Tanya Donelly reunites Belly for first tour in more than 20 years (Fri. 8/10 at GAMH)


Earlier this year, Tanya Donelly, who has played with Throwing Muses and the Breeders, got her band Belly back together.

With all the original members on board — bassist Gail Greenwood, guitarist Chris Gorman and drummer Tom Gorman — the group released its first album in 23 years, “Dove,” and is now on the road performing the new material alongside its ’90s indie hits “Feed the Tree” and “Gepetto.” Their next stop: San Francisco’s Great American Music Hall on Friday, Aug. 10. - SF Chronicle 

Jimmie Dale Gilmore sings the blues with Dave Alvin (Fri. 7/27 at GAMH with Jon Langford’s Four Lost Souls)


Honey-throated alt-country singer Jimmie Dale Gilmore knows how strange it sounded in theory for him to team with gruff rockabilly growler and ex-Blaster guitarist Dave Alvin for “Downey to Lubbock,” their new YepRoc collection of duets on mostly vintage-blues covers. But in practice, it made sense.

“It turned out that Dave and I had a whole lot of repertoire in common,” says the Austin native, who hits San Francisco with Alvin this week. “He’s a few years younger than me, but we both had been into the exact same music back when we were learning how to play.”

Click HERE for the SF Examiner interview!

Donna Missal breaks out with ‘Keep Lying’ (Tues. 7/24 at GAMH with King Princess – SOLD OUT!)


Donna Missal was a toddler when her renowned record producer father Steve Missal closed up New York shop and moved his family to suburban New Jersey, where he planned to quit the business. But old habits died hard. “My dad just couldn’t get rid of his great old equipment, so he built a full-fledged recording studio in our basement, where I grew up making music and singing with him, and by 4 I was already making full albums for my grandparents,” says Missal, 27. Despite never taking stardom seriously, she’s about to release her soulful Harvest debut disc “This Time.” She owes it all to one track, the current single “Keep Lying,” which changed her life.

Click HERE for the SF Examiner interview!

Slim’s: One of the SF Bay Area’s best venues is set to celebrate its 30th anniversary – SJ Mercury News


Happy anniversary to Slim’s, Boz Scaggs’ popular San Francisco nightclub that opened back in 1988.

The official anniversary isn’t until mid-September, but you’ll want to act now — and grab some tickets — if you want to join in on all the 30th anniversary fun that the club has planned.

The club has a bunch of cool shows lined up to help mark the big occasion. Here’s the 30th anniversary lineup:

Built to Spill — The celebration kicks off with these influential indie-rock champs; 8 p.m. Sept. 17; $30 advance/$35 door.

Exodus — Legendary thrash-metal act from Richmond; 8 p.m. Sept. 18/ $30 advance/$35 door.

The Brothers Comatose — Lively Bay Area bluegrass act that is anything but “comatose” in concert; 8 p.m. Sept. 19; $20 advance/$25 door.

The Aquabats! — Ska-pop superheros from Orange County; 7:30 p.m. Sept. 20; $30 advance/$32 door.

Blues & Soul Revue — Featuring special guests Elvin Bishop, Sugaray Rayford, Wee Willie Walker, Terrie Odabi, The Anthony Paule Soul Orchestra; 7:30 p.m. Sept. 21, $50 advance/door.

Click HERE for more from the SJ Merc!

Three Must-See Acts This Week La Fleur, Toad the Wet Sprocket (Sat. 7/21 at GAMH), and SHADES – SF Weekly


While many rock bands attempted to fill the grunge-void Nirvana left behind, Toad the Wet Sprocket was on the other end of the alt-rock spectrum, producing a string of delicately crafted melodic-folk albums that would come to define an era that continues to inspire other artists today. The band formed more than 30 years ago when four high school friends in Santa Barbara came together, including vocalist and guitarist Glen Phillips (only 15 at the time). After becoming a mainstay in their local music scene and self-releasing their debut album Bread & Circus in 1989, the quartet broke through to the mainstream with their platinum third studio album Fear, which included hit singles like “All I Want” and “Walk on the Ocean,” both of which are still in frequent rotation on alt-rock radio. The group went on to release two more albums during the decade, Dulcinea and Coil, and while each had its share of hits and acclaim, neither matched the heights of Fear, and the four musicians called it quits in 1998. After brief reunions and flirting with the idea of recording together, Toad the Wet Sprocket officially reformed in 2006, re-recording their older songs due to licensing issues with their discography. Through an enthusiastic crowdfunding campaign, the group released New Constellation in 2013, their first album in 16 years, to critical acclaim, and displayed a wiser, more optimistic version of the group. - SF Weekly

Toad the Wet Sprocket’s Glen Phillips enjoying life in a yurt (Playing GAMH Sat. 7/21 with Megan Slankard & The Wreckage) – SF Examiner


At 47, Glen Phillips is both startled by and pleased with his career longevity. When the Santa Barbara native formed alt-rock outfit Toad the Wet Sprocket in 1986, he was 15, and was 17 when the group signed to major imprint Columbia. He had no idea it would last. But Toad is as vital as ever. The band is on a sprawling tour even as its leader pursues a parallel solo career (he released “Swallowed By the Now” in 2016) that includes musical collaborations and film and TV soundtrack assignments. “Plus, I’ve been living through a pretty wild couple of years, too,” he says.

Click HERE for the SF Examiner's interview!

CBS SF Talks To Brownout’s Beto Martinez About New Public Enemy Tribute (Catch their tribute to Black Sabbath – Brown Sabbath – here at Slim’s this Fri. 6/22!)


The instrumental counterpart of celebrated Grammy Award winning Latin groove ensemble Grupo Fantasma, Austin, TX-based band Brownout has been cultivating a reputation for both fiery live performances and the gritty funk sounds heard on such releases as Homenaje and Aguilas and Cobras that mix heavily fuzzed-out guitars with percolating percussion and intricate horn work reminiscent of ’70s heroes like Mandrill and War.

During a residency at an Austin club, Brownout decided to dedicate certain nights to covering the material of specific artists including a rendition of James Brown’s classic blaxploitation soundtrack “Black Caesar” and an evening dedicated to the music of heavy metal godfathers Black Sabbath.

CBS SF recently spoke to guitarist Beto Martinez about making Fear of a Brown Planet (their recently released tribute to Public Enemy), Brownout’s plans to retire its popular Brown Sabbath guise and plans for new original material. The talk happened just ahead of a string of Bay Area concerts by the band that will showcase both the Public Enemy covers (in Santa Cruz and San Jose) and their funky, horn-powered versions of Black Sabbath’s bruising catalog (in San Francisco and Sacramento). - KPIX CBS San Francisco Bay Area

You definitely don't want to miss this Friday's show! Money Chicha will be getting the night started, and tickets are still available. Read the interview HERE!

Alexis Taylor: A Block off the Old Chip (Playing GAMH on Sat. 6/9 with Annie Hart)


The history of Fleetwood Mac is such a maelstrom of addiction, bankruptcies, and bitter lovers’ spats that it’s hard to pin down exactly what led to their early-1980s hiatus and subsequent limbo. But it’s safe to say that after Lindsey Buckingham, Mick Fleetwood, and Stevie Nicks released solo albums in 1981, the overall band had an increasingly challenging time holding things together.

Although Hot Chip’s precision beats sound rather different from Fleetwood Mac’s brand of dad-rock, the acts share one trait in common. They’re multipolar projects whose respective members have embarked on solo careers only to return to the mothership, and for Hot Chip co-frontman Alexis Taylor, a piano-centric independent career is now four albums strong. While Beautiful Thing, released in April, is certainly not a Hot Chip record — based on its dramatis personae alone — it bends back toward the source. Taylor’s unmistakable, affect-less voice can give listeners the false impression that he’s an art-school scenester having a laugh, but Beautiful Thing is set up as a vehicle for his unabashed love of pop schmaltz. It’s very circa-1980 Paul McCartney, with the synths that open “Oh Baby” sounding like the ex-Beatle’s “Temporary Secretary” before diving right into Wings territory.

Click HERE for the SF Weekly's interview!

Three Must-See Acts This Weekend: Drama, Nightmares on Wax, and Iceage (Playing GAMH on Fri. 6/8 with Mary Lattimore)


Once referred to by Iggy Pop as “the only current punk band I can think of that sounds really dangerous,” Iceage has proven in their decade of existence that there is more substance to their brooding post-punk than their rough and detached exterior would lead one to assume. The Copenhagen quartet formed in 2008 when all four members were frustrated teenagers who found inspiration in New York no-wave groups like Mars and avant-punk bands like Crass. Iceage’s 2011 debut album New Brigade introduced listeners to the blistering exuberance this young band could provoke, mixed with moody goth undertones. The group soon gained a reputation for their proudly chaotic and occasionally violent live shows, along with infamously awkward interviews, all of which earned frontman Elias Bender Rønnenfelt the title of “Rock’s Most Difficult Frontman” by The Fader. Iceage’s newly released fourth album Beyondless hears the band expanding into new sonic territory that incorporates elements of jazz and pop, but not at the expense of their now trademark ferocity. The band’s eagerness to develop their sound shows how Iggy Pop’s proclamation of Iceage being the only “dangerous” punk band is true, but perhaps in a different manner than he originally intended. - SF Weekly

Psychedelic Drone Revivalists Play Hometown Show (Wooden Shjips Play Slim’s on Fri. 6/8 with Terry Gross & Carlton Melton)


One of the leading players in the Bay Area’s revival of psychedelic sounds that emerged in the wake of Comets on Fire and Six Organs of Admittance in the late ’90s, Wooden Shjips play their first San Francisco show in several years at Slim’s Friday. - KPIX / CBS Bay Area

Read more here!

The Buttertones released new LP, touring (watch the “You And Your Knife” video) – Playing Tues. 10/9 at Slim’s


California surf-noir combo The Buttertones just released Midnight in a Moonless Dream on Innovative Leisure, featuring more sonic vignettes inspired by film and early rock n’ roll. One of the standout cuts on the album is “You And Your Knife,” which is thick with moody atmosphere like a night drive down a lost highway. We’ve got the premiere of its music video, directed by Zack Bernstein, that makes good use of funhouse mirrors and a rooftop set. Watch that, and listen to the whole album, HERE. - Brooklyn Vegan

Sheer Mag, the Best Arena-Rock Band on the DIY Circuit (Playing GAMH Thurs. 5/31 with Power Trip, Fury, Red Death)


The Philadelphia band Sheer Mag channel the classic rock of the ’70s with the mustaches to prove it—and their live shows are out of this world. When I saw them a few years ago in the lobby of a tattoo shop, both guys and girls danced topless in the front row.

One thing about Sheer Mag is that despite sounding like 1976 Cleveland arena rock, they’re staunchly punk in spirit; they refuse to sign a record deal, they book their own tours, they put out their own records—and I like to think it’s paid off by preserving a lot of the fun that makes them special. - KQED Arts

SAINt JHN – SF Weekly: Three Must-See Acts This Week


While still a relatively fresh name in hip-hop, elusive Brooklyn rapper SAINt JHN is no stranger to the music industry. Since 2010, he has lingered in the shadows, writing lyrics for the likes of Usher, Jidenna, and Hoodie Allen before taking the stage himself in 2016 with his debut single “1999.” Born in Brooklyn, JHN spent much of his formative years in Guyana, which influenced his artistry and flow, claiming in an interview with Billboard, “To have the background of being in Guyana gave me a really specific type of influence. Because dancehall music is really melodically driven. Sometimes, the subject matter is a bit harsh, so I can borrow from both of those things.” Collection One, JHN’s debut studio album released in March, is just as much of a reflection of JHN’s upbringing as it is of his career in the music industry. Stylistically, JHN’s flow balances rapping and singing, with standout track “Reflex” exemplifying the strength of his voice. Lyrically, JHN bounces between braggadocio and confessional thoughts, never giving the false pretense he is rapping as a character. - SF Weekly

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