Chilly Gonzales is not a household name in the USA, yet he is a very accomplished and successful musician. In America, his two most famous pieces of work are connected to Apple commercials, where his identity is entirelyconcealed. It puts him in a interesting place where he essentially has the freedom to do as he wishes, while still making a living as a musician. Thus bringing him to the tiny SOMA bar, Hotel Utah Saloon, doing a one man show on a Saturday night.
The life span of a band under the current hype machine can be rather short. Often times, the hype is so intense that people are sick of you before your first single is released. By the time the second record comes out, all of the ironically facial haired masses will have you filed away under Friendster. The only option a band has if they want to stay alive is to introduce themselves to a whole new audience. Sleigh Bells are at that place. The cool kids that embraced them in the beginning have totally rejected them, and it’s time for genuine music fans to take them in.
An acoustic/electric faceoff with Rodrigo y Gabriela
Transitioning from being a solo artist (or in this case, a minimalistic acoustic duo) to having a full band behind you is a great risk, no matter what type of musician chooses to take it. Your songs transform, in scope and shape, in feel and form, and the result can either pull in a larger audience than ever before, or cause even the most adoring critics to suddenly turn their noses up at you. Such a dramatic shift in the mood and presentation of your art requires a great deal of work and dedication to perfecting your craft, and it may even require you to explore new methods of songwriting and arrangement that you had never approached within your career. When Mexican thrash-flamenco maestros Rodrigo y Gabriela traveled to Havana and recorded their new album, Area 52, with a host of 13 Cuban musicians (tonight appearing in the form of musical ensemble C.U.B.A.), fans and critics alike paled at the thought of the super-concentrated thrill of the pair’s frenetic guitar mastery drowning in a sea of lush but overwhelming sound. On their 2012 tour, the two have set out to prove that none of the magic that they’ve amazed audiences the world over with has disappeared; indeed, new life has been breathed into it, as it scales into a higher, deeper, and even more magnificent form.
Welcome to April… The beginning of Fauxchella, when all of those bands that were paid an obscene amount of money to perform in the desert for rich kids on copious amounts of drugs get to play for normal people, in normal venues, where you get to hear a band with a soundcheck and a real venue. Not to say that festivals don’t have their place- I have a lot of fun at these things. But I both couldn’t afford a Coachella ticket, nor could I take the time off my day job. Which means that I’m seeing fIREHOSE at Slim’s. (Sorry Radiohead!)
Sometimes when a band has a giant hit song, they cancel their long-ago-booked club gig to move into a bigger venue at a higher price. This has happened recently with Gotye, and it’s kind of a bummer for early adopters who were excited about seeing a beloved band in a small club. And other times, the band keeps those dates and plays a fantastic show to a small, ecstatic group of their biggest fans. This week, San Francisco won because the band with the current number one single in America, the ubiquitous “We Are Young,” played at both The Independent and Bottom of the Hill, and in doing so, proved that they are definitely not going to be one hit wonders. They’ll play the big rooms next time around. Continue reading “Show Review: fun. at Bottom of the Hill, 3/29/2012”
Earlier this week, I had the opportunity to interview legendary bassist Mike Watt. We spoke about a lot of things, including many of his musical projects. As any good journalist does, I made sure to ask him about his sessions working with Kelly Clarkson on her underrated 2007 release My December. His response was great. He said, “Working on the record was a lot of fun. They gave me a lot of freedom to experiment in the studio, and Kelly was very sweet. She had a great voice and learned to sing in the church. Somebody told me that she also won a game show or something. I get asked about this a lot. Is she famous?” It was in interesting response. This is one of the most famous singers to emerge from the last decade, yet to the people that she worked with, one would never be the wiser. This humility could be either good or bad for a live performance. Luckily, I had the opportunity to make a rare journey into San Jose to see her play live. I was hoping it was worth the journey. Continue reading “Show Review: Kelly Clarkson with Carolina Liar at The Event Center at San Jose State University, 3/27/12”
At first glance, he might just be a very large, very bald man with a tiny guitar and a voice that mesmerizes. Upon closer inspection, though, Tyrone Wells is just tall, talented, and playing a ukulele. Well, at least until he starts yodeling, anyway…if it’s all a bit to take in for the first time, I understand. It’s a unique (and thoroughly enjoyable) experience, and I can still remember the first time I witnessed it myself, several years ago. Since then, I’ve fallen for albums like Remain and EP Metal & Wood, as well as the brand new release, Where We Meet, which brought him to The Independent this Thursday, alongside local opening act Mike Annuzzi and English singer/songwriter Joe Brooks.
The sophomore slump is a tough thing to get over. Whenever you come out of the box with a huge album, the public is always skeptical of whatever you do next. The Ting Tings are one of those bands. They essentially took over the world with their debut record, full of amp’d up bubblegum pop with the right dose of punk energy. With such an explosive beginning, they would need to put out the audio equivalent of the Sistine Chapel in order to be respected. This tour is their moment of truth.
Two years ago, New England musical mastermind Stephin Merritt graced us with two Magnetic Fields shows during the Bay Area’s 18th annual Noise Pop Festival. Spinning Platters was on hand for bothperformances, and two years later, Merritt and his quintet have returned, with a new opus in tow, to the Fox Theater in Oakland for a new round of orchestral whimsy and symphonic folk-pop playfulness. As the musical tide has turned for the mood and feel of the band’s newest release, Love At The Bottom Of The Sea, so too, apparently, has their attitude to live performances. Rather than occupy the resonant wooden floors and still-somewhat-fresh carpet of the theater with chairs for a quiet, introspective performance, the audience was given free reign in a regular general-admission get-as-close-as-you-like setting. There was a loud and upbeat performer opening the show. The band even responded to whoops, cheers, and catcalls. What a change is here! For even the most stoic Magnetic Fields fan, however, the change of mood was a rather uplifting one, and a general camaraderie was established between both the boisterous and the simply bemused for this acoustic exploration of the band’s charming new work.
