On November 7, 2024, The The returned to the stage at Oakland’s historic Fox Theater, presenting a performance that transcended the boundaries of a standard rock concert—with a two-set format and no supporting act, the evening highlighted their new album, Ensoulment, and a retrospective of their catalog, offering a reflective journey that resonated profoundly with fans. Continue reading “Show Review: The The at The Fox Theater — Oakland, 11/7/24”
Author: Tiffany Black-Darquea
Show Review: Lynn Goldsmith & Patti Smith In Conversation at Calvin Simmons Theatre in the Henry J Kaiser Center For The Arts, 10/7/24
(Header Photo Courtesy Noise Pop Industries / Debra Zelle)
Attending the grand reopening of the Henry J. Kaiser on October 7, 2024, with my septuagenarian best friend was a profound and nostalgic experience. The event, centered on the incomparable Patti Smith and legendary photographer Lynn Goldsmith, was a journey through friendship, art, and music. They were on tour for their new book, Before Easter After: 1976-1979 Photos and Diary Entries of Patti Smith’s Life, an apt title for a night filled with laughter, stories, and emotional resonance.
The crowd was as eclectic and storied as the venue itself—a mix of Mills College graduates, anonymous band members from legendary Bay Area groups, and other creative spirits. Garage rock vintage shirts mingled with the crisp Northeast types who still clung to their cigarettes. Young leftie femmes teemed with anticipation, while nonchalant poet types gazed on indifferently, and nervous, professional event staff wove through the crowd, ensuring everything ran smoothly.
The Henry J. Kaiser, steeped in the cultural and musical history of the Bay Area, has been home to some of the most legendary concerts. Perhaps none were more iconic than the Grateful Dead’s many performances there. (Editor’s Note: The show where The Ramones made the Bay Area debut of Rock & Roll High School, the greatest movie of all time ON THE DAY I WAS BORN, beats any Dead show there.) The venue became a central part of the Dead’s storied relationship with the Bay Area, known for hosting some of their most memorable shows in the mid-1980s. The band played the Henry J. Kaiser nearly 50 times, with annual multi-night runs becoming a staple from 1984 until 1987. These shows attracted Deadheads from all over, who flocked to the venue to experience the band’s unique blend of improvisation, psychedelic rock, and community spirit.
Particularly legendary were the Dead’s Mardi Gras shows at the Henry J. Kaiser, which became annual traditions. Complete with parades, costumes, and extended jams, these performances embodied the celebratory spirit of the Dead’s live shows, making the venue a sacred space in Grateful Dead lore.
This rich history was alive as Patti and Lynn took the stage to reflect on their experiences. Though a moderator was technically present, they weren’t needed. Patti and Lynn seamlessly traded stories, retelling tales of their time together over 40 years ago, as Lynn ran slides capturing moments from their past. Their anecdotes painted a vivid picture of their shared journey, from misspent nights in New York City to road trips across the U.S.
One particularly captivating moment came when Patti recounted her friendship with the legendary William S. Burroughs. Patti began to weave a vivid tale of their shared experiences. With a wry smile, she recounted how she used to attend Burroughs’ notorious parties in New York City. “He’d invite me to these bizarre gatherings,” she said, her voice softening in remembrance. The parties were filled with artists, poets, and outcasts, but Burroughs always stood apart—an enigmatic figure who was always watching and rarely engaging.
As the crowd hung on her every word, Patti told the story of how Burroughs would take her to various places in the city. Patti’s candidness shone through as she recounted hitting on Burroughs one evening. She paused, then dropped her voice into a perfect impression of Burroughs, adopting an elegant rasp and stretching out her words. “‘Patti,’ he’d say, ‘I’m a raging homosexual.’” She mimicked his long drawl, capturing his deadpan humor and absolute certainty. The audience erupted in laughter as Patti, still grinning, shook her head.
This moment revealed Patti’s versatility in her relationships and her curiosity about the world. She wasn’t fazed by rejection or by Burroughs’ peculiarities. Instead, she was drawn to his energy, his difference, and the fact that he existed entirely outside the norms.
As the stories flowed, Patti also shared anecdotes about her time with Robert Mapplethorpe, Sam Shepard, and Tom Verlaine. These icons had left an indelible mark on her life and art. She spoke fondly of her creative partnership with Mapplethorpe, whose photographs captured her image and explored the complex themes of love and desire that permeated their lives. With Sam Shepard, she reminisced about their shared passion for storytelling and the artistic exchange that fueled their work, while her connection with Tom Verlaine revealed a deep bond forged through their love of music and poetry.
Lynn’s photographs played a pivotal role in the evening’s storytelling, notably a harrowing series that captured the aftermath of Patti’s infamous accident in Florida in 1977. The audience gasped as Lynn shared a story of how Patti fell 14 feet off a stage during a performance when roadies placed her monitors too close to the edge. “I spent four months with a fractured skull,” Patti recalled, her tone shifting to one of clarification. Lynn had been there, documenting every moment—from Patti’s vulnerability in the hospital to the fierce determination that followed. fragile and fierce. Some photos highlighted her androgynous appearance, while others almost gave her an alien or animal-like quality due to the rawness she exuded in front of Lynn’s lens.
The evening felt less like a formal presentation and more like a gathering of friends, with Patti and Lynn drawing the audience into their world. Patti and Lenny Kaye played acoustic songs corresponding to the images, creating a rich tapestry of sound and memory. Patti performed “Dancing Barefoot,” evoking the love she shared with her late husband, Fred “Sonic” Smith, and dedicated “Because the Night” and “People Have the Power” to Fred. The energy in the room elevated as she used the song as a rallying cry, urging the crowd to vote, to raise their voices, and to use whatever power they had. As any attuned poet would, she reminded the audience that it’s all we have and must use it. The laughter, music, and stories combined into something far more significant—a celebration of a lifelong creative partnership, capturing the polished moments and the raw, vulnerable, and extraordinary journey they shared. Check out the book.
Show Review: Future Islands at The Fox Theater – Oakland, 9/17/24
Having seen Future Islands about five times over the past decade, their show at the Fox Theater in Oakland on Sept. 17, 2024, felt like a departure from the raw, emotional intensity that once defined their live performances. While it was still a robust and engaging show, this one leaned more into polished production and theatrical flair than the emotional spontaneity I remember from past gigs. Continue reading “Show Review: Future Islands at The Fox Theater — Oakland, 9/17/24”
Show Review: Perfume Genius with Julianna Barwick at Great American Music Hall, 9/24/24
Perfume Genius’ 10th-anniversary performance of Too Bright at The Great American Music Hall was an intimate and unforgettable night. With its classic San Francisco charm, the venue offered the perfect setting for a devoted crowd, huddling close around the stage like a protective cocoon for Michael Hadreas and his band. Everyone in the room seemed eager and reverent, excited to see Too Bright brought to life in full.
Opening the night, Julianna Barwick cast the room in waves of indigo light. Her set, ethereal and expansive, felt like an homage to artists like Julee Cruise, Donna Summer, and Enya, with a modern twist of binaural beats and the haunting echoes of ancient voices. It was as if she channeled something otherworldly, conjuring a space where time and genre folded in on themselves. You could almost feel the presence of ancestral female spirits, grounding the room in calm energy and preparing it for what was to come.
When Perfume Genius finally took the stage, Michael Hadreas was radiant—relaxed, proud, and fully present. I’ve seen him perform before, sometimes on edge with the demands of obsessive fans, but tonight was different. There was a jovial trust between him and the crowd, a mutual respect that allowed him to flourish. His band, tightly synced and full of emotional charge, mirrored this sense of cohesion. Each note felt connected, like a shared breath between them. His partner on keys added an extra layer of intimacy, deepening the emotional resonance of the performance.
Hadreas himself was a sight to behold. Part Elvis, part Morrissey, his body was a slithering, back-bending expression of the music. Dressed in a slick olive sateen button-down, the shirt clung to his skin, wet with the raw energy of his performance, wrinkled and sexy. The microphone cord draped along his fingers like an extension of himself as he writhed upward, completely lost in emotion.
The highlight, of course, was “Queen,” which he played not once but twice—because really, who wouldn’t want to be slayed by that iconic strut all over again? The first time, the crowd was electrified; by the second, it felt like we were all ascending to another level of sonic bliss. Hadreas delivered the anthem with all the sashay and defiance it demanded, leaving no one untouched.
It was a night where the connection between artist and audience felt palpable as if we were all part of the same heartbeat. You could feel the trust, the love, and the shared history in every moment, making this anniversary a night to remember.
Show Review: Wand at The Chapel, 9/14/24: A Vertigo-Induced Spell
As someone who prides themselves on devouring the fringes of music—everything from experimental jazz to art-house drone— Wand’s performance at The Chapel on Sept. 14, 2024, felt like falling into a chasm of sound I didn’t know I needed. Wand, a band that had always flown under my radar, shattered my expectations in a way that only those once-in-a-lifetime musical experiences can. My gateway into their world was Vertigo, their stunning 2024 album. I dove deep into that record, immersing myself in it for weeks before the show. Given the intensity and cohesion of Vertigo, I was excited to hear the band tour the album in its entirety, expecting the live performance to reflect the hypnotic, seamless flow of the record.
Continue reading “Show Review: Wand at The Chapel, 9/14/24: A Vertigo-Induced Spell”
Show Review: Alex G at Stern Grove, 8/4/24
Last Sunday, August 4th, 2024, Stern Grove was buzzing with excitement as fans gathered for an unforgettable performance by Alex G. The picturesque setting, surrounded by vibrant nasturtiums, towering eucalyptus, majestic redwoods, and winding sandy embankments, provided a perfect backdrop for the afternoon concert. Continue reading “Show Review: Alex G at Stern Grove, 8/4/24”
Show Review: A Night of Enchantment: Pixies and Slow Pulp Grace the Fox Theater – Oakland, 5/4/23
A Night of Enchantment: Pixies and Slow Pulp Grace the Fox Theater
Within the heart of downtown Oakland lies the historic Fox Theater, a stunning Art Deco masterpiece that has set the stage for many an unforgettable concert experience. Last week, the theater’s exquisite interior and world-class sound system played host to an electrifying performance by the Pixies, with Slow Pulp as their mesmerizing opening act. Continue reading “Show Review: A Night of Enchantment: Pixies and Slow Pulp Grace the Fox Theater — Oakland, 5/4/23”
Show Review: alt-j at The Fox Theater, 3/23/23
Ten years got behind alt-j’s seminal record, An Awesome Wave. The still-fresh sound, now topped with nostalgia and ten years of collecting new listeners, filled the Fox in Oakland to the rails. The record flummoxed reviewers when it dropped. Did they love Joe Newman’s creaky tessellating shrill, yet palatable scree? They were confused and transfixed. The romance and journey of each song alt-j spins are solidly complicated layers. It could easily be written off as a neo/hippy/gen x-z Dj tricks. It’s simply an unexpected sound and a labor to hear all the detail packed into such a small scape of one song. The lyrics are not the first thing a listener will hear. A world music or drum and bass mask is removed upon several listens, then the intimacy of Joe’s lyrics are more decipherable. Sigur Ros comes on like a drug in a similar way. An opium lull takes over the body before making sense of what’s being said. The assumed keyboard or effects are often woven tapestries of one note sung over and over by Newman, Unger-Hamilton, and Sonny. It’s incredibly well thought out. Syncopated laser lights beat along to bass lines and drums. Chris Koruda style. Props to the lighting guy they have with them on this limited run. Continue reading “Show Review: alt-j at The Fox Theater, 3/23/23”
SF Sketchfest Review: Going Up with Sara Schaefer at Gateway Theater, 1/29/23
The brilliant writer and comedian, filled the theatre Sunday night: a one woman Pyramid Scheme scrambling Tony Robbin’s pitchman energy. Sara started a podcast during COVID. She had saved up a lot of clues from her Twitter trolls, mostly peer comics and fans that they had sicked on her, and information about the so-called the way to make it in comedy. The industry model. Multi Level multi-discipline classes in avoiding misogyny in the comedy business. Continue reading “SF Sketchfest Review: Going Up with Sara Schaefer at Gateway Theater, 1/29/23”
SF Sketchfest Review: Janeane Garafalo at Cobb’s Comedy Club, 1/28/23
No, that’s not an unhoused person. It’s Janeane Garafolo! A clan of the cave bear silhouette, Janeane shuffled out from the side stage with self-proclaimed “unsolicited dreads” and control top tights & shorts. Two separate nude concealing undergarments, mind you. She claims that when she got hit by a car, Spanks™ saved her from going to the hospital. Which she just won’t do anyway. She claims to be a “Pedo~file:” she walks everywhere, hates working on her core, and refuses checkups and physicals. Continue reading “SF Sketchfest Review: Janeane Garafalo at Cobb’s Comedy Club, 1/28/23”