Show Review: David Byrne & St. Vincent at the Orpheum Theatre, 10/15/2012

David Byrne, St. Vincent, and accompaniment
David Byrne, St. Vincent, and accompaniment

The term “supergroup” is often used to refer to a set of musicians who are best known in association with their respective bands — musicians who haven’t necessarily operated as solitary acts in their own right, and are culled together to see what their individual untapped energies will create when synthesized. By contrast, when speaking of a pair of artists that write and perform together, each possessing their own prolific solo careers, the relationship is usually defined — accurately, but less overtly bombastically — as a “collaboration” between them. It should be preemptively stated, therefore, that the “collaboration” between David Byrne, former founder and frontman of world-famous new-wave-art-rockers Talking Heads, and Annie Clark, better known as the gorgeously cacophonous St. Vincent, possesses all of the grandeur and might that the term “supergroup” conjures the image of. Backed by a seven-piece horn section, sampling engineer, and percussionist, Byrne and Clark have birthed one of the most unusual but compelling albums of 2012, a 45-minute opus titled Love This Giant, and the Orpheum Theatre, best known as a host of many musicals and plays from all eras and countries, offered its stage to the pair for the San Francisco stop on their tour.

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Show Review: Deftones with Scars On Broadway at The Warfield, 10/10/2012

Time to let everything inside show
Time to let everything inside show

The late 90s and early 2000s were an interesting time for popular metal music, when an often-bemoaned genre known as “nü-metal” clawed its way into existence, its rap-infused tendrils hot on the heels of bands like Rage Against The Machine and Faith No More, with its core still deeply rooted in groove-filled pop sensibilities that made it edgily acceptable to throw onto the radio. As the scene began dying out with the advent of metalcore and the New Wave of American Heavy Metal, groups that were still passionate about performing fought desperately to stay relevant, deigning their sound by bringing new elements into it that clashed with the original tunes that made them famous. It can be argued forever, of course, which bands did this as an attempt at creativity, and which bands did it as an attempt to appeal to more fans and listeners. The Sacramento quintet known as Deftones, however, have stood the test of time through this transition, and despite the definite traces of nü-metal within their sound, their desire to experiment and push boundaries has always remained constant.

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Show Review: Amon Tobin’s ISAM Live 2.0 with Kronos Quartet at the Greek Theatre, 10/5/2012

The massive ISAM sculpture seen from afar
The massive ISAM sculpture seen from afar

It is impossible to go and see an electronic music concert without being exposed to a phenomenal light shot and staggeringly complex visual performance, with dancing projections and rapidly-pulsing animations taking center stage for its entire span. As a result, electronic musicians are in a constant race to push the envelope of their live productions further than they have ever been pushed before, in an effort to bring a continuously relevant and engaging visual accompaniment to their own ever-evolving musical set. When Brazilian virtuoso Amon Tobin began work on the live version of his 2011 opus ISAM, the focus on organic sounds paired with pummeling synthesizers led to the creation of a new type of visual spectacle. Developed by production company V Squared Labs, ISAM Live takes the form of a gigantic white sculpture, comprised of several stacks of cubes at differing angles, onto which a set of sequences are projected, and mapped to compensate for the 3-dimensionality of the sculpture. The unorthodox screen comes to life in a dizzying display of pulsing lights, zigzagging lasers, ever-shifting patterns and creeping shadows; with the magic of surface-mapping, the structure appears to break apart, reform, and undulate like a living creature. After a worldwide club tour that experienced a ton of sold-out shows and highly-favorable reviews, Tobin and V Squared have reworked their performance and rebuilt the ISAM surface for an even larger and more dazzling show, which found its way to the Greek Theatre in Berkeley on a chilly autumn night.

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Show Review: Helio Sequence with Slowdance at The Independent, 10/4/2012

Both the best and worst spot at a Helio Sequence show.

When I arrived at The Independent on Thursday, I immediately took the spot in the front row immediately in front of the draped drum kit on stage right. I knew from past experience with Helio Sequence that this is both the best and worst spot to be when they play. It’s the best because you get to watch the crazy, happy faces of Benjamin Weikel as he slams away brilliantly on his drum kit. And it’s the worst because you’re really close to that drum kit. And it’s loud.  Continue reading “Show Review: Helio Sequence with Slowdance at The Independent, 10/4/2012”

Show Review: Nightwish with Kamelot at The Warfield, 10/3/2012

Floor Jansen, new vocalist of Nightwish
Floor Jansen, new vocalist of Nightwish

One of the most difficult challenges that can face a band is the task of replacing their lead singer, since they are often one of the most important elements of the band’s sound, as well as one of the most recognizable faces in the group. When said band performs a genre of music as complex as symphonic heavy metal, that task becomes even more Herculean, especially when said vocalist possesses an incredible range, classical training, and a truly operatic quality to their voice — and such was the case in 2005, when Finnish band Nightwish were searching for someone to fill the shoes of signature siren Tarja Turunen. Two years later, soubrette soprano Anette Olzon took up the reigns, and remained with the quartet for half a decade. Halfway through their fall 2012 tour, however, a sudden hospitalization was the straw that broke the proverbial camel’s back for Olzon’s position with Nightwish, and former After Forever vocalist Floor Jansen was summoned with barely a moment’s notice to spare. What the band may have planned after their Imaginaerum tour is still unknown, but Jansen has risen magnificently to the challenge before her, and if the band’s performance at the Warfield was any indication, she may remain with the group for a long time yet.

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Show Review: Blood Red Shoes with STARSKATE and Happy Fangs at Rickshaw Stop, 10/1/2012

Perhaps due to the myriad of musical selections these days, there’s chance you haven’t heard of them, but young English rock duo, Blood Red Shoes, are on a mission to change that.  Leaving their familiar Europe, they arrive almost two years to the day they first played the States, bringing their simplistic but powerful set to entice those who don’t know and incite those that do.  In an area chock full of both local and visiting fresh talent, how would these Brighton, UK natives fare?

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Show Review: The B’z at The Warfield, 9/17/2012

A reminder of a time when hands went in the air without phones in them. (All photos by Mark Portillo for SF Station.)

The biggest rock band in Japan played in San Francisco last night, and you may have missed it. While the band is a household name in the Japanese community, the jingoistic American music fans are likely to be at a loss about them. And that’s too bad, because you missed a killer show by a tight live band, with a surprise in store that made it even more special.
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Show Review: San Francisco’s 2012 Outside Lands Festival, Day 1

The iconic Outside Lands windmill greets all attendees at some point in the festival
The iconic Outside Lands windmill greets all attendees at some point in the festival

Additional contributions to this article by Dakin Hardwick. All photos by Jonathan Pirro except where noted.

Summer is always slow and somewhat sporadic to come to the Bay Area, and with it comes a mostly dry spell of live music, with many large groups heading overseas for massive festivals and international tours, while California and the rest of the country relax and find other ways to enjoy themselves in whatever sun decides to creep over the land. The city of San Francisco is even more prone to aberrant weather and happenings, especially since right in the middle of August is the colossal technicolor monstrosity that is the annual Outside Lands Music and Arts Festival. In 2012, the festival enters its fifth year of existence, and a crowd of 65,000 fans plowed into the historic Golden Gate Park each day of the surprisingly chilly and foggy weekend, which was relatively unexpected based on the forecasts from earlier in the week. However, with tickets sold out and a number of huge bands set to take the 4 stages across the three-day weekend, even dreary weather couldn’t dull the enthusiasm of the sprawling, voracious crowd that clambered into the park, and raised voices, fists, and flags in unison for over 10 hours of music each day.

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Show Review: Spoek Mathambo with Pegasus Warning, Duckwrth and Armani Cooper at Brick & Mortar Music Hall, 7/23/2012

Nthato Mokgata aka Spoek Mathambo
Nthato Mokgata aka Spoek Mathambo

The death, rebirth, and re-death of hip hop music is a continuing cycle that has been foretold, discussed, and beaten into the ground so often that it seems to be a career staple for any artist that will willingly embrace the label. The genre itself seems to be in a constant struggle to maintain relevance as an art form, and as a powerful method of expression, while also battling to remain incredibly popular and appealing to fans of all creeds and backgrounds. There is a constant race to be the next big MC, the next hot producer, or to do something wholly original with your performance that eschews established “rules” of hip hop in favor of something fresh, but also accessible. Adding a set of live instruments, and a thunderous stage presence during his delivery, are two key elements that South African hip hop newcomer Spoek Mathambo (pronounced “Spook Mah-tem-bo,” real name Nthato Mokgata) is using to shatter such conventional stylings, and bring startlingly bright life into the world of beats and rhymes.

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Show Review: Howard Jones at The Mezzanine, 7/12/2012

Nostalgia about the ’80s is a weird thing. For some reason, the “kids” of today will talk endlessly about going to see Modern English at Cafe Du Nord, hoping they’ll play both “I Melt With You” and “I Melt With You ’88.” They’ll go see endless cover bands of their new wave heroes.  But the modern story of this decade always seems to forget one of the singular songwriting talents, someone with several hits up his sleeves, someone whose “one person and a synthesizer” sound was once revolutionary and is now common. That someone is Howard Jones.
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