If you asked someone what their favorite record by a female singer in 2011 was, odds are you would have gotten a reply that fit one of two options: 21 by Adele, or Ceremonials by Florence and the Machine. Both topped charts, and the former swept the Grammys, taking home the coveted Album Of The Year award, among others. Sadly, out of the spotlight (and off the radar for many a casual music fan) were a pair of records that rounded out Spinning Platters’ 2nd and 3rd place winners for our Album Picks of 2011, both by extraordinary women who have been captivating audiences all over the country, perhaps even the world, with their otherworldly but gorgeously eclectic brand of experimental indie rock. To pair the two together is a feat in and of itself, as the two have very different backgrounds — both in their own respective songwriting and in their own performing history — but it was, no doubt, an effective combination, as evidenced by the near sold-out crowd that arrived at Oakland’s Fox Theater on Tuesday night. The pair had skipped briefly across the country, even between two weekends at Coachella, and now were coming to the end of their trip: the Oklahoma-born, Manhattan-based Annie Clark, better known by her stage name St. Vincent, and Oakland’s own Merrill Garbus, more well known under the zanily-punctuated pseudonym of tUnE-yArDs.
Author: Jonathan Pirro
Show Review: Refused with The Hives and The Bronx at The Warfield, 4/18/2012
At the end of the day, what truly compels someone to come to a concert is their love of the music that their favorite band plays — and the sheer energy with which they present it to their fans. Take away the light shows, the falling props, the dancing backdrops, and the larger-than-life haircuts, and what brings people to a concert, what REALLY sells out a club and packs its patrons in tighter than sardines in a tin can, is the overwhelming desire to watch an artist deliver their heart and soul onstage, in the form of bellowing voices, howling guitars, and an onstage presence that drains the viewer just by beholding it. Irrespective of genre, of geographical location, and even of time period, it is truly the mindbendingly ecstatic bands that pulls in all comers — even well-known and loved artists of other musical worlds. Thus, it was little surprise that members of bands such as Rise Against, Metallica, Faith No More, AFI, As I Lay Dying, Death Angel, and Sevendust were on hand to experience one of the most incredible performances of 2012, when newly-reunited Swedish hardcore juggernauts Refused took the stage at the Warfield Theatre in San Francisco and delivered a set that was paralyzing and stunning in its intensity.
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Show Review: Justice with The Rapture at The Fox Oakland, 4/17/2012
2012 has already begun as the Year of the Dance Music Show, with electronic acts dominating some of the most popular venues worldwide and music festivals across the country. The Ultra Music Festival brought in 60,000 attendees per day this year; I Love This City, coming Memorial Day Weekend, plans to overflow AT&T Park with fans and over 40 huge acts of the dance music world. It’s no surprise, therefore, that the hot ticket to catch is on the club circuit: any highly-successful electronic act that packs their titanic stage show into an under-5000-people theater to shake the walls with earth-shattering bass and wild dancing. Though you’d normally be hard-pressed to find anything that isn’t pulsing house or swaying dubstep to pack a venue with concertgoers aplenty, the Fox Theater played their cards right in welcoming French dancemasters Justice to Oakland between their Coachella weekend visits, and the duo delivered brilliantly with precision, style, and a dizzying array of lights and sound.
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Show Review: Rodrigo y Gabriela and C.U.B.A. at The Fox Oakland, 4/5/2012
Transitioning from being a solo artist (or in this case, a minimalistic acoustic duo) to having a full band behind you is a great risk, no matter what type of musician chooses to take it. Your songs transform, in scope and shape, in feel and form, and the result can either pull in a larger audience than ever before, or cause even the most adoring critics to suddenly turn their noses up at you. Such a dramatic shift in the mood and presentation of your art requires a great deal of work and dedication to perfecting your craft, and it may even require you to explore new methods of songwriting and arrangement that you had never approached within your career. When Mexican thrash-flamenco maestros Rodrigo y Gabriela traveled to Havana and recorded their new album, Area 52, with a host of 13 Cuban musicians (tonight appearing in the form of musical ensemble C.U.B.A.), fans and critics alike paled at the thought of the super-concentrated thrill of the pair’s frenetic guitar mastery drowning in a sea of lush but overwhelming sound. On their 2012 tour, the two have set out to prove that none of the magic that they’ve amazed audiences the world over with has disappeared; indeed, new life has been breathed into it, as it scales into a higher, deeper, and even more magnificent form.
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Show Review: The Magnetic Fields with Bachelorette at The Fox Oakland, 3/24/2012
Two years ago, New England musical mastermind Stephin Merritt graced us with two Magnetic Fields shows during the Bay Area’s 18th annual Noise Pop Festival. Spinning Platters was on hand for both performances, and two years later, Merritt and his quintet have returned, with a new opus in tow, to the Fox Theater in Oakland for a new round of orchestral whimsy and symphonic folk-pop playfulness. As the musical tide has turned for the mood and feel of the band’s newest release, Love At The Bottom Of The Sea, so too, apparently, has their attitude to live performances. Rather than occupy the resonant wooden floors and still-somewhat-fresh carpet of the theater with chairs for a quiet, introspective performance, the audience was given free reign in a regular general-admission get-as-close-as-you-like setting. There was a loud and upbeat performer opening the show. The band even responded to whoops, cheers, and catcalls. What a change is here! For even the most stoic Magnetic Fields fan, however, the change of mood was a rather uplifting one, and a general camaraderie was established between both the boisterous and the simply bemused for this acoustic exploration of the band’s charming new work.
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Show Review: The Joy Formidable with A Place To Bury Strangers and Big Black Delta at The Independent, 3/12/2012
A rather frustrating phenomenon that exists for enthusiastic concertgoers who follow up-and-coming artists is the long, long wait that precedes a band’s “official” rise to stardom. This term is placed in quotes, because the true mark of becoming a major player in the live music scene is being the headlining act of the tour you’ve embarked upon. The last two times that the Welsh trio known as The Joy Formidable have made their way to the Bay Area, they’ve taken residence on the smaller Sutro stage of the Outside Lands Festival, and opened for The Naked And Famous at a special pre-party concert that preceded Live 105’s Not So Silent Night. Despite bringing along some heavy hitters whose reputation and following would allow them to take the reigns and lead the way, the trio of Ritzy Bryan, Rhydian Dafydd and Matt Thomas have finally claimed their spot as the main event, and they’ve taken their newfound thrones with all the explosive fury and unrelenting power that was present at their last few appearances — with absolutely no sign of slowing down as they stunned the packed-in audience at the Independent on Monday night.
Show Review: Ty Segall with White Fence, Mikal Cronin and The Feeling Of Love at the Great American Music Hall, 3/2/2012
Put down your spiked hair. Pull those safety pins out of your pierced ears. Trade in the leather jacket, the studded belt, the plaid pants, the violently political message, the inability to enjoy anyone within your immediate proximity unless you’re physically engaged in violence towards them. But don’t stop enjoying yourself. This is not the place for the energy to drop, for the volume to descend, or for the spirit of radical thought to become extinguished. This is the place for two-minute songs and stagedivers and snarling fuzz and harrowing reverb, all compacted together into a stick of dynamite that keeps burning for almost five solid hours. This is the first stop on the tour for Ty Segall, a veteran to the Bay Area garage-folk-psych-rock scene, which, tonight, has taken up residence in the Great American Music Hall, and is here to demolish the foundations — both figuratively and a significant bit literally.
Noise Pop Show Review: The Flaming Lips perform The Soft Bulletin at Bimbo’s 365 Club, 2/21/2012
Twenty years. For many fans in the live music scene, this is an impossible amount of time to fathom. The concert demographic, wide as it might be, generally seems to fall between teens and people in their 50s, and if you go twenty years back, you’ve got a whole group of people who weren’t even born yet, to those who were solidifying their first solid years of adulthood. The amount of music, live or otherwise, that has been recorded, performed, and otherwise created in that timespan is magnificent in its breadth and depth. For twenty years, the Noise Pop Festival has helped to bring acts of all leagues and backgrounds to the San Francisco music scene, peppering venues with marvelously-clashing lineups and intimate gatherings that blow the minds of even the most seasoned veterans of the club-hopping world. After twenty years, it’s good to know that the Bay Area can still be stunned, which happened when the Noise Pop folks pulled out their trump card of the 2012 lineup — The Flaming Lips were making an appearance at the barely-700-person-capacity Bimbo’s 365 Club, and were performing their magnum opus The Soft Bulletin from start to finish.
Sketchfest Review: Reggidency: A Reggie Watts Series
Comedy, as a method of entertainment, works best when we can relate to the entertainer, and the exaggeratedly hilarious (yet quite often true) stories that they tell. Most standup artists use this science as the core of their act, pointing out the sometimes terribly obvious, but far more often insignificant, details that we all have experienced, barely speak about, and yet go through on a regular basis. That excess blast of thought over such inane minutiae succeeds at hitting our funny bones hard, not only because of the presentation, but because we can, in fact, relate. If this is a regular formula for comedic success, then anyone willing to break the mold and give those common trivialities a winning partner with absurdity, disconnection, and whimsical rambling has the potential to turn heads, and in the case of Reggie Watts, he succeeds spectacularly, and leaves you wondering what the hell just bowled you over with laughter.
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Sketchfest Review: Eddie Izzard: In Conversation with Greg Proops at the Palace Of Fine Arts, 1/25/2012
We’ve all had that experience of longing to see our favorite superstars in an up-close-and-personal format, possibly away from the bombast and glamour that comes with huge live shows or blockbuster movie performances. The real question, however, is whether we really ARE prepared to approach them in such an intimate setting, especially where most of the gusto and persona is shelved, or at least tuned downward, to reveal the human being that exists behind the fame and glory. We might find ourselves rather disarmed, or hopefully plenty intrigued, when our heros — be they musical, comedic, or of the silver screen — come and tell the tales of times less fortunate, the struggles they experienced, or their hopes and dreams that may be in an entirely unexpected avenue.
Also, when you’re Eddie Izzard, and you show up to San Francisco NOT in full transvestite regalia, you’ll probably throw some people off — but the crowd at this sold-out show at the Palace Of Fine Arts seemed to love every minute of this special opportunity to see the Yemen-born, English-raised, world-celebrated comedian in some of his most personal and self-expressive moments.