Ben Nichols of Lucero @ Golden Gate Park (Photo: Sean Reiter)

America’s greatest whiskey bar band, Lucero brought their patented blend of punk-Americana from their Memphis homebase to Hardly Strictly for the third time (2010 and 2012) with a fun, driving set that saw them play 15 songs in their 55 minutes. As always, lead singer Ben Nichols brought his engaging and humble presence to go with his powerful lead vocals and guitar. The band has incredible tenure, with the current group being together for nearly 20 years. Lead guitarist Brian Venable and keyboardist Rick Steff created a huge wall of sound while bassist John C. Stubblefield and drummer Roy Berry kept the band’s rhythm mostly on a breakneck pace.

Lucero's Ben Nichols @ Golden Gate Park (Photo: Sean Reiter)

The fog had gotten thick to the point of near rain as they took the stage, but the band seemed energized by the crisp weather. “We’re from Tennessee. We’ve been waiting months for weather like this!” an enthusiastic Stubblefield told me after their set. Highlights included “Buy A Little Time” from their 2023 album Should’ve Learned by Now, classics like “Texas & Tennessee” and “Sweet Little Thing.”

Lucero @ Golden Gate Park (Photo: Sean Reiter)

Appropriately, Lucero spotlighted “San Francisco” – a rollicking drinking song (of course, that label could be applied to several of the band’s songs and is supported by Nichols longtime penchant for whiskey toasts on stage) that documents Nichols visits to Northern California and a past love in Santa Rosa. A full-engine ahead version of “Tears Don’t Matter Much” with an enthusiastic and throaty audience singalong preceded the final tear jerker of “It Gets the Worst at Night.” “We can’t walk away without a sad song,” Nichols told the crowd.

Shakey Graves @ Golden Gate Park (Photo: Sean Reiter)

As soon as the last chord rang out from Lucero, Shakey Graves walked out onto the Swan stage with a guitar in hand – clad in a mechanics style outfit with his name embroidered above his pocket and Shakey Graves patches on his sleeve and cap. He performed the first two songs with only his guitar and a kick drum before introducing his band. “I know it’s cliché,” he told the crowd pointing over the adjoining hill. “But I bought acid from a guy just over that hill. It was about an hour ago. So, we are going to have a really great show!” And Graves delivered on his promise with a set that balanced terrific music, vocals with a heaping dash of comedic banter thrown in for a great connection with the audience.

Dawes @ Golden Gate Park (Photo: Sean Reiter)

The sun came out ever so briefly for Dawes in the day’s final set. Taylor Goldsmith led his band on a jam-filled 50-minute set that began with an excellent version of an opus-like “Someone Else’s Café/Doomscroller Tries to Relax.” The band, who were making their (at least) fourth appearance in the Bay Area this year, caught a very nice groove on “Comes in Waves.” They delivered a rousing “When My Time Comes” to lead into the tender finale of “All Your Favorite Bands” to send the crowd out of the park as the fog returned.

Olivia Wolf @ Golden Gate Park (Photo: Sean Reiter)

For Saturday’s day two, I focused on a narrow mid-show block of artists. Olivia Wolf, an up-and-coming country singer over on the Arrow Stage has only released four songs, but showed her promise in a 45-minute set featuring originals and covers. She demonstrated a huge likability to go along with her strong vocals. “Well, that was the first country song ever written about whiskey,” she self-deprecatingly joked at one point. Her recent EP release of Our Vinyl Sessions provides a nice listen of Wolf’s talent.

The Third Mind @ Golden Gate Park (Photo: Sean Reiter)

Dave Alvin has visited Hardly Strictly Bluegrass in many different forms throughout his career. For 2023, he brought “The Third Mind” – his psychedelic supergroup project – to Golden Gate Park on the Swan Stage. Alvin’s renowned guitar-playing was accompanied by one of the foremost experts in the psychedelic song in Ratdog’s Mark Karan who Alvin introduced as “joining us today with the fancy guitar.” In the spirit of the project, the band did many improvisational jams with drummer Michael Jerome providing in the pocket drumming throughout and vocalist Jesse Sykes handling lead vocal duties.

Mark Karan of The Third Mind @ Golden Gate Park (Photo: Sean Reiter)

The band seemed to send music shooting out from all angles into the park as their sound drifted in waves. They culminated their set with a soaring version of “Morning Dew” that certainly felt at home on the overcast and mildly wet festival grounds.

Kanene Donehey Pipkin of The Lone Bellow @ Golden Gate Park (Photo: Sean Reiter)

The Lone Bellow was one of two acts for me that delivered deeply compelling sets that had me obsessively looking into their story and trying to devour their catalogue. Based out of Brooklyn, the band was formed by lead singer and guitarist Zach Williams at a time of personal turmoil. Featuring lead guitarist Brian Elmquist and singer and multi-instrumentalist Kanene Donehey Pipkin, they have been around for a decade (their 2013 debut album was awarded number 8 on People Magazine’s Top 10 albums of that year) and yet somehow I had never crossed paths with them. Their sound is reminiscent of The Head and The Heart, but the group definitely has its own vibe. They’ve worked with producers Aaron Dessner (The National) and super-producer Dave Cobb and developed an alternative-folk identity.

The Lone Bellow's Zach Williams @ Golden Gate Park (Photo: Sean Reiter)

Williams brought an extremely animated stage presence and Pipken spread her energy by flowing back and forth across the stage throughout the set. Elmquist laid into some terrific guitar solos and the three together have the nucleus of a band that seems destined for bigger things and soon. 2022’s Love Songs for Losers was spotlighted at Hardly Strictly with “Wherever Your Heart Is” and “I’m in Love” standing out live as should be huge hits. Their set was surely a highlight of the festival for those who caught them on the Towers of Gold stage.

Say She She @ Golden Gate Park (Photo: Sean Reiter)

Sunday promised the best weather of the weekend, though the sun appearances seemed to be brief and fleeting – the sort of day during which the hoodie comes on and off several times. Say She She brought their very original disco-style to the Swan stage to start off the day. Singers Sabrina Mileo Cunningham, Nya Gazelle Brown and Piya Malik front the band that has developed a very strong following. A large crowd welcomed them to the stage in the 11am slot and stayed engaged and dancing to their funky, New York-sound set.

Say She She @ Golden Gate Park (Photo: Sean Reiter)

The group’s fun vibe is not to bely their important voice and purpose-driven values. They took a stand for reproductive rights early in 2022 with their powerful single “Norma” and backed it up with their powerful performance of the song on Sunday. “We will not go back!” the women sang beautifully and defiantly.

Georgie Fuller of The Heavy Heavy @ Golden Gate Park (Photo: Sean Reiter)

The Heavy Heavy - a traditional rock band that toured the United States thoroughly in 2023 - was the second of the weekend’s bands that inspired wonder of where they are headed. Based out of Brighton, England – the band delivers the canyon-style sounds of the Mamas and the Papas, along with the harmonies and harder edge of the Eagles. Their album pulls deeply on those tones and carries their sound a bit far into an ethereal place. Live, they are kick ass rock ‘n’ roll through and through with superior harmonies and an excellent musicianship across all instruments. Founders Will Turner (guitar, lead vocals) and Georgie Fuller (keys, lead vocals) take the traditional spotlight positions of a band, but Benjamin Parker (guitar), Thomas Holder (bass) and James Porter (drums) all deserver their share of the light too! All four non-drummers sing and harmonize together to create a powerful sound.

The Heavy Heavy @ Golden Gate Park (Photo: Sean Reiter)

With only one album under their belt and a big year of touring to multi-sized US venues, it will be exciting to see where this band goes on their next album. In addition to their well-received set Sunday on the Heart of Gold stage, the band opened a Monday night “Out of the Park” aftershow at Mill Valley’s Sweetwater for Valerie June. The crowd was overwhelmingly there for June’s performance but were blown away by The Heavy Heavy’s arena-level intensity performance in a club setting. It was fun to watch the crowd quickly evolve from clueless about the band to compelled.

The John Doe Folk Trio @ Golden Gate Park (Photo: Sean Reiter)

Another longtime veteran Hardly Strictly performer brought his latest incarnation to the Swan stage as the John Doe Folk Trio took the noon hour spot. Doe and his trio delivered a nice blend of country and Spanish language songs with the tunes of his most famous band, X. The Trio’s versions of “Burning House of Love” and “The New World” were fun takes on the LA punk classic and the latter was followed by a delve into The Beatles’ “Revolution.”

Valerie June @ Golden Gate Park (Photo: Sean Reiter)

The sun seemed motivated to shine ever so briefly on Valerie June’s incredibly positive Swan stage set. June once again brought her highly original vocals and multi-instrumentalism to accompany her powerful positive messages. “Yeah, it’s Sunday,” she told the audience. “So I’m going to preach a little.” She wore the weekend’s most vibrant onstage attire in a style that reflected her self-described “fairy of the forest” persona. She leapt and pranced and howled and growled in a commanding performance that included a very memorable “Call Me a Fool” and “Astral Plane.’ She had the huge crowd roaring in appreciation and delighting in her personality as she regaled them with her philosophies and stories – including her trip to African safari from which she had just landed back in the US the day before the concert.

Valerie June @ Golden Gate Park (Photo: Sean Reiter)

The next night, her appearance at Sweetwater included both a book tour launch (her new book Light Beams – a workbook for being your badass self was just released) and a solo performance where June sat center stage surrounded by her instruments and gorgeous flower displays. There, she performed songs, read some of her poetry and shared deeply personal stories and thoughts on life with a rapt crowd. She delivered a highly memorable cover of Louis Armstrong’s “Wonderful World” in her unique style. June told the crowd how a busking trip up the West Coast had made her believe that she could make it as a musician and led her to quit her job as a cleaner and focus on music.

Neil Francis @ Golden Gate Park (Photo: Sean Reiter)

Going back to Sunday in the park, Neal Francis seemed to channel a young Elton John is his electrifying performance. Manning the keys while belting out vocals, the Chicagoan had the crowd dancing joyously with songs like “Can’t Stop The Rain” and “Alameda Apartments.”

Jerry Douglas @ Golden Gate Park (Photo: Sean Reiter)

The Jerry Douglas Band saw one of the original Hardly Strictly performers retake the stage to demonstrate his mastery of the Dobro – a resonator guitar that is played face up. Douglas showed his prowess with both the Dobro and slide guitar and finished the set with a spectacular “While My Guitar Gently Weeps”

Jason Isbell and the 400 Unit @ Golden Gate Park (Photo: Sean Reiter)

Jason Isbell and the 400 Unit closed the Towers of Gold stage for the weekend with a 12-song 70-minute set to an audience that filled the entirety of the meadow and hillside. Isbell took to the stage with a wide smile announcing “I believe this is the greatest music festival in America. And then brought forth three songs off their new album Weathervanes to start the set with “When We Were Close,” “King of Oklahoma” and “Strawberry Woman” before visiting some of the more classic songs.

Jason Isbell @ Golden Gate Park (Photo: Sean Reiter)

He recognized the anniversary of their Southeastern album and performed three songs off the album with “Stockholm” starting it off. After performing “Stockholm,” he told the story of performing the song in that city: “they went absolutely bats*#t crazy for that song. And then they just sat on their hands for the rest of the concert.” Additionally, they played “Flying Over Water” and a penultimate “Cover Me up” before returning to the new album for a final version of “This Ain’t It” that ended in a large crescendo.

Kurt Vile @ Golden Gate Park (Photo: Sean Reiter)

Finally, after three days of music Kurt Vile and the Violators came out onto the Swan Stage as the sun disappeared and the fall foggy chill began to bite. He opened the set with 2022’s “Palace of OKV in Reverse” and as the adjacent stage had ended for the day, the crowd reached huge proportions for the former lead guitarist of the War on Drugs. Highlights of his set included versions of his recent songs “Flyin (Like a Fast Train)” and “Mount Airy Hill (Way Gone)”

Hardly Strictly Bluegrass Festival @ Golden Gate Park (Photo: Sean Reiter)

In all, the 2023 Hardly Strictly Bluegrass Festival seemed to be a triumphant success. Large, well-behaved crowds gathered in Golden Gate Park on all three days. The well-balanced lineup seemed to nicely spread the crowds. Lines for food, merchandise and restrooms all appeared very manageable whenever I got a look. The San Francisco Recreation and Parks department, along with organizers deserve a huge round of applause for a terrific weekend that left more than 100,000 a day eagerly awaiting next year’s artist reveals.

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Review - Goose @ the Fox Theater (9/25 - 9/26/23)

2023-09-27T20:42:00.003-07:00

Goose @ the Fox Theater (Photo: Sean Reiter)

Over a two-night stand at Oakland’s Fox Theater, Goose returned to the Bay Area for the second time and once-again demonstrated that they are the jam band poised to take the crown. Playing to sold-out crowds on both Monday and Tuesday, they demonstrated rising confidence and a second-to-none light show that wowed all in attendance.

Goose @ the Fox Theater (Photo: Sean Reiter)

They launched their two-night flight by opening with “Flodown” - a wild tour de force of rapid playing that takes the crowd on an out of control hayride with guitarist Rick Mitarotonda demonstrating his ability to launch solos with incredible speed and commitment to tone. “Jive II” a jukey jam had keyboardist, guitarist and vocalist Paul Anspach standing out with his work on organ, keys and synth and before concluding with Mitarotonda launching multipole huge solos surrounding the ending chorus of “Just a little bit goes a long, long way.”

Paul Anspach of Goose @ the Fox Theater (Photo: Sean Reiter)

The band’s more psychedelic sounds were explored next with “The Whales” as Anspach strapped on his guitar and took a turn at lead vocals on a long version that saw the band break down into multiple funky jams. Both Goose vocalists are equally terrific and while Mitarotonda takes the majority of lead vocals, Anspach more than held his own on both nights. His upbeat and humble energy are heartwarming and have helped to really position Goose as one of the most “likeable” bands out there. Throughout both nights, Anspach made sure to thank the audience and the crew.

Rick Mitarotonda of Goose @ the Fox Theater (Photo: Sean Reiter)

Next up was an entertaining cover of Blind Melon’s “No Rain” delivered faithfully before finishing night one’s first set with a rollicking and upbeat “Lead the Way” (featuring Mitarotonda delivering a long and bluesy solo) and “Tumble” - which saw the song’s pace accelerate throughout to finish with a bullet train crescendo to roar into the set break with massive chants of “Goose” filling the venue. While Mitarotonda and Anspach garner much of the attention as the band leaders, the rhythm section of bassist Trevor Weekz, drummer Ben Atkind and percussionist, vocalist Jeff Arevalo were equally impressive at setting a quick pace while adding in lots of flavors to the songs – whether it was Arevalo’s percussion bringing a reggae tone or Weekz dropping big-time funk from his bass.

Goose @ the Fox Theater (Photo: Sean Reiter)

Goose announced their return to the stage for set two by coming out firing all cannons with a full throttle set opener of “Echo of a Rose” that many felt was the night one highlight. A soaring and drifting “Rosewood Heart” followed before easing into a reprise of “Echo of a Rose.” Anspach took the lead on “Rockdale” a song that saw him delivering keyboard magic and the band building and building until reaching another huge finish. “Madhuvan” – another fun one that sees the band’s pace at a gallop closed out the main set. The band emerged for the encore with Anspach donning his guitar and engaging the crowd “Hell Yeah on a Monday night! Thanks everybody for coming out…Love the Bay Area. Always so good to us…We’re so grateful. Who’s coming tomorrow?” to which a roar from most of the crowd filled the theater. Fittingly for the region, Goose chose Bobby “Blue” Bland’s “Turn on Your Love Light” to finish the party in Grateful Dead style with a two-guitar attack and Mitarotonda on lead vocals and drummer Atkind driving the song’s traditional rapid pace moments.

Paul Anspach of Goose @ the Fox Theater (Photo: Sean Reiter)

After an electrifying first night, it would have been understandable for night two to be a lesser performance, but Goose raised the bar even higher with the best of the three performances I have seen from the band. Mitarotonda, wearing a “Bram Stoker’s Dracula” t-shirt, delivered an opening “Dr. Darkness” filled with a haunting New Orleans vibe with all its inherent wickedness and a vibe of danger as his solos with Anspach’s organ and keyboards underneath. After setting a sinister tone to the start of the night, the band changed direction with a slower, Rasta-toned “All I Need” where Arevalo percussion really stood out front in the song. “Lead up” a long powerful jam followed, before Anspach took the lead on vocals to bring a fun, jovial version of “Elizabeth.”

Trevor Weekz of Goose @ the Fox Theater (Photo: Sean Reiter)

Now four songs into the night, the audience had already been witness to a very impressive lighting display that only got better as the night went on. This band’s support crew deserves huge kudos as the sound is not only brought over razor sharp and crystal clear, but the light show is second to none. It’s a stadium style light approach brought into theaters and it was dazzling throughout both nights. The first set concluded with soaring versions of “A Western Sun” and “Yeti” with multiple light formations extending out into the crowd and bringing forth widespread “Goose” chants.

Goose @ the Fox Theater (Photo: Sean Reiter)

They opened the second set with “Atlas Dogs” with Mitarotonda demonstrating excellent blues soloing while showing his impressive ability to create multiple layers of sound with speed and picking technique on his guitar. As his solo continued to gain steam and complexity, the rest of the band skillfully filled in depth and then brought the song to a quick end. An extended version of “Creatures” flowed into a full cover of the Moody Blues’ “Nights in White Satin.” It was delivered with both restraint and power with the guitar playing and singing cementing the song’s intended emotions. Goose added so many different nuances and their own spin on the covers that they did over the two nights and here’s hoping that they continue to perform their unique covers despite their mounting success.

Rick Mitarotonda of Goose @ the Fox Theater (Photo: Sean Reiter)

To close out the Fox run, the band finished the second set with a trippy “Dripfield” that at the outset felt for several moments like it could have easily fallen into “Dancing in the Street.” They finished the set with Anspach and Mitarotonda showing their excellent ability to harmonize with each other on “White Lights.” Anspach had a lovely piano solo in the song before all hell broke loose as the band build up the speed and power of the song and the crowd reacted with the most dancing seen in those two days.

The crowd for Goose @ the Fox Theater (Photo: Sean Reiter)

With venue curfew rapidly approaching, Anspach quickly led the band back on stage for the encore – skipping onto the stage. “Thanks everyone. This has been amazing. It feels so great to feel so much love here on the west coast. Thank you so much for supporting us. It means the world. We are so grateful,” he told the Fox audience. Goose finished with an encore of “Slow Ready” which - despite its name - took on an almost EDM flavor as the band played an incredibly quick pace before leaving the stage to massive “Goose” chant for what was likely their last Bay Area appearance in a theater of that size. Given their epic performances and audience devotion, it should be on to larger venues like the Greek, Frost or even bigger for their next time through the area.

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Review - Freaks on Parade featuring Rob Zombie, Alice Cooper, Ministry, and Filter @ the Toyota Pavilion in Concord (9/22/23)

2023-09-23T21:25:00.241-07:00

Rob Zombie @ the Concord Pavilion (Photo: Kevin Keating)

The Concord Pavilion played host to a monumental metal spectacle this past Friday night when the "Freaks on Parade" concert took center stage. The amalgamation comprised of Rob Zombie, Alice Cooper, Ministry and Filter left an indelible mark on the ears of all of us in attendance!

Filter's Richard Patrick @ the Concord Pavilion (Photo: Kevin Keating)

Filter wasted no time getting straight to the heart of the matter, opening their 30-minute set with three incredible tracks from their latest album, The Algorithm. (Be sure to check out our recent interview with Filter founder and frontman, Richard Patrick, about the new album here.) What was amazing was that with a 6:10pm start time, there was a decent crowd to hear the band which proved Filter's staying power through the years. The first chords of "The Drowning" shook the venue, setting the tone for an evening of raw energy and unbridled enthusiasm. "For the Beaten" and my personal favorite from teh new album, "Obliteration", followed suit -- each song transporting the audience deeper into Filter's musical universe, showcasing their evolution and of course, Richard's trademark screams.

Filter's Jonny Radtke @ the Concord Pavilion (Photo: Kevin Keating)

As the set drew to a close, Filter left no stone unturned, unleashing a flurry of fan favorites that had the crowd amped up. "Take a Picture" had the entire pavilion singing along, and immediately afterwards I heard Patrick say "there are some of you out there who are saying to yourselves, 'oh, that Filter.'" The infectious energy ramped back up with "Welcome to the Fold" and left no doubt that this was going to be a concert to remember. Closing the set with the iconic "Hey Man, Nice Shot," Patrick's Filter left the stage amid a roaring ovation, their performance etching itself into the hearts of every attendee.

Al Jourgensen of Ministry @ the Concord Pavilion (Photo: Kevin Keating)

After Filter's explosive set, the industrial powerhouse known as Ministry, led by the enigmatic Al Jourgensen, took the stage. Al, along with guitarists Monte Pittman & Cesar Soto, bassist Paul D'Amour, drummer Roy Moyorga, and keyboardist John Bechdel, delivered a relentless 40-minute onslaught of their iconic classics. From the moment the band stepped onto the stage, the crowd was sent hurtling into a world of unrelenting sonic assault and we absolutely loved every second of it.

Monte Pittman & Al Jourgensen of Ministry @ the Concord Pavilion (Photo: Kevin Keating)

The crowd was thrust into the visceral intensity of tracks like "Thieves," "The Missing," and my undeniable highlight, "Supernaut," which sent shockwaves of adrenaline through the entire pavilion. The Black Sabbath cover has always been one of my favorite Ministry adjacent songs, and their live performance of the song simply bombastic. As Ministry neared the end of their set, they dialed up the intensity to eleven. "N.W.O" served as a sonic punch to the gut, its driving rhythm and politically charged lyrics inciting a riotous response from the audience. "Just One Fix" followed suit, with its relentless groove and Jourgensen's distorted vocals driving the crowd into a frenzy.

Ministry's Al Jourgensen @ the Concord Pavilion (Photo: Kevin Keating)

But the apex of the performance was Ministry's last song and latest single. Before launching into the track, Al noted how 'you probably know half these people and they're in the audience tonight, "Goddamn White Trash."' The song's raw energy and biting social commentary hit home with the audience, and the roar of approval was deafening. As the final notes of "Goddamn White Trash" reverberated through the Pavilion, it was clear that Ministry had once again proven their status as legends of industrial rock.

Nita Strauss & Alice Cooper @ the Concord Pavilion (Photo: Kevin Keating)

Next up was the musical theater of Alice Cooper and his exceptional band, featuring guitarists Nita Strauss and Ryan Roxie, bassist Chuck Garric, guitarist/vocalist Tommy Henriksen, and drummer Glen Sobel. And unlike most rock star front men, Alice was more than happy to share the spotlight with each of his band members, allowing them to shine in their own right and with their own solos throughout the night. But it was Nita Strauss, the guitar virtuoso and descendent of famed Austrian composer Johann Strauss, who truly stole the show. We last caught Nita on her solo tour when she played The Ritz in San Jose and as I wrote at the time, don't miss her when when comes back to town and we certainly didn't miss her for tonight's Freaks show!

Alice Cooper @ the Concord Pavilion (Photo: Kevin Keating)

Strauss's electrifying presence was felt throughout the set as she effortlessly commanded the entire stage, including climbing atop two 20-foot high staircases for multiple guitar solos. Her virtuosic guitar work was nothing short of breathtaking, and her boundless energy was infectious. Whether she was unleashing blistering solos or engaging in thrilling duels with Ryan Roxie, Strauss showcased her exceptional talent and became a captivating focal point of the show.

Alice Cooper & Nita Strauss @ the Concord Pavilion (Photo: Kevin Keating)

Cooper's musical prowess was on full display, as he and his talented band, with Tommy Henriksen's versatile guitar work and vocals, delivered a setlist that spanned his illustrious career. Classics like "School's Out," "Poison," and "No More Mr. Nice Guy" had the crowd on their feet, singing along to every word. Cooper's distinctive, raspy vocals were as powerful as ever, and Ryan Roxie's guitar solos were nothing short of electrifying. Chuck Garric's bass added a solid foundation to the band's sound, creating a powerful rhythm, while Glen Sobel's drumming provided the heartbeat of the performance.

Nita Strauss & Alice Cooper @ the Concord Pavilion (Photo: Kevin Keating)

What truly sets an Alice Cooper concert apart, though, is the theatricality. The stage was transformed into a macabre playground, complete with a guillotine and moment where Alice loses his head. A giant boa constrictor joined Alice on "Snakebyte", and multiple costume changes and props made Alice's set a true theatrical musical. Cooper, Roxie, Strauss, Garric, Henriksen, Sobel, and the band's ability to seamlessly weave these theatrical elements into the music is a testament to their cohesion and choreography.

Rob Zombie @ the Concord Pavilion (Photo: Kevin Keating)

At this point in the night, after Filter, Ministry, and Alice Cooper had made their mark on us in the Concord Pavilion audience, it was still mind-blowing that Rob Zombie was still due to come out to close out the parade of freaks we'd witnessed so far. The stage was covered by a black curtain that suddenly dropped to expose Zombie's megaplex of LCD props and risers. Rob Zombie himself was perched on a 20' pedestool emblazened with the word 'Zombie', and behind him, another stage riser for drummer, Ginger Fish. Bassist, Piggy D and guitarist Mike Riggs were left to their own devices at floor level and did their best to scare us in their punk clown disguises.

Rob Zombie, Piggy D and Mike Riggs @ the Concord Pavilion (Photo: Kevin Keating)

With his signature gravelly voice and a stage presence that oozed charisma, Rob Zombie led the audience on a rollercoaster ride through his extensive catalog of hits. The setlist was a masterfully crafted blend of classic White Zombie tracks, solo hits, and fan favorites. From the opening chords of "The Triumph of King Freak" to the thunderous finale of "Dragula," Zombie and his band delivered a high-octane performance that had the crowd in a frenzy from start to finish.

Rob Zombie @ the Concord Pavilion (Photo: Kevin Keating)

Visually, the show was a mind-bending experience. The stage design featured an array of LCD monitors that played psychedelic, alien and haunting visuals, creating an immersive and otherworldly atmosphere. Combined with the eerie props and set pieces, it was as if the audience had stepped into a dark and twisted dreamscape. Zombie's larger-than-life presence was complemented by his incredible backing band. And together, they created a wall of sound that was as powerful as it was electrifying.

Rob Zombie @ the Concord Pavilion (Photo: Kevin Keating)

I would have sincerely been happy if the show consisted of only Filter and Ministry, but to get Alice Cooper and Rob Zombie included with the price of admission really just made for an incredible concert. It's no wonder this tour's been selling out across the country and one of the most anticipated shows this year. Unfortunately, there are only a few dates left as they close out the tour in Southern California, and I'd be shocked if they make it out again with this same configuration, but here's hoping!

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Review - Ed Sheeran @ Levi's Stadium (8/16/23)

2023-09-20T12:32:00.000-07:00

Ed Sheeran @ Levi's Stadium (Photo: Matt Pang)

SANTA CLARA – Nearly 80,000 fans came together for a record-breaking crowd at Levi’s Stadium this past Saturday for Ed Sheeran’s sold-out concert. This topped the recent shows of Taylor Swift, Beyonce, and even Super Bowl 50 several years ago. Ed Sheeran brought his Mathematician Tour to Santa Clara after performing an intimate show at the Fox Theater in Oakland the night before. Ed, who’s a very personal artist, enjoys playing for crowds, whether it’s at an intimate venue or large, sold-out stadium.

Maisie Peters @ Levi's Stadium (Photo: Matt Pang)

The night started with opener Maisie Peters, who came out with a full band sporting a 49ers jersey and a custom Prada skirt. The 23-year-old English singer-songwriter is currently signed to Ed Sheeran’s label, ‘Gingerbread Man Records’. She opened up the show with the single "Body Better" from her latest album, The Good Witch, which was released three months ago. Taking time to thank the crowd and mentioning it was the first time she'd performed in Santa Clara, the crowd definitely embraced her. She later transitioned to her first album You Signed Up For This with hits like "I’m Trying (Not Friends)" and "Love Him, I Don’t". The set later moved to more recent singles like "You’re Just A Boy (And I’m Kinda The Man)", "Wendy", "Run", and later closed out with the smash track "Lost The Breakup".

Maisie Peters @ Levi's Stadium (Photo: Matt Pang)

Russ came next and continued to hype up the crowd, bringing a hip-hop element to the show. The loud 808s echoed throughout the stadium and got everybody up. He came out with large amounts of energy rocking his merchandise that said "SANTIAGO MADE IT TO STADIUMS" pairing it with camo cargo pants. Russ performed hits like "CIVIL WAR", "Do It Myself", and "The Flute Song". He expressed his gratitude and thanked Ed for allowing him to share the stage with him, saying that their relationship came organically after their first collaboration. It seemed like all of the openers had a genuine connection with Ed which proved that he is a humble and stand-up guy that many people have mentioned. These weren’t artists that the label tried to match in order to drive up ticket sales.

Russ @ Levi's Stadium (Photo: Matt Pang)

Before Ed Sheeran went on, a huge 360-degree display monitor covered the stage, with a countdown timer ticking the time 10 minutes before the show started. As the last minute counted down, you could hear a full stadium of 80,000+ fans cheering from their seats all the way to the floor, yelling every number from 60. By the last 10 seconds, I saw fans tearing up already out of excitement that they’re going to see their favorite artist. The huge display monitor rose from the ground up to the top of the stage, showing Ed strumming an acoustic guitar along with a full band to the fast riffs of "Tides". What an opener, as the energy of that song is so contagious.

Ed Sheeran @ Levi's Stadium (Photo: Matt Pang)

The set continued with "BLOW", his collaboration with Chris Stapleton and Bruno Mars with a full band, and continued the high energy. Pyro and fireworks were shot, which added a different element to the songs. What set this tour apart from a lot of other shows was the implementation of a 360-degree stage. The visuals were projected throughout the stadium, along with guitar-pick-shaped monitors that were hung up. It made everybody who attended this show, whether they were in the nosebleeds or on the floor, enjoy the show.

Ed Sheeran @ Levi's Stadium (Photo: Matt Pang)

Ed wanted to reinstate that this show is solely the sound of his guitar and that "everything is live, and there’s no backtracking". Throughout the show, you can see the pure effort of his strumming and singing every note. Without any backtrack, I must say that his voice is almost 1:1 with the CDQ versions of his songs. As he performed, the stage rotated and moved like a lazy susan as he projected his voice around the crowd. It made everybody able to get a glimpse of him, as he wasn’t just singing to one side or particular area of the stadium.

Ed Sheeran @ Levi's Stadium (Photo: Matt Pang)

Cell phones helped light up the stadium as Ed performed "The A Team," which had everybody singing from the top of their lungs. This later transitioned to the highly thematic "Castle on the Hill," which had orange lights illuminating the entire crowd. Pyro was shot throughout the track and continued to deliver high energy. Something I also noticed was that Ed was wearing a show-specific tour shirt that labeled Santa Clara on the back and matched it with custom Jordan 4s that had the tour colors painted on them.

Ed Sheeran @ Levi's Stadium (Photo: Matt Pang)

A point to mention from Ed’s set was the strong acoustics and sound that were projected. Although he was playing an acoustic guitar, the vibrating bass almost sounded electric. The set transitioned from Ed playing solo to playing with his full band, which included playing his collaborations like "River", with Eminem, "Peru", with Fireboy DML, and "I Don’t Care" with Justin Bieber. Ed later brought out Russ for a special performance of their collaboration "Are You Entertained". This felt like a wholesome moment, with the opener and the headliner sharing the stage.

Ed Sheeran @ Levi's Stadium (Photo: Matt Pang)

Ed also later brought out Alicia Enstrom, who performs the violin, to perform their collaboration "Galway Girl", which later transitioned to the smash hit "Thinking Out Loud". Ed mentioned, "This part of the set is now all sing-a-longs. You know the songs your grandma knows". This was followed up with songs like "Love Yourself" which is a Justin Bieber song that he co-wrote, "Photograph", "Perfect", and "Bloodstream".

Ed Sheeran @ Levi's Stadium (Photo: Matt Pang)

It was very touching that Ed also acknowledged deeply his gratitude for the fans that came to see him perform. He mentioned that this isn’t just a performance for him, but for the fans who traveled miles to see him, and that there are many costs that add up from that. With high spirits, Ed closed out the show with "Shape of You" and finally "Bad Habits".

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Decoding The Algorithm: An Interview with Filter's Richard Patrick (9/14/23)

2023-09-17T09:01:00.006-07:00

Filter live is Elias Mallin (drums), Richard Patrick (vocals/guitar), Bobby Miller (bass), Jonny Radtke (guitar) (Photo: Derick Smith)

The Freaks on Parade tour visits the Concord Pavilion on Friday, September 22nd and features the incredible line-up of Filter, Ministry, Alice Cooper, and Rob Zombie. Limited tickets are still available as of this writing that you can find here. We had the chance to catch-up with Filter's Richard Patrick on a rest day to check-in on the tour, his new album The Algorithm, and joining Nine Inch Nails on their Rock & Roll Hall of Fame performance in Cleveland last year. You can find our full interview with Rich below and hope to see you in Concord on Sept. 22nd!

SFBayAreaConcerts.com: How's the Freaks on Parade tour been going?

Richard Patrick: I'm having the fucking time of my life. It is so much fun. In some situations the crowds don't show up for the support act. But we're blessed that they're showing up and in full! I mean before we hit the stage, they're in their seats, they're ready to go. So we're really excited about that. We play for 30 minutes and we rock out and we leave them wanting more, you know? That's the whole idea when you're opening up, you want to come back on your own headlining tour so you can rock out for an hour and a half as opposed to just 30 minutes.

SFBAC: Well, you're going to be hitting the Concord pavilion next Friday. And what I realized was that it's pretty much a year almost to the day from the Rock & Roll Hall of Fame Nine Inch Nails, Ministry, and Nitzer Ebb show last year in Cleveland, OH.

Richard Patrick: Yeah, that was one of the most fulfilling moments in my life.

Nine Inch Nails Past & Present @ the Rock & Roll Hall of Fame (Photo: Amber Patrick)

SFBAC: We were lucky enough to be there and cover the show and thought it was one of the best we've ever seen. The only thing missing was a dedicated set by Filter! Can you tell us how the show came together?

Richard Patrick: Yeah, Trent got nominated to the Rock Roll Hall of Fame. He had eight guys go with him. And I was shocked that I wasn't being inducted too, just because I was there in the beginning. I reached out to Trent and he said, 'well, the reality is that you were only in the band for four years, and there's been a lot of people after you that had been in the band for, you know, 10-15 years.' And he said 'I wanted to get you but they [the Rock & Roll HoF] just had a limit on how many people I could have and I'm really sorry.' When he explained it to me, I totally understood.

Trent then booked a show in Cleveland that was supposed to be played at Nautica. And he invited me and said 'why don't we do some cool thing where you come out on stage and we'll show those fuckers that you should have been inducted?' So we booked the gigs and it was supposed to be for the Rock and Roll Hall of Fame induction type thing. And then COVID came, and that got pushed back. So we cancelled it. And then six months later, he booked another gig at Blossom Music Center. And I heard about it and I said 'dude, let's do the reunion.' And he goes, 'Yeah, let's do it.'

We got together for a rehearsal. And he basically said, 'you're doing "Eraser," I want you to sing "Eraser," I want you to sing all the background vocals you used to, I want you to do this new part on "Sin," and then we're going to learn "Hey Man, Nice Shot". We're going to do "Hey Man, Nice Shot". And then you're going to sing the second verse to "Head Like a Hole"'. And I'm like, 'fuck, my god, that's amazing. Why? Like, wow!' And so we did that at rehearsal. We've got everything going. And then two weeks later, we went to the reunion and that's what we did. We went out there and it was the most amazing thing. I mean, I was standing on the side of the stage and just waiting for my part to come out and everybody freaked out when I came out. It was awesome. It was an incredibly life affirming moment and I'm forever grateful to Trent because he really made me feel special, and that it was a return. I just had the best time playing guitar and singing and all that stuff. It was amazing.

SFBAC: Speaking as a life-long NIN fan, I think it was so vindicating to see you on stage with the original crew and in your hometown of Cleveland. The performance was incredible and it was such a special moment.

Richard Patrick: Yeah, I was really happy.

SFBAC: So as that performance also saw Ministry as part of the bill, was that a kernal of how this Freaks on Parade tour came together? Was this tour already in the planning phases at that time and was it discussed between the Ministry camp and your team?

Richard Patrick: Basically, Tony Ciulla reached out to Marc Pollack [Filter's band manager] and asked if Filter would be interested in going out on tour with Rob Zombie and Alice Cooper and Ministry. And we said yes immediately. And I think it's because of the resurgence of my career because of the reunion [at Blossom.] I do, and the fact that we were putting out a brand new record [The Algorithm] in August.

I've known Tony since 1986. In Cleveland, Ohio when he used to work at Peabody's Downunder booking bands for them. And he used to book my band The AKT and he knew Trent and he was hired to run Nothing Records with John Malm. And he managed Marilyn Manson. And so I've known Tony since, a long time ago. But, it's entirely up to Rob you know? He's the main guy and I think Rob remembered me from the Zombie days when we toured with White Zombie, and I think he liked us. So it's been awesome, the Rob Zombie tour has been amazing. The level of artistry that's going on here is really remarkable. Alice Cooper and Ministry, we're all bringing our A-games, it's pretty solid. It's a great show.

SFBAC: Well, it has to be the most anticipated metal/rock show hitting the Bay Area this year! We'll be able to see for ourselves this Friday in Concord! You mentioned the new album The Algorithm that came out at the end of August. It's been in constant rotation over here and a great album, but I have to say, it's not an uplifting album Rich. At least in the way I've been interpreting a lot of the lyrics! You're touching on a lot of the hot button political issues over the past few years.

Richard Patrick: Yeah, well I'm really concerned. And I didn't want to call the record, The World's a Terrible Place, but I do like to talk about issues when I can, in my lyrics, I write what I know, you know what I mean? When I was a kid I didn't really know about love, and I didn't really know about a lot of stuff going on. But I knew about topical stuff. I wrote about R. Budd Dwyer, I wrote about the demonization of drugs and alcohol, I wrote about God and the Catholic Church. So I've always been topical.

"Up Against the Walls" is about the Trump administration and how crummy it makes me feel, there's just tons of it. It's all over the place and "Summer Child" is about people that support fascism and stuff like that. I'm letting it all hang out. And the concept of the record is that there's this astronaut who returns to Earth from being away from Earth, and he comes back and he finds the Earth has been destroyed and there's only a few survivors. And so all the videos are about like... the girl who survived in the "Obliteration" video, she survived and she's protecting her cat. This record's got a lot of little hidden secrets.

SFBAC: "Obliteration" is a great track. I love how visceral the lyrics are; 'sink my teeth in the pain' -- I love that line. 'The world is numb, just one step from obliteration'. You're not mincing words! You've got some great lyrics in this album!

Richard Patrick: Thank you

SFBAC: With "Say it Again," the lyrics 'I'll say it again. Even though your heads gone missing. I know you're not listening' -- to me, that draws direct parallels with all the US-centric news over the past few years with the Trump admin and just... political. You wrote The Algorithm pretty much through the pandemic and throughout everything that was going on. Can you tell me just how was that process for you?

Richard Patrick: It was wild, because I mean, there were two other songs that probably should have been on the record that weren't there. They were "Thoughts and Prayers" and "Murica". And I was gonna do a whole record called Murica or They Got Us Right Where They Want Us, At Each Other's Throats, but I realized it was just too political. And so I allowed them to just kind of live as singles. And then for The Algorithm, I wanted to kind of keep it a little bit more vague.

But in terms of writing during the pandemic, it was wild because it really didn't affect us. I mean, my kids stayed at home at school. And we just kept to ourselves. And I didn't have a job. I mean, my studio is kind of locked off from the public. So I mean, I literally, it was just like, oh well, there's a pandemic going on, and I'm sticking to myself, and so I just sat there and worked on movies and this record, and it was awesome. I did like two or three movies, as well as worked on Filter tracks.

SFBAC: I felt like this album kind of harkens back to some of your earlier stuff, too. Was that purposeful?

Richard Patrick: Absolutely. I really really, really, really kind of held the bar, I made sure that everything was similar sounding to the original stuff, because there's an originality to what Filter does. And I want to continue that sound palette, but I made sure that it was kind of updated with this kid by the name of Zach Munowitz, who wrote the music with me for "Up Against the Wall", "For the Beaten", and "Say It Again." He was 21 when I asked him to start working on the record with me and it just about blew his mind, but he did a great job. He sent me basically a bunch of music in a Dropbox, and it's a very interesting story how I found him, I literally found him on Instagram.

SFBAC: And tell me more how that happened.

Richard Patrick: I saw a 'get good drums' advertisement on Instagram. And I thought he was really cool. I heard his music and I was like, that's just so insane. How are you doing that? And he's like, is this really Richard Patrick? And I'm like, 'Yeah, it's me.' And I said, 'would you like to work with me?' And he goes, 'absolutely.' And so, within a couple of days, he started sending me music for stuff. And that's why I think the record has not only the old school sound of Filter but a kind of a new sound as well.

SFBAC: That's fantastic.

Richard Patrick: Yeah. And he was like, 'I can't believe this is happening.' It turns out he's a Berkeley graduate. So he's a total genius. Full on Berkeley music genius. Just incredible. Knows everything. Totally educated. So it was a great thing. And I can't wait to work with him again.

SFBAC: So you mentioned your movie & TV composition work from during the pandemic, you just released The Algorithm and are touring to support that release. You've got a lot on your plate. Do you have more movie/TV scores in the works and if so, when do you find time to fit everything in?

Richard Patrick: I'm doing a new movie that Brian Skiba is directing called Cold Deck. It stars Alec Baldwin and Stephen Dorff and I start that in October when I get back.

SFBAC: You're keeping busy!

Richard Patrick: Absolutely. And this time around with this record, I'm really trying to enjoy it. You know what I mean? I'm really trying to have fun with it. I make sure I go out and see Rob Zombie's set every night just because I love the monsters and everything. Obviously the music's great, but those monsters are hilarious. And Alice puts on a great show too -- Alice gets his head chopped off every night.

SFBAC: And Alice Cooper's guitarist, Nita Strauss, is fantastic on guitar. You can't lose with this lineup.

Richard Patrick: That's why it's selling out everywhere. It's like crushing.

SFBAC: So you've only got a few more dates for the Freaks on Parade tour, you'll come back and work on the score for the Cold Deck movie, then you've announced the international tour with stops in Europe and Australia. Any plans to get back for a US headlining tour next year?

Richard Patrick: Yes, I want to do it. Absolutely. We're just trying to figure out the right bill. I love the band Health. I'd love to tour with them, or 3Teeth. I would love to tour with different young bands and have a lot of fun and that kind of thing. I just want to make sure the bill's awesome. You know?

SFBAC: Yeah, totally. Well, Richard, we can't wait for the Concord Pavilion stop next Friday on September 22nd, and we'll keep our fingers crossed for a Bay Area headlining Filter date next year! [At the time of this post, limited tickets for the Concord date can still be found here.]

Richard Patrick: Awesome. Thank you very much. I really appreciate it.

SFBAC: Thank you, Rich. Enjoy the tour and see you next week.

Review - Pixies & Modest Mouse @ the Oxbow River Stage (9/15/23)

2023-09-16T22:58:00.000-07:00

Pixies' Black Francis (r) and Joey Santiago (l) @ the Oxbow River Stage (Photo: Sean Reiter)

Napa’s Oxbow River Stage welcomed a near capacity crowd of about 5,000 Friday night for a show that presented two titans of the 90’s alternative music scene. The co-headliner tour of Pixies and Modest Mouse provided the audience with 3 hours and nearly 40 songs on yet another beautiful evening in the Wine Country.

Isaac Brock of Modest Mouse @ the Oxbow River Stage (Photo: Sean Reiter)

After opener Cat Power had finished her set, founding lead singer Isaac Brock and Modest Mouse stormed the stage and took no prisoners with a blistering set that opened with 2000’s “Dark Center of the Universe” that starts off with wailing guitar and Brock’s screaming vocals. Next up was the ska-like “Dashboard” a playful tune delivered with tongue firmly in cheek led by Brock who sported a San Francisco Seals Baseball t-shirt. “Bury Me with It” was brought forward with the blending of spoken word and straightforward rock and was the first of four songs off 2004’s Good News for People Who Love Bad News.

Modest Mouse @ the Oxbow River Stage (Photo: Sean Reiter)

Brock voiced his one disappointment of the night 'Here’s what I am waiting for. I was told there would be a train and that this train would make train noises,' he said - in reference to the Napa Valley Wine Train that passes right above and behind the Oxbow Stage. 'And that hasn’t happened for me yet.' Unfortunately, on this night, the timing was not right for a train encounter with Modest Mouse’s set. The band launched into an intense version of “This Devil’s Workday” featuring excellent horns and deep red lights to emphasize the pace and lyrics of the song.

Modest Mouse @ the Oxbow River Stage (Photo: Sean Reiter)

“King Rat” followed with more of the crazy pace and lyrics leaning on the banjo and deep strings from Tom Peloso – who seemed to play anything that didn’t move on the night (keyboards, horns, strings and bass). Modest Mouse has been around for 30 years and their sound is still so relevant. Drummer Damon Cox and percussionist Ben Massarella combined with bassist Russell Higbee for a rhythm section that created ever changing beats that kept the performance fresh and made each next song unpredictable. Indeed, both Modest Mouse and Pixies switch up their setlists every night to make every performance a unique experience. There seems to be a resurgence in this in live music and while it makes both reviewing and photographing the traditional first 3 songs a bit difficult, I’ll give a standing ovation for every concert having their own unique moments.

Modest Mouse @ the Oxbow River Stage (Photo: Sean Reiter)

“Dramamine” came as a surf intro melding into a Clash-like cadence and was followed by “Doin’ the Cockroach” - presented as a screaming rager. Soon after this, Modest Mouse did “Tiny Cities Made of Ashes” as a dance song with breakneck pace that then led into the band’s biggest hit “Float On” – bringing the crowd to their feet with phones out to capture the moment as projected paisley wheels spun on the bridge behind them. The audience sang the chorus along with them and the faithful Modest Mouse fans lost their minds when the band wrapped up their set with “Shit Luck” played at a crazy, breakneck punk pace with wild lights and drums.

Pixies @ the Oxbow River Stage (Photo: Sean Reiter)

Pixies formed all the way back in 1986, remarkable, one of alternative’s most influential bands still feature three of their original members. Black Francis with lead vocals and rhythm guitar, Joey Santiago on lead guitar and drummer David Lovering have remained at the core (albeit with an eleven-year break of the band from 1993 to 2004). Bassist Paz Lenchantin took over the full-time bassist and female vocalist role that Kim Deal originally held. Their mastery of the music they originally created was completely evident as there was no dialogue during their 80-minute set. What was missing in conversations and connection to place was more than made up for in commitment to the music as the band powered through more than 20 songs.

Pixies' Paz Lenchantin @ the Oxbow River Stage (Photo: Sean Reiter)

Pixies led off with a rousing “Gouge Away” that stressed the nearly hypnotic rhythms Lovering and Lenchantin power so many of their great songs. When Black Francis kicked in with his vocals under a deep green spotlight and then Santiago let loose the first of his many squealing solos, the band and the crowd exploded and we were off on a journey that would continue unpaused until the curfew. They would hit many of the band’s highlights and spotlight some of the best off their latest album. 2022’s Doggerel is completely in line with Pixies’ formula while taking the lyrics even further. “Thunder and Lightning” and “Haunted House” in particular shined.

Pixies' Black Francis @ the Oxbow River Stage (Photo: Sean Reiter)

Black Francis alluded to the fact that the band really has only two speeds – fast and slow and very little in between and both of those were on full display as he alternated between acoustic and electric guitars. Santiago’s shredding guitar solos were frequent - delivered in bursts that took the songs beyond the album without diverting too far from the original. Lenchantin’s bass and vocals created the unique tapestry that is Pixies’ sound. Her backing howls, chorus and lead vocals all ring so true with the original music and also still sound so original. When her heavy driving bass weaves in with Lovering’s drums, the band’s driving rhythms become incomparable to anyone else.

Pixies' Joey Santiago @ the Oxbow River Stage (Photo: Sean Reiter)

“Here Comes Your Man” came surprisingly early as the fourth song of the night, coming out of a surf/acoustic jam and the audience roared as the set had started off with two of their biggest hits. “Nimrod’s Son” got off to a slow and cool start before it revved up and took off with Santiago’s solo (at one point in the evening, Santiago performed a solo using his hat on the guitar – the first time I had ever seen that). Francis’ acoustic guitar lead-in to a fun “Motorway to Roswell” led into a terrific version of “Hey.” Live, the back-and-forth vocals between Francis and Lenchantin was spellbinding – it might be hard to find two more opposite voices that when put together blend so beautifully.

Pixies' Dave Lovering @ the Oxbow River Stage (Photo: Sean Reiter)

“Planet of Sound” was likely the most punk song of the night with Santiago leaning heavily into the Wah with his guitar. Francis brought his acoustic guitar back out for “Who’s More Sorry Now?” and a song that reflected his south of the border-influenced guitar tone and vocals. Great versions of more than a handful of other songs followed with the driving beat of “Debaser” bringing the crowd’s energy up even higher and “Where is My Mind?” sending the crowd into collective orbit. Pixies ended the night with their cover of Neil Young’s “Winterlong.” Francis removed his glasses and the band took to the front of the stage to greet the crowd’s huge cheers and standing ovation with big smiles and waves, but not a word was said from the band that lets the music speak.

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Review - The Hooters @ the Mountain Winery (9/12/23)

2023-09-14T16:01:00.008-07:00

David Uosikkinen & Eric Bazilian of The Hooters @ the Mountain Winery (Photo: Kevin Keating)

SARATOGA, CA -- This past Tuesday night at the Mountain Winery in Saratoga, California, we witnessed a show long in the making that left the audience buzzing with excitement. The stars of the night? None other than the incredible band, The Hooters. We had a chance to speak with founding member Rob Hyman only a few weeks ago and you can find our interview here.

Rob Hyman of The Hooters @ the Mountain Winery (Photo: Kevin Keating)

As a Philly native, I promise that I'm going to try and check my bias throughout this review; and although Rick Springfield may have been the headliner, it was The Hooters' 45-minute set that stole the spotlight in my honest opinion. The Philadelphia-based band delivered an unforgettable show filled with infectious energy and timeless hits that hadn't been seen here in the Bay Area since the Loma Prieta earthquake in 1989. That tour with Stevie Nicks was The Hooters last visit to the Bay Area over 30 years ago!

Eric Bazilian & Rob Hyman of The Hooters @ the Mountain Winery (Photo: Kevin Keating)

Show opener, Tommy Tutone spent the first 20 minutes of the night with a quick warm-up that included his hit "867-5309/Jenny" and after a quick set change, The Hooters wasted no time in captivating the crowd with their unique blend of rock, pop, and reggae-infused hits. From the very first chords of "I'm Alive," they had us in the audience hooked and ready for a musical journey back to the '80s. They even slipped in a song off their latest album, Rocking & Swing's "Why Won't You Call Me Back". Eric Bazilian's guitar, mandolin and saxophone skills and Rob Hyman's masterful keyboard work transported fans to a different era, evoking memories of youthful exuberance and gave us all another reason to make this night one big party.

John Lilley & Rob Hyman of The Hooters (Photo: Kevin Keating)

Joining Eric & Rob were David Uosikkinen (drums), John Lilley (rhythm guitar) and Fran Smith Jr. (bass guitar), along with Tommy Williams (guitar) who joined the band in 2010. The six-piece maintained an unrelenting pace, seamlessly moving from one hit to another to maximize their 45-minute slot. It was easy to see how the band won over the crowd who were largely there to see 80's pop star and soap opera heart throb, Rick Springfield. "All You Zombies" saw a good chunk of the audience on their feet and by their closing number, "And We Danced", the audience was singing along and dancing throughout the entire lower bowl of the Winery. The band's chemistry was palpable, and their genuine enjoyment of performing together radiated from the stage.

David Uosikkinen of The Hooters @ the Mountain Winery (Photo: Kevin Keating)

The intimate setting of the Mountain Winery gave The Hooters a chance to really connect with us in the audience -- it wasn't as intimate as Philly's Keswick Theater, a favorite and often-played venue of theirs -- but Eric and the rest of the band gave it their all to make eye contact with as many people as they could from the stage. And talk about Philly pride, it was on full display between Eric and David's shirts ( ie. Eric's 'Philly Vs Everybody' and David's 'Levittown'), even the sound engineer wore a retro Pete Rose Philadelphia Phillies baseball jersey! Between songs, they shared anecdotes and interacted warmly with fans, making it feel like a gathering of friends for a party rather than a traditional concert.

Fran Smith Jr., Rob Hyman, Eric Bazilian, and John Lilley of The Hooters @ the Mountain Winery (Photo: Kevin Keating)

And to those who weren't already familiar with The Hooters before the show, the band snuck in the two non-Hooters hits written or co-written by Eric & Rob respectively, Joan Osborne's "One of Us" and Cyndi Lauper's "Time After Time." Rob pointed over to Eric at the start of "One of Us" and called to the crowd 'he wrote this!' to add that context to those wondering why the band was 'covering' the hit.

Rob Hyman of The Hooters @ the Mountain Winery (Photo: Kevin Keating)

All-in-all, The Hooters abbreviated 45-min set alone was well worth the ticket price, and while Rick Springfield's performance was scheduled as the main event, The Hooters' show was the clear highlight of the evening. Their high-octane, danceable set was a testament to their enduring talent and ability to ignite a crowd. I only hope another 30 years don't go by before we see them again back in the Bay Area!

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The Hooters @ the Mountain Winery (Photo: Kevin Keating)

Review - Lionel Richie & Earth Wind & Fire @ the Chase Center (9/8/23)

2023-09-13T22:14:00.000-07:00

Lionel Richie @ the Chase Center (Photo: Matt Pang)

SAN FRANCISCO – Fans of different generations were able to rejoice in the name of funk and soul with a headlining concert featuring two of the biggest names, Lionel Richie and Earth, Wind & Fire. Dubbed the "Sing a Song All Night Long" tour, it felt like both artists were the headliners of the night. The Chase Center hosted this show with fans lined up outside in their funkiest outfits featuring big hats and baggy pants.

Earth, Wind & Fire @ the Chase Center (Photo: Matt Pang)

Earth, Wind, and Fire kicked off the show to high heights, immediately getting everybody on their feet. With only three original members (Verdine White on bass, Philip Bailey on vocals, and Ralph Johnson on drums and percussion), the group did significantly well. Being able to reach limits without the original members can certainly be difficult, but they did not disappoint. The show kicked off with the funky bass intro to "Shining Star," and that's when the party started. The groove brought a little of the 70s into the whole building and had everybody appreciating the greatness of the classics many grew up on.

Verdine White of Earth, Wind & Fire @ the Chase Center (Photo: Matt Pang)

Watching the group, you can tell they’ve all brought together a new synergy that allows them to perform in sync and with great chemistry. The set later transitioned to classics like "Let Your Feelings Show", "Serpentine Fire", and "Sing a Song". Verdine White often stole the show by flaunting his guitar and performing up and down the stage's catwalk jamming out with his tongue out. He performed a strong bass solo, impressing the crowd. It was a great sight to see that although the music has lived through various decades, they are performing as it came out last week!

Earth, Wind & Fire @ the Chase Center (Photo: Matt Pang)

The San Francisco crowd was treated to a unique cover of The Beatles’ "Got to Get You Into My Life" as the band jammed together. Ralph Johnson performed meticulously on the keys with passion as the rest of the band followed for that song. With a small intermission, Earth, Wind, and Fire came back out strong to "Reasons" and a cover of David Foster's "After the Love Has Gone".

Earth, Wind & Fire @ the Chase Center (Photo: Matt Pang)

The band then slowly introduced each other one by one, followed by the cheers of the entire arena applauding the generational greatness from new and old members. What came after was one of the strongest three-song lineups I’ve seen at a show in recent times. The introduction of "Boogie Wonderland" started with those immersive trumpets and immediately got everyone dancing. And being one of the most recognizable and influential disco songs, it certainly was not a surprise. Next came "Let’s Groove," which got everyone even more hyped. It’s hard to have a bad time with funk music; it’s simply impossible. Now that the crowd is fully devoted to the dance floor in their seats, they played “September" and coincidentally, in September! If only there were disco balls, because that’s what it felt like, with various ages in the crowd all vibing to the funky R&B of Earth, Wind, and Fire. They later closed out the show with "In the Stone".

Lionel Richie @ the Chase Center (Photo: Matt Pang)

Lionel Richie came up next, and most importantly, with a strong introduction. The lights dimmed, and everyone's cell phones lit up the arena to the slow notes of "Hello". Lionel erupted onto stage in a white suit through the fog of smoke, taking it all in, looking into the crowd. Hitting every note, he took everybody to 1983 with this classic. Supported by a full band, they complemented Lionel’s voice and gave a great rendition of the many hit songs. He displayed strong stage presence by dancing and prancing across the stage with the band and even joking with one on playing at the wrong time. Lionel was also not shy about tapping into his roots by performing hits from "Commodores". After performing on the stage's catwalk, he later moved to the back of the stage on a matching white piano with an orange sunset visual illuminated behind him. The opening notes of "Easy" set everyone right. Although it wasn’t Sunday morning, it was the perfect feel-good song to hear on a Friday night. Everyone swayed and sang lyric for lyric as he delivered a strong performance acapella on the piano and without any supporting band.

Lionel Richie @ the Chase Center (Photo: Matt Pang)

Lionel went through a catalog of hits from the Commodores, which included "Three Times a Lady", "Fancy Dancer", "Sweet Love", "Lady", "Just to Be Close to You", and "Zoom". Nearly half of the show was a reflection of his past, and the other half focused on the latter. He complimented the crowd by mentioning, "I haven’t seen dancing like that since 77’!”. Throughout those tracks, there were also groups of smoke machines shooting up around the stage.

Lionel Richie @ the Chase Center (Photo: Matt Pang)

Towards the end of the show, Lionel was ready to bring in the funk. He performed "Brick House" with red lights projected throughout the arena and got everybody back to the dance floor. Fans were loving it and were also treated to an impressive guitar solo outro. This was followed by a solo piano performance of "Still" by the “Commodores" and later a touching performance of "Say You, Say Me". Chase Center was darkened and had Lionel in the center at the end of the catwalk, performing with lights around him. It was a moving and emotional rendition of the classic. This was followed by a touching speech by Lionel appreciating the fans and reinforcing the peaceful message of having each other's backs. The show closed out with an amazing performance of "We Are the World" and a fun encore of "All Night Long".

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Review - Sound Summit @ Mount Tamalpais (9/9/23)

2023-09-11T22:49:00.000-07:00

Sound Summit 2023 (Photo: Sean Reiter)

Thousands journeyed to the top of Marin’s Mount Tamalpais Saturday for the 2023 Sound Summit Concert - where they basked in all-day sunshine, took in the dramatic views of the Bay Area below and were wowed by the eclectic and diverse performances of Lord Huron, Sierra Ferrell, Kevin Morby, Brokedown in Bakersfield and Vinyl.

Kevin Morby @ Sound Summit '23 (Photo: Sean Reiter)

Taking place near Mount Tam’s summit in the Sidney B. Cushing Memorial Amphitheatre (known to locals at the “Mountain Theater”), the festival takes place on hallowed ground in the history of rock ‘n’ roll. The Summer of Love in 1967 saw the venue hold The Fantasy Faire and Magic Mountain Festival featuring The Doors and Jefferson Airplane. It was the first rock festival to be held in America, coming just a week before the historic Monterey Pop Festival. Unfortunately, that first festival went less than smoothly and the mountain was treated with some disrespect by the attendees, resulting in no music festivals until the first Sound Summit was ok’ed for a trial concert in 2015. Saturday marked the seventh iteration of Sound Summit that had seen lineups blended with local favorites and national acts including Tedeschi Trucks Band, Wilco, Phil Lesh & Friends, Herbie Hancock, Jim James and Lukas Nelson.

Vinyl @ Sound Summit '23 (Photo: Sean Reiter)

Leading off was Mill Valley’s beloved Vinyl – a full jazz funk band that has sold out the Sweetwater Music Hall more than 100 times and was in fine form on Saturday. Vinyl had an early arriving crowd grooving at the start of the day with their big sound that leveraged an exceptional horn section to keep the music full and upbeat. The pit in front of the stage was filled with quite a few early dancers who enjoyed Vinyl’s energy.

Andre Cruz with Vinyl @ Sound Summit '23 (Photo: Sean Reiter)

That energy kicked way up when guest vocalist Andre Cruz (The Steady 45’s) hit the stage like a locomotive – singing with swagger and filling the stage with his dance moves. Cruz’s presence for the last two songs brought enough momentum to fuel the rest of the afternoon. Vinyl and Cruz ended their set with a fantastic cover of Bill Withers 1972 song “Kissing My Love” that sent the audience over the top with the band going at full speed and Cruz delivering the lyrics with buckets of charisma.

Brokedown in Bakersfield @ Sound Summit '23 (Photo: Sean Reiter)

Next up was the reunited Brokedown in Bakersfield – an all-star band taking the stage together for the first time since 2014 to pay tribute to the Bakersfield sound, as well as some of the band members’ own songs. Singer Nicki Bluhm and acoustic guitarist singer Tim Bluhm (“The Mother Hips) took center stage while Scott Law played the Telecaster, Steve Adams of ALO played bass, Dave Brogan manned the drums and Dan “Lebo” Lebowitz (ALO) played a killer pedal steel for most of the set.

Dan 'Lebo' Lebowitz @ Sound Summit '23 (Photo: Sean Reiter)

The band showed no rust as they provided a 45-minute set that was all smiles on stage and smooth transitions back and forth among players. They began with Merle Haggard’s “California Cotton Fields” and then Nicky Bluhm followed with a sensational cover of Jean Shepard’s “Root of All Evil (Is a Man)”. It was especially heart-warming to see the two Bluhms playing together for the first time in so long following their separation and Tim’s terrible health battles after his 2015 speed flying accident. This being an all-star band, every member sang at least one song in a set that included Haggard’s “Okie from Muskogee,” Law’s “Leave the Leaving Up to You” and Nicki Bluhm’s title track off her 2018 album “To Rise You Gotta Fall.”

Nicky & Tim Bluhm of Brokedown in Bakersfield @ Sound Summit '23 (Photo: Sean Reiter)

Lebowitz was as always a master musician behind the pedal steel taking many graceful solos and helping to direct traffic with his bandmates. Whether he’s behind the pedal steel or taking to the mic with his acoustic guitar for one song as he did Saturday, Lebo’s talent and energy serve as magnetic north in the Northern California jam band world - if Lebo is involved in a project it will be great. “Squeaky Wheel” a Nicki Bluhm and The Gramblers song saw Lebo and Law trading jams back and forth in a volley fashion. At the end of the set, the group was greeted with a rousing ovation and many expressed hopes that this reunion would be the re-start of something rather than a one-off event.

Kevin Morby @ the Sound Summit '23 (Photo: Sean Reiter)

Kevin Morby took the stage next with roses on his mic and electricity in his playing and singing. His energetic and emotion-filled set was delivered with power and passion. He focused much of his set on his stellar 2020 Covid-era album “This is a Photograph” starting with the title track which launched with an impressive intensity and was followed by a similarly charged “A Random Act of Kindness.” Before he delivered the softer “Five Easy Pieces,” Morby sat on the drum-riser and looked up at the crowd. “I don’t even know where I am. I just woke up in the hotel and they drove me up here. Maybe this is heaven?” He then performed most of the song seated there.

Kevin Morby @ Sound Summit '23 (Photo: Sean Reiter)

“Wander” featured an impressive back and forth between Morby and guitarist Cyrus Gengras who provided restrained but provocative soloing throughout the set. “Piss River” off 2019’s Oh My God served as a master class in delivering emotional lyrics – particularly when he delivered the song’s early lines:

“And oh my God
Mama, I’m scared.
I know you are, baby
I am scared too.”

Kevin Morby @ Sound Summit '23 (Photo: Sean Reiter)

“City Music” started slow and grooving before launching into a an exuberant celebration and then cascading back down into a slowed down end. “Oh, City Music. That made somewhere in the Bay Area sound,” Morby told the crowd after the song. “I can see The City,” he said looking back at the view behind the stage. “Can you see it too? It’s so cool,” and then Morby played the appropriately titled “I Have Been to the Mountain.” Several other songs stood out – including a rousing version of “Parade” and a sweet rendition of “Beautiful Strangers.”

Sierra Ferrell @ Sound Summit '23 (Photo: Sean Reiter)

Sierra Ferrell is a unique talent and the West Virginia-born bluegrass artists took the stage wearing an ensemble that was reminiscent of early 20th century Bolivian style. With her long flowing dress and secured hat, she was greeted with a large roar from the crowd up front as her backup musicians sported bright red outfits similar to a mariachi style. The clothing did an excellent job in providing a timestamp for Ferrell’s performance and to let the audience know that they would be going to another place sonically. She had an incredibly likeable and light-hearted demeanor, while remaining very true to the bluegrass sound.

Sierra Ferrell @ Sound Summit '23 (Photo: Sean Reiter)

Though she has only released the 2021 debut album Long Time Coming, Ferrell had all the confidence befitting someone who barnstormed and busked across the county as she did when setting out. In all, she played about ten songs with all of them resonating with the crowd. “Silver Dollar” was a fun and rambling good time. Before she performed “Why’d Ya Do It,” she welcomed her co-star from her video who performed his cowboy whip and rope tricks. As the song progressed, it included moments of him whipping the bloom of a rose off as he held it between his legs and Ferrell herself held a rose in her mouth for him to whip the bloom off at the end of the song.

Sierra Ferrell @ Sound Summit '23 (Photo: Sean Reiter)

Ferrell delivered “Rosemary” as a beautiful solo acoustic number before covering Osborne Brothers’ “Lonesome Feeling.” “Honestly, where am I?” she asked the audience after the song. “This place is soooo beautiful!” Another great moment of her set included “Don’t Let Your Deal Go Down” with a crazy good mandolin solo. By the end of her set, she had the entire crowd in the palm of her hand and they roared with appreciation at its conclusion.

Lord Huron @ Sound Summit '23 (Photo: Sean Reiter)

It was my first time seeing Lord Huron live and it seemed like there was a dramatic difference from the moody, somewhat ethereal and evocative sound of their album to the much more rock-forward, showmanship that the band exhibited Saturday. Founder and lead singer Ben Schneider was an absolute force from the moment they took the stage and though Lord Huron started as a solo vehicle for him, the band had great interactions and a feeling of camaraderie. Miguel Briseño on bass and theremin combined with drummer Mark Berry to provide a driving groove throughout the 100-minute set, while the guitars and energy of Tom Renaud and Brandon Walters helped propel the music forward. Keyboardist and vocalist Misty Boyce provided great layers at the keys and organ while also providing a beautiful female voice to the band.

Lord Huron @ Sound Summit '23 (Photo: Sean Reiter)

Rather than starting off with music off the more recent album, 2022’s “Long Lost,” Huron chose to instead begin with two songs off 2015’s “Strange Trails.” “Love Like Ghosts” served as a terrific choice as it started as a slow and brooding number before breaking loose and unleashing Schneider’s whirlwind energy in his vocals and acoustic guitar as well as his many physical crossings of the stage. Indeed, Schneider was in constant motion throughout the entirety of the show and his live energy blended the traditional Americana guitar approach with a dancing, on the move front man. He showed this flamboyant side with the second song “Meet Me in The Woods.”

Ben Schneider of Lord Huron @ Sound Summit '23 (Photo: Sean Reiter)

Huron was an exhilarating band to watch on Saturday. From Schneider’s wild dancing, the guitarists consistently physically coming together to lean into songs to Boyce’s exuberant leaping and cheering on the songs. “Ancient Names” took on a jet plane on a test flight pace and style, while “The Ghost on the Shore” was a haunting song live that was one of the most memorable. By the time, Schneider donned his skeleton mask to perform “The World Ender,” the crowd had been treated to such a great performance of such a high level, that it almost seemed an unnecessary theatrical addition (thought it was fun and cool in person). As the sun began to set and the crowd readied to descend the mountain, Schneider addressed the crowd. “Have you all had a fun day out there? I hope that you could see that it was fun as hell for us as well.” Huron’s performance was the perfect cap for what was one of the most beautiful days of the year in one of the world’s most beautiful music venues.

Ben Schneider of Lord Huron @ Sound Summit '23 (Photo: Sean Reiter)

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Review - 50 Cent & Busta Rhymes @ Shoreline Amphitheater (9/2/23)

2023-09-06T22:32:00.000-07:00

50 Cent @ the Shoreline Amphitheater (Photo: Matt Pang)

MOUNTAIN VIEW -- It’s been 20 years since the critically acclaimed greatest debut rap album of all time dropped. 50 Cent is back on tour to celebrate the anniversary of Get Rich or Die Tryin for the global so-called "Final Lap Tour" which goes across North America and Europe. Alongside him are Busta Rhymes and Jeremih, who are supporting the tour.

Busta Rhymes @ the Shoreline Amphitheater (Photo: Matt Pang)

The tour stopped at Shoreline Amphitheatre on a busy Saturday, with fans lined up across the lawn and nearly all of the seats sold out. Many fans were seen dressed up in 50 Cent’s iconic tank top, bulletproof vest, and baseball cap outfit as seen on the cover of Get Rich or Die Tryin.

Jeremih @ the Shoreline Amphitheater (Photo: Matt Pang)

The night kicked off with Jeremih, the Chicago R&B star who’s recently seen much success with the resurgence of hype from his 2015 magnum opus "Late Nights". Jeremih recently came back with the hit “Room" featuring 2 Chains and Adekunle Gold. His set started off with the intro of Grammy-nominated track “Planez" featuring J. Cole, with pole dancers and matching visuals of his album displayed. Jeremih showcased strong vocals, whether he was singing acapella or with an instrumental. It was also a nice touch that he had dancers to set the vibe of his slow and smooth tracks. "I’m Jeremih, and I’m from Chicago," he said, reminding the crowd where his roots come from. Jeremih performed his feature on Wale’s "On Chill" and surfaced through tracks from "Late Nights" including "Impatient" and "Don’t Tell Em". This was a perfect way to set off a fun, party vibe to open the night, as he closed his set with acapella notes.

Jeremih @ the Shoreline Amphitheater (Photo: Matt Pang)

Busta Rhymes came next with an impressive intro, sitting on a throne and smiling to the crowd. He was the ultimate hypeman for his own tracks and had everybody jumping from their seats. Although he wasn’t a fan of anybody who disagreed, as he called out crowd members who were sitting down. "You must be one of those special kids in special education," he called out to a fan in the crowd. He was later seen apologizing and hugging, but it was quite a vicious attack for somebody attending your show. Alongside him was his actual hypeman, who doubled the energy from Busta’s large and strong vocals. Busta Rhymes performed hits like "Put Your Hands Where My Eyes Could See", "Make It Clap", and "Touch It". He also took time to perform and showcase the visuals of his new single "BEACH BALL," which features BIA. The music video was seen playing across the stage while he performed. "I don’t care if Labor Day is the holiday to end the summer; it doesn’t end until you have some sizzling shit like this!" says Busta Rhymes as he hypes the crowd up.

Busta Rhymes @ the Shoreline Amphitheater (Photo: Matt Pang)

One of the main highlights of his set was when he flawlessly performed his verse from Chris Brown’s 2011 "Look At Me Now". What came as a surprise truly set the energy right, as fans loved hearing this throwback and one of the fastest verses in modern rap. Busta Rhymes later brought out his son to wish him a happy 24th birthday and took time to thank headliner 50 Cent. Busta took out a champagne bottle and said, "Cheers to two important things: 50 years of the most beautiful thing, hip hop, and secondly, our good brother, why we’re all here, 50 Cent”. He shared memories and reminisces about touring for this exact same album 20 years ago when Get Rich or Die Tryin was first released. He popped the champagne and thanked the crowd.

Busta Rhymes @ the Shoreline Amphitheater (Photo: Matt Pang)

As the next set was approaching, fans started to cheer louder and get more hyped as they were about to witness 50 Cent perform his best album and take a trip down memory lane 20 years ago. I spoke with a few fans, and they shared memories of where they were when they first heard this album and how much this tour meant to them. It’s not often you get artists who want to resurface and perform older hits, but 50 Cent is different. He embraced the legacy and importance of his debut album, which brought him to the limelight and made him one of the biggest gangster rappers of all time.

50 Cent @ the Shoreline Amphitheater (Photo: Matt Pang)

50 Cent came out to "What Up Gangsta," which is technically the first track on the album if you’re not counting the 6-second intro. This had fans immediately chanting lyrics and getting hyped. 50 went through different features and tracks from that era that felt super nostalgic, including his verse on "Hate It or Love It" and "How We Do" from The Game’s 2005 "The Documentary". The performance was complemented by pole dancers and backup dancers that immensely elevated the stage production. 50 performed smash hits like "Magic Stick", “P.I.M.P.”, and "Candy Shop". All of which had amazing intros and had fans screaming just from the first note of each track. During Candy Shop, 50 had over 10 backup dancers with him on stage, performing and hitting each beat. There were also tons of pyro and smoke machines that erupted throughout the set, which was fun to see and made everyone more excited for the next beat drop.

50 Cent @ the Shoreline Amphitheater (Photo: Matt Pang)

One of the coolest things I saw from the show was 50 Cent’s outfit changes. He did normal swaps of shirts and pants throughout his set as he left the stage, but during "Just a Little Bit", you can see him rapping, and all of a sudden a huge puff of smoke comes up on stage. Five seconds later, 50 is seen wearing a completely different outfit. This performance was easily rehearsed and performed to perfection, which made the greatness of Get Rich or Die Tryin even more apparent. 50 took time to dedicate the next song to the fallen rapper Pop Smoke as he transitioned to "The Woo" and later brought out Jeremih to perform their smash hit "Down on Me".

50 Cent @ the Shoreline Amphitheater (Photo: Matt Pang)

50 goes to the back of the stage and lets Jeremih really steal the show as he performs acapella with a piano on stage. He plays the opening notes of his biggest hit "Birthday Sex" as one of the pole dancers is seen dancing across the stage, slowly making her way to the piano. This was one of the highlights for me because Jeremih was able to highlight his voice without any background tracking and let the audience know how much range his voice has. After this, 50 comes back, and everybody lights their phones up for "Many Men (Wish Death)" along with "I’m the Man," in which confetti is shot up through the crowd and onto the fans. This was a really cool moment as he performed with a live band, and you can see the 808s and instrumentation from the album translated to a live performance. He also had backup dancers use the lasers and implement them into their performances. It reminded me of some Daft Punk-inspired visuals, as they were all masked up and forming pyramids with their hands.

50 Cent @ the Shoreline Amphitheater (Photo: Matt Pang)

50 Cent closed out his set by going through classics and remixes of his catalog, which included "In Da Club", his remix of Chief Keef’s "Hate Bein Sober", his verse on Mann’s "Buzzin", "Back Down", "Southside", and "I’ll Whip Ya Head Boy".

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Review - Down in the Valley Festival @ the Oxbow River Stage (9/2 & 9/3/23)

2023-09-05T22:09:00.000-07:00

Down in the Valley Festival @ the Oxbow River Stage (Photo: Sean Reiter)

The Head and The Heart (THATH) staged a two-day festival of friendly vibes and great weather, bringing a musically diverse lineup to their initial Down in the Valley Festival at Napa’s Oxbow River Stage on Saturday and Sunday. Featuring three sets from THATH over the weekend and a blend of established and up and coming performers such as Dawes, Waxahatchee, Madison Cunningham, Faye Webster, Shaina Shepherd and Miya Folick, Down in the Valley brought a festival that leaned heavily on the music as the central point of festival that ran quite smoothly considering its rookie status.

The festival was unique from so many others in multiple ways:

The band was friendly and accessible – You didn’t need a diamond-level VIP status to get an offstage glimpse of the bands. Many members of various bands were frequently out on the general admission lawn listening to the music and happy to mingle with fans.
Music for music fans – The lineup ran deep on musical substance and had none of the shallow “looks only” or gimmick acts that seem so pervasive. The one stage setup also eliminated any need to make a trek between stages so everyone could see every band and people could stay in place. General Admission also had equal visibility and proximity to the stage as VIP ticketholders and there was none of the elitism and little of the here to be seen of the bigger festivals.
Friendly times and location – located in the heart of downtown Napa and starting at 3 pm on Saturday and 4 pm on Sunday, there was plenty of time and easy accessibility for out of towners to partake in local eating and drinking establishments. The later starting times and 10 pm finish each night also made it very convenient for people coming from throughout Northern California.

Jonathan Russell & Matty Gervais of The Head and the Heart @ the Oxbow River Stage (Photo: Sean Reiter)

The Head and the Heart greeted early arrivers on the pleasantly cloudy Saturday with an acoustic set that was a surprise to many in the audience. The band’s three front musicians performed acoustically as violinist/singer Charity Rose Theilen, guitarist/singer Jonathan Russell and guitarist/singer Matty Gervais brought the crowd a rousing 7-song set that started appropriately with the weekend’s theme song “Down in the Valley.”

The Head and the Heart's Jonathan Russell @ the Oxbow River Stage (Photo: Sean Reiter)

The early crowd turn out of several hundred fans was a surprise to the band. “We thought there would be like 20 people here this early,” Charity told the early afternoon crowd. The three performed a smoking acoustic version of “Don’t Show Your Weakness” and “Another Story” before performing two songs that would not be played in the other sets of the weekend – a new song “Partisan Eyes” and “Backwards Breathing“ off the 2019 LP Living Mirage. The traditional celebratory “Lost in My Mind” preceded a tribute to Jimmy Buffet who had passed away this weekend. The group did a lovely version of “Margaritaville” with the crowd singing along in remembrance with the chorus and “salt, salt, salt.”

Miya Folick @ the Oxbow River Stage (Photo: Sean Reiter)

All weekend, the transitions between acts were very quick – generally about 15 minutes – and the first-time festival did a terrific job of keeping on track with the intended run of show. Miya Folick delivered a terrific act in the tough spot of following the headliner’s acoustic. She was terrific on her last trip through the Bay Area, when she opened for Aly & AJ at Oakland’s Fox Theater and making her first trip ever to Napa, she demonstrated an increased confidence and command of the stage. Her new album Roach is an absolute triumph and for her second song she and her accompanying keyboardist Jacob did “Nothing to See.”

Miya Folick @ the Oxbow River Stage (Photo: Sean Reiter)

Folick found herself searching for her setlist: “I’m a little scraps of paper person. There are some things you do that are functional and some you do because they make you feel good. I like to write things on paper. I will never be a person who types things into their phone.” “Elton John” - a not-yet released song from the singer-songwriter was next up to get an acoustic treatment before Folick went into more electric guitar-playing and fully unleashed her powerful voice for her rockier songs. Folick was enchanting – self-effacing, funny and supremely talented and the crowd (including some members of THATH) cheered lustily for her and she seemed to love the festival. “I’ve never been (to Napa) before and I was surprised by how many people were drinking wine early in the day,” she laughed before finishing her set with a strong version of “Bad Thing” off Roach.

Rayland Baxter @ the Oxbow River Stage (Photo: Sean Reiter)

Rayland Baxter brought a decent fan base and was unlike any other performer on the weekend. He gave a lighthearted, tongue-in-cheek performance. “Casanova” stuck out as it started with a reggae-style vibe before it became a loud rocker with a tremendous jam with pounding drums by Kyle Davis and a shredding solo. Nashville’s Baxter introduced a “Hey Larocco” as “a song about chasing your dreams and running away from them all at the same damn time.” He finished with a cover of Mac Miller’s “Small Worlds” from his 7-song tribute album to Miller Good Mmornin (yes, two m’s there 😉). Baxter was surprised at how fast his 45 minutes had gone. “That’s it? We’re done?” he asked. “OK. That’s all. Time flies when you are rocking out! Thank you very much and have a blessed day!”

Faye Webster @ the Oxbow River Stage (Photo: Sean Reiter)

The biggest screams of the weekend came next for Faye Webster, who received a HUGE welcoming as she began her set with a large idol inflated at the center of the stage. Matt “Pistol” Stoessel provided terrific pedal steel and backing guitars for Webster – who the predominantly young, female crowd on the rail cheered lustily for at every turn. “Right Side of My Neck” from 2019’s Atlanta Millionaires Club was delivered with a terrific restraint that saw Webster softly teasing how “the right side of my neck still smells like you.” “Jonny” was delivered as a slow and staggering torch song with impressive support from Stoessel and Charles Garner on drums. She ended the set with a strong version of “Cheers” before exiting the stage to a large amount of screaming from the front.

Waxahatchee @ the Oxbow River Stage (Photo: Sean Reiter)

Waxahatchee was up next – Katie Crutchfield took the stage with only her guitars and accompanying bassist Eliana Athayde and performed stripped down versions of her music. It was a tough ask for the sunset time of day and it seemed that some of the crowd had departed temporarily to go visit one of Napa’s restaurants before the headliners. “Can’t Do Much” was a slow, steady start – heavy on Crutchfield’s twang as Athayde’s bass was deep and booming. “Hell” with its promise of “I’ll put you through hell” saw a quickened pace. The duo finished strong with “Fire” off the album Saint Cloud. While the severely stripped down set showcased Crutchfield’s strong songwriting skills, with day turning to night, most of the audience remained sitting down and rather disengaged.

Sunset @ the Oxbow River Stage (Photo: Sean Reiter)

The Head and the Heart took the stage to “Cats and Dogs” - the first song off their 2011 debut album with Russell taking the lead vocals, Gervais energizing the crowd with guitar and Theilen adding in her vocals and violin. Next up was that album’s second song “Coeur D’Alene’ and it appeared that the band might be going down the road of playing a whole album on this night. However, that was not the course charted for either of THATH’s two headlining sets. Rather, the band blended in a mix of obscurities, hits and songs from 2022’s Every Shade of Blue. A strong and forceful “Don’t Show Your Weakness.”

The Head and the Heart @ the Oxbow River Stage (Photo: Sean Reiter)

“We are very lucky to have so many people here who have been with us for so long through so many changes. We have the best fans in the world,” Gervais told the crowd after a very spirited version of “Ghosts”. “Another Story” showcased their amazing harmonies in a sweet a cappella start before the song kicked into full gear with bassist Chris Zasche, drummer Tyler Williams and keyboardists Kenny Hensley taking it into anthemic proportions before it dropped to finish again in a cappella style.

The Head and the Heart & friends @ the Oxbow River Stage (Photo: Sean Reiter)

“Lost in my Mind” saw the band joined mid-way through the song by many members of the weekend’s fellow festival acts as it erupted into a giant musician-filled celebration. The second half of the set saw many additional highlights. “Did anyone here get engaged this week?” When a couple confirmed that they had, he dedicated “Honeybee” to them. “Missed Connection” was delivered at club-level pace and volume with singers dancing back and forth across the stage. They ended the main set with a touching “Down in the Valley,” before the main three returned to perform “Library Magic” and then brought the rest of the band out for the new release “Virginia (Wind in the Night)” and their traditional closer of “Rivers and Road.”

The Head and the Heart's Jonathan Russell @ the Oxbow River Stage (Photo: Sean Reiter)

Day two started off with Shaina Shepherd walking out alone to her keyboard under a blazing sun that had been shrouded by clouds the day before. The day would be filled with big performances, but perhaps none bigger than the Tacoma, Washington raised artist. Coming into her own spotlight out from the Covid lockdown, there were two blaring questions originating from her performance: (1) Where the heck has she been? And (2) How is it possible that she doesn’t have a full album yet.

Shaina Shepherd @ the Oxbow River Stage (Photo: Sean Reiter)

Shepherd was admittedly nervous as she took the stage, but quickly gained the audience with her phenomenal voice. “The Head and the Heart were part of my dream. Do you know what it’s like when they become the ones that are helping me with my dreams?!” She exclaimed to the audience. Hearing her set was reminiscent of seeing Adele early on before she owned the world – a huge, soulful voice with incredible songs to be sung and a warm, self-effacing spirit. “It’s a very moist job we have,” she told the crowd near the end of her set under the full sun “Lots of sweat, spit and tears.” When the Napa Valley Wine Train arrived, she was overjoyed and pleaded with the conductor to blow the whistle. When he did, she celebrated the uniqueness of the venue. Her unique talent and playful, joyous and soulful set indicated big things to come for her.

Shaina Shepherd @ the Oxbow River Stage (Photo: Sean Reiter)

Richy Mitch & The Coal Miners put on a nice set that evoked Jack Johnson combined with Fleet Foxes. Soaring songs and harmonies emanated from the young, likeable band that has had a hit with “Lake Missoula.” “My first concert was nine years ago,” Mitch Cutts said “and it was The Head and the Heart. And now we are here!” The band may be young, but they had a confidence to them and one look at their tour itinerary shows them selling out at most of their upcoming events. Cutts took to the piano for their final song of “Lucerne” which saw the band break out into a huge jam. With three albums under their belt already and another on the way, they seem to be a band to watch.

Ritchy Mitch @ the Oxbow River Stage (Photo: Sean Reiter)

Madison Cunningham blew away both the audience and her fellow performers with a set that overcame some technical issues (CSI was needed to determine whether the issue was the amplifier or pedals). After much of the second song was slightly distracted by attempts to remedy the sound situation, she wisely called for a professional pause before the next song to get the problem fixed once and for all. Tech problems resolved, Cunningham never broke stride again as she delivered a set that showcased her next-level vocals, guitar-playing and showmanship.

Madison Cunningham @ the Oxbow River Stage (Photo: Sean Reiter)

While her vocals were reminiscent of an angel, Cunningham played guitar like someone who’s made a deal with the devil. Songs like “Pin It Down”, “Life According to Rachael” and “In from Japan” stood out as she delivered a set that never let up and wowed the crowd. “Well, I know one thing after watching her set,” Dawes lead singer Taylor Goldsmith would later tell the crowd. “This was the last time we will ever be playing after Madison Cunningham.”

Madison Cunningham @ the Oxbow River Stage (Photo: Sean Reiter)

Indeed, following Cunningham to the stage was no easy feat, but Goldsmith and Dawes more than met the challenge delivering a set that was full of energy leveraged Goldsmith’s engaging personality. Starting with “Someone else’s Café / Dreamscroller” off their latest album, the band ably demonstrated their claim as a great live band. They would play eight songs in their sixty-minute set with plenty of room taken to extend into jams and gain crowd interaction. Drummer Griffin Goldsmith and guitarist Trevor Menear delivered excellent support behind Taylor Goldsmith’s front man combination of vocals, personality and guitar excellence. “If I Wanted Someone” and “Feed the Fire” ensured that the audience would not drift off or lose momentum before the headliners like they had night one.

Dawes @ the Oxbow River Stage (Photo: Sean Reiter)

The band closed the set with a rousing “When My Time Comes” that had the audience up, shouting along with the chorus and throwing their arms up in the air. For the finale of “All Your Favorite Bands” members of THATH joined them up on stage and the crowd was pumped up for the final set of the Down in The Valley Festival.

The Head and the Heart & friends @ the Oxbow River Stage (Photo: Sean Reiter)

“How many of you were here yesterday,” THATH’s Matty Gervais asked the crowd early on. When the vast majority of the crowd responded in the affirmative, Gervais smiled ear to ear. Of the 19 songs they played on the final night, less than half were repeated from the night before. While hits like “Don’t Show Your Weakness”, “All We Ever Knew”, “Missed Connection”, “Shake” and the closer “Rivers and Roads” were given another airing, night two had plenty of new memorable moments. Once again, “Lost in My Mind” saw the other performers of the day hit the stage en masse to join in on the song. “Winter Song” from the band’s debut album was brought forth in a tender and sweet manner “Time for a Lullaby,” Russell said before they began the song. “Every Shade of Blue” the latest album’s title song was presented in a powerful and emotional telling.

Russell introduced “10,000 Weight in Gold” off 2013’s Let’s Be Still with “This is a song that I always thought was about my dad. But as time has gone on, I’ve realized that it’s about me.”

The Head and the Heart's Charity Rose Theilen @ the Oxbow River Stage (Photo: Sean Reiter)

The band’s huge version of “Hurts (But It Goes Away)” followed and sent the night into another level with powerful lights and the band’s onstage energy on 10. “Sounds Like Hallelujah” was introduced as “the second song we ever wrote as a band. We would play everywhere we could. We rented time at the Seattle Library Music Room. We played parking garages because they sounded good.” Once they began playing the live rarity, Russell called an early stop. “Oh sh#t! I have to start over. I always f*#k up the first verse.”

The Head and the Heart @ the Oxbow River Stage (Photo: Sean Reiter)

They closed the main set by returning for the third time in two days to the weekend’s theme song of “Down in the Valley” – this time feeling a little more sentimental as the festival wound to a close. The band reemerged for the encore with “This is a good vibe. This feels good. This has been a good two days. It worked. It actually worked. We’re so glad you came and so glad all the artists we asked, all said ‘Yes.’” The band closed out the festival with ”GTFU”, “Shake” and “Rivers and Roads” and ended a wonderful Napa music weekend -leaving everyone with the hope that next year would see “Down in the Valley 2.”

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Review - Band of Horses @ the Greek Theatre (8/31/23)

2023-09-02T22:08:00.000-07:00

Band of Horses @ the Greek Theatre (Photo: Sean Reiter)

Ben Bridwell brought the latest incarnation of Band of Horses to play the middle set of a three-band 6 pm concert Thursday evening at UC Berkeley’s Greek Theatre. Despite a late-arriving crowd and having to play most of their set under late summer sun instead of an electrifying light show, Bridwell and his bandmates gained momentum throughout the show and were thoroughly engaging for the audience.

Band of Horses @ the Greek Theatre (Photo: Sean Reiter)

Singer-songwriter Bridwell is the last original member of the band formed in Seattle nearly 20 years ago, but his unique vocal stylings and songs have always been the band’s trademark with a style that elevates from tender to country to American to anthemic rock - often within the same song. Thursday night they strolled onto the stage at 6:45 pm and led off the night with “The Great Salt Lake” – a song that changes pace frequently in Bridwell’s style. Make no mistake, this is not just Bridwell and hired guns. Drummer Creighton Moore and Keyboards/Guitarist Ryan Monroe have been in the band since 2006 and 2007 respectively. Bassist Matt Gentling did a year back in 2007 before coming back in 2017 and Thursday he provided a substantial amount of energy out front for the band as he remained in constant motion. Lead guitarist Brett Nash is the newbie of the group – having just joined last year after the making of 2022’s Things Are Great - but he certainly seemed to be a nice fit both musically and in his interactions with his bandmates at their Greek show.

Matt Gentling & Ben Bridwell of Band of Horses @ the Greek Theatre (Photo: Sean Reiter)

2007’s “Is There a Ghost” was the second song – introduced by Bridwell with “this song has about 10 good words to it.” This led into one of the band’s biggest hits, “Laredo,” off the Grammy-nominated Infinite Arms. By that point, the crowd had gone from sparse to nearly filled-in and many rose for this song. Rather than starting slowly and building, Laredo starts fast and firm and carries momentum all the way through. Monroe came down from the elevated keyboards to add guitar and the entire band seemed to have a blast with the song as they played off each other throughout.

Band of Horses @ the Greek Theatre (Photo: Sean Reiter)

The starting time of 6 pm and the show being sold as a seated concert even in the pit, contributed to both a late arriving crowd and a mellow tone at the outset. Only the last two songs of Band of Horses came after the sun had slipped below the horizon. “Lights” off the latest album was even faster-paced with Nash really shining on guitar and Monroe’s background vocals adding nice depth. “Crutch” another of the new songs followed and was met with a warm reception from the crowd. Interestingly, both new songs seemed to stand out for a more straight-forward rock approach than the band’s signature sound. The third and final of the new songs that appeared later “Warning Signs” returned to their style and featured some terrific drumming by Moore as he and Gentling drove the pace changes back and forth between fast anthemic to slow and drifting.

Ben Bridwell of Band of Horses @ the Greek Theatre (Photo: Sean Reiter)

The pace came down to a sweet, drunken swaggering with “Marry Song” with Nash laying in fantastic slide guitar and tight harmonies accompanied by rolling drums. “This could be the only place on earth that we could feel this much love,” Bridwell told the crowd after the song had hit its crescendo and swerved into it parking spot. The swinging, sentimental “Older” followed with a spotlight on Monroe getting the spotlight on keys and taking the lead vocals. Band of Horses followed with their only cover of the night – Brooks & Dunn’s “Neon Moon,” which they have covered many times in the past. The band makes substantial changes to their setlist order every night lending to a feeling of a loose concert structure, but this is not a jam band. Band of Horses does not stray too far from their recordings and so their 14-song set was delivered in a crisp 70 minutes.

Band of Horses @ the Greek Theatre (Photo: Sean Reiter)

“No One’s Gonna’ Love You” was clearly the song most known by Thursday’s audience and met with many hugging couples and lots of hands held. Bridwell’s voice was at its heartaching best as he took it to the height of his range. By this point, the sun had begun to set and the song seemed a natural soundtrack to the beautiful environment of The Greek. “NW Apt.” was a crazy tour de force with the Moor and Gentling driving a breakneck pace and the brotherhood of this incarnation seeming to be in full-view as they blasted engine back to full throttle. As the stage lights took full effect, 2007’s “Ode to LRC” was an anthemic triumph delivered with power and intensity with the tender interludes executed perfectly. “The Funeral” showed the band at its bombastic best – building energy as the song’s power rose higher and higher. Bridwell grabbed his drumstick and tambourine to finish the night with the band’s most Americana song - and traditional closer - “The General Specific” to bring their set to a close and put a last buzz of electricity into the crowd.

The Heavy Heavy @ the Greek Theatre (Photo: Sean Reiter)

Earlier, The Heavy Heavy opened the night with a set that leaned heavily on the sound of 70’s retro rock n roll. The Brighton, England based band featured the vocals and energy of lead singer Georgie Fuller, who sounded like she could have been raised on the Sunset Strip. Co-founder Will Turner was great taking a share of lead vocals and harmonizing with Fuller. Songs like the fast-spirited “Miles and Miles,” “Go Down River” (a song that seemed to bring the sound of The Mamas and The Papas into modern times) and “Man of the Hills” stood out.

The Revivalists @ the Greek Theatre (Photo: Sean Reiter)

The Revivalists took the headline spot and the New Orleans band delivered an energetic and visually stunning set. Lead singer David Shaw brought towering charisma to his performance and immediately ignited even the mellowest in the crowd. Co-founder, Guitarist Zack Feinberg provided the calm, driving force on lead guitar and seemed content to be further from the spotlight. Saxophonist Rob Ingraham was amazing, both musically with his soaring solos and energetically with his non-stop movement.

The Revivalists @ the Greek Theatre (Photo: Sean Reiter)

Opening with “All My Friends,” Shaw roamed the stage from end-to-end and out to a ramp that extended in front and delivered his lyrics in a powerful combination of rapping and melodies. While some Band of Horses’ fans may have made an early exit during the break between acts, those who remained were no doubt blown away by The Revivalists. This band also changes their setlist on a nightly basis to keep it fresh. The Revivalists played the majority of their biggest hits including “It Was a Sin”, “Wish I Knew You,” “Kid” and many others – closing the night with a cover of Radiohead’s “High and Dry.”

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An Interview with The Hooters' Rob Hyman

2023-08-29T21:50:00.213-07:00

The Hooters' Tommy Williams, David Uosikkinen, Eric Bazillian, Rob Hyman, Fran Smith Jr., and John Lilley (Photo: Marc Gilgen)

On Tuesday, September 12th, Saratoga's Mountain Winery will see the 'I Want My 80's Tour' hit the hillside and bring together the band behind the '80's classic "867-5309", Tommy Tutone; '80's heartthrob musician and actor, Rick Springfield, and a band near and dear to the hearts of us here at SFBayAreaConcerts.com, legendary Philly rockers, The Hooters. More than just an '80's revival show, both Rick & The Hooters are out supporting their new albums, Automatic and Rocking & Swing (respectively) and we'll assume they'll each squeeze in their hits as well for a show that you won't want to miss! Limited tickets are still available as of this writing and can be found here.

Heading out on tour this year will be The Hooters founding members Eric Bazilian (vocals/guitar/mandolin), Rob Hyman (vocals/keyboards/accordion), and David Uosikkinen (drums); long-time members John Lilley (rhythm guitar) and Fran Smith Jr. (bass guitar), along with Tommy Williams (guitar) who joined the band in 2010. Although possibly not household names, both Eric and Rob have seen much success outside The Hooters -- collaborations with Joan Osborne, in which Eric produced and arranged her debut GRAMMY-winning album Relish and wrote her hit single "One of Us"; and with Cyndi Lauper where Rob co-wrote and sang on her GRAMMY-nominated single "Time After Time." But The Hooters have been a mainstay institution in the Philadelphia metro for years and we're excited to see the band make the trek out west for their first visit to the Mountain Winery on Sept. 12th!

The tour kicked off on August 4th and Rob Hyman, graciously carved out time to speak with us from the road. Read on to hear about his memorable moments from the Bay Area, how their latest album came together, and more! And most importantly, grab tickets while they're still available!

SFBayAreaConcerts: Rob, thanks so much for taking the time to speak with us while you're on the road! Our roots are from the Philly/Tri-State area so I wanted to start off with a question about what's been happening in the city recently! Beyond Philly’s success on the field right now, the music scene is exploding: Boyz II Men and Todd Rundgren releasing new albums and touring, along with newer bands like Weyes Blood and Hurry supporting new releases. What do you think is going on in the Delaware Valley right now?

Rob Hyman: Like with the cheesesteaks and rolls, it’s all in the water! I don’t know -- we’re veterans at this point; we go back to the 80s -- we started in 1980. So, we’ve seen a lot of bands come and go, a lot of venues.

When we first started it was a wonderful place for a band to get started. Local radio -- pre-satellite, pre-alternative; there were a ton of local clubs where we played with a lot of other bands. It was fertile -- a good scene.

I’m sure that scene still exists, but I know radio-wise things have changed; they were very supportive of local bands which made a difference.

It’s [Philadelphia], always been a great town for any style or musical genre, and I think that’s what pretty much made it our base as opposed to a bigger, typical musical city like LA or Nashville.

Everyone lives in different areas at this point, but our base is still outside Philly -- we have a studio there -- and that’s our base of operations.

SFBayAreaConcerts: Rocking & Swing is just a whole lot of fun. It’s the first studio album in years after coming through a rough pandemic. Was this material you and the band have been working on since your last studio album, or is it newer? Was it done at Elm Street?

Rob Hyman: It was done at Elm Street and also at Eric’s [Bazilian] place. He has a great studio in a little carriage house behind his home outside Philly. He spends his time between Philly and Sweden, his wife is Swedish, he’s in Stockholm about half the year.

But when he’s home, he has a great facility -- I do as well. So we really juggled -- wrote and recorded the album between our two studios; it’s homemade in that respect.

As far as the origin of the album, it was very organic. We talked about doing new stuff over the years; tried to write here and there. After the tour everyone seems to scatter and it’s hard to get together and hang like we used to all the time. So writing, especially for me and Eric, became a bit of a challenge.

But this one, honestly, we just dug into our roots. We talked about this for a while -- going back to the early days. The very first version of the band, which lasted less than two years, was deeply into the reggae, ska, two-tone world and bands -- we’ve always loved that music.

I’m a big reggae fan and I brought a lot of that to the group; and then David, our drummer, picked it up. The beats are very tricky -- the rhythms.

The first version of The Hooters -- that’s all we did all night long. So this album is kind of a return to our roots with that genre in mind.

SFBayAreaConcerts: It’s so interesting that ska music has a tendency to weave in-and-out of popular music -- in the 90s there was a big resurgence with The Scofflaws, Toasters, Bad Manners -- No Doubt where obviously influenced by that sound.

I love the video for ‘Why Won’t You Call Me Back.’ It’s so much fun, inverting the idea of being put on hold.

Rob Hyman: I have to give a shout out to Jay McQuirns who put it together. After we finished the record that was the first ‘single’-- the first really new song we wrote for the record. Some of the others are older songs we revisited, but that was the first newer song we wrote from scratch. The first thing Eric and I had written in years that we felt was ‘radio ready.’ Sometimes things aren’t up to the level, but that one felt like it had some legs.

We put it together, and with the animated, cartoon-y characters on the album cover, the artwork, we thought: Let’s do an animated video. We found Jay who (we looked all over to find some indie animator types) was a Philly guy. It was kinda nice to just shoot him an idea -- and he shot over some sketches.

It’s funny because, like the song says, 'I feel like I know you though we’ve never met.' We actually have never met Jay, but we will! He came to a show and saw us, but we didn’t get to see him. I think he did a super job.

We sent him some live footage from a festival we did in Germany last summer in 2022, and he incorporated that footage into the video. He did a super job with the editing and syncing everything up.

SFBayAreaConcerts: The best songs sometimes take on a life of their own; You seem to get this as you’ve revisited a number of your tunes over time. Do you feel that some of your writing moves in a different direction over time; that some of the songs almost want to be revisited?

Rob Hyman: I do. I think that’s a good observation and I think we’ve kinda proven that through various recorded versions. I know that with "[All You] Zombies" we’ve done at least three different recorded versions; same with "Fighting on the Same Side."

It’s not always to improve them, it’s just that maybe there’s something we’d like to try differently.

In the case of ‘Zombies,’ it got improved compared to the Nervous Night version -- we stand behind that. And for some songs, we might even go past that... Like "Hanging on a Heartbeat" we did on Amore; that’s a killer version from our first indie album in 1983 which had a ska/reggae feel. That was kinda a definitive version. On Nervous Night we tried a new arrangement which was fun, but I don’t think we beat the original.

You know, sometimes it takes years to realize what does survive; even in the live show songs come and go. On the new album, we took a few songs that were previously recorded that had fallen by the wayside in the show. For whatever reason, songs come on the setlist and then they drop off. Whether it’s based on what we’re feeling or what the audience is feeling.

We had "Engine 999" and "Brother, Don’t You Walk Away" from previous albums and gave them a new spin and a new look, and we really like how those came out. So, yeah it’s an ongoing process -- a living, breathing thing.

Especially with the live shows, we’ll try something live and it clicks and that’s the way it goes.

SFBayAreaConcerts: That version of "Engine" is fantastic.

Rob Hyman: Oh great! Yeah it’s funny because, for that one, I don’t think it’s a radical change. People hear it and when we started to play it live this summer they don’t necessarily remember the other version. It’s pretty much the same song, we just put it into a different arrangement.

For ‘Brother’ we really did a complete rebuild; it was a big rocker on the album, but there was something about it where it fell from the set for a bit during the live show. So, we reimagined it with this reggae groove and that just felt really natural and really fun.

It’s fun to revisit this stuff when we’ve been playing it for years. Some songs have been sitting dormant, waiting for their chance. We have the luxury of time to look at the whole catalog that way, especially with the live shows continuing as they do.

SFBayAreaConcerts: Speaking of live shows, I think this will be your first visit to the Mountain Winery?

Rob Hyman: I believe it will! I hear it’s very beautiful and I think I’d remember it.

SFBayAreaConcerts: You’ll love it.

Rob Hyman: I heard nice things. This whole tour is our first travel through the States in decades. Our first time in California in many years, along with Washington, Oregon. The whole leg of this tour with Rick Springfield through the West Coast -- we’re really looking forward to that.

SFBayAreaConcerts: While it’s been some time since you’ve been in California, can you give us some of your favorite Bay Area memories?

Rob Hyman: Well, I don’t know about favorite…but I can say memorably that we were out there during the big earthquake in 1989 near Oakland in Concord. We were on a Stevie Nicks national tour.

We love the West Coast. San Diego, LA, San Francisco. Especially San Francisco, that was beautiful. My wife flew out and we spent a couple of days there. During those couple of days was the big one and we felt it.

In fact, we were doing a sound check at the time and the ground rumbled. We didn’t know what it was; we never experienced anything like that. The venue in Concord, I think it was the Concord Pavilion, was undamaged because I think it was kinda earthquake-proof.

So we didn’t really know what happened except, 'Wow, this is an earthquake, that’s was cool.'

Then we went downstairs (the dressing rooms were under the stage) and turned on the TVs and saw the devastation across the Bay Area and said, 'Oh my God.'

The gig was sold out, it was around five o’clock, if I recall, and we were just about to do a sound check --Stevie Nicks was there with her whole crew. Cars were drifting in to this sold out show, which ended up being canceled, and then these aftershocks came. We realized the power and devastation of that.

That was a big memory being on the West Coast. We have a lot of good ones too, but that was probably the highlight, or the lowlight, of our travels -- to play out there and experience that.

SFBayAreaConcerts: Luckily you were unscathed.

Rob Hyman: It was really odd because we didn’t even realize... the floor was just rubber. All of a sudden, my recollection of it was that the ground that seems be solid is now liquid; watery, moving.

We realized what was going on, but we didn’t realize the devastation until turning on the TV. Because where we were, there wasn’t really visible damage since it was a big outdoor amphitheater that seemed to be built to take that kind of hit.

But, that aside, we’ve had wonderful shows out there. We loved just visiting and hanging around California, especially San Francisco that’s just gorgeous. The whole West Coast, even into British Columbia and Vancouver, that part of the country we really look forward to revisiting for sure.

SFBayAreaConcerts: San Francisco is the perfect gateway between Southern California and the Pacific Northwest. The Mountain Winery is gorgeous and the sound is very unique -- resonant.

Rob Hyman: Well we’re into that. We’re getting into a good groove on the tour with Rick Springfield and a couple of other bands. We’re on the second leg of a three-leg tour, covering the South now: Texas, Louisiana. We’re in Oklahoma City tonight, which we love. We love Southern audiences.

You know, that’s one of the things we missed touring these days overseas; Big audiences in Germany, Scandinavia. We play festivals and shows there and that’s just been the circuit for us. They took to our music when the States slowed down. Things just happened that way for whatever reason and it’s become our main market.

We’ve thought and dreamt about doing a U.S. tour for years but haven’t had the opportunity. Whether it was strategically or logistically, economically, whatever.

This tour has been a perfect, perfect chance to revisit all of those places: We’re in Chicago, Detroit, Indianapolis -- the Midwest is just great. Into St. Louis and Nebraska and to the West Coast.

We toured the States back in the day, and through the Nineties I guess, and then kinda stopped. So now we’re revisiting a lot of places that we’ve been to and it’s a blast.

A lot of people saw us back then, and we’re still doing what we do. The shows have been fun. It’s been great to be honest. Just fun to feel it again.

SFBayAreaConcerts: I’m sure your audience can’t wait to have you back here. I have to ask you about Nervous Night. It’s one of those albums that feels just as fresh today as the day it was released.

Obviously a big part of that is that the songwriting is so strong. "South Ferry Road" is one of my favorites -- can you give us some background on that track?

Rob Hyman: [Laughs] It’s funny with that one. We get 45 minutes and it’s a tight 45! At our own shows we may play two and a half hours, easy, and touch on all those songs.

For this tour, with 45, we’ve gotta squeeze in what we can. "South Ferry" was kinda on the questionable b-list -- people love it!

It’s funny, Tommy Williams, our sixth member, he joined a while ago -- it’s his favorite Hooters song. It’s tricky getting everything in there.

Obviously, Nervous Night holds up for us with "Day by Day," "Zombies," "Where do the Children Go" --that album just hangs in, I agree. You know, when you play songs for 30, 40 years -- you want them to still be singable and playable; and they are!

The messages in those songs, especially "Day by Day" and "Children" -- we’re living those songs. We’re still here, playing them. "Day" is about survival and pushing on and that’s what every tour is; there are hardships and it’s not easy but we get on stage and something just lights up.

Those songs, especially on this tour, we’re finding that they really connect with fans; they haven’t heard them in a long time and they have a fresh feeling for us as well.

You know, we were just saying that the band has always been tight, and then there’s a certain looseness that happens on stage -- it needs to be a combination. We don’t want everything to be perfect, it never is. But there’s a lot of sounds and instruments and harmonies that we’ve really worked on.

You have to take all of that and have fun! Make it fun, make it loose. At least for me, we’re at that level where we’re so tight that it feels loose again. Every night it feels like: We’re happy to be here and here is our show. People have been reacting. It’s a very special band I think in that way.

SFBayAreaConcerts: The beauty of live music!

Rob Hyman: That’s what we say on every album: Support live music! It ain’t easy to get out there, but it’s what this band is about for sure. The live show is the thing.

For the record we do our best, but things inevitably change as we start playing them, and you find little nooks and crannies. You always wish you could go back and do it again but it is what it is. It’s just a photo, or a document of the moment. Once you get out there and play it a few hundred times, you finally realize how it goes.

That’s the process, it’s been an adventure.

SFBayAreaConcerts: We can’t wait to have you bring that energy to the Bay Area.

Rob Hyman: Absolutely! Thanks for chatting!

SFBayAreaConcerts: Thanks so much for making the time and we'll see you on September 12th at the Mountain Winery!

Review - Sunday Daydream Vol. 2 @ Stafford Lake Park (8/27/23)

2023-08-28T23:00:00.000-07:00

Phil Lesh @ Stafford Lake Park (Photo: Sean Reiter)

The Lesh Family brought another stacked lineup Sunday to Marin County for Sunday Daydream Vol. 2 at Stafford Lake Park in Novato as thousands attended another successful reunion of the Terrapin Crossroads Legacy. Moved to a larger venue and a longer curfew, the one-day festival once-again drew a huge crowd to see patriarch Phil Lesh gather a Phil & Friends lineup that this time featured the members of Dawes joining in.

When gates opened promptly at 11 am, all the morning fog had burned off and the Terrapin starved masses scurried to get to the front by the rail or, in some cases, to nab the perfect shady spot to throw down a blanket. The main stage was nicely positioned with a view of the rolling hills and trees behind it and Stafford Lake to the side. For Vol. 2, a second stage was added to keep the music continuous throughout the day and the “Keep It Weird Stage” was under a giant weeping willow – evoking the classic “Brokedown Palace” lyric “Going to plant a weeping willow. On the bank’s green edge, it will grow, grow, grow.” The second incarnation also saw other improvements – a vastly expanded local food truck selection, closer positioning of the porta-potties and a healthier dose of shade on a day without a cloud in the sky.

Elliott Peck on the 'Keep it Weird' stage @ Stafford Lake Park (Photo: Sean Reiter)

Moonalice took the Main Stage first to bring their always eclectic blend of psychedelic, soul and rock classics to the large number of early arrivers. 83-year-old Lester Chambers belted out many of the songs. Though seated at center stage, he displayed an incomparable ability to project his vocals filled with a blend of love and defiance. His son, singer Dylan Chambers, performed by his side and introduced “People Get Ready” by talking about how long his dad had been singing the song and then pointing out that composer Curtis Mayfield’s son was on the cord today. The song stood out with great guitar solos by Barry Sless and harmonica from Lester Chambers. Their version of “Bird Song” saw sister background singers Erika and Chloe Tietjan taking the lead on harmonies as guitarists Roger NcNamee and Sless provided heavy psychedelic guitars behind them.

Moonalice @ Stafford Lake Park (Photo: Sean Reiter)

Beloved Terrapin nation members Mookie Siegel on keys and drummer John Molo turned up the heat on “Turn on your Love Light” as Pete Sears laid down a fast pace on bass and Stu Allen joined the stage for the final two songs. Perhaps no musician without a last name of Lesh is as connected to the Terrapin Crossroads legacy as Allen and on this day he would take the stage with every band at some point to add his vivid guitar and vocals. Moonalice finished their set with a rousing version of The Chambers Brothers’ “Time Has Come Today” with Lester Chambers unleashing the final vocal shouts of “Time!” as his son banged on the cowbell with long dramatic pauses for effect.

Moonalice @ Stafford Lake Park (Photo: Sean Reiter)

The Incubators headed by Bay Area locals Katie Freeman and Chris Chappell delivered a quick set over on the second stage with a sound reminiscent of Linda Ronstadt and the early Eagles. “Down The Road” stood out and probably triggered the mentioned comparison with the lyric “Damn you desperado, never bidin’ time so love can grow. You think there’s somethin’ better you might find down the road.”

The Incubators on the 'Keep it Weird' stage @ Stafford Lake Park (Photo: Sean Reiter)

A gathering of Terrapin Crossroads all-stars was next up on the main stage as Nicki Bluhm returned to Marin County triumphantly with guitarists Scott Law and Ross James, along with drummer Alex Koford and last-minute bassist Grahame Lesh. James pointed out that Lesh hadn’t known he’d be performing with the band until just before they took the stage, but Bluhm wryly added “Aah, it’s in his blood.” The band played a deeply funky version of “Little Too Late” that had the crowd in rapture. Throughout the set, Phil Lesh sat at the back of the stage taking in the whole set with a huge smile on his face. Law performed a new song for the first time and James introduced his solo spotlight by also performing a song he had never done before a live audience. “My favorite part of Terrapin was the people who came together. And one of my favorites of those people was Neil Casal. It’s been four years since he left. I wrote a song for him that I’ve never played and we’re gonna’ see if I can make it through now.” The song (I believe it was called “Let’s All Take a Hit”) was a moving tribute with a desperate plea for people feeling pain to lean on their friends and others. Given the current state of increased mental tension and isolation, it feels like it should be an anthem for this generation.

Ross James, Nicki Bluhm, Scott Law and Grahame Lesh @ Stafford Lake Park (Photo: Sean Reiter)

The five members on stage together were a testament to the synergy that was Terrapin Crossroads – blending so many featured artists from different bands and solo careers to create beautiful music and memories together. “This really feels like a reunion in so many ways,” Bluhm gushed. “It’s so great to be back in Marin County and to be spontaneous with friends. May it live on forever!” Bluhm’s “To Rise You Gotta’ Fall” provided the appropriate crescendo for a terrific jam set.

Elliott Peck @ Stafford Lake Park (Photo: Sean Reiter)

Heading back over to the “Keep It Weird Stage,” guitarist/vocalist Elliott Peck was joined by RatDog guitarist Mark Karan, keyboardist Alex Jordan and bassist Burt Lewis for an engaging set of mostly Grateful Dead covers. “Loose Lucy” and “Next Time You See Me” provided highlights. Allen then joined for a rousing version of “Mr. Charlie” that saw Jordan take a fantastic solo on the keys as a large herd of deer made their way through the marsh in the scenic background. “New Speedway Boogie” and “Viola Lee Blues” completed the set and had the large crowd huddled around the stage swaying and dancing.

Melvin Seals @ Stafford Lake Park (Photo: Sean Reiter)

Melvin Seals and JGB took the main stage with a rousing rendition of “In the Midnight Hour” as Seals leaned into the organ while guitarist John Kadlecik, drummer Jeremy Hoenig and bassist John-Paul McLean got the crowd up off their blankets and on their fee. Kadlecik provided the lead vocals throughout the set, his heart aching voice lending the tears to Van Morrison’s “It Stoned Me” as Melvin finished the song with a huge organ solo that sounded like a jet engine taking off from the park. “The Maker” saw a long bass and keyboard intro before Kadlecik delivered a wailing, soaring solo. “Don’t Let Go” saw Hoenig setting a great drum beat for Seals to show off his legendary organ talents before the song turned into a very interesting extended jazz jam. A bluesy cover of Ray Charles’ “Lonely Avenue” followed leading up to Stu Allen joining for a version of “Hey Pocky Way” performed as a mass celebration on the Sunday afternoon.

San Geronimo @ Stafford Lake Park (Photo: Sean Reiter)

Local Marin musical icons San Geronimo were the final act to take the “Keep It Weird Stage.” Sandwiched between the ever-creeping set times of the bands all day before them and a hard stop to ensure the full time for Phil & Friends, their set was abbreviated, but roaring. Americana with a rock edge, a whiskey-induced drawl and a touch of psychedelia, listening to the band felt like taking a historical road trip through Marin’s musical history. Darren Nelson and Jeremy D’Antonio out front on guitars took the vocal leads with Brian Rashap (Phil Lesh’s bass tech) on bass. “Carolina” was a sweet, twangy song that fit perfectly as the audience stood lakeside on a sunny day looking out at rolling hills. They finished with a quick cover combo of “Swing Low Sweet Chariot” melding into a lightning-fast Ray Charles’ “I Got A Woman.” They wowed an enthusiastic crowd that surrounded the smaller stage.

Phil Lesh & Friends @ Stafford Lake Park (Photo: Sean Reiter)

Six hours after the day had begun, Phil Lesh & Friends took the stage. Joining Phil and his guitarist / son (and event organizer) Grahame Lesh were Dawes members’ Taylor Goldsmith (guitar/vocals), Griffin Goldsmith (drums), Lee Pardini (Keyboards) and Trevor Menear (guitars). Additionally, Trey Anastasio Band horn members Jennifer Hartswick (trumpet) and Natalie Cressman (trombone) joined the supergroup with Stu Allen participating for most of the set and Nicki Bluhm also sitting in for a song. “Bertha” got things off to a great start with Taylor Goldsmith taking the lead vocal duties and Phil and Griffin driving a very fast-paced version of the song that snapped anyone suffering from a little too much sun back into the groove.

Phil Lesh & Friends @ Stafford Lake Park (Photo: Sean Reiter)

A nicely stretched “Cassidy” led into a steam engine version of “Brown-Eyed Women” with Taylor Goldsmith once again taking lead vocals and getting the audience up to full-tilt again. In a master stroke of changing pace, Hartswick provided her uniquely powerful vocals to a very tender version of “Brokedown Palace,” a traditional show-closer and encore song that was surprisingly slotted into the fourth song on this day. Hartswick’s versions of this song always are devastating and as mentioned earlier, given the lake-side location, there was probably no more fitting song for the day.

Nicki Bluhm & Taylor Goldsmith @ Stafford Lake Park (Photo: Sean Reiter)

“The Music Never Stopped” saw Nicki Bluhm able filling the “Donna” role in joining Goldsmith as the song continued to rise higher and higher until coming into a hard finish. Stu Allen joined the fray for a deeply psychedelic “China Cat Sunflower” that carried a locomotive pace. Rather than going into the traditional follow-up of “I Know You Rider,” the group pulled another surprise with Taylor Goldsmith leading “Playing in the Band” as the song morphed into an extended, winding jam with horns front and center. Be careful if listening to any taper versions of this song as there was a LARGE static moment that caused Taylor Goldsmith to half-jokingly ask “Everybody OK?” before heading into the next verse. After “Playin’” a short set-break took place providing everyone with an opportunity for hydrations as the sun finally began to set beneath some of the taller trees.

Trevor Menear, Jennifer Hartswick & Natalie Cressman @ Stafford Park Lake (Photo: Sean Reiter)

Set two was short but triumphant. Cressman took lead vocals on an eleven-minute version of “New Speedway Boogie” on a tight, meandering version that saw Goldsmith and Menear both stretch out on guitar with Menear playing a long, mean slide solo next to an approving Phil that took the song down a curvy road. Cressman came back to pick up the pace of the speed with authority on her soulful vocals before the band headed into the chorus of “One way or another this darkness has got to give” The highlight of the entire day (for this reviewer) came next with Allen singing an incredible version of “Days Between” that captured all the song nuances of optimism, regret, fear and hope. Ironically, the moon had risen over the stage as the sun still shone as Allen sang “Comes the shimmer of the moon…” and “Comes the lightning of the sun…” Pardini’s gentle keyboards wove a perfect carpet under Allen’s mournful moments. Once the song was over, the entire group smiled and exchanged pleased glances and nods at each other making it clear that the version has not just wowed the audience, but also the players themselves.

Phil Lesh & Friends @ Stafford Lake Park (Photo: Sean Reiter)

Finally, the day came to a close with Phil Lesh taking the lead on “Cosmic Charlie” – a 1968 song that dropped out of the Grateful Dead’s repertoire for decades at a time. It was my first time seeing the song live and great to hear Lesh in full, loud voice. At the conclusion, Phil told the crowd that there was more to come for Terrapin Crossroads. “It’s such a great pleasure to see you all again,” he said before Grahame introduced all the players and thanked everyone who had made Vol. 2 so memorable for everyone.

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Review - Snoop Dogg & Wiz Khalifa's High School Reunion Tour @ the Concord Pavilion (8/26/23)

2023-08-28T22:59:00.000-07:00

Snoop Dogg @ the Concord Pavilion (Photo: Matt Pang)

CONCORD — The duo who were once "classmates" in Mac & Devin Go to High School are now on tour together for a "high school reunion" over 10 years later. What seemed like a spoof idea for a film at first naturally brought two of the most weed-friendly rappers together for a legendary friendship. Snoop Dogg and Wiz Khalifa are currently touring cities and have enlisted historical icons to open up for them, including Berner, Warren G, and Too $hort.

Wiz Khalifa @ the Concord Pavilion (Photo: Matt Pang)

It was a sunny and bright day in Concord, which was the ideal weather for an outdoor show like this at the Concord Pavilion. Fans were lined up across the lawn and in their seats, ready to have a good time, with tons of smoke blasting through the air.

DJ Drama @ the Concord Pavilion (Photo: Matt Pang)

The show kicked off with DJ Drama, who’s having a hot year after just winning a Grammy for best rap album on his collaborative project with Tyler The Creator. He played bangers and Bay Area classics to get the crowd pumped, along with some tracks off his latest project "I’M REALLY LIKE THAT".

Berner @ the Concord Pavilion (Photo: Matt Pang)

Berner opened the show with an energetic crowd to "Best Thang Smokin", "Wax Room", and "Top Down". Berner, who’s most known for his weed empire "Cookies", was very enthusiastic about sharing his product and inviting the crowd to enjoy it. He threw little baggies of samples to the crowd throughout his set, having fans waving their hands to the sky inch by inch, hoping to score some goodies. He closed out his set with tracks like "Pass Me the Green" and "20 Joints".

Warren G @ the Concord Pavilion (Photo: Matt Pang)

Next came the California legend, Warren G, who came out effortlessly to "This D.J.". He provided a laid-back vibe for the crowd to just chill and enjoy as the summer breeze was setting down behind the venue. This was perfect as he queued "Summertime in LBC" and provided an immaculate performance of a nearly 30-year-old classic. I think this song hits differently when hearing it in California compared to any other stop on this tour simply because of the fan love and reaction to hearing Warren G in this setting. While following the tour theme, he later played a Rick James cover of "Mary Jane" and performed a Nate Dogg tribute with tracks like "Nobody Does It Better", "Xxplosive", and "21 Questions". Warren G. later closed his set with the classic "Regulate".

Too $hort @ the Concord Pavilion (Photo: Matt Pang)

The party didn’t stop with California legends, as Too Short came next to the stage. Again, I must emphasize that the crowd really appreciated these artists like no other, especially Too Short, who’s performing miles away from his hometown of Oakland. As one of the pioneers of West Coast rap and, as stated by himself "one of the first rappers from the Bay Area". He came out to "Ain’t Gone Do It" and followed up with classics like "Shake That Monkey" and "Blow The Whistle". He later followed up with a remix of Chris Brown and Tyga’s "Loyal" and "Gangster and Strippers". During his set, he takes a brief moment to thank the Bay Area while shouting out cities like San Jose, Richmond, and, most importantly, Oakland. Right after, he brings out his friends, like Stunnaman02, to perform "Big Steppin" along with Mistah F.A.B., who performed "N.E.W. Oakland". Too Short then closed out with classics like "I’m a Player" and "The Ghetto".

Wiz Khalifa @ the Concord Pavilion (Photo: Matt Pang)

Similar to the Mac & Devin Go to High School movie, during the intermission of sets, the screen played the talking joint who introduced the next set. As soon as it mentioned Wiz’s name, the lights dimmed, and the band started an epic intro of "Black and Yellow" with matching visuals. Wiz came flying out onto the stage with enthusiasm, and smoke shot up from the stage. Truly a great and strong intro to come out to one of his biggest songs. He then follows up with other songs from that "Rolling Papers" era, like "Roll Up" and "No Sleep". Throughout the performance of "No Sleep", Wiz grabs a smoke machine and sprays it across the stage and into the crowd, prancing to the euphoric 808 melodies. Wiz was not shy to perform hits or features, as he did with "Payphone", his collaboration with Maroon 5, and his remix of Empire of the Sun’s "The Thrill”. He also did "23" by Miley Cyrus and "Or Nah" by Ty Dolla $ign.

Wiz Khalifa @ the Concord Pavilion (Photo: Matt Pang)

During the intro of "Bake Sale", two guitarists came out to perform the intro, which led Wiz to perform on an elevated platform in the middle of the stage, rapping bar for bar. He then stopped the show to emphasize to the crowd "I’m Wiz Khalifa, and I’m a pothead!". Wiz carried on with his set, performing other anthems like "Taylor Gang", "On My Level", and "So High".

Snoop Dogg @ the Concord Pavilion (Photo: Matt Pang)

While Wiz’s set ended, a short intermission of the talking joint introduced the California legend next up. The intro of "The Next Episode" comes on, and Snoop Dogg comes out of sliding doors in the middle of the stage, sitting in a classic old-school car, smoking. Fans were hyped and screamed every lyric as he walked across the stage effortlessly. Starting out his set with old classics, Snoop performed "Boyz-n-the-Hood", "Nuthin but a "G" Thang", and "B*tch Please". While performing, a hypeman comes out on stage, hyping up the crowd in a Bored Ape costume, which is a NFT project that Snoop has highly endorsed. Snoop treated old and new fans to his discography of historical classics. He even brought out Warren G to perform their funky smash hit "Ain’t No Fun (If the Homies Can’t Have None).

Snoop Dogg @ the Concord Pavilion (Photo: Matt Pang)

Snoop was also not shy about performing collaborations, which included Akon’s "I Wanna Love You", The Notorious B.I.G.’s "Hypnotize", 50 Cent’s "P.I.M.P.", and Katy Perry’s "California Gurls". Throughout his set, Snoop had pole dancers across the stage enthusiastically dancing with him as he smoked and performed like a rapping Hugh Hefner. The fans loved the thematic performance that involved a whole stage production along with visuals that were inspired by all of his music videos. For example, they recreated the steps in Brazil that Snoop and Pharrell rap on in the "Beautiful" music video and had spinning disco balls for "Sensual Seduction".

Snoop Dogg @ the Concord Pavilion (Photo: Matt Pang)

Wiz then comes out, and the two headliners of the night are seen performing together. Wiz performs his anthem "We Dem Boyz" and then transitions to "You and Your Friends". The two surface through their hits and later close out the show strongly with "Drop It Like It’s Hot" and “See You Again," which featured a slideshow tribute to some of the lost ones that the entertainment industry has lost. The duo then sent everyone home to good vibes with "Young, Wild, and Free".

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Review - Extreme & Living Colour @ the Regency Ballroom (8/26/23)

2023-08-27T17:23:00.001-07:00

Extreme's Gary Cherone & Nuno Bettencourt @ the Regency Ballroom (Photo: Kevin Keating)

On a late summer Saturday evening in San Francisco that seemed tailor-made for an unforgettable night of music, the Regency Ballroom played host to an exceptional double bill of two rock legends: Living Colour and Extreme. On the surface, potentially somewhat of a head-scratcher of a double-bill gave way to a 3.5 hour masterclass in guitar & vocal virtuosity. The synergy of these two iconic bands transformed the venue into a crucible of musical energy, leaving a trail of electrifying performances, soul-stirring melodies, and shared euphoria in their wake. The nearly sold out Regency audience got exactly what they paid for, a night of amazing music that won't be long forgotten.

Living Colour's Cory Glover & Doug Wimbish @ the Regency Ballroom (Photo: Kevin Keating)

Corey Glover's amazing voice, one that we hadn't heard live since just before the pandemic shutdown the city in March of 2020 when he performed at Bimbo's on the touring A Bowie Celebration, took center stage as Living Colour opened the night with a seismic jolt. Glover's vocal range is a marvel, effortlessly navigating from gritty and raw to soaringly melodic, and every nuance of his performance was amplified by his dynamic stage presence. As the band launched into "Glamour Boys," the audience was immediately enveloped in an infectious groove that had limbs moving and voices singing along. The chemistry between the band members was palpable, each instrument and voice a vital thread woven into a tapestry of sonic excellence.

Living Colour's Doug Wimbish @ the Regency Ballroom (Photo: Kevin Keating)

One of the evening's unexpected highlights arrived when Living Colour paid homage to the 50th anniversary of hip-hop culture. Corey noted that Doug Wimbish, the band's masterful bassist, was a session musician back in the early days of hip-hop and took the spotlight to ingeniously weave together a medley of classics from the Sugarhill Gang and Grandmaster Flash -- artists that Doug worked with in those formative years of hip-hop.

Living Colour @ the Regency Ballroom (Photo: Kevin Keating)

Yet, it was the closing performance of "Cult of Personality" that truly galvanized the crowd. As Corey Glover's voice soared to monumental heights, the air was thick with anticipation, and the iconic riff played by Vernon Reid sent shockwaves through the venue. The song's anthemic quality reverberated in every corner, uniting generations of fans in a harmonious chant that echoed long after the last note faded.

Living Colour's Vernon Reid @ the Regency Ballroom (Photo: Kevin Keating)

A short break ensued and Extreme took the stage at just about 9:40pm for their extended two-hour set, the energy in the room was palpable. Throughout the night, Nuno Bettencourt's guitar solos became the focal point of Extreme's performance, a masterclass in technique and emotion. Bettencourt's fingers danced across the frets with an effortless grace, delivering solos that were at times blistering and at other times introspective. Each note felt like a brushstroke on the canvas of sound, creating intricate patterns that resonated with the audience's emotions.

Extreme's Nuno Bettencourt @ the Regency Ballroom (Photo: Kevin Keating)

Not to be overshadowed, Gary Cherone, the charismatic frontman, exhibited his dynamic vocal range and commanding stage presence throughout the performance. His ability to switch between emotive crooning and soaring anthems was a testament to his versatility as a vocalist. Cherone's interactions with the crowd and his camaraderie with the other band members established a palpable connection that extended beyond the music itself.

Gary Cherone of Extreme @ the Regency Ballroom (Photo: Kevin Keating)

The rhythm section, comprised of bassist Pat Badger and drummer Kevin Figueiredo, served as the backbone of Extreme's sound. Their tight and rhythmic foundation allowed the other members to flourish, creating a platform for the band's explosive dynamics. Pat Badger's basslines were the heartbeat of the performance, anchoring the songs with a grooving energy that resonated with the audience's pulses. Kevin Figueiredo's drumming provided the driving force behind the band's anthems, his precision and power elevating the entire experience. In fact, for "Tragic Comic", Kevin moved from his center stage kit to a small makeshift drum kit that was quickly assembled near the front-center of the stage where he remained for several songs -- again reinforcing the theme of the evening of connecting with fans by getting that much closer to the audience.

Extreme's Gary Cherone & Pat Badger @ the Regency Ballroom (Photo: Kevin Keating)

The chemistry between the members was particularly evident in the moments when the band members interacted with each other on stage. Their shared history and musical connection manifested in synchronized rhythms, impromptu smiles, and unspoken cues that showcased their profound understanding of one another. Whether it was a seamless transition between sections of a song or a spontaneous exchange of energy, Extreme's unity was an integral part of what made their performance so captivating.

Among the many highlights of Extreme's set was the perennial crowd-pleaser, "More Than Words." As Nuno Bettencourt's acoustic guitar gently wove the opening chords, a hush fell over the audience. Yet, what followed was a heartwarming surprise: at Gary's request, the crowd joined their voices with the band's, turning the venue into a harmonious chorus of emotion. For much of the song, Gary and Nuno sat silenced while the crowd carried the song a cappella. The song's simplicity was its strength, allowing every voice in the room to unite in a chorus of sentiment that transcended the confines of the venue. The experience was profoundly moving, illustrating the power of music to foster connections and evoke shared emotions.

Pat Badger & Nuno Bettencourt of Extreme @ the Regency Ballroom (Photo: Kevin Keating)

During this poignant moment, Nuno Bettencourt himself shared a spontaneous idea with the audience. As the song's final notes lingered in the air, he suggested that everyone present should gather outside the venue after the show and collectively form their own band. The crowd responded with enthusiastic cheers, the idea resonating with the universal love for music that had brought them together that night. It was a fleeting yet genuine moment that emphasized the unifying force of music and the joy of creating something beautiful together. The notion of strangers transforming into a spontaneous ensemble, bonded by a shared love for the art form, encapsulated the essence of the concert – a celebration of music's capacity to connect and inspire.

Then, Nuno joked how the audience would quickly learn 'Being in a Band 101' when we'd fight over publishing rights, break-up, re-unite years later and continue writing, recording and touring together.

Gary Cherone of Extreme @ the Regency Ballroom (Photo: Kevin Keating)

Before launching into the blistering instrumental rendition of "Flight of the Bumblebee," Nuno Bettencourt again engaged the audience in a playful exchange. With his characteristic charm, he spoke about the peculiar absence of bugs and mosquitoes in San Francisco. With a mischievous grin, he questioned the crowd, asking if there were any bugs present in the city. In a spontaneous moment of camaraderie, the audience erupted in unison with a resounding chorus of "bees!" The lighthearted banter added an extra layer of connection between the band and the fans, showcasing Nuno's knack for fostering a sense of unity within the performance space.

This amusing interaction seamlessly segued into the instrumental performance itself. As Nuno's fingers danced across the frets, "Flight of the Bumblebee" came to life with a frenetic energy that left jaws dropped in awe. The precision and speed with which Nuno executed the intricate melody were nothing short of astonishing. The song's fast-paced tempo and intricate composition served as a testament to the technical prowess and showmanship that have become synonymous with Extreme's performances.

The melding of Nuno Bettencourt's extraordinary skills as a guitarist, his affable stage presence, and the vibrant responsiveness of the audience created an atmosphere of unbridled energy and joy. The "Flight of the Bumblebee" moment encapsulated not only Nuno's exceptional musical abilities but also his ability to engage with the audience on a personal level. It was yet another instance that reinforced the theme of the night -- that sense of camaraderie and shared enthusiasm for two rock legends: Living Colour & Extreme.

Living Colour's Corey Glover @ the Regency Ballroom (Photo: Kevin Keating)

In summary, the Living Colour and Extreme concert at the Regency Ballroom on August 26th, 2023, was a masterclass in musical prowess and heartfelt performance. Corey Glover's captivating vocals, Doug Wimbish's innovative bass work, and the band's genre-spanning artistry exemplified their enduring impact on the music scene. Extreme's seamless blend of technical virtuosity and emotional resonance reaffirmed their position as rock stalwarts. As the final notes faded, the collective euphoria lingered, leaving an indelible memory of an evening that celebrated the timeless magic of Living Colour & Extreme.

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