I’ll be very straight with you- I had no idea what to expect out of the Not For Radio performance at The Fox this night. I knew very little about this project, other than this was only their third show EVER, and it was the third of three sold-out weekday nights at The Fox. I really enjoy the lead singer Maria Zardoya’s other band, The Marias, but the opportunity to attend this show came up so unexpectedly last minute that I barely had a chance to listen to the record. Continue reading “Show Review: Not For Radio presents Winter In The Garden at The Fox Theater — Oakland, 1/7/26”
Category: Show Reviews
Spinning Platters Interview: J. Willigoose, Esq. of Public Service Broadcasting
This month sees the stateside return of one of the 21st century’s great independent bands, Public Service Broadcasting. Over the last dozen-or-so years, they’ve been releasing these brilliant storytelling albums, mixing historical audio with music that can be beautiful, exciting, sad, uplifting, and even fit for the dance floor. Their most recent album, The Last Flight debuted at #3 on the UK album chart and its remixed counterpart Night Flight has recently dropped. And here in San Francisco we’re being honored with a rare live performace by the band in the United States, and I couldn’t have been more thrilled that J. Willigoose, Esq, guitarist and founder of the band, got on a call to chat with me about Amelia Earhart, the secretive future of album concepts, writing on commission, the challenges of touring, and so much more.
Spinning Platters: I’m just going to start going to start with Amelia Earhart. So I don’t know if you saw that the US has started declassifying all the Amelia Earhart documents. Have you heard about this? Continue reading “Spinning Platters Interview: J. Willigoose, Esq. of Public Service Broadcasting”
Show Review: Cavalera, Fear Factory, Prong, Genocide Pact, and Thrown Into Exile at The House of Blues Anaheim, 10-07-2025
CHAOS A.D.
This was another trek from work directly to the venue, House of Blues Anaheim, where I had gone the previous year to see Hanabie on their co-headline tour with Kim Dracula. While I was incredibly excited for the evening, I was also a bit anxious because the sound mix of the aforementioned concert had left a lot to be desired. Fortunately, the FOH mixers of this evening would prove that anxiety baseless. Let’s get on with it, shall we?
Show Review: KNOWER with Sam Wilkes at The Neptune Theater, 11/11/25
I have only been familiar with the electronic jazz duo KNOWER for a couple of years. I stumbled upon the video for their May 2023 single “I’m the President” and, directly afterwards, listened to it on repeat for weeks before becoming obsessed with their entire catalog. Last year, when singer, KNOWER drummer, and multi-instrumentalist Louis Cole announced he would be playing a show at Seattle’s Neptune Theater with his band’s other vocalist & multi-instrumentalist, Genevieve Artadi, I bought two tickets without batting an eye. The chance that maybe I’d get to see them play a few KNOWER songs (which they did) was the primary purpose, despite the fact that in my quest to hear as much of them as possible, I also had spent lots of time with each member’s solo back catalogue. I’ve spent a lot of time proselytizing the scripture of KNOWER, and on Nov 11th, I finally got to attend my first sermon. Continue reading “Show Review: KNOWER with Sam Wilkes at The Neptune Theater, 11/11/25”
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: Cannibal Corpse at The Majestic Ventura Theater, 10-03-2025
RESPECT THE NECK
I’ve never been to a concert in Ventura, CA. I’ve also never seen Cannibal Corpse live. So, when given the opportunity to head out to The Majestic Ventura Theatre, a theatre that has seen countless bands over its lifetime, to see one of the progenitors of goregrind death metal, I simply had to take it. Mind you, this was a 50-mile trek for me, but it was a Friday, so I hit that fuck it button, cranked the throttle on my motorcycle, and zoomed off straight from work.
Continue reading “Show Review: Cannibal Corpse at The Majestic Ventura Theater, 10-03-2025”
Single of the Week: “SYNESTHESIA” by Azam Ali
This song is such a lovely little jam. It’s big, it’s cinematic. It’s dark and bright at the same time. It’s ethereal and a dance floor burner. I don’t really know what to feel with this song, and that’s what makes it so bloody great. “SYNESTHESIA” by Azam Ali is our single of the week, and all you need to know is that you should listen to this track.
“SYNESTHESIA” is the second single off the album of the same name, and it’s coming your way on November 14th. Preorder here!
Show Review: Highlights of Aftershock 2025!
Review by:
Alan Ralph @ConcertGoingPro and Emily Anderson @emilyphotoadventure
Photos by:
Alan Ralph @ConcertGoingPro unless otherwise stated
Nearly one year ago, at the very end of Spinning Platters’ Aftershock 2024 review, this question was raised: “West Coast’s Biggest Rock Festival had such a stellar lineup this year, HOW are they possibly going to outdo themselves in 2025?!?!”
If one hundred people were asked if 2025 was better than 2024, there would undoubtedly be one hundred different answers and opinions. Aftershock 2024 was so exceptionally good and a heavy metal fan’s wet dream – Iron Maiden, Judas Priest, Slayer, Pantera, Slipknot, Mastodon, Anthrax, Clutch, Ministry, Body Count and more! Fans of other genres of rock, punk, and loud music were still out in force, as Aftershock 2024 set an attendance record of 40,000 people per day, but may have felt neglected by the sheer amount of metal that closed every night of the festival.
For the 13th annual Aftershock in 2025, promoter Danny Wimmer Presents (DWP) altered the overall lineup to cater to the rest of those fans while still appealing to the heavy metal fans, by combining every Warped Tour, Ozzfest and Rockstar Mayhem Festival lineup, put it all in a blender, and poured it in a tall glass of Discovery Park for four days of the best rock, alt-rock, metal, 2000’s nu-metal, hardcore, and pop-punk bands, all in one place at one time in the outskirts of downtown Sacramento!
Continue reading “Show Review: Highlights of Aftershock 2025!”
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.
Continue reading “Show Review: Grandaddy at The Regency Ballroom, 9/16/25”
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”