Author: Tiffany Michelle Black

Show Review: Lily Allen with The Dallas Minor Trio at The Masonic, 4/28/26

All Photos (except one very obvious one) by Christina Bryson (@averagecowgirl)

Lily Allen performed for 3,300 guests at the Masonic in San Francisco on May 30, 2026. She had just released one of the most impeccable albums of last year, West End Girl, an epic 44-minute tale of an unraveling psyche inside a high-functioning celebrity marriage marked by serial cheating and gaslighting. The record unveils the person underneath, rebuilding, stripping down, and rewiring. The sound is encased in spans of poised pop, reggaeton, vocoder-soaked torch moments, and EDM. The album’s trajectory feels as tender and surprising as it must have felt to write it, and somewhere in the middle, you find yourself piecing together the affair partners as the only clues to what really happened, until they begin to feel like your counselor. It moves through every stage of grief and lands, finally, in acceptance by the time you reach the last track, “Fruity Loop.” Continue reading “Show Review: Lily Allen with The Dallas Minor Trio at The Masonic, 4/28/26”

Show Review: Cass McCombs with Hand Habits at Great American Music Hall, 4/9/26

Is it possible to wash yourself up if you don’t take interviews? As far as being “washed up” as a musician, Cass McCombs has remained so private and low-profile, with almost no social media presence, rarely giving interviews, and offering very little spoken onstage. As a lyricist, he has quietly masterminded literature-worthy cadences in his songs over the years. The lyrics are extremely personal, yet vague enough to keep distance between listener and artist; sometimes it’s a wry smile, sometimes it’s a shocking question, and sometimes it feels like a local radio station drifting in and out. Continue reading “Show Review: Cass McCombs with Hand Habits at Great American Music Hall, 4/9/26”

Noise Pop 2026: A Reminiscing…

Let’s talk about Noise Pop 2026 in San Francisco, where a lively gaggle of badge-wearing music fans and industry folks zigzag across the city each night trying to see as many shows as humanly possible in a single week. Since its founding in 1993, Noise Pop has been one of the city’s most beloved independent music festivals, built around the small venues and a musically inclined spirit that define San Francisco’s culture. What started as a modest gathering of indie and underground bands has grown into a weeklong celebration that still feels intimate, with shows scattered across rooms like Bottom of the Hill, Swedish American Hall, and Great American Music Hall. This year’s lineup carried that tradition forward, featuring artists including Jeffrey Lewis, Stephen Malkmus, Rogue Wave, illuminati hotties, Black Marble, Sun Ra Arkestra, and many more. I had the pleasure of catching several of these sets as both a writer and photography guest, bouncing between venues and soaking in that unmistakable Noise Pop energy where the whole city briefly feels like one interconnected stage. Continue reading “Noise Pop 2026: A Reminiscing…”

Show Review: Cat Power at The Fox Theater, 2/18/26

I found out about the show late. I had asked the magazine for a photo pass and was told Chan wasn’t allowing photography. No cameras in the audience. That was the boundary. Instead, they handed me a viewing ticket at the last minute, which felt generous and slightly strange. I’m usually moving around the pit thinking about light and angles. This time I took a seat. Front row balcony, the Fox opening up beneath me.
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SF Sketchfest Review: Wife Material with Sydney Kane at Eclectic Box, 1/25/26

Photos by Gabrielle f. Korein

Eclectic Box SF is the kind of small Mission venue where nothing is hidden, and everything lands a little harder, making it an ideal setting for Wife Material. The show arrived wrapped in an I Love Lucy-adjacent aesthetic, all bubblegum pink and tongue-in-cheek humor, but quickly revealed something far more anxious and intimate underneath. Kane entered in full Britney pink, with a headset mic, sorority curls pulled into a half-wedding updo, and towering six-inch square platform heels, immediately establishing both control and exposure. From the start, she blurred the line between performer and audience, pulling a small cluster of front-row participants into a scripted interaction that cracked the fourth wall and set the tone for the vulnerability to come. Behind her sat two nonchalant, middle-aged indie rock types on drums and keys, steady and almost indifferent, which only heightened the emotional contrast onstage.
Continue reading “SF Sketchfest Review: Wife Material with Sydney Kane at Eclectic Box, 1/25/26”

Show Review: Alex G at The Fox Theater – Oakland, 9/23 & 24

I was planning on taking my 15-year-old daughter to see Alex G. She’s the reason I got into him six years ago. She discovered him on YouTube, and over time she grew increasingly irritated by the hordes on TikTok who butchered his lyrics and turned his shows into screaming matches over mis heard refrains. Continue reading “Show Review: Alex G at The Fox Theater — Oakland, 9/23 & 24”

Show Review: Grandaddy at The Regency Ballroom, 9/16/25

The Regency Ballroom has a way of holding ghosts and sound in equal measure. Once a Scottish Rite temple built in 1909, its grand neoclassical bones and domed ceilings still hum with ritual energy. Now the devotion comes from a different kind of congregation. On this late September night, that congregation gathered for Grandaddy, a band whose bittersweet blend of analog warmth and cosmic melancholy has been quietly shaping indie rock for nearly three decades.

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Portola 2025: In Words and Pictures

Additional Reporting and Photos by Matthew Meyer and Dakin Hardwick

Portola has figured out how to live in the impossible: a perfect balance between a giant warehouse rave, an art-party fever dream, and a legacy showcase built around titans like The Chemical Brothers and LCD Soundsystem. The festival grounds themselves were half the trip, stages stretched across a working port, tucked between hulking cranes and an airplane-hangar-sized warehouse. One side of the grounds was dominated by a massive ship; the other opened out onto the Bay, where the breeze mercifully cut through the heat.

Scantily clad post-Burning Man pilgrims roamed like the playa had drifted into San Francisco, fur and neon armor still glowing. Unlike so many other festivals, Portola spared us the dreaded sound bleed; every stage claimed its own sonic territory without stepping on another’s toes. Continue reading “Portola 2025: In Words and Pictures”

Show Review: The Flaming Lips & Modest Mouse at The Greek Theater, UC Berkeley, 9/7/25

On September 7, 2025, the Greek Theatre in Berkeley hosted a remarkable double bill featuring Modest Mouse and The Flaming Lips -each band delivering at least a 75-minute set, separated by over 20 years from their breakout records. The evening carried the last heat of Indian summer, light winds hinting at fall as music fans filled the amphitheater. It was a night that underscored not only the legacy of both acts but also the profound evolution of their sound over the decades.

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Show Review: Sunny Day Real Estate at The Catalyst, 9/10/25

The Catalyst in Santa Cruz is one of those venues where history hangs heavy in the rafters. It’s a place that has seen everything from Willie Nelson to punk chaos to indie legends, a club that is both small enough to feel intimate yet big enough to hold a restless crowd pressed shoulder to shoulder. Tucked downtown a few blocks from the ocean, the room itself is a rite of passage for anyone serious about live music in Northern California. On September 10, that stage belonged to Sunny Day Real Estate.

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