Author: Jonathan Pirro

Trying to sell my friends on joining me for this show was not an easy feat, mostly because Murder By Death is a band that manages to keep themselves just out of bounds of many traditional descriptions of sound. They’re not quite indie, but they’re not quite rock or punk, either; they can’t really be called folk or country-western, but they also aren’t totally dark Americana rock; and they have many songs that could very well be old stomping drinking ballads, were it not for the frenetic guitar solos and furious cello picking in the middle of the verses. However, they are remarkable at incorporating all of these factors, as well as a host of neighbors, into their work, so a Murder By Death show is one part rock and roll, two parts bouncing and dancing, three parts passionate and furious rhythms and melodies; shake, strain, no chaser — unless you count a glass of bourbon. I had previously seen Murder By Death sandwiched in between a Christian death metal band and a thundering stoner-rock juggernaut, so it was quite a treat to see them take center stage for their 2015 tour promoting their latest work, Big Dark Love.

Continue reading “Show Review: Murder By Death with Rocky Votolato at The Independent, 2/5/2015”

In 2012, post-grunge heroes Bush embarked on a national tour across the US, but not as the headlining band; instead, they played third fiddle to two other modern arena staples, Seether and Nickelback. For fans of the English rockers that took the 90s by storm, this was an utterly perplexing move; Bush’s tenure far outstripped either of the acts they were opening for, and as far as musical association, they were far more based in grunge and even experimental sound than the radio-friendly crunch-and-stomp of their tourmates. Apparently, however, this association didn’t vanish after that tour, as I found myself arguing this very same point with a friend days before this show. Despite his insistence that the pop caliber and gravel-tinged vocals put them at the same point of similarity as their Canadian cohorts from two years prior, I fiercely maintained that Bush’s dynamic songwriting, complex lyricism, and constant sway between snarlingly raw and shimmeringly electronic production have placed them in a position that few other acts manage to span in their career. Friday’s show proved that I was not the only one who was still passionate in these beliefs, as Bush kicked off their 2015 headlining tour at The Masonic in San Francisco before a massive crowd that joined in unison to sing and sway to tunes both new and old, every moment indulging in the music that poured over them.

Continue reading “Show Review: Bush with Theory Of A Deadman and Stars In Stereo at the Masonic, 1/30/2015”

Jimmy Gnecco is not the sort of singer/songwriter who can have that title applied to him with any bit of disparaging condescension. His hauntingly powerful alt-rock outfit, Ours, has maintained a fierce cult following even after their major-label success of nearly 15 years ago; his vocal and instrumentation range is far wider than most modern bands achieve during their entire career; to find him taking residence in such a tiny establishment as the Hotel Utah Saloon, whose show occupancy barely breaks 100 at its peak, is nothing short of astonishing. For a second year, however, the New Jersey native returned to this small corner of San Francisco for a nearly 3-hour-long set of solo tunes, elegant tales, and collaborations with musicians and fans alike onstage; past the unexpectedly long duration, this was a mesmerizing night of gorgeous tunes, not for a moment marred by the cold that the singer had provided as a caveat before the evening began.

Continue reading “Show Review: Jimmy Gnecco of Ours with Nick Perri Group at the Hotel Utah Saloon, 1/20/2015”

In the modern musical world, artists’ success seems to be measured in how quickly they can crank out new, catchy, pop-earworm singles that you keep singing from day to day until the next one comes along. Entire albums are far too much to swallow for the attention-deficit horde that is the concertgoing crowd, and heaven forbid you haven’t put out anything for several years’ time — you’re just a faded memory, a phrase that still pops up on cobweb-covered Internet searches. It’s therefore refreshing and wonderful to see acts like Modest Mouse, the Washington-based indie rockers who took the mid-2000s by storm, return to the Bay Area with over 7 years having passed since their last album’s release, and play to an absolutely sold-out house at their own debut at The Masonic, the recently-revamped auditorium that has been all of the buzz of San Francisco of late. It’s a testament to the staying power and wildly dedicated fanbase that they possess, and they did not disappoint the hundreds who screamed, cried, and writhed their way through the evening with them, unloading their explosive energy with a live assembly of nearly 10 players making up their ranks.

Continue reading “Show Review: Modest Mouse with Mimicking Birds at the Masonic, 9/26/2014”