Quiet, please: There are leaves falling
With all of the bombast and thundering rock acts that have barreled through the Fox Theater over its first year of new business, one would think that the venue is only sticking around for the big, loud shows. Despite having a few concerts last year for softer, calmer acts, such as the folk masters of Bon Iver or the raptly-followed Band Of Horses, the majority of the performances at the Fox have been for big bands that seem to be out to test the limits of the theater’s foundations. Tonight’s show, arguably one of the most anticipated nights of the Noise Pop Festival, was a stark contrast to all previous acts; it was also perhaps the only show in my life that I did not need to wear earplugs for, for any moment of the performances. The Magnetic Fields had returned to the Bay Area, bringing with them their quiet, peaceful brand of beautiful joy and gorgeous melancholy. [read the whole post]
Alice In Chains from the balcony of the Fox Theater
When last we left Oakland’s gorgeous Fox Theater, it was at the close of Wolfmother’s final screaming shreds. Two Disney concerts, two Norman Buffalo tribute shows, and one Temptations concert later, the Fox Theater needed to start its new year (having been open since February ‘09) off with a bang. It therefore comes as little surprise that the grunge monsters of Alice In Chains were selected as just the right band for the task. [read the whole post]
Oderus Urungus and Beefcake The Mighty
One step into the Grand Ballroom at the Regency Center was likely to put the average concertgoer into a state of confusion and alarm. Aside from an abnormally high amount of snarling metalheads and angry-looking punks, the walls, floors, and stage monitors were covered with plastic wrap. The security guards for the night were dressed in raincoats and the photographers had bags wrapped around their cameras. Most of the crowd was dressed in white shirts, a stark contrast to the usual sea of black encountered so often amongst metal fans. What could possibly be coming? A monsoon? The destruction of the ceiling? Of course, to the average goer to this particular concert, it heralded only one very important fact: GWAR had returned to San Francisco.
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then I let go of everything... into another dimension
The year is drawing to a close for everyone, including for Oakland’s historic Fox Theater. It seems only fitting that one of the biggest surprises and best new venues (OK, I’m biased, I work there, but if you’ve been there, you know what I mean) in the Bay Area should have some kind of colossal show to end the concert season. Something to go out with a bang, you know? As it just so happens, the Bay Area was greeted with an excellent one-two-three punch this evening, in the form of London rock troupe thenewno2 and Ohioan blues-rockers Heartless Bastards opening for the Australian arena-rock juggernaut that is Wolfmother.
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Them Crooked Vultures @ The Fox
There have been a few “supergroups” that came and went in the last few years, many formed from the remnants of the grunge generation looking to try out new sounds, such as Army Of Anyone (the members of Stone Temple Pilots headed by Richard Patrick of Filter), Audioslave (the members of Rage Against The Machine headed by Chris Cornell of Soundgarden), or Velvet Revolver (Scott Weiland of the aforementioned STP fronting the remaining members of Guns N’ Roses). While all of the records are excellent in theory, in execution they don’t always live up to the names of the musicians writing the music on the records. The kind of supergroup that is likely to TRULY break the mold is one spanning multiple generations of music. In the case of Them Crooked Vultures, it’s three generations: the stoner-groove-rock of the 2000’s, the solid, angry blues-grunge of the 90’s, and the arena-level rock-n’-roll of the ’70s. Of course, these three genres would make sense, given that Them Crooked Vultures is composed of Josh Homme (Queens of the Stone Age / Kyuss), Dave Grohl (Foo Fighters / Nirvana), and John Paul Jones (Led Zeppelin).
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... and the horse they rode in on.
A noise-rock show is a different sort of animal than most musical performances that one usually attends: it’s mostly improvisational, there usually isn’t a wild light show, the performers hardly ever (if ever) look at the audience, and it’s about ten times louder than the last Muse concert you went to, even when you stood next to the P.A. and forgot your earplugs. It’s also likely that you will not be able to predict the level of fanaticism that will be inspired by even the slightest change in the steamroller of sound that is the band’s performance; the crowd could just as easily metamorphose into a frenzied circle pit as it could remain stock-still in silent contemplation of the wall of noise barreling through them. For Fuck Buttons, it ran the full gamut: loud, soft, crazed and quiet, and it was beautiful and destructive chaos all at once. [read the whole post]
