Show Review: Pretty Girls Make Graves with Cig Corpse at The Regent Theater DTLA, 11/2/24

When When We Were Young dropped their 2024 lineup, I only barely glanced at it at first. It was all album plays, and I assumed that meant there wasn’t anything surprising in the lineup. Then I looked at the poster again and saw a familiar, blurry image in the corner that looked like Pretty Girls Make Graves’ classic record, The New Romance. Sure enough, someone did what they needed to do to get what I considered to be the greatest band of the early oughts emo revival back together. The band is near the top of my list: “I’d do anything to see them again.” Tour dates opened up, and, sadly, nothing in the Bay Area. So, I used Southwest credit and decided to spend less than 24 hours in Los Angeles. Continue reading “Show Review: Pretty Girls Make Graves with Cig Corpse at The Regent Theater DTLA, 11/2/24”

Ashe Announces A Return To The Road!

As a Bay Area music blog, we are always excited when one of our own overcomes something big. San Jose Native Ashe had to cancel the tour for her brilliant album Raye last year to deal with mental health issues. I honestly thought she was moving away from music in general. Instead, she gifted us with an amazing new record, Willson, and is doing a tour supporting her three most recent albums, making up for lost time while still touring the brilliant new record. 

Tour Dates are below, and everything goes on sale 11/1/24 at 10 am local time:

May 28—Variety Playhouse—Atlanta, GA
May 30—9:30 Club—Washington, DC
May 31—Royale—Boston, MA
June 3—Brooklyn Steel—Brooklyn, NY
June 5—Danforth Music Hall—Toronto, ON
June 6—Saint Andrew’s Hall—Detroit, MI
June 8—Metro—Chicago, IL
June 11—First Avenue—Minneapolis, MN
June 13—Ogden Theatre—Denver, CO
June 14—The Depot—Salt Lake City, UT
June 16—The Showbox—Seattle, WA
June 17—Revolution Hall—Portland, OR
June 19—The UC Theatre—Berkeley, CA
June 20—The Bellwether—Los Angeles, CA

Show Review: Nilüfer Yanya with Angélica Garcia at August Hall, 10/22/24

There is nothing I love more than music that doesn’t fit into a tidy little box. And on this late fall Tuesday Night, August Hall presented two very different performers: Nilüfer Yanya and Angélica Garcia, two artists whose only thing they have in common is that I have to look up how to type diacritics to write their names. Oh, and their 2024 albums, My Method Actor and Gemelo, respectively, are works of genius likely to end up on everyone’s EOY lists.  And when they came together at August Hall, they presented a thing of beauty.

Continue reading “Show Review: Nilüfer Yanya with Angélica Garcia at August Hall, 10/22/24”

Show Review: GWAR at The Regency Ballroom, 10/20/2024

Photos and review by: Alan Ralph @ARPhotoSF 

As with every four-year election cycle, this 2024 United States presidential election season has been equally as boring as it is annoying, with the 24/7 news coverage and the debates and the spam texts and emails and the constant ads on the social feeds as well as in the physical mailbox.

Thankfully, the greatest live band in the universe, Antarctica’s very own GWAR, has once again stepped up to help out the American public… by executing all of the presidential candidates, present and past.

Spinning Platters is never one to avoid a good ole bloody mess, and with the expensive camera equipment properly covered, GWAR marched onto the stage and wasted no time in chopping off heads, hands, arms, and anything else available to spew their fluids onto all of those awaiting their bloody destiny.  

Continue reading “Show Review: GWAR at The Regency Ballroom, 10/20/2024”

Show Review: TsuShiMaMiRe with skapeche mode at The Moroccan (DTLA)

What do you know about sex and food?
TsuShiMaMiRe destroys Los Angeles.

I’ve never been to the Moroccan Lounge in DTLA adjacent to Little Tokyo –the heritage center is right across Vignes Street–, but its homey charm immediately won me over. Most of the venues I cover have been on the larger size so it is always refreshing to be somewhere closer to the tiny clubs of my youth. If that sentence sounds familiar, it’s because that’s my nostalgia. It was also quite fitting that our proximity would be so close to the Japanese heart of Los Angeles since we were about to get our faces rocked off by a Japanese band, but first…

Continue reading “Show Review: TsuShiMaMiRe with skapeche mode at The Moroccan (DTLA)”

Show Review: The. Best. Aftershock. Ever.

Review and All Photos by: Alan Ralph @ARPhotoSF 

For decades, Europe has led the way in the heavy metal and loud rock music festival space. Monsters of Rock (the originator, which started in 1980!), Wacken Open Air, Dynamo Open Air, Hellfest, Graspop, Copenhell, Rock am Ring, Rock im Park, Summer Breeze, Sweden Rock Fest and Download have always dominated the landscape with their amazing lineups year after year. 

United States was never close in offering an equivalent heavy metal experience. Sure, there was Ozzfest and Mayhem Festival, but those have been gone since 2017 and 2015 and Americans have always leaned more towards indie rock music festivals like Lollapalooza, Coachella, Bonaroo, and Outside Lands anyway.

For the last twelve or so years, Danny Wimmer Presents (DWP) has been chipping away at the supremacy of the European heavy metal festivals, with Welcome To Rockville, Louder Than LifeSonic Temple, Inkcarceration, Rock on the RangeRocklahoma, Carolina Rebellion, and Northern California’s very own Aftershock Festival. With the best lineup it has ever had, West Coast’s Biggest Rock Festival definitely lived up to its name in 2024!

Continue reading “Show Review: The. Best. Aftershock. Ever.”

Show Review: Weezer + The Flaming Lips @ Chase Center, 10/09/2024

Photos and review by: Alan Ralph @ARPhotoSF

In 1994, a simple blue cover adorned the release of the debut album of the then relatively unknown band Weezer. Three decades later, the Blue Album, as it has long been commonly known, was the central theme of their Voyage to the Blue Planet tour, which was to celebrate its 30th anniversary.

Continue reading “Show Review: Weezer + The Flaming Lips @ Chase Center, 10/09/2024”

Show Review: Hinds, The Happy Return at The Chapel, 10/15/24

As much as I’ve LOVED Hinds since they were called Deers, I feel like I’ve lost track of them. I missed their 2020 release, The Prettiest Curse, and haven’t seen them live since their 2016 appearance at the penultimate Treasure Island Music Festival. I kinda forgot about them, but their infectious single, “Boom Boom Back,” came up as a suggestion by the algorithm, and it hooked me in. Viva Hinds, their 4th full-length album (and first as a duo), is their most accessible record, and it’s fantastic. I made sure to clear my schedule to see them make their triumphant return to the USA.  Continue reading “Show Review: Hinds, The Happy Return at The Chapel, 10/15/24”

Film Review: “We Live in Time”

We Live in Time rides out a thin, scattered story on the backs of its two leads

Somewhere between the time-jumping emotional cuteness of About Time and the grounded indieness of Like Crazy lives the new romantic drama We Live in Time from director John Crowley (Brooklyn). Many of the films within this genre tend to live or die according to the chemistry between their two leads. Whereas everything around the two leads – the jokes, the sub-plots, the meet-cute setups, the best friends – are truly secondary, unable to sway whether a film is considered effective. The chemistry between Florence Pugh (Little Women) and Andrew Garfield (The Social Network) in We Live in Time is the movie’s biggest strength, and raises the film’s level of emotional effectiveness. However, the secondary factors fail by comparison, leaving the film fizzling in its search for more laughs and more profound meaning within its vignette structure. Continue reading “Film Review: “We Live in Time””

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.