Show Review: The Dead Milkmen with Terry Malts at Slim’s, 5/10/2012

Rodney "Anonymous" Linderman of The Dead Milkmen
Rodney "Anonymous" Linderman of The Dead Milkmen

Nearly 30 years ago, in the state of Pennsylvania, a troupe of four young upstarts formed a band that was anything but what had been perceived to be the general standard for quality punk rock. With their thick Philadelphian accents, songs about defecating lizards and maintaining a healthy diet, and the general appearance of a collection of angry rednecks that had gotten themselves slightly cleaned up, the quartet added the finishing touch in the form of a fictional backstory for their band, which was called The Dead Milkmen. Nine albums, three decades, many unexpectedly big hits, and several generations’ worth of fans later, the balls-out-fun-and-plenty-of-cleverly-funny-bullshit approach that the Dead Milkmen burst into the Philadelphia punk scene with has carved out a unique but deeply passionate cult following for the four — now with new bassist Dan Stevens, after the passing of Dave “Blood” Schulthise in 2004. On Thursday night, for the first time in nearly 22 years, the Dead Milkmen returned to San Francisco, took over the small SoMA establishment known as Slim’s, and proceeded to let loose with a stunning performance, with a ferocious energy equivalent to a truckload of dynamite erupting off the edge of a canyon wall.

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Show Review: Kristin Chenoweth at Zellerbach Hall, 5/11/2012

Photo by Kirk Stauffer

Kristin Chenoweth came to UC Berkeley’s Zellerbach Hall last night for the second date of a 19-city North American tour promoting her newest album, Some Lessons Learned, as well as her campy ABC series GCB. Or at least, that was the plan. Then, late yesterday afternoon, ABC announced their decision to cancel GCB, which is still in its first (and apparently only) season. An uneasy sense of anxiety hung over the sold-out audience me, wondering if and how Chenoweth would address the setback. How devastating of a blow would this be to her? Would she be able to rally by repeatedly shrieking “The show must go on!” and singing scales until shattering a tray of stemware? Or would she barricade herself in her dressing room, listening to “There’s No Business Like Show Business” and sobbing hysterically?

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Show Review: The Black Keys with The Arctic Monkeys at Oracle Arena, 5/4/12

All Photos by David Price

I’ve seen The Black Keys twice before going to this show. The first time was opening for Sleater Kinney at The Great American Music Hall in 2003. It was two guys that looked like they came in off the streets, playing super lo-fi blues. I honestly didn’t know what to think of them, and I forgot about them for a number of years. Then, in 2009, I saw them again in Austin, playing the back patio of a dive bar. It was appearantly a huge deal, and I managed to miss the fact that they were slowly becoming one of the biggest bands in rock. Fast forward a mere three years later, and they are playing arenas. I kept flashing back to that tiny (literally) little band I saw nearly a decade ago, and I couldn’t believe they were playing one of the biggest venues in Northern California. So, I decided it was time to give them another go!

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Show Review: Tennis with Wild Belle at The Independent, 4/30/12

Regular readers of this site are aware of the fact that I put together a list of recommend shows in the bay area every week. Sometimes weeks it’s easier than others. Sometimes I scour through the schedules of local venues, and I find myself listening to a long list of bands that I’ve never heard before. I’ve uncovered some really good stuff over the years, but, rarely to I find a single song that makes me need to change my schedule around and go out on a Monday night. Was it worth making my way out on a Monday night? Well, your going to have to click that “more” button to to find out how that worked out for me:

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Show Review: Coldplay with The Pierces and Metronomy at HP Pavilion, 4/28/2012

Jonny Buckland and Chris Martin (with Guy Berryman in background)

To most of the fans in attendance at HP Pavilion this past Saturday night, I might have seemed crazy… or at least like I’ve been living under a rock since 2000. That’s not to say that I’ve never heard of Coldplay, or don’t enjoy the singles I’ve been hearing over the years, or that I dislike them. I just never caught the fever. Much like U2, Coldplay was always a band I liked, but had never gotten rabid about like their hardcore fans. In my experience, when I feel that ambivalent about a band, I often think that most of their songs sound the same. I remember when “Yellow” came out: I was 21, and I loved it. And after that, for some reason, I never paid much attention. But here I am, 12 years later, and the opportunity to see (and review) them falls into my lap – do I go? Hell yes! I couldn’t pass up a chance to see what all the fuss was about, and I knew I’d leave the show with a forever “meh” attitude about them, or come home having caught the fever…

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Show Review: Ingrid Michaelson with Harper Blynn at The Fillmore, 4/25/2012

Ingrid Michaelson and her uke

Prior to this week, I couldn’t have picked Ingrid Michaelson out of a police line-up. I had more than a good handful of her songs on my iPod, and had seen her on at least one TV appearance and multiple album covers, but she appears to be somewhat chameleonic if you judge by those: from the girl with the ponytail and the face paint on the cover of Be OK to the girl-next-door blonde on Everybody to the bundled-up brunette in hipster glasses in last year’s Macy’s Thanksgiving Day parade, I really didn’t know who she was, other than a girl with a voice I really liked. Thankfully, last Wednesday night at the Fillmore, I had the opportunity to find out for myself just what Ingrid Michaelson is all about.

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Show Review: St. Vincent and tUnE-yArDs with Kapowski at The Fox Oakland, 4/24/2012

The leading ladies of the evening
The leading ladies of the evening

If you asked someone what their favorite record by a female singer in 2011 was, odds are you would have gotten a reply that fit one of two options: 21 by Adele, or Ceremonials by Florence and the Machine. Both topped charts, and the former swept the Grammys, taking home the coveted Album Of The Year award, among others. Sadly, out of the spotlight (and off the radar for many a casual music fan) were a pair of records that rounded out Spinning Platters’ 2nd and 3rd place winners for our Album Picks of 2011, both by extraordinary women who have been captivating audiences all over the country, perhaps even the world, with their otherworldly but gorgeously eclectic brand of experimental indie rock. To pair the two together is a feat in and of itself, as the two have very different backgrounds — both in their own respective songwriting and in their own performing history — but it was, no doubt, an effective combination, as evidenced by the near sold-out crowd that arrived at Oakland’s Fox Theater on Tuesday night. The pair had skipped briefly across the country, even between two weekends at Coachella, and now were coming to the end of their trip: the Oklahoma-born, Manhattan-based Annie Clark, better known by her stage name St. Vincent, and Oakland’s own Merrill Garbus, more well known under the zanily-punctuated pseudonym of tUnE-yArDs.

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Show Review: GIVERS with White Arrows at Slim’s, 4/15/12

Photos by Marie Carney

April’s live musical options in the bay area are huge. Due to the sheer numbers of acts coming to town, mostly due to bands coming through because of Coachella. It means that you can be in twenty places at once in any given night this month. On the evening that I opted to see GIVERS, I decided based on putting five different gigs in a hat, and picking one at random. This brought me to Slim’s on a spring Sunday evening, and it very well could have been my best decision.

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Show Review: Refused with The Hives and The Bronx at The Warfield, 4/18/2012

Punk crusade throughout the land
Punk crusade throughout the land

At the end of the day, what truly compels someone to come to a concert is their love of the music that their favorite band plays — and the sheer energy with which they present it to their fans. Take away the light shows, the falling props, the dancing backdrops, and the larger-than-life haircuts, and what brings people to a concert, what REALLY sells out a club and packs its patrons in tighter than sardines in a tin can, is the overwhelming desire to watch an artist deliver their heart and soul onstage, in the form of bellowing voices, howling guitars, and an onstage presence that drains the viewer just by beholding it. Irrespective of genre, of geographical location, and even of time period, it is truly the mindbendingly ecstatic bands that pulls in all comers — even well-known and loved artists of other musical worlds. Thus, it was little surprise that members of bands such as Rise Against, Metallica, Faith No More, AFI, As I Lay Dying, Death Angel, and Sevendust were on hand to experience one of the most incredible performances of 2012, when newly-reunited Swedish hardcore juggernauts Refused took the stage at the Warfield Theatre in San Francisco and delivered a set that was paralyzing and stunning in its intensity.

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Show Review: Justice with The Rapture at The Fox Oakland, 4/17/2012

The massive stage rig for Justice's set
The massive stage rig for Justice's set

2012 has already begun as the Year of the Dance Music Show, with electronic acts dominating some of the most popular venues worldwide and music festivals across the country. The Ultra Music Festival brought in 60,000 attendees per day this year; I Love This City, coming Memorial Day Weekend, plans to overflow AT&T Park with fans and over 40 huge acts of the dance music world. It’s no surprise, therefore, that the hot ticket to catch is on the club circuit: any highly-successful electronic act that packs their titanic stage show into an under-5000-people theater to shake the walls with earth-shattering bass and wild dancing. Though you’d normally be hard-pressed to find anything that isn’t pulsing house or swaying dubstep to pack a venue with concertgoers aplenty, the Fox Theater played their cards right in welcoming French dancemasters Justice to Oakland between their Coachella weekend visits, and the duo delivered brilliantly with precision, style, and a dizzying array of lights and sound.

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