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.

Show Review: KK’s Priest + Accept, Regency Ballroom, October 7, 2024

Photos and review by: Alan Ralph @ARPhotoSF

In the last decade, there seems to be a trend of band members who can’t get along and someone ends up leaving and creating another version of the same band: Great White and Jack Russell’s Great White. L.A. Guns and Riley’s L.A. Guns. Ratt, Stephen Pearcy’s Ratt and Bobby Blotzer’s Ratt Experience (three versions!). Yes and Yes Featuring Jon Anderson, Trevor Rabin, Rick Wakeman. Queensrÿche and Geoff Tate’s Queensrÿche. So, does Judas Priest and KK’s Priest fit the criteria?

Continue reading “Show Review: KK’s Priest + Accept, Regency Ballroom, October 7, 2024”

Show Review: Dogwater, StrateJacket, 100%Jennifer at Bottom Of The Hill 10/4/2024

Dogwater_BOTH-20241004-_PhotoCredit_Emily-Anderson-08041StrateJacket_BOTH-20241004-_PhotoCredit_Emily-Anderson-07993The annual  Aftershock Rock festival is my favorite time of year. While creating my must-see schedule, I noticed a local Bay Area band with a couple of interesting YouTube videos and a new album release. Then I discovered they would be playing a pre-festival gig at my favorite punk-rock venue. So, I packed it up and headed out to Bottom of the Hill to see StrateJacket in person. Continue reading “Show Review: Dogwater, StrateJacket, 100%Jennifer at Bottom Of The Hill 10/4/2024”

Abroad in Toronto: Dropkick Murphys, Hanabie., Hatebreed, Carcass, and more!

Photos and review by: Alan Ralph @ARPhotoSF

Occasionally, the dedicated staff of Spinning Platters gets the opportunity to watch, photograph, and/or review shows from outside of our comfortable Bay Area confines. A few previous trips have included Chicago, Dallas, and Las Vegas, to cover Deftones, Gojira, New Found Glory, Suffocation, Lamb of God, Killswitch Engage, Mercyful Fate, Kreator, and August Burns Red. This time around, one of Spinning Platters’ two resident metalheads was somehow allowed into Canada eh and spent the week in the 416, where we saw Jinjer, Hanabie., Born of Osiris, Scream, Dropkick Murphys, Pennywise, Hatebreed, Carcass, Harm’s Way, and Crypta!

(Korn + Gojira, Benighted + Cognitive, Gatecreeper + Frozen Soul, Galactic Empire + Powerglove were also here during our week-long stay but was not able to attend any of these for various reasons, but mostly due to them being on the same night as another show!)

Continue reading “Abroad in Toronto: Dropkick Murphys, Hanabie., Hatebreed, Carcass, and more!”

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.

 

Festival Review: Bumbershoot 2024

Bumbershoot Music and Arts Festival has existed in Seattle since 1971 and has happened every Labor Day weekend with the exception of 2020-2022 due to Covid restrictions. I’ve been a Seattleite my entire life. I was born the weekend before the festival’s 8th anniversary, also its final year of being a free festival. I grew up attending Bumbershoot with friends and family many times over the years up until September 2, 2001, when I saw David Lee Roth perform at Memorial Stadium. Since then, Bumbershoot has changed hands management a few times, and based on my experience this past weekend, the new changes have been a net positive. Back in 2001, Bumbershoot was a four days long, often oversold, crowded, difficult-to-navigate, bloated event that involved wristbands one needed to collect at the beginning of each day to allow you access to the stadium to see each evening’s headliner in the stadium, which served as the Main Stage. I skipped many a year and many an act due to this ridiculous first come, first serve approach to seeing a headliner at a festival. To me, it defeated the entire purpose of what seeing a fest should be. After all, if buying a ticket didn’t allow you access to the main event, then why would anyone humor that flawed system? Continue reading “Festival Review: Bumbershoot 2024”

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.

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