If you’re a fan of hardcore metal, you ought to know the name Max Cavalera. The Brazilian-born guitarist, singer and heavy metal icon has been in the business of melting faces and blowing out eardrums since he formed the infamous Sepultura back in 1984. His signature four-string guitar riffs and shamanistic growl have influenced countless acts in the last 30 years, and today Cavalera continues to innovate with his eclectic heavy metal band Soulfy, playing tomorrow, Dec 11, at the Phoenix Theater in Petaluma.
Sine 1997, Soulfly has explored highly spiritual themes with biblically heavy music. Their latest, 2015’s Archangel, is their most focused to date. Streamlined songs pour from the band on their tenth full-length, incorporating seemingly divisive elements such as grind and thrash metal into their sophisticated arrangements. Veterans of the genre, Soulfly prove again and again that they can take hardcore metal in any direction they choose.
Sonoma County Metal & Hardcore presents Soulfly tomorrow, Dec 11, at the Phoenix Theater for an all ages show that also features local acts Thought Vomit, Vile Riot Villains, Trial By Combat and Trecelence. 201 Washington St, Petaluma. 7:30pm. $20-$22. Tickets will be available at the door.
Onstage with Jim and Tom has long been one of my favorite podcasts and video series, focusing on local music and the historic Phoenix Theater in Petaluma, run by hosts Tom Gaffey and Jim Agius. The series incorporates interviews with local bands and live concert films, and this week the project unveiled their most ambitious concert feature yet.
Last summer, recent Norbay Music Award-winners the Velvet Teen released their long-awaited and exceptional indie rock album, All is Illusory, and toured the US; capping the trek with a massive show at the Phoenix Theater on August 22. To top it off, the Onstage film crew was there to capture the whole darn thing.
Edited by Agius and mixed by Greenhouse Recording Studio co-owner and engineer Paul Haile, this is a clean, clear and professional production that goes beyond simple recording and stands as a full-on film. And the band has never sounded better, captured here in their element, playing for the hometown crowd.
If you saw this show last summer, relive the good times. If you missed the show, now’s your chance. It’s well worth a watch.
The Last Poets are rightly called the godfathers of hip-hop. Formed in the late ‘60s and still very active today, the spoken word group first put rhythm to their politically-charged poems in the aftermath of the Civil Rights movement, inspiring a generation to use their voice and their words as tools of social justice.
This weekend, the Last Poets appear in a daylong spoken word workshop, showcase and performance at the Phoenix Theater in Petaluma, as a fundraiser for local radio station KWTF. In the Bohemian this week, we profiled the group and spoke with founding member Abiodun Oyewole by phone from his home in Harlem. Here is our full interview.
Bohemian: How did you first get into poetry and form the Last Poets?
Abiodun Oyewole: I got into poetry because when I was a teenager in high school, I had a liking for older girls, and when I was 15 I started getting into writing poetry to win the favors of some of these ladies.
I remember my teacher had given us an assignment to write sentences with new vocabulary words. I went to my teacher, Mrs Carpenter, and I said, ‘If put these words into a poem, can I get an extra credit?’ and she looked at the words and said, ‘If you can put these words in a poem together and make sense, I’ll give you two extra credits.’ So that was the time I wrote a poem seriously. When my teacher read the poem, she looked at me and ‘You are a poet, I don’t know what you’re going to do with it, but you have quite a gift.’
I started getting into poetry seriously when they killed Dr King. Dr King was killed April 4, 1968. And when King was killed I really kind of lost my mind, because I felt it was such an insult to black people. He was representing us, and he was nonviolent. I just felt totally offended by that.
I had a friend named David Nelson, and he made mention of the idea of starting a group of poets that would be from different walks of life, and would be an example to black people as to how much we need to come together. No matter what our particular persuasions in life are, we have the same foot on our necks, and we need to unify to get the foot off.
Brooklyn indie pop group Lucius has been steadily rising through the musical ranks ever since their 2013 album Wildewoman shot to tops of many critics’ lists with infectious melodies and the stunning harmonies of duel vocalists Jess Wolfe and Holly Laessig.
Last year, Lucius performed at Lagunitas Brewing Company in Petaluma as part of the brewery’s Summer Concert Series. Apparently, that experience was so good that the band has been looking to work with Lagunitas again. Today, Lucius announced they’re teaming with the North Bay brewer for a tour. From their website:
“Since playing a memorable show in Lagunitas’ backyard last summer (which ended with an an audience-sourced video that captured the last song of the night), Lucius x Lagunitas has been thinking of ways to recreate that same communal feeling.
So, here we are, thrilled to announce that next month, just before Thanksgiving, Lucius x Lagunitas will team up for a week of shows in the Pacific Northwest. All tickets sales will be donated to a local nonprofit in each city.
The four-date tour hits Washington and Oregon before it concludes at the Phoenix Theater in Petaluma on November 21. The concert will be a benefit for the theater, and will boast beer sales for 21-and-over attendees, something rarely done at the venue. Tickets go on sale Friday and more info can be found here.
Click on the video below to watch that crowd-sourced video from last year’s show at Lagunitas and hear why Lucius is one of the most enchanting groups performing today.
I’m a big fan of the podcast “Onstage with Jim & Tom,” hosted by Phoenix Theater music promoter Jim Agius and founder Tom Gaffey. Each week, the two sit down with a North Bay band or musician of note and chat about everything from tours and relationships to record collections and scary movies. It’s always a great conversation, especially when music veteran and wordsmith Gaffey heaps praise upon the guests in lovingly extended passages.
This time around, Jim and Tom welcome to the show Santa Rosa shoegaze outfit the Down House. The band talks about what it’s like having two couples in a band and the state of the North Bay hardcore scene before plugging in and performing a couple of tunes.
The Down House is made up of Casey Colby (Spirits of Leo), Cody Sullivan (Sabertooth Zombie), Sarah Sullivan, Sarah Davis and Chloe Connaughton. Gaffey calls them evocative right off the bat and the band proves why by the end, playing their dark and stylish Joy Division-inspired post-punk.
Listen to the episode below, and catch the Down House when they play the Phoenix Theater on Sunday, Sept 27, alongside State Faults, Lil Dowager and SPELLS.
Over the last year, the Phoenix Theater in Petaluma has risen from the ashes of a spotty concert history and is bringing a slew of exciting and immensely popular bands to the historic venue, courtesy of booker Jim Agius.
This last summer, the venue sold out for 90’s alternative act Neutral Milk Hotel, and in the last month, news of concerts from a variety of acts, like hardcore punks the Misfits and scene-shaking reggae band The Green, have further boosted the Phoenix’s standings in North Bay music purveyors.
Oberst first burst onto the national music scene as the wunderkind behind Omaha-based Bright Eyes. He has also played in hardcore acts like Desaparecidos and, since 2008, has produced several acclaimed albums under his own name.
M. Ward rose to prominence as a solo artist in the Portland, Oregon music scene at the turn of the century before teaming up with actress and vocalist Zooey Deschanel for the poppy indie duo She & Him. His alt-country styling and deep drawl make him an instantly recognizable voice.
Both Oberst and Ward are also part of the Monsters of Folk super group that’s been on-again-off-again since 2004 and also features Jim James from My Morning Jacket.
As if these two powerhouse performers were not enough, the Felice Brothers are opening the show, offering up a country-tinged rock that was born busking the subways of New York City.
Conor Oberst and M. Ward perform on Thursday, Oct 1, at The Phoenix Theater, 201 Washington St, Petaluma. 8pm. $30. 707.762.3565.
Get ready to celebrate Halloween twice this year, as the classic horror punk band the Misfits are scheduled to make their way to the Phoenix Theater in Petaluma on Friday, November 20.
The show is sure to sell out, so you’ll want to grab tickets when they become available tomorrow, Aug 5, at 10am.
An eerie entity since their formation in 1977, the Misfits are known for their dark, raging live shows complete with handcrafted instruments, painted faces and intense visuals. Currently on their 2015 “Static Age Revisited” world tour, the band is celebrating their classic debut album Static Age, recorded in 1978 and released as singles and EPs, but unreleased in its entirety until 1997.
This year, the Misfits are playing Static Age all the way through on stage, as well as a full set of the band’s fiendishly frightening catalog of classic and current material. This year, the Misfits’ line up has gone generational as founding member Jerry Only (bass/vocals) is joined by his son Jerry Caiafa Jr on guitar and Eric “Chupacabra” Arce on drums.
Misfits play on Friday, November 20, at the Phoenix Theater, 201 Washington St, Petaluma. 8pm. $25. 707.762.3565. http://www.thephoenixtheater.com
By Eddie Jorgensen
Jello Biafra fronted the Dead Kennedys and released some of the most ferocious, vitriol-fueled punk ever. He plays the Phoenix Theater in Petaluma this Friday.
Unlike much of the punk rock diaspora that didn’t have the education or wherewithal to tackle topics like politics, organized religion and everything in between, Biafra was an anomaly. His current band features some impressive Sonoma County brethren including guitarist Ralph Spight and bassist Larry Boothroyd, both of punk trio, Victims Family. Dead Kennedys’ sound, a blend of surf, rock, punk, avant-garde songs arrangements, is still alive in well but resides with Biafra rather than the members who now make a mockery of the moniker. His band today gets much more respect for remaining loyal to its mission of steering clear of corporate-sponsorship.
Dubbed by Jello himself now as “the world’s greediest karaoke band” band, today’s Dead Kennedys have seemingly done everything wrong since breaking up the original band. Jello, on the other hand, has been doing everything right. From his on-the-spot spoken word to his Lard project to appearances with Nomeansno, The Melvins, D.O.A. , and countless others, it would seem he can do no wrong. His band plays the DK classics along with material from their own records and are a sight and sound for sore eyes and ears. Come see for yourself.
Jello Biafra And The Guantanamo School Of Medicine play with The Vibrating Antennas and Acrylics at the Phoenix Theatre. Doors open at 7pm doors, 8pm start. Tickets are $16 advance and $18 at the door. All ages are welcome. 201 Washington St. Petaluma. 707.762.3565.
Slow Gherkin was one of the best ska bands at a time when fellow skankers the Mighty Mighty Bosstones, Less than Jake, Goldfinger and Reel Big Fish were all over the airwaves, both on radio and television (remember when MTV shows music videos?). They were one of the top acts in the Bay Area, relentlessly touring for six years and gaining a following across the country as well as in Europe throughout the ’90s. “Trapped Like Rats in Myers Flats,” from their second album, Shed Some Skin, is still a singalong hit, as shown by their sold-out New York performance. And to this day, their version of Hava Nagila is one of the best tracks on my “These Songs Will Make Everyone Dance” playlist.
They wrote really good songs, not just fun, dancy teenage punk diddies with poppy, upstrummed guitar. If stripped down to acoustic guitar and voice, they’d be the best song of the night at any cafe’s open mic session. Their lyrics are deep and music moving; songs stands up to any by those who made it really big, and it always felt like it would just take that one catchy lick, that one un-erasable melody to cement Slow Gherkin’s place in music lore.
But, alas, they remain mostly a local memory for Bay Area music lovers who grew up in the Clinton era. Do these two shows in one year—double what they’ve played in the 13 years leading up to this point—signal a full-fledged reunion? One can only hope. But one thing’s sure: if you plan to attend their December show at the Phoenix Theater, it might be good to start polishing those Doc Martins now—they’re probably pretty dusty.
Here was the moment at the Courtney Love show last night, and it was brief: right after “Violet,” there’s the usual applause and all, but then it comes back, and surges into a roar, like the crowd all agrees to just cheer the shit out of Courtney Love for, I don’t know, being through hell, most of it self-inflicted, and being murdered by the media, and having her daughter taken away once or twice, and the Kurt thing, but living through it against the odds, and now, playing a sparsely-populated show in some fuckin’ chicken town, and showing up in a silver cutaway jumpsuit and bare feet and way-fake boobs and ratty blonde hair, and actually smiling while singing lines like “I always wanted to die”—and then, during this spontaneous burst of love from the crowd, Courtney Love, 49 years old, looks out into the Phoenix Theater, coyly grins, then visibly swells with gratitude, cocks her head and blows a kiss, serious as a heart attack.
You know how you see a band that’s famous for being sloppy, or mad at each other, or too drunk, but then there’s the one night they’re super tight, or just happy, or sober, and it’s like “THIS is what this band always could be but now finally, gloriously is“? That was Courtney Love last night at the Phoenix, accepting three bouquets of roses when she hit the stage, opening the set with “Plump,” screaming the lines “IT MAKES ME SICK” like the screech of a malfunctioning tractor and, at the end of the song, looking down at the monitor and telling the soundman: “I just blew a speaker.”