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.
Canadian operatic pop quartet The Tenors are just about to embark on a massive 70-city North American tour in support of their latest classical-meets-contemporary album, Under One Sky. Powered by the impeccable voices of Remigio Pereira, Victor Micallef, Fraser Walters and Clifton Murray, the Tenors are an unstoppable live concert experience that’s both sweeping in it’s larger-than-life scale and emotionally moving in it’s intimate musical moments.
Under One Sky is a mix of originals alongside new interpretations of familiar favorites. For the multi-platinum, JUNO Award-winning vocal group, it’s another cross-over hit that’s undeniably passionate and talented.
Kicking off the tour this Wednesday, the Tenors take the stage at the Wells Fargo Center for the Arts in Santa Rosa on Friday, October 10, with special Meet & Greet and VIP packages available.
Tickets and info are available here. For a preview of the Tenors live in concert, check out the emotionally-packed performance the group gave recently for their song, “My Father’s Son.”
He’s got a baby face, but there’s nothing infantile about blues guitarist Jules Leyhe, except maybe his band name. Along with the Family Jules Band, Oakland’s own Leyhe is blazing a trail of true blues music in the vein of legends like Buddy Guy, who he has already shared stages with in his young career.
This summer, Leyhe released his latest album, “Juicebox.” The title track and album single has got a kickin’ rock and roll rhythm and funky organ under Leyhe’s stinging guitars and rowdy sing-along chorus. Named one of Guitar Player Magazine’s 12 Players of Christmas in 2014 as well as the Bay Area Blues Foundation’s All Stars in 2015, Leyhe is a sight to be seen and heard, and your next chance comes tonight, when he plays Silo’s in Napa. James Regan from the Deadlies opens the show.
Listen to “Juicebox” below.
Jules Leyhe & the Family Jules Band gets down and bluesy at Silo’s, 530 Main St, Napa. 7pm. 707.251.5833.
Santa Rosa’s experimental noise rockers Secret Cat make some of the most head-spinning, mind-altering rock and roll music in the North Bay, taking cues from Zappa, early ‘Discord’ bands and dystopian robot romance novels. The band just wrapped recording their latest batch of garage rock with a twist, Smiling Songs, and released it online last week. Now, the cats are looking to take their tunes on the road with a tour, and they need your help.
The band, which consists of Ian Shoop(vocals, guitar), Melati Citrawireja(bass), Emile Rosewater(drums) and Charlie Davenport(guitar), have a Kickstarter page for the occasion; and though generous donations have already streamed in, there are several special rewards for anyone still looking to donate, from handmade art to photo studio sessions with Citrawireja and more.
For this tour, Secret Cat is also bringing a new visual element to the live show in the form of a live mask and puppet performance developed with the help of Quenby Dolgushkin, and the band is hoping to traverse the Pacific Northwest freaking out unsuspecting audiences along the way. Today is the last day to donate, so head over to their page now and click the button.
You can listen to Smiling Songs right here.
…Opening act Crazy Crab?
It looks like Candlestick Park will get one last musical hurrah before being torn down—Justin Timberlake and Jay-Z’s ‘Legends of the Summer‘ stadium tour hits the historic ballpark on July 26. Ticket info. is here—there’s Citi card presales and VIP packages and all that stuff before the general public onsale on Feb. 28.
Candlestick Park has a long history of concerts going all the way back to the Beatles’ last-ever show in 1966, where only 25,000 people showed up, paying between $4.50 and $6.50 each for tickets. The Rolling Stones played two nights there in 1981, and Metallica rumbled the infield in 1988 (see video of “Seek and Destroy” here) and again in 2003. There were a ton of raves at the ballpark in the ’90s and aughts, too.
As for me, I basically grew up at Candlestick, in the Will Clark-Kevin Williams-Jose Uribe era of the Giants. I can’t promise that JT and Jay-Z are going to be as exciting as the 1989 World Series, but still—it’s pretty damn great that the place gets a proper send-off in the form of what’s probably the biggest tour of the summer.
Miguel Pimentel is a 25-year old singer, songwriter and producer from Los Angeles who has made one of this year’s most bewilderingly satisfying albums, Kaleidoscope Dream. His music is R&B in the same way that Lionel Richie’s solo hits are R&B—instead of simply smoldering rootlessly in the modern formula, it assimilates both pop tropes and sonic experimentation in the pursuit of access to the part of one’s brain that processes an elusive strain called “catchiness.” (Miguel would never stoop to “Dancin’ on the Ceiling,” but a burner like “Runnin’ With the Night” is up his alley.)
His songs, most of which he writes, are incredible, but there’s little clue on Kaleidoscope Dream toward what kind of performer Miguel might be in a live setting. Does he play guitar like Prince, a clear inspiration? Does he pace back and forth, hunched over? I wasn’t sure until, at the Oakland Arena Friday night opening for Trey Songz, the lights went down and the pitch of the audience’s screams went up. Miguel emerged through wisps of a fog machine dressed in a custom-tailored suit, wingtip shoes, acutely tapered slacks, a silver lame shirt, dark shades and his signature hair. He then proceeded to dance with precision and unimaginable verve over every square foot of the stage.
Eminently healthy, Miguel moves like a less-furious James Brown, mentally separating the top portion of his body from the lower wind-up toys that other people might call legs. He is unafraid to laugh at the outrageousness of his own physical ability, as when he executed the famous “falling microphone stand” trick, or when he leaped from the side of the stage, over a six-foot gap, to land standing atop a stack of the arena’s bass woofers.
While all this is going on, Miguel manages to sing far better than most singers who just stand there. Yes, those high falsettos on “Adorn” were perfect. Moreover, he’d change melodies slightly, in subtle ways. On the chorus of “How Many Drinks,” a pyrotechnic singer like Mariah Carey might warble and flutter and yodel all over the chord changes; Miguel sung the sixth instead of the fifth. Simple, and effective.
The set only featured five songs from Kaleidoscope Dream, the rest coming from Miguel’s first album, his mixtapes or his guest spots. Sources mattered little; “in the palm of his hand” is the best description for where he had the crowd. “Thank you so much to the Bay Area,” he said at one point. “You guys supported me before my hometown did. It’s crazy, every time I come to the Bay I think about this special someone who inspired me to write these songs. Maybe you know her.”
“Do You…” might’ve lacked the machine-gun drums and popping disco bass of the original, but segued neatly into Bob Marley’s “Stir it Up”; “Lotus Flower Bomb” turned into an enthusiastic singalong; and when Miguel ripped off his shirt during “Pussy is Mine,” well, he basically rendered the arena a helpless pool of female squeals. “Adorn” ended the set, and Miguel, legs flailing as ever, danced back to the uppermost riser, jumped high into the air, and landed perfectly, in the splits. Incredible.
How Many Drinks
All I Want Is You
Do You Like Drugs
Lotus Flower Bomb
The Pussy is Mine
Walking at a hurried pace along Herb Caen Way (I prefer this name over The Embarcadero), it was evident we were walking to a concert. An unusually large cluster of people walked under the Bay Bridge, mixed fashions and eras brought together under a wispy net of marijuana smoke (on the street!). The final clue was a salesman four blocks from the venue with bootleg tour shirts: Roger Waters, The Wall 2012.
In line at the ballpark at 3rd and King Streets last night, one of the first people to approach us was a man in his late 30s asking to buy a cigarette. “You can just have one, man,” said Clint as he reached for a smoke. “We don’t smoke – we quit,” the man replied hastily. He was doing something naughty because this was a party, a Pink Floyd concert. Is ever there were a time to break the rules, it was tonight.
It’s cute when adults in button down shirts and V-neck sweaters break the rules. My cohorts were young enough to make me feel like that adult, so I wisely chose a T-shirt and jeans for the evening.
We were offered pot several times, and it seemed almost like it was legal. The McGyver smokers did everything they could to avoid detection: roll a joint, hollow out a cigarette, refill it and tear off the filter, cigarette-esque smoking devices, edibles. A usual assortment or sneekery seemed unnecessary, but the adults were having fun, and half the fun is trying not to get caught.
The show started late, despite the “8:15 prompt” time on the ticket. It’s tough to start the show when only half the seats are filled, and $9 beers don’t sell themselves. We were seated for about 10 minutes when the lights went dark and a plane literally flew in over the first base side of the park and crashed into the wall on the stage in the outfield. The 5.1 surround sound made this epic, and I can only imagine what the really naughty adults were going through hearing this plane flying around their heads.
The wall on either side of the musicians was a video projection wall, with images and live camera shots of Roger Waters for us in the cheap seats to see. The effects were awesome, as expected. The mood was heavy, with names and pictures of soldiers killed in the current wars were put up on the wall and the big circular screen above the stage.
The sound wasn’t really dialed in until the second half, when the bass was turned up to match the screaming guitar and vocals. That would have been nice to hear before “Another Brick in the Wall,” with Waters slappin’ da bass. The drums sounded amazing the whole time, though it wasn’t Nick Mason playing them. The show really was Roger Waters plays The Wall, with a really good Pink Floyd cover band backing him.
Waters was self-admittedly narcissistic in his performance. At one point, he played along to himself, harmonizing with Roger Waters from 30 years ago superimposed on the screen behind him. He used the word “narcissistic,” and was totally cool with it because, you know what? He’s Roger Fucking Waters. That’s why.
The wall was literally built up, piece by piece, blocking out the band behind it by the end of the first half. After intermission and a 30-minute bathroom line, Comfortably Numb blew me away. The screaming guitar solo from the top of The Wall, with Waters at the bottom harmonizing on vocals and running the length of the stage under the spotlight. This was the apex of the show, a good way to start the second half after, presumably, many fans reloaded their, ahem, psychedelic infusions.
“Dirty Woman” was really, really dirty. Projections of topless women dancing on The Wall were really hot, and that’s a really hot song even without visuals. Luckily there weren’t too many youngsters in the crowd.
The inflatable capitalist pig, which would have been an Occupier’s wet dream to see in the Macy’s Thanksgiving Day Parade, was dragged through the lawn crowd, partially popped by enthusiastic revelers, and “danced” in the air with a wounded leg for the second half of the show.
At the end, The Wall was toppled, bricks of the projection screen falling forward onto the stage amid screams and chants of “Tear Down The Wall!” Waters and the band returned for a curtain call and well-deserved standing ovation from the crowd at AT&T Park.
The show was as relevant as ever, I can only imagine what it would have been like to see it 30 years ago. It’s good to know a younger generation still feels the same fire and skepticism Pink Floyd was warning us about from across the pond when my parents were my age. Hopefully the message will live on even beyond the band.
Sorry about the poor audio.
Ever since Daft Punk’s giant pyramid, electronic acts have recognized the need for a sensory stage show—Justice and their wall of Marshall amps; Deadmau5 and his Rubik’s cube. These novelties have made live electronic music more visually interesting, and have helped sell more tickets, but they’ve so far been just that—novelties, meant to give the audience something to look at while somebody stands at a laptop computer.
Amon Tobin’s current tour Isam, on the other hand, is a true work of art.
Isam is Amon Tobin’s Metropolis, his Koyaanisqatsi. In a series of wordless images, the set that Tobin is bringing around to select cities makes a bold statement on technology and its omnipresence in our modern universe—terrifying one minute, beautiful the next. Like all great art, the production is thought-provoking, challenging and stunning. Submitting to it is pure glee.
So it’s like this: on the stage is a massive, unmoving sculpture of stacked white cubes. A projector fires laser images onto this sculpture, and there may some LEDs involved as well. The combined effect is a 3D experience where the cubes move even though they’re not moving; where the sculpture floats through space even though it is immobile; where a parallel universe exists with shape-shifting factories, angry jet engines and mechanized factory clangs competing with brilliant, serene patterns and transformative optical illusions.
In the center of all this, in a cube larger than the others, is Tobin, occasionally lit from within. These reveals—that there is, in fact, a human involved—pull the curtain back on a spectacle that’s seemingly created solely from silicon, and enshrine the production as a triumph not only of technological engineering but of cranial ingenuity.
And, lest this be taken for an exercise in intellectualism, there’s confetti, too.
There are several dates left of Tobin’s tour, and those who have a chance to see it should seize the opportunity. After the tour is over, the question arises: what will become of the 24-foot structure? The projected images, the gut-rumbling bass tones, the immersive presentation? Lost forever?
Without a doubt, Isam belongs in a museum.
Zach Hill’s show last weekend in Sebastopol got its usual reviews of wankery, which is sad, because Hill’s shows are usually at least wankery of the highest order.
I’m guessing that Hill mighta had better luck in Sebastopol if he brought his Death Grips project, because OH MY GOD.
Free download of their album Ex-Military and more videos here. Block out the next half hour; you’ll be immersed in insanity. (Death Grips plays July 1 at 1015 Folsom in San Francsico.)
In a similar vein, Spank Rock, who brought electro to hip-hop in the marvelous album Yo Yo Yo Yo Yo Yo, is finally putting out a new record. What’s it called? Everything is Boring and Everyone is a Fucking Liar, that’s what. Guest star Big Freedia. I got big hopes.
This Just In: Smashing Pumpkins are playing the Phoenix Theater in Petaluma on Wednesday, September 8.
The Phoenix is among the smallest venues that the band is playing on their current tour, which sees them visiting 17,000- and 18,000-capacity stadiums after they leave Petaluma. Founding member Billy Corgan is the only original member in Smashing Pumpkins. (He tends to ramble at Smashing Pumpkins shows.)
Tickets, at $40 a pop, go on sale to the general public this Saturday, 10am, via InTicketing. A 101.7-FM “The Fox” presale happens on Friday at 10am. If you really want to be guaranteed a ticket, lining up outside the Last Record Store in Santa Rosa for an old-fashioned cash-transaction hard ticket is recommended. The store opens at 10am.