Noise Pop Review: The Fiery Furnaces with Spacemoth. at The Chapel, 2/26/26

I’ve seen The Fiery Furnaces just once before. Opening for The Shins at The Warfield just about 20 years ago. I was taken aback by their joyful weirdness… So many layers, and it was magic. And I’d yet to have an opportunity to see them again. So when Noise Pop added them to The Chapel, one of the most stunning spaces in SF, I jumped on tickets. Yet, I had no idea what I was in for…

Before Eleanor Friedberger and her brother Matthew, the sibling duo that leads The Fiery Furnaces, took the stage, we were treated to a rare solo performance by local psych hero Maryam Qudus. Better known by her stage name, Spacemoth.. She treated us to layers of samples and washes of guitar and synths, all played by Qudus herself. She crafted blissful pop symphonies, effectively replicating the full-band sound of her debut record, No Past No Future. Early in the set, she played “This Shit” with its chorus, “When is this shit gonna end? Gonna End?” a statement that resonates really well in the current climate. 

I was initially caught off guard by the stage setup. Once Spacemoth. cleared her gear, all we saw on stage was an upright piano and a mic stand. It became clear to me that I wasn’t getting the same band that I’ve wanted to see again for two decades. I was nervous about the show. 

Matthew sat at the piano, and Eleanor picked up the mic. Fiery Furnaces treated us to… An acoustic duo set! The layers were stripped away, and the songs were brought to the forefront. They played a career-spanning set, hitting almost every album. But, instead of the big, experimental songs, we got cabaret. Eleanor’s voice was in fine form tonight, sending chills at the right moments. Matthew played a delicate balance of jazz, showtunes, and pop on the piano. It was a fantastic show, despite not being the show I expected. 

Noise Pop Review: Death Valley Girls, Forty Feet Tall, Grooblen at Kilowatt, 2/23/26

Photos by Emily Anderson

You know how some venues seem to have the right “vibe,” and you can feel the fun as you walk in? It seems that the classic Mission District bar, Kilowatt, has that energy. Because there was an intense joy that I felt from the moment I walked in. To my right was the perfect long bar with silly things behind it, including Bill & Ted’s Excellent Adventure. I understand why the folks of Noise Pop have gone all in on this space. And with the loss of Thee Parkside and the impending death of Bottom Of The Hill, I felt optimistic that SF won’t be without a small rock n roll venue. I bought a $15 cocktail that was a very strong pint of Mexican Mule because it seemed right, and the price was clearly right, and from a time long ago in SF. I window shopped the merch, and then found a spot right in front of the stage, ready for some rock n roll. Continue reading “Noise Pop Review: Death Valley Girls, Forty Feet Tall, Grooblen at Kilowatt, 2/23/26”

Noise Pop 2026: Spinning Platters Tells You What To Do

Noise Pop is celebrating its 33rd iteration, and it’s 34th year (DAMMIT COVID!), which means it’s the 33 1/3 Noise Pop. Not really, but I prefer to label it as such. Because of records. But it could also take 33 1/3 years to dig through the lineup. Feeling like some Noise Pop (or, as Swami John Reis referred to it at Bimbo’s in 1999, “popping noise music”) but don’t want to do the work? Here’s what I like. The full schedule is here. Badges and limited individual tickets are still available for many shows.

Continue reading “Noise Pop 2026: Spinning Platters Tells You What To Do”

Added To Noise Pop: St Vincent! Ben Gibbard! Earl Sweatshirt! David Lynch Tribute!!!

A slew of new shows are on sale tomorrow with Noise Pop, including some huge stars in small places, including at Grace Cathedral: St Vincent on Feb 23rd and Benjamin Gibbard on Feb 25th, Fantastic Negrito at the 4-Star Theater in the Richmond(!), Marc Capelle’s Red Room Orchestra doing a Tribute to David Lynch on Feb 19th, and two nights of Earl Sweatshirt at Great American Music Hall Feb 25th and 26th

Tickets are onsale tomorrow (Friday, January 24th) at 12 pm. Or you can buy a Noise Pop badge today

Noise Pop 2025 Phase 1 Announced!

Hi. 

It’s a rough week to convince people that there is still fun left to be had. But, as my therapist reminded me today, I once said, “Disco was more rebellious than Punk.” So, Noise Pop has decided to rip the band-aid off the wound that was the 2024 election and give us something to put on some pants for… Phase 1 of the Noise Pop 2025 lineup! Including one of Tim Walz’s favorites, American Football, celebrating two nights at Great American Music Hall, the perfect place to regroup and resist. 

There’s so much more… UK’s legendary Cymande! The first Les Savy Fav show in the Bay Area in forever! Spinning Platters’ Fav Soccer Mommy! There’s so much more, and so so so so so much more to come! Full lineup below. Tickets are on sale this Friday at 10 am at NoisePopFest.com

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.

NOISE POP 2024 PHASE 1 LINEUP!!!

SOUND THE ALARM! It’s time to start planning your 2024 ALREADY!!! Noise Pop dropped their Phase 1 lineup, and it goes on sale TOMORROW! Highlights include two nights of Snail Mail at Great American Music Hall (including one night with The legendary Softies opening!), The Mountain Goats are doing a stripped-down, solo acoustic set (at Grace Cathedral, of all places!), Nine Inch Nails’ (and first ever Italian to get inducted into the Rock & Roll Hall Of Fame, in case you were wondering) Alessandro Cortini is playing Gray Area, and many other Spinning Platters favorites like Cherry Glazerr, chokecherry, Kendra Morris, Thee Sinseers, Roman Candle and more! Full lineup below! Tickets for single shows are on sale 11/10 at 10am here. A limited number of badges remain and you can grab those here

Noise Pop 31 Dates Revealed!

(Photo of Thank You Come Again by Marc Fong

It’s not even Halloween yet, but it’s time to start getting ready for next Winter’s festivals! Noise Pop decided to extend to 11 whole days for next year, which is BONKERS! So it’s time to clear your calendar and stock up on hangover remedies so you can destroy your eardrums from February 22nd – March 3rd. 

Early Bird badges are SOLD OUT, but watch this page for the next release. It’s certainly going to be worth the money. 

Noise Pop Preview: Fast Times Presents

Amid mask mandate confusion (NOTE: venues are still mandating masks in SF, so MASK UP AND DON’T KILL YOUR BARTENDER), uncertainty in Ukraine, and a general malaise of life, I forgot about Noise Pop this year! But, my good friend Ashley Graham of Fast Times Presents reminded me that there is still joy in this world, and if you feel safe, she’s got a nice assortment of events this week. And if you don’t feel safe going out, you should re-listen to our interview with her from late 2020! Continue reading “Noise Pop Preview: Fast Times Presents”

Interview: George Chen of Zum Audio

George Chen has been a friend of Spinning Platters for many, many years. In fact, we’ve interviewed him before! And I’ve appeared on his podcast, Sup Doc to discuss 2020’s documentary on The Go Go’s. With all the years I’ve known him, we’ve never talked about his record label, Zum Audio. So we decided to chat about Zum’s history as well as his upcoming Noise Pop Showcase! It’s happening at Bottom Of The Hill on Tuesday, February 22nd, and features Body Double, The Acharis, and My Heart, An Inverted Flame. You should buy your tickets here and then read the interview: Continue reading “Interview: George Chen of Zum Audio”