Chloe Qisha is a Malaysian-born, UK-based alternative pop artist. She describes her songs as a kind of ‘nostalgic’ alternative pop.  Chloe Qisha is one of the most exciting emerging pop artists in the UK right now, celebrated for sharp songwriting, 80s-inflected production, and a distinctly witty, emotionally honest voice.

Taking the stage on April 1st for a sold-out crowd at the Brick and Mortar Music Hall Chloe Qisha leaned into the room’s close quarters creating a set that felt personal from the very first note. This is Chloe Qisha’s first US tour and visit to San Francisco and the audience welcomed her with open arms. Her stage presence mirrored the venue’s energy: unpretentious, warm, intimate and immersive. The venue’s small capacity amplified every detail of her performance creating a connection which felt magnetic.

Chloe engaged the the audience throughout her performance and even invited an excited member of the audience to join her on stage for one of her songs. Chloe Qisha’s performance was fun, energetic and ended way too soon for the audience leaving them wanting more.

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On Friday March 27, San Francisco-based Mild Universe brought their groovy, danceable indie rock home to Swedish American Hall.

Led by composer/bandleader Sam Jones, the group is comprised of a whose-who of the contemporary Bay Area music scene with vocalist Mae Powell, guitarist Garret Barley, saxophonist Karina Alterman, bassist Mayya, percussionist Saam Khanzadeh, and keyboardist Adam Chillson.

Tucked upstairs on Market Street, Swedish American Hall is one of San Francisco’s older venues — all worn wood and chandeliers, like stumbling into a cool old-school prom. The boomy hardwood floors flexed with the energy as the audience danced and sang along to local favorites like “Your Love.”

Check out the group’s latest record Everything Must Change here.

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 March 24th Jeff Tweedy performed to a packed Rio Theatre in Santa Cruz. The historic theatre was glowing with the warmth of its iconic neon marquee, a brief early arrival of summer heat, and a stage full of vintage guitar amps, tubes radiating.

Jeff Tweedy’s band is these days composed of “the family band” made up of Tweedy’s two sons, Spencer and Sammy, and their childhood-turned-Chicago-music-scene-mainstays, brother and sister Liam Kazar and Sima Cunningham (who opened the show with a solo performance), as well as Macie Stewart. The set covered a large and relatively quickly constructed repertoire of solo material from the original TWEEDY record Sukierae, as well as his five solo albums — including a double and, most recently, a triple.

Aside from what Tweedy implied was an obligatory performance of Wilco’s “California Stars,” requests for Wilco tunes were politely ignored.

The band sounded, as you might expect, like there was deep familiarity and trust. Dynamic, pulsing, and unified, the group handled the difficult task of translating Jeff Tweedy’s unique approach to layering his immediately recognizable guitar sounds and vocals over Spencer Tweedy’s loping, swinging, and at this point just as recognizable dry and close drum sound.

Watch the band’s full performance of “Lou Reed Was My Babysitter” on the Late Show here.

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Perfume Genius has learned to be a lot.

In my first visit to the Castro Theatre since the renovation, I got to see an act I’ve seen on many stages over many years. The songs may change but his demeanor as he cavorts and even sashays across these floors has never changed. A theater like this worked perfectly as his act always borders on a kind of dance performance of an elegant collapse as it matches the kind of desperate and yearning lyrics that make up a large chunk of his songs. It’s all very melodramatic and while I’m usually opposed to melodrama, I’ve never gotten tired of him.

Storefront Church opened up the show with a passionate showing of their own, with Lucas Frank bringing his own forms of acting as he belts out.

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One of the little things I appreciated about Joanna Wang at the Swedish American Hall was introducing nearly each and every one of her songs. She played two sets and the first consisted an entire playthrough of her latest album, Hotel La Rut. If you don’t know, that album consists of 23 songs and over an hour in length, various ditties about dreams and life and the kind of music project that feels like you’re exploring her mind. While she easily could have just played them all in a row with no break, the mention of the name of each of these songs gave me the impression she has the same importance of each part of that album and herself. Even then, the whole thing flowed so smoothly, the first part as it’s all part of a general vibe as it comes from the same album, and even the second part which moved from past works to covers of Steely Dan and Anita Mui, with her backing band changing on a dime with different tempos, energies, and even genres.

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Some shows unfold in moments; others move like a current you don’t quite notice until you’re already carried by it. The Record Company’s night at Great American Music Hall on March 26 felt like the latter; unforced, steadily building, and rooted in a sound that doesn’t need much dressing up to land.  

The trio leans into a stripped-down approach that thrives on feel over flash. There’s a looseness to it, but the band knows exactly how much to push and when to let things breathe. Beginning with “Baby, I’m Broken” and “How High”, they settled into a groove early, while “Rita Mae Young” and “Feels So Good” carried that familiar balance of grit and authenticity that has become their signature.

What stood out wasn’t just the consistency, but the way the set shifted without breaking its own momentum. The acoustic stretch “Talk to Me” and “Last Lonely Winter” brought the room into closer focus, trading volume for intimacy without losing the thread. It’s a move that could feel like a reset in other hands, but here it felt like a natural turn in the same conversation.

From there, the energy opened back up. “Turn Me Loose” and “This Crooked City” carried a sense of release that had been building all night, culminating in “Off the Ground,” where everything seemed to crest at once.

The encore, anchored by a take on the Stone’s “Jumping Jack Flash,” didn’t so much shift the tone as underline it, raw, immediate, and grounded in the kind of rock tradition the band clearly draws from without feeling bound to it. At Great American Music Hall, with its warm light and close quarters, the performance felt especially at home. It’s the kind of room that rewards presence over production, and that’s exactly where The Record Company lives. No excess, no distance, just a band, a groove, and a crowd willing to meet them there… at the corner of Rock and Roll.

The Record Company is celebrating the 10-year anniversary of “Give it Back to You” with a deluxe expanded re-issue of the album. Available on all digital platforms and vinyl.

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Landon provided a very authentic, energetic, distinct and off-the-cuff performance. The setlist leaned into his signature blend of catchy hook-laden indie-pop and mellow alt-rock, with tracks that felt both deeply personal and widely relatable. Songs about love, distance, and self-reflection resonated strongly with the crowd, many of whom sang along in near unison. There was a noticeable connection between Conrath and his audience, less performer and spectator, more shared experience.

Abby Holliday was the second artist of the night. Originally hailing from Cincinnati, OH, she now calls Nashville, TN her home. The 27-year-old began her musical journey on guitar, writing songs during her early college years in the confines of her room. A friend heard the songs and encouraged her to record them which lead her to producer Jonathan Class and debut WHEN WE’RE FAR APART I FALL APART.

Abby Holliday’s live performance unfolds like a slow-burning conversation—intimate, deliberate, and emotionally precise. Rather than chasing spectacle, she builds a quiet gravity that pulls the audience inward, song by song, until the room feels suspended in her world.

From the opening moments, Holliday established a tone of restraint and control. Her voice, airy yet grounded, moved with a kind of conversational phrasing that made each lyric feel newly formed rather than rehearsed. There’s a noticeable tension in her delivery—not in the sense of strain, but in the careful way she holds back just enough to keep the audience leaning in. It’s this sense of withheld intensity that gives her performance its edge.

The arrangements were lean and minimal, often centered around sparse guitar or keys, allowing space to become an active element in the set. Silence isn’t empty here—it’s structural. Between notes and lines, there’s a deliberate openness that amplifies the emotional weight of her songs. What makes Abby Holliday compelling in a live setting is her commitment to emotional honesty without excess. She doesn’t oversell her material or push for reaction. Instead, she trusts the songs to carry their own weight and they do.

Leading off the night was Arkansas-born producer Devvy Dub, who currently resides in San Francisco. Devvy is an Alternative artist who pushes the boundaries of musical norms. Devvy combines synths and guitars along with vocal effects to reach his audience in a relaxing (but sometimes chaotic) way. In 2023, Devvy Dub released his debut EP “Sorry I’m Late, I Didn’t Want to Come.”

Devvy Dub’s live show doesn’t ease you in—it grabs hold immediately and keeps its grip for the entire set. From the first beat drop, the room shifts from casual anticipation to full-body engagement, driven by a performance that feels as kinetic as it is intentional. What defines Devvy Dub on stage is momentum. There’s a constant forward motion—tight transitions, layered production elements, and a rhythm section that hits with precision without ever feeling mechanical. The sound leans heavily into bass-driven textures, but it’s not just about impact; there’s a surprising clarity in the mix that allows each element to cut through without muddying the whole. 

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Sunday March 22nd, 2026

On a warm Sunday evening, a line stretched down R Street in Sacramento, wrapping around the block outside Ace of Spades. Fans buzzed with anticipation, and the energy outside already hinted at what was about to unfold within. Bringing their Flowers tour to Sacramento, The Devil Wears Prada arrived with a stacked lineup that set a tone for the night. Support came from I Promised The World, Split Chain, and Four Year Strong, each bringing their own energy and style. The night felt like a full-spectrum showcase of modern heavy music, building momentum with every act that hit the stage.

The house lights dropped to black as The Devil Wears Prada’s logo flickered to life across the screen. A lone spotlight found Jonathan Gering, who eased into the ambient intro of “Where The Flowers Never Grow.” One by one, The Devil Wears Prada took the stage, silhouettes emerging through the darkness. The room held its breath for a split second, then, without warning, the band detonated into the song, erupting in full force as fog cannons blasted into the air. Mike Hranica and Jeremy DePoyster could be spotted center stage, leading the group, voices colliding in the best possible way. Rather than competing, the contrast created a layered intensity that was harsh and beautiful at the same time.

Touring in support of Flowers, the band delivered a set that leaned confidently into the present without losing sight of their past. The newer material felt sharpened for the stage, hitting with the same emotional weight as the recordings while gaining an added sense of urgency live. Gering’s atmospheric keys and backing textures filled the gaps between crushing riffs, giving the performance a cinematic depth that elevated it beyond sheer heaviness. At the same time, the setlist reached back just far enough to reward longtime fans, each familiar moment landing with a surge of recognition that rippled through the crowd.

That connection spilled over into chaos in the best way. A fan crowdsurfing in a Teletubbie costume drew laughter from both the crowd and the stage, a quick flash of absurdity in an otherwise intense set. Meanwhile, the band had no problem pushing the energy higher, calling for circle pits that the audience immediately delivered on, the floor opening and colliding on command. While bodies moved in constant motion up front, the ever-shifting visuals behind the band demanded just as much attention, glitching, blooming, and morphing in sync with the music, reinforcing the emotional tone of each track and pulling the entire room deeper into the experience.

What stood out most, though, was the balance. The Devil Wears Prada have spent years refining their sound, and it shows, not just in how tight they are as a unit, but in how they control a room. They know when to let songs breathe and when to push things to the brink, creating a set that never plateaued. Even in its heaviest moments, there was intention behind every shift, every pause, every explosion.

The encore added a clever twist, introducing the new track “Play the Old Shit” before closing the night with “Assistant to the Regional Manager” and “Hey John, What’s Your Name Again?”, an ironic nod to the band’s past that brought the show full circle. It was a fitting end to a set that celebrated both where they’ve been and where they’re headed. Giving new and longtime fans alike exactly what they came for, The Devil Wears Prada did indeed “Play the Old Shit”

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It didn’t hit me until I started editing these photos but the all red lighting the Bottom of the Hill set up for Lifeguard makes complete sense seeing as the main color for the American Red Cross is red and white. Was that intentional? Absolutely not, but it both was a fun coincidence and the plain color fit the workman like performance by them. Not to say it was boring, but I really appreciate a real Meat-and-Potatoes rock and roll show where a band plays their stuff and plays it extremely well. Through their less than an hour set they worked through most of their debut studio album, a handful of songs from their EPs and fit in a cover of Fire in Cairo by the Cure. No real flair but a fantastic sound that I’m hoping will catch on from music like this, for both them and Kai Slater’s solo work as Sharp Pins.

Famous Mammals delivered their own brand of rock as their bassist mentioned, almost as an obligation to most acts that come here, that the Bottom is closing. He used this as an excuse to mention how he used to sneak into shows when he was young, thankfully he didn’t need to do that this time!

Sunday Mourners started the show off with a rollicking set of post-punk tracks from their debut album which was released earlier this year. They have the same kind of post-punk sound as a Parquet Courts or Squid and also that same kind of nervous energy.

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Grahame Lesh and the Terrapin Crossroads Team brought a jamband all-star lineup to The Fillmore for three sold out nights of all things Grateful Dead in celebration of the Phil Lesh and Bobby Weir. Each of the first two nights featured a different lineup of musicians joining the core Grahame Lesh & Friends lineup of Grahame on guitar with singer Elliott Peck, keyboardist/multi-instrumentalist Jason Crosby, John Molo on one of the drum kits and Trey Anastasio Band horn trombonist/singer Natalee Cressman and trumpeter/singer Jennifer Hartswick – a lineup that fueled many of his father’s famous “Phil & Friends” shows over the years throughout the Bay Area and beyond.

The first night show on Friday saw them joined by guitarist Eric Krasno, Taylor (guitars) and Griffin (drums) Goldsmith from Dawes, pedal-steel and guitar virtuoso Barry Sless, legendary keyboardist Benmont Tench of Tom Petty & The Heartbreakers and Wolf Bro (and head of Blue Note Records) Don Was on bass. The night was kicked off in touching fashion with Grahame taking the lead on “Box of Rain” – a song originally written by Robert Hunter on the passing of Phil Lesh’s father. Taylor Goldsmith took the helm next for a traditional opening song of so many shows “The Music Never Stopped” before special guest vocalist Eric Johnson (Fruit Bats) joined the stage for a sweet “Row Jimmy.”

Jennifer Hartswick never fails to bring a crowd to an emotional roar with her soulful renditions of the catalog with her powerful voice. Nights one and two were no exception as the crowd witnessed her bringing new energy to “Deep Elem Blues” the first night and then an unforgettable second night, first set “Brokedown Palace” and a second set interlude of Led Zeppelin’s “Whole Lotta’ Love” that appeared in the middle of an incredible “St. Stephen” that sandwiched both the Zeppelin classic and “Turn On Your LoveLight.” Hartswick’s TAB bandmate also took a turn on lead mic with “He’s Gone” on night 2 and the beloved “Stella Blue” on Friday night.

Eric Krasno’s fusion of jazz, funk and rock guitar – along with his smooth voice have always made him seem like he could be at the ready to take over for John Mayer with no notice necessary. Night one saw him bring the first set to a burning close with a stadium-worthy version of”Deal” and thoughout the night he traded guitar solos back and forth with Lesh and Taylor Goldsmith.

The Brothers Goldsmith have long made appearances at all things Lesh and there was no hiding their joy Friday night with Taylor also taking lead on “Bertha” and “Help on the Way” and a “Wharf Rat” that dripped with the middle finger to the man spite amid optimism that Weir brought to it in later years. Brother Griffin did drummer-singer double duty behind his kit on “China Cat Sunflower.”

Other highlights of night one included the second set opener of “Mission in the Rain” with Johnson returning to the stage for lead vocals. The Robert Hunter song of which Mission District-raised Jerry Garica once said “…might be about me…It’s like a little piece of my life..” always hits solidly in hometown shows but on this night and in of the holiest of Grateful Dead chapels the band knocked it out of the park and inspired tears of joy and reflection among the crowd.

Elliott Peck delivered a “New Speedway Boogie” second-set closer that leaned into the “One way or another…this darkness has to give” lyric that was written some 56 years ago but has somehow never seemed more pertinent than today. Peck has always been the secret weapon of the Terrapin Nation and both nights also featured her backgrouond vocals constantly lifting songs to new heights.

Night two brought a new crop of special guests. Oteil Burbridge – bassist for Dead & Company, guitarist Tom Hamilton of JRAD and Billy & the Kids, guitarist Nels Cline of Wilco, former North Mississippi AllStars drummer Cody Dickinson joined longtime Terrapin collaborators singer Nicki Bluhm and Jackie Greene with Twiddle’s Mihali Savoulidis getting a prominent spot as an unannounced special guest.

Hamilton – all smiles all night – led off the night on vocals with “Mississippi Half-Step Uptown Toodeloo” – a song that always figured prominently in the Phil Lesh universe – whether at a big theater show or outside at the Terrapin backyard for one of his many pop-up afternoon shows. “Cold Rain and Snow” took the second slot with Grahame Lesh on lead vocals. The song fit better into Saturday’s show that followed the impact of Friday’s record-breaking San Francisco March heat that turned the packed The Fillmore into a hot and humid sweatbox that saw at least a handful of people go down. Saturday’s weather outside and inside was far more comfortable and it seemed to empower a show that pushed the rock parts of the catalog further.

Jacke Greene led the band through a menacing and soaring version of “Loser” before Hamilton brought out the all-too infrequent Dead hit “Foolish Heart” for a spin. Jason Crosby led the band through his mash-up of “Friend of the Devil” and Nirvana’s “Lithium” with assistance from Mihali. Crosby’s “The Crosby Collective” is not to be missed live as he leads his band through handfuls of incredible song transitions that demonstrate the affiliation between many different music styles.

The band finished the first set with Mihali leading a fiery “Casey Jones” and then started the second second with Hamilton at the wheel for “Shakedown Street”. Mihali then led an dynamite-filled cover of Dylan’s “All Along The Watchtower” as the crowd roared along and the energy in The Fillmore reached its apex (at least for the first two nights). Oteil Burbridge then turned the pace was slower and more contemplative with a “So Many Roads” that got every drop of sweet sadness and longing from the Hunter classic.

Grahame Lesh led a rollicking “Sugar Magnolias” after the previously mentioned “St. Stephen”. Grahame inherited Phi’s incredible and generous bandleading (we are talking about a band that at times had four guitarists on stage) as he spread the spotlight throughout the players. For those of us who have been around the scene, he has become the heart of the next generation of Grateful Dead and both his guitar work and vocals continue to reach new highs. The weekend was a demonstration that the time he spent playing with his father (and in later years helping lead the performances) has positioned him as not just the heir apparent, but the rightful successor.

The weekend’s setup and rotating cast was reminiscent of the great all-star traveling caravan that Duane Betts and Devon Allman have put together for their annual “Allman Betts Family Revival” tour across the United States. Here’s hoping that perhaps Grahame and the Terrapin crew can bring the vibes they brought to The Fillmore (and Port Chester, New York’s historic Capital Theatre the week before) and share them in some sort of annual tour across the US in the future. While Phil, Bobby and Jerry will always be missed, there is still so much music to be made and memories to be shared with the generations.

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Nine Inch Nails closed out their Peel It Back Tour of Europe and America at Sacramento’s Golden 1 Center last night for a raucously loud, amazingly visual, multi-staged, spectacle.

This tour featured a uniquely immersive stage design built around three distinct performance areas. The opener, Boys Noize (Alexander Ridha), kicked things off with a one-hour DJ set from a small stage at the back of the venue. His set leaned heavily into remixed ’90s tracks – blending in Depeche Mode, Nine Inch Nails, and other dark, European electronic influences – setting a moody, high-energy tone for the night.

At the center of the venue sat the “B-stage,” a compact cube that felt like something out of a mad scientist’s lab. It was outfitted with bright, downward-facing moving lights and surrounded by rows of fixtures that pulsed outward in waves, sending ripples of light through the crowd.

Meanwhile, the main stage was initially concealed behind multiple layers of sheer curtains – at least two deep – creating a sense of distance and mystery. The band performed behind these translucent scrims, which doubled as projection surfaces for intricate, mesmerizing visuals (see later in this review for examples). The effect was unlike anything I’d seen before, transforming the stage into a living canvas.

For the second half of the show, the curtains were removed entirely, revealing the band in full creating a more direct, intimate connection with the audience.

Act one featured Trent Reznor kicking off the show in the center of the arena (B-Stage) with a delicate and stripped down version of “Something I Can Never Have” – played on the keyboard solo. Then he was joined by long term (16 years) NIN sidekick Atticus Ross, drummer Josh Freese, bassist Stu Brooks, and guitarist Robin Finck to perform “Non-Entity.” They finished that set with an energetic version of “Piggy (Nothing Can Stop Me Now)” with Trent moving around the small stage to address all parts of the surrounding audience.

Moving to the main stage, they performed 7 more songs (“Wish,” “March of the Pigs,” “The Frail,” “Reptile,” “Find My Way,” “Copy of A,” and “Gave Up.” For me the highlight was “Copy of A,” where the visuals were spectacular – they featured projections of Trent duplicated dozens of times around the stage – as he sung “I am just a copy of a copy of a copy” and “I am just a shadow of a shadow of a shadow”, the projected Trent’s, on delay, replicated his movements in multiple stages. It was beautiful and hypnotic.

The show then shifted back to the B-stage, where Boys Noize rejoined the band for a standout collaborative set. Together, they performed “She’s Gone Away,” “Closer,” “Parasite,” and “As Alive as You Need Me to Be,” each reimagined with fresh energy. “She’s Gone Away” featured a new “Vessel” intro, while the other tracks were transformed through dynamic remixes.

What made this segment especially unforgettable was the lighting. The overhead fixtures – mostly stark white during the first set—now glowed in deep purples and greens, washing over the crowd in fluid, shifting patterns that at times evoked the aurora borealis.

The final set moved back to the main stage, now curtain-less – where the band played 7 more songs, including “Mr. Self Destruct,” “Less Than,” “The Perfect Drug,” “Burn,” “The Hand That Feeds,” Head Like a Hole,” and concluded with “Hurt.”

Trent also took a moment to clear up some confusion surrounding earlier comments that had been interpreted as this being the band’s final tour. Addressing the crowd directly, he explained, “this is the last show of this tour, and we don’t have any shows booked, and we don’t have any plans to book any shows any time in the future, so far. That doesn’t mean we may not tour again – we MAY tour again.” He also added: “But to be truthful – we didn’t tour for a while before this tour because frankly I didn’t know if we could do it well, and if it still mattered, and if we had something to say.” Ultimately, he emphasized the immense effort that went into the production and calling it something they were “really fucking proud of.”

He also talked about their next steps – they are now going to work on new music, and if they feel inspired, maybe they will be back. The crowd’s response made it clear – there was a collective sense of relief and appreciation in hearing that the door wasn’t fully closed.

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There are some venues that feel like chapters of your life. Bottom of the Hill has always been one of those places. Tucked away, a little gritty, always alive. The kind of room where you’ve gone on first dates, where you discovered bands you’d end up loving for years, where you showed up on a random night just because the name on the flyer sounded cool and somehow it turned into one of the best nights of your life.

It’s the kind of place where the vibes are always right. Where you’ve danced with friends, lost your voice, made memories you didn’t realize were sticking until much later. Walking back in for what might be one of my last shows there felt surreal. Like stepping into all of those moments at once, past and present folding into each other.

On this night, that feeling was soundtracked by The Technicolors, with support from Theo Moss and Veaux. The room was packed wall to wall, bodies pressed close to the stage, the kind of crowd where you could feel the heat before the first note even hit. At one point, it got so full the fire marshal showed up, which only added to the sense that this was something special, something people weren’t about to miss. It had been years since The Technicolors had played San Francisco, and you could feel how much that return meant.

Theo Moss opened the night with a set that felt quietly stunning. From the moment she stepped on stage, there was an ease to her presence, the kind that immediately draws you in without needing to demand attention. Her voice was hypnotizing, soft but powerful in a way that lingered in the room long after each note faded.

There was something really beautiful about the way she carried each song, letting melodies stretch and settle into the space. The crowd softened with her, conversations faded, and people leaned in, fully present. It felt like the kind of performance that doesn’t just fill a slot, but creates a moment.

There’s a natural talent there that feels undeniable. The kind that makes you pause and think about where she’s headed next. Watching her set, it was hard not to feel like this is just the beginning, and that there’s so much more ahead for her.

By the time Veaux took the stage, the room had fully filled in and something shifted. There was an immediate sense that this was going to be fun. Not in a casual way, but in a fully immersive, lose-yourself-in-it kind of way.

From the first few songs, their groove locked in. Their sound sits somewhere between alt-pop, indie rock, and something a little more soulful, but live it feels bigger than that. It moves. It pulses. It pulls you forward. There’s a rhythm that runs through everything they do that makes it almost impossible to stand still.

And that’s exactly what happened. The crowd started dancing without hesitation. Not the polite kind of swaying you get at most opener sets, but real movement. Shoulders loosening, hips shifting, people turning to their friends like, wait… this is actually so good.

There’s something about Veaux’s live energy that feels effortless but intentional at the same time. Their music carries a consistent groove and it makes you want to move. It wasn’t just the sound. It was their presence. Confident, playful, and fully locked into the moment.

They didn’t overcomplicate anything. They just let the songs breathe and trusted the energy to build, and it did. By the middle of their set, it felt like the entire room was on the same wavelength.

I went in not knowing them at all and left completely won over. The kind of band you immediately look up on the way home, already thinking about when you’ll get to see them again.

When The Technicolors took the stage, it didn’t feel like just another set. It felt like a release. Like something people had been waiting on for a long time.

From the first notes, their energy filled the room in a way that felt immediate and undeniable. There’s a certain swagger to their sound, this blend of indie rock, Britpop influence, and groove-driven rhythm that makes everything feel both nostalgic and fresh at the same time. It’s the kind of music that doesn’t just sit with you, it moves you.

“Dress Up For You” was one of those moments where everything clicked. The crowd leaned in, voices lifting, that shared recognition of a song that means something a little deeper. It felt warm and familiar, like hearing something you’ve carried with you for years in a completely new way.

They slipped into “Lilies for Lily” later in the set and the reaction was instant. A classic. The kind of song that reminds you how long they’ve been soundtracking people’s lives. You could see it in the crowd, people singing along without hesitation, fully locked into the moment.

What makes The Technicolors so special live is how effortless it all feels. The guitars hit hard but never feel heavy. The melodies stay bright even when the lyrics carry weight. There’s a rhythm to their set that keeps everything moving, this steady pulse that builds and builds until the entire room is caught in it.

By the time they reached the end of the night, the energy felt almost weightless. Closing with “Space Cadet” and “Tonight You Are Mine” was perfect. Those songs carry this kind of joy that feels simple but real, the kind that reminds you why you fell in love with music in the first place. The room was fully alive, people dancing, smiling, holding onto those last moments before the lights came up.

And standing there, camera in hand, in a venue that holds so much history for you, watching a band that means so much to you play a sold-out show after being away for years, it all felt layered in the best way. Past versions of yourself, present moment, everything colliding in one space.

It didn’t feel like just a set. It felt like a memory being sealed in real time.

By the time the last notes faded and the lights came up, no one really wanted to leave. People lingered a little longer, like stepping outside would mean the night was officially over.

There was something about being back in that room, surrounded by that kind of energy, that made everything feel a little more vivid. The music, the crowd, the memories tied to that space, all of it layered together in a way that’s hard to recreate anywhere else.

If this really was one of my last nights at Bottom of the Hill, I can’t think of a better way for it to go. A packed room, a band I love, new artists I’ll keep listening to, and a night that felt exactly like all the reasons I’ve kept coming back over the years.

Some places just stay with you. This will always be one of them.

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Zakk Wylde and his Black Label Society bandmates all pulled double duty Saturday night with a headline concert that they supported with their side projects Zakk Sabbath and Dark Chapel to a sold-out and raucous crowd at The Warfield. On a night where The City was bursting at the seams with green-clad St. Patrick’s weekend partiers, the century-old venue was packed with black leather, jeans and patches of Bay Area Metalheads for the return of Wylde and his mates.

Wylde’s career has been filled with huge metal-spots, with tours of duty as lead guitarist for Ozzy Osbourne (through most of Osbourne’s touring from 1987 until his final Back to The Beginning mega-concert last July) and his current role in Pantera (replacing the late “Dimebag Darrell”) starting in 2022. In between these stadium-filling tours, Wylde formed metal-band Black Label Society in 1998 and his tribute to Osbourne’s Black Sabbath – Zakk Sabbath – in 2014.

Saturday opened with a pounding 30-minute set by Dark Chapel – featuring BLS second guitarist Dario Lorina getting time in the spotlight as lead vocals and guitar. Songs like “Sign of Life” and “Hollow Smile” from their 2025 debut album “Spirit in the Glass” provided demonstration of the quartet’s power. Their rocking cover of Bill Wither’s 1971 hit “Ain’t No Sunshine” caused the biggest audience reaction and showed the band’s diversity before they finished with “We Are Remade” off their debut album.

Zakk Sabbath’s set saw Wylde joined by BLS bandmates bassist JD DeServio and drummer Jeff Fabb. The trio blasted through some of the biggest hits of Ozzy-era Sabbath and had the crowd sweating and shouting along throughout with Wylde’s lead vocals. “Children of the Grave” and “Fairies Wear Boots” brought huge audience enthusiasm that reached a crescendo with the finale of “War Pigs.” Late in the song, Wylde (along with assistance from security guards) took to the center of The Warfied floor to perform a solo with much of it being done above his head. He continued playing above his head as he was led to the side stage entrance and then came all the back across the stage with the guitar still being held and played aloft.

Despite the roar and energy that the Zakk Sabbath performance elicited, there was no doubt left that Black Label Society was the reason the vast majority of fans had come. A pass through the crowd showed it via the massive amount of BLS patches, shirts and jackets – a terrific display of fandom by the “San Francisco Chapter” as Wylde referred to the crowd.

The large BLS-logoed curtain rose above the stage as steam cannons erupted and Wylde, Lorina, DeServio and Fabb launched into 2003’s Funeral Bell as the crowd erupted enthusiastically for the band that is now over a quarter century old. “Name in Blood” off their upcoming album “Engines of Demolition” showed that the band was not content to just rest on their past catalog. As always, Wylde was incredibly compelling throwing his Yeti-like mane of hair back and forth while raising up his powerful arms as he alternately stood behind his skull-studded microphone stand and atop a platform at center stage.

Before the evening’s finale of “Suicide Messiah” and “Stillborn”, the middle of the set provided a thrill with the band transitioning from “Heart of Darkness” into a cover of Ozzy’s “No More Tears”. Wylde then took to the piano for the tender ballad “In This River” that he dedicated to Dimebag Darrel. As Lorina performed a swirling, majestic solo while some in the crowd went analog and raised actual lighter flames up in the air, the song served as the evening’s signature moment of a truly old-school metal show.

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Trinity Ace is an emerging indie pop musician from San Francisco. Trinity Ace was the first performer of the night. Her songs have a chill alt-country, indie vibe. Trinity’s voice sits in a mellow, low register that is unhurried, intimate, and deeply felt. It drifts and floats throughout the room, the way smoke lingers in a quiet bar. The setlist leaned into that low-key atmosphere throughout her performance. They built slowly, settled in, and lingered long after the last chord.

Jordan Giordano is an indie rock musician known for producing, writing, and releasing original music under his name and as Jordan Giordano Cattonar. Based in Los Angeles, he is active on platforms like Spotify, SoundCloud, and Bandcamp, with 2025 releases including the EP next year and singles such as “feel the bite”.

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The description of this show was Florist was playing both their first EP Holdly and their first LP The Birds Outside Sang at the Great American Music Hall and outside of a cut off of Jellywish as their encore, they did exactly that. I recall fondly when they were getting hype 11 years ago when both of these released around the same time. They’ve released wonderful albums since then, some I would say surpass these first two, but being able to hear them play those songs again transported me back that decade ago.

There is a lightness to these songs that I thought was perfectly encapsulated by the steam rising from Emily’s tea. It is a constant warmth that rises and falls and moves around like the descriptions of life and loss. The whole set felt like a hug that was transported from the past that is both long ago and yet within arms’ reach. I’m extremely grateful they decided to do this short but very sweet tour.

Told Slant opened the show and brought their own soft spoken sounds as a great compliment to Florist’s mood. Felix Walworth’s songwriting feels like you’re the only one he’s singing to, even in a large crowd.

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Seattle’s intimate Crocodile was the perfect venue for BENEE’s electric Tuesday night set, as the New Zealand-born, Los Angeles-based singer-songwriter brought her “Particles Tour” to the Pacific Northwest with undeniable charm and precision. Drawing heavily from her celebrated sophomore album Ur an Angel I’m Just Particles, BENEE moved through a set that felt both carefully crafted and spontaneously alive. Fan favorites like “Cinnamon,” “Underwater,” and the brooding “Sad Boiii” landed with force, while deeper album cuts revealed the full emotional range of what critics have called her evolution from viral wunderkind to a genuine world-building artist. The crowd — packed shoulder to shoulder in the best possible way — sang back every word.

What made the night truly special was how effortlessly BENEE commanded the room. Her stage presence balanced vulnerability with confidence, pulling the audience into the self-built universe that Ur an Angel I’m Just Particles promises on record and then some. A euphoric mid-set run through “Animal” had the floor moving, before she brought things back to earth with more tender, introspective moments that showcased her gift for lyricism. Closing on a high note (“Off the Rails” and “Green Honda”), the show served as a reminder that BENEE is not just riding a wave — she’s making one. If the rest of the “Particles Tour” looks anything like Seattle, North American audiences are in for a genuine treat.

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Beats Antique returned to the Bay Area with an exuberant Noise Pop 2026 show on Saturday, February 28, at the UC Theatre. The nearly two hour set featured Miles Jay on myriad stringed instruments, Side Car Tommy (Tommy Cappel) on drums, keys and managing the loops, and Zoe Jakes on drums and dance!

Featuring old favorites as well as new pieces, many got their groove on to the hypnotic, trance inducing tunes. For others, the visual spectacle captivated – the literal back and forth between Jakes and Jay in a musical “showdown,” Miles Jay’s expressive face and full body involvement in his playing found him bopping around the stage, and of course, the dancing. Jakes and  her dance troupe provided stunning pieces to accompany the music adding texture and depth.

Starting the evening was a full dance set of The House of Tarot. Veils, feathers, drums, swords all woven together for striking dance storytelling.

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The 2026 Noise Pop Festival hit new highs last night at the UC Theatre in Berkeley with home-town-heroes clipping. – playing a dazzling set.

Warming up the crowd were Bay Area’s own Jwalt:

Also, Cooling Prongs:

and Open Mike Eagle:

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Ella Moore (AKA Cleo Reed) performed two dynamic shows last night in the intimate Joe Henderson lab at SFJAZZ as part of the 31st annual Noise Pop Festival.

Drawing on her 2025 album release “Cuntry” and experimenting with new material, the audience soaked in her thoughtful & expressive lyrics that expresses many of the salient issues that our country is dealing with today. At one point, an audience member cheered “love ya!” which was mis-heard as “fuck yeah!” – but both of those sentiments applied perfectly.

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On February 20, 2026 Sacramento’s newest music hall, Channel 24, played host to sun-soaked reggae rhythms and high-energy performances as The Elovaters brought their Sunburn Tour to town. The sold-out crowd, filling the midsize Midtown venue that’s quickly become a local favorite, was treated to an evening of groove, soul, and infectious good vibes that felt like summer in the dead of winter. 

This is the third time I’ve had the privilege of seeing The Elovaters live, and every time the band took the stage in near darkness, raising a drink in the air toasting to the crowd. Seeing familiar faces in the crowd from past shows makes an Elovaters concert feel like a family gathering. Even in a venue still new to Sacramento’s live music scene, the performance felt instantly at home. The band’s chemistry was undeniable. Jackson Wetherbee led a session of tight grooves, extended jams, and moments of collective sing-along, which drew cheers from every corner of the room. For longtime fans of The Elovaters, this show delivered everything expected-sunny vibes, a sense of connection between band and crowd and of course heart hands from bassist Matt Link.

Part of what made this show feel especially electric was the buzz around the band’s forthcoming album, Shark Belly Motel. Scheduled for release on May 14, 2026, this studio album comes as a major milestone in their evolution. The band has already shared several singles ahead of the album, including “Leave The Light On,” which provides a taste of the polished production and sing-along energy shaping this next chapter. The show included a perfect blend of older and new songs, including “Margaritas”, “Wind On My Back”, “Staring At Sun”, “Bills To Pay”, and a personal favorite, “Red Wine”.

For fans and newcomers alike, the Sacramento stop on the Sunburn Tour was a feel-good night of music, camaraderie, and a thrilling preview of what’s to come. With Shark Belly Motel on the horizon, The Elovaters are riding a wave of momentum that feels destined to carry them into an even bigger spotlight.

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There are some nights where music feels less like a performance and more like a shared memory being created in real time. On February 20, the historic Swedish American Music Hall was filled with exactly that kind of energy as Christopher Owens returned to the stage, joined by Asha Wells and Sedona.

The venue itself felt like part of the experience. Warm lighting washed over the crowd, the wooden floors creaking beneath shifting feet, the kind of intimate room where every lyric feels like it lands directly in your chest. It was the perfect setting for a night built on emotion, nostalgia, and that special kind of connection live music brings.

Asha Wells opened the night with a warm, intimate presence that immediately settled the room. Their voice carried a softness that felt both vulnerable and confident, floating effortlessly through the hall. There was a calm emotional depth to their performance, the kind that draws you in slowly and holds your attention without needing anything flashy.

Their sound leaned into dreamy indie folk with touches of melancholy and hope intertwined, creating a quiet atmosphere that felt perfectly suited to the space. It was the kind of opening set that didn’t rush the night forward, but instead invited everyone to sink into it.

By the time they finished, the crowd felt fully tuned in and ready for everything that was about to unfold.

Sedona followed with a noticeable shift in energy, bringing a brighter, more upbeat sound that felt like a warm breeze rolling through the room. Their songs were catchy without feeling shallow, layered with emotion but built for movement. Heads started bobbing. People leaned closer to the stage. The room felt alive.

Tracks like “Underneath,” “Every Once In A While,” and “Paper Moon” carried a youthful glow, blending indie pop melodies with just enough edge to keep things interesting. There was something effortlessly charming about their performance, the kind that makes you want to look them up the moment you leave the venue.

Sedona didn’t just fill time between sets. They elevated the night, setting the stage perfectly for what was to come.

When Christopher Owens finally stepped out, the room shifted in a way only longtime fans recognize. There was a quiet buzz of anticipation, the kind that comes from knowing you’re about to hear songs that once meant everything to you and somehow still do.

Opening with an instrumental before easing into “Summertime,” Owens guided the audience gently into his world. His voice carried that familiar raw honesty, equal parts fragile and powerful. Songs like “Life in San Francisco” and “Hellhole Ratrace” felt especially poignant in the city that shaped so much of his story.

There was something beautifully unfiltered about his performance. No overproduction. No distractions. Just heartfelt songwriting delivered with sincerity.

Covers like “Leaving on a Jet Plane” and “Take Me Home, Country Roads” brought a sense of communal warmth, the crowd singing softly along as if everyone shared the same memory tied to those songs. It felt less like a concert and more like a group of strangers temporarily becoming friends.

As the night went on, highlights like “White Flag,” “This Is My Guitar,” and “Beautiful Horses” showcased Owens’ gift for turning simple melodies into deeply emotional moments.

The encore sealed it all. “Lust for Life,” “Honey Bunny,” and the unforgettable “Big Bad Mean Motherfucker” closed the night on a high that felt joyful, cathartic, and full of life.

There was something incredibly special about the way this show unfolded. From Asha Wells’ tender opening moments, to Sedona’s glowing melodies, to Christopher Owens’ deeply personal storytelling, the night felt like a journey through different shades of emotion.

The crowd swayed, sang along, smiled at strangers, and soaked in every moment. It was the kind of release that only live music can offer, where songs become shared experiences and memories are made without anyone realizing it in real time.

Walking out into the San Francisco night, it felt like we had all been part of something quietly magical. A reminder of why small venues matter. Why live music heals. And why some songs never stop finding new ways to mean something.

The post A Soft Glow and a Rush of Nostalgia: Christopher Owens, Asha Wells, and Sedona at Swedish American Music Hall appeared first on Static & Blur.

I remember hearing about Michael Shannon and Jason Narducy doing REM covers when they started at the Great American Music Hall and felt like it looked like a gimmicky novelty act from a decorated actor to perform songs he likes. Even after I heard about how they came to put this together, I wasn’t completely convinced that it would be any good. It took a few of my friends who went to that night to convince me to go see them at the Fillmore at their show in 2025, and I instantly saw what it was all about.

While this is, in fact, Michael Shannon doing a Michael Stipe impression, the range he can get is mighty impressive. It doesn’t feel chintzy or fake, there is real passion in every song he sings. The bonus of being able to see him from one year to the next is to see his voice improve as he sounds more and more like the real deal. If they continue this as a yearly tradition as they cover each of their albums as they reach their 40th anniversary, it’ll be interesting to see him tackle Document with It’s the End of the World As We Know It (And I Feel Fine)

Veteran comedian Bobcat Goldthwait was a laugh riot as he joked about aging, the political climate, and the absurdity of performing as a comedian to a rock audience.

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Playing to an adoring, sold out Regency crowd, Sudan Archives offered up a rollicking set on a cold and rainy Wednesday night.

While the violin is her primary instrument, performance art is a much more accurate description for the layers Brittney Parks presents in a show. This is not your grandparents violin concert. Clever lighting (including a light bar), mood fog, layered vocals, spirited violin, rhythmic drums, and varied beats, all contribute to the evocative storytelling of the evening. Sometimes wielding her bow like a wand and drum sticks like airplane guide sticks, Parks engaged with the crowd to harness their screams, claps and voracious energy to integrate them as part of the show.

Working through old faves such as “Freakalizer,” Parks also promised to “play some new shit” from her new album The BPM including “Ms. Pac Man” and “Heaven Knows,” with “The Nature Of Power,” and “The BPM” as the nights’ two encores.

At one point, Parks had an audience member dance on the elevated platform that ended in a sexy twosome dance duet. Seeing someone else on stage with Parks was a bit jarring as her signature solo performance is so high energy, she fills the entire stage with her spitfire spirit.

Parks’ facility to create soundscapes– alternating between drums and a staccato plink of a key, sci-fi electronica, almost traditional fiddling and experimental violin, vocal variations – coupled with her dancing and storytelling made for a hypnotic night.

Cydnee with a C was the perfect start. Like Sudan Archives, Cydnee offered a genre bending set – part hip-hop, part K-pop, part electronica, all boisterous fun! Personal lyrics resonated with the audience coupled with a domininatrix style dancer with a fiber optic whip, lighted hula hoops, inflatable tube man for maximum spectacle. The Korean word of the day (Happy Birthday) added to the festive ambiance.

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In conversation with Dominique Fils-Aimé: My World is the Sun

​​In 2025, Dominique Fils-Aimé continued her rise as one of the most captivating voices in contemporary jazz music, breaking new ground with a series of major tours and electrifying live performances across North America, Europe, and South America. From festival stages to intimate concert halls, she brought audiences into the emotional heart of her 2023 album, Our Roots Run Deep. In the midst of touring, Dominique found time to record the second album in her second trilogy, My World Is the Sun.  With two singles, “Going Home” and “The River”, previously released, My World Is the Sun will be available in its entirety on February 20. 

In January, with Dominique at home in Montreal in the midst of her “winter wonderland”, we connected to discuss the sun, the moon, and her new album.  

It feels amazing to be home. Just not living out of luggage is amazing. I’m very grateful that I get to travel so much… but it is definitely challenging. And very tiring, so when I get home, it’s just resting. There’s always work to do, but being able to do it from my couch, go see my mom every Sunday, and then have time to just appear at her house randomly. It makes me appreciate it even more now that I have to leave often.

With the album release around the corner, the work of rehearsing for the Sunshine Tour has already begun.  My World is the Sun is the second album in a second trilogy of albums.  While the modern music industry tends to focus on singles and short attention spans, Dominique has focused her creative desires around the concept of trilogies.  She searches for “(listeners) that actually do want to dive deeper into a topic, want to get to know an artist on a long-term basis, and are willing to accompany me on a journey.”

The journey of this trilogy began with Our Roots Run Deep and was born out of the pandemic.

(the pandemic) allowed me to get a lot of plants, and have time to take care of them properly. I feel like whenever there’s a metaphor that works in nature, it often echoes as true for humans as well. So…the first metaphor for the first album that really stuck with me and drove a lot of the creation was the fact that we can’t see all the connections between the roots underground, but we discovered that they’re feeding each other, they’re talking to each other, they’re healing each other. To me, that was exactly how I feel about humans in general, the connection that we have with our ancestors, and with one another. We haven’t been able to quantify it tangibly yet; science is kind of dismissing it, but more and more, through quantum physics, we’re able to understand it and acknowledge its existence.

Anchored in the present, My World Is the Sun continues her “living diary”. Dominique describes this second trilogy as following her own personal evolution in real time, with each album shaped by a distinct color, chakra, and energetic “vibration.” Where the first album explored roots, ancestry, and interconnectedness through nature metaphors, this new compilation turns upward, toward light, clarity, and peace of mind. 

The sun, the central metaphor: a symbol of love, warmth, and the choice to orient oneself toward possibility. Dominique draws inspiration from travel, especially the recurring experience of flying through cloud cover into clear skies. This physical phenomenon becomes a lens through which she explores mental and emotional heaviness, the weight of clouded judgment, anxiety, burnout, and the enduring presence of calm that exists above it all.

I’m very affected by rain, and we would leave a place that was rainy. And very quickly, the plane would be above the clouds. And the fact that every time we’re met with the same clear, sunny sky,  The parallel between how we talk about having clouds… having clouded judgment, or feeling like there’s a cloud overhead, and the rain, and… And then it got me curious about the concept of peace of mind, rising your frequency above the noise and the chaos and the heaviness of that kind of mindset, the fact that you don’t see clearly when your judgment is clouded, and even clouds themselves.

It’s heavy, it’s hard, it’s… you’re battling something, whether it be physically through the heaviness of clouds, or mentally, when it’s dark thoughts, it is a difficult thing to get out of.  The thing that gives me hope is the fact that no matter what there’s always a space above all this that remains clear, undisturbed, and peaceful, that we have access to. It’s just a matter of finding the strength to get over past that phase of heavy cloudedness.

Musically and conceptually, the album is structured like a full day, moving from sunrise to nightfall. It begins in a meditative, uplifting space, passes through the tensions and freedoms sought during the day, and lands gently into rest. For Dominique, the record is as much a tool for her own grounding and healing as it is an offering to listeners.

As I’m observing those different stages of the day, what do I feel I need to be my truest self and my most peaceful self.  To recenter constantly, get back to that center, because the world can be very chaotic in many ways…

The subjects that talk to me the most are definitely everything that is around healing, freedom, joy; Remaining connected with our emotions and welcoming them as they are, welcoming ourselves as we are. So my message, or my hope, is that this album is also to encourage myself to welcome myself as I am, and show up as authentically as I can.

Her songwriting process remains deeply intuitive and meditative. Songs arrive through walking, quiet moments, or late-night stillness, often beginning with a melody captured in a voice memo. For this album in particular, she imposed a strict rule: any song that required overthinking or intellectual effort was discarded. What remains is music born purely from flow and channeling, which often results in mantra-like structures and emotional immediacy.

I’ll be walking, because I love walking, and a melody would pop, and I will voice memo it, so that can be one of the first steps. And sometimes I get excited, or I want to follow that thread, so I’ll go home, I’ll sit, and then I’ll make that melody, and then the rest piles up on it. So from that melody, maybe there’ll be a harmony that comes to mind, and then another layer of another rhythm, and another rhythmic line that comes to mind, and as they pile up, eventually words come out. And that’s why there’s often a format that is similar to mantras, because it’s what comes out.

Language plays a key role in that authenticity. While English feels more universal and musically instinctive due to her upbringing, French, her “mother tongue”, tends to carry her most intimate and precise expressions. Rather than deciding consciously, Dominique allows each song’s language to emerge naturally, discovering her own emotional state through the music after the fact.

I think that when I started music, my language, musically speaking, I was taught music through English. I mostly listened to English songs or American music, and it’s like my whole education happened through that. And therefore, it became the easiest way for me to express myself musically. But then, when some songs came in French, they definitely did kind of tap into another place.  As if writing in English had something more universal, and writing in French had something more personal. in what I was sharing or expressing, or what emotion I was processing…   

I often feel like I discover myself through the music I make, because since it kind of just happens, it’s when I sit back and listen later that it’s like another version of me, or a part of me, talking to the rest.

With French intros and outros to the album and the moving “Je t’aimais, Je t’aime, Je t’aimerais”, the album delivers deeply personal and authentic moments captured in song.   “Echappée Belle” celebrates the joy in the mid-day, while “Je t’aimais, Je t’aime, Je t’aimerais” invites you to the quiet, contemplative moments before bed.  It reminds me of her earlier composition in French, “Moi Je t’aime”, where the listener doesn’t need to speak French to feel the emotion.  The last track on the album, with only a piano and Dominique’s voice… “Je t’aimais” leaves you with a sense of longing and shivers down your spine.  Translated: “I loved you, I love you, I will love you”.   

Dominique’s My World is The Sun feels like it comes from a place of joy and brings listeners along on her journey. 

I find everything inspiring. There is definitely a special place for everything nature-related, elements in general: the sun inspires me, the moon, the trees, the wind… Conversations with other people, the way art makes us feel.  Anyone who does something with passion or with love, no matter what it is, to me, that’s a form of art. 

I stopped drinking coffee, but there was a girl who was always the one making my coffee every morning, and I could tell she was putting love in it. The art latte was still beautiful.  That state of mind where people are doing things from a place that brings them joy, and therefore we can feel it and taste it with them, that’s something that I find inspiring. I want to help it blossom and see it shine everywhere as much as possible. 

The album’s first single, “Going Home,” centers on the idea that we ourselves are “home”, and we can return to our inner center, calm the nervous system, and find peace amid constant movement. Created through an organic collaboration, the song resonates with the physical and emotional relief Dominique feels whenever she returns home from touring.

There is definitely the notion of ourselves being our homes,  getting back in our center, and welcoming all the questioning that can happen within that center, or within ourselves. Going back to my authentic self, going back to my internal world…when you’re in your own space, it’s an easier place for me to meditate, and to feel at peace, and to feel connected to myself and able to have conversations with myself.

Melodic collaboration is implicit in the flow. Dominique arrives at recording sessions with complete songs but intentionally leaves space for other musicians, particularly trumpet and piano, to “sing” through their instruments. Improvisation and emotional alignment matter more than written parts, reinforcing the album’s focus on shared frequency and collective feeling.

I created space in advance, or there’s space that kind of appeared that I knew was gonna be meant for other musicians to also explore and improvise. Especially for the trumpet and the… the piano, they feel like other voices. I often feel like these melodic instruments are voices that want to sing too, so I wanted to allow space for them to sing as well, and to do it in a way that was not written in advance, but more felt from the moment when I would just share what the song was about, and the emotion that we’re trying to tap into, or that I felt when I was creating it, so that they could tap into that emotion as well, and sing with their instrument from that place. Also, so we would be coherent in the energy that we’re creating and the frequency that we’re trying to share.

Ultimately, My World Is the Sun is an affirmation of joy, healing, and self-acceptance as quiet but powerful forms of revolution. Dominique speaks openly about burnout, rest, and the importance of tending to oneself to show up compassionately in the world. Rather than prescribing a single path forward, she embraces plurality, believing change happens through many approaches at once, including art that invites listeners to pause, breathe, and reconnect with themselves.

As she looks ahead to the final chapter of the trilogy, Dominique resists planning in favor of attentiveness. Trusting life, intuition, and the creative process that has guided her so far, she remains rooted in the present, open to wherever the light leads next.

My World Is the Sun will be available in its entirety on February 20.  Listen to Live At The Montreal International Jazz Festival (2025), and Our Roots Run Deep to prepare for the upcoming album.

Links

• Static & Blur – The River Release 
• The River (Press Release) 
• Going Home (First Single Release)
• Static & Blur – 2025 US Tour SF Bay Area Shows Coverage

Select Photos 2025 Northern California Shows

Monterey Jazz Festival

Blue Note Napa

SFJAZZ Joe Henderson Lab

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A week of Super Bowl festivities throughout San Francisco and the greater Bay Area came to a pre-game close with the Bay Area Host Committee presenting Saturday night’s concert at Bill Graham Civic Auditorium– starring Chris Stapleton, Sierra Farrell and some elite NFL company.

The red carpet parade pre-concert hosted NFL Hall of Fame quarterback Peyton Manning, Bay Area power couple George and Claire Kittle, Jacksonville Jaguars QB Trevor Lawerence and NBA Hall of Famer (and 4-time Olympic medalist) Carmelo Anthony. The Kittles created quite a roar as they entered the bowl of the arena for the show. Though needing crutches as he continues to recover from his season-ending January achilles injury, Kittle still had a wide smile as he pumped up the crowd.

Kittle and Manning were also the hit of the red carpet earlier – engaging at length with reporters. Manning recounted the time that he came up on stage to perform with Chris Stapleton in Nashville and hilariously resisted NBC Sports Bay Area’s Laura Britt’s attempts to get him to warm up just in case. Claire Kittle let us know that “Tennessee Whiskey” was her favorite Stapleton song while George lamented that Claire would mandate the Super Bowl be on tv in their home but professed that he would likely play video games while it was going.

Inside, Sierra Farrell warmed up the crowd with a fantastic set delivered in a magical stage setting. For the many uninitiated, Farrell wowed the audience with her energy and unique blending of bluegrass, folk and other worldy music. The West Viginian always presents a compelling visual performance to match up with her music and Saturday saw a stage that was decked out in flower and plant arrangements – creating a stage intimacy and clear spotlight on Farrell and her band who were decked out in matching beige pants, white shirts and straw hats.

San Francisco Mayor Daniel Lurie has consistently leaned into the arts as a key component of the turnaround of San Francisco’s reputation – showing up at events such as Dead & Company’s three-night run at Golden Gate Park and recently speaking at the celebration of Bobby Weir in Civic Center Plaza. Saaturday night, he thanked the Bay Area Host Committee and NFL Commissioner Roger Goodell (who was in attendance at the concert) and pointed out that no one should ever count San Francisco out. the warm crowd reaction that Lurie brings is in direct conflict with so much of the disastrous disconnect on continual display between so many other politicians and the citizenry they are supposed to represent.

Chris Stapleton took to a stage-setting much less densely furnished, but full of talent and compelling songs. Stapleton has crossed over into the level of filling stadiums and amphitheaters throughout the country and the crowd was obviously thrilled at the opportunity to catch him in a smaller setting. Up close for the first few songs, it was heartwarming to see the way that Stapleton and his wife (and backup singer) Morgane were continually looking at each other with smiles. Stapleton seemed to sweetly perform the concert for both the crowd and Morgane. Stapleton and his band kicked off the set with a thunderous “Bad as I Used to Be” that was met with a very enthusiastic response that belied any private-event like vibe that may have been present and set the tone for a triumphant final night before Sunday’s big game.

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Going through my past concerts, I knew I was going to find that I’ve seen The Rural Alberta Advantage quite a few times. Nils Edenloff even brought up their first time in San Francisco in 2009, to comment on that the venue they played at, Bottom of the Hill, will be closing soon. That was the first out of now five times I’ve seen them (Thrice at Bottom of the Hill and twice at Rickshaw Stop) and outside of new albums they’ve released over the years, the sound has remained basically the same. Nils’ voice is unique, akin to a banjo which fits the folk type sound they’ve been going for their entire existence. Amy Cole accompanies him well as both back up vocalist and keyboardist, lending a softer voice. In my opinion, the real star is the drummer Paul Banwatt, whose thunderous and powerful style shakes me awake in nearly every song he’s featured in. I had seen them 4 times but as soon as I saw they were playing in the city once more, I knew I had to go.

Opening was Jordan Burchel with an impressive lyrical talent that certainly opened my eyes. Very much will be checking him out more.

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Arooj Aftab and her incredibly talented group of musicians created a hazy, dream like atmosphere at the Palace of Fine Arts theater. A healthy mixture of songs from her last two records plus one from Bird Under Water, punctuated at the end with Mohabbat, which has become probably her most popular and recognizable song out of the bunch. Surprisingly funny, she cracked jokes at the expense of losing her wallet while in Los Angeles, as well as pointing out the fact that there was a baby in the crowd and if swearing during the show would be a poor choice. Extremely happy she was able to sell out the entire theater, and here’s hoping she can sell out bigger venues in the future.

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Last year’s acoustic, deeply introspective “Foxes in the Snow” cemented Isbell’s place right at the top of America’s best songwriters and Thursday night’s showed what happens when you combine great songcraft with a finely tuned band. Unlike last year’s intimate, quite solo acoustic shows less than a mile away at the Henry J. Kaiser Convention Center, Thursday was a full “Evening with Jason Isbell and 400 Unit” band concert and put a fire and energy into that album and his deep catalog.

The night opened with the 400 Unit going at full throttle with “It Gets Easier” and “Hope the High Road” before dipping into Isbell’s solo release with “Bury Me” – featuring Isbell on acoustic guitar and guitarist Sadler Vaden on mandolin. As with “Bury Me,” songs like “Gravelweed” and “True Believer” evolved from songs of soft, apologetic regret to powerful songs of defiance with the full band behind them. Guitarist Vaden showed his ability to seamlessly move his sound from quiet and supportive to screaming and wailing. Likewise, longtime drummer Chad Gamble and keyboardist Derry DeBorja are equally adept at supporting Isbell’s shifting moods with their newest members – bassist Anna Butterss and multi-instrumentalist Will Johnson staying right with them.

“This is one of my favorite places to play. A beautiful room, great people and sounds great,” Isbell told the crowd. Isbell’s two-hour show focused heavier on the music than engagements with the crowd. He did take a minute before a very tender version of “If We Were Vampires” to bring a funny story from his past of heavy drinking (Isbell has been very public for many years on the positive impact that sobriety has brought to his life) where he tried to think ahead on a heavy drinking night in Athens, GA and parked his car far away from the bar to hide it from himself. Unfortunately, he did such a good job in hiding the car that he was unable to find the car even the next day and had to call the police to falsely report the car stolen. “They didn’t have too much to do there, but even they didn’t want to put up with my shit,” Isbell told the audience.

The main set was wrapped up with two songs that demonstrated Isbell and the 400 Unit’s duality. First, a hard, driving “King of Oklahoma” – a song that has rightfully claimed its place in the Rushmore of Isbell’s catalog – with Isbell unleashing a fierce solo on his Les Paul. They then finished with the mega-hit “Cover Me Up” that started with Sadler on a tender slide guitar before the band gradually took the stage and Gamble taking the drums from slowly from a near-whisper into a bombastic anthem.

The exits of The Fox were suprisingly vacant as nearly the entire crowd stayed for Isbell’s three-song encore. “True Believer” started as a solo acoustic song and then eventually saw DeBorja take the song to a cathedral moment. “Danko/ Manuel” provided Isbell with an opportunity to wow the crowd with a solo that was reminiscent of Mark Knopfler’s “Brothers in Arms.” Finally, the 22-sing night was concluded with a cover of Rolling Stone’s “Can’t You Hear Me Knocking” that featured fun drum work from Gamble and each of the members getting a chance to solo. Then – and only then – did the crowd finally start to exit the Fox.

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Tuesday night’s Austra show at The Crocodile in Seattle was a striking blend of emotional vulnerability and pulsating electronic energy, with frontwoman Katie Stelmanis commanding the stage from the first synth flourish to the final resounding beat. Playing songs drawn largely from her recent album Chin Up Buttercup—a record steeped in raw heartbreak transformed into euphoric dance-floor catharsis—Stelmanis’s operatic voice soared over throbbing rhythms. The intimate Belltown venue’s packed crowd responded with rapt attention, held in thrall by Austra’s ability to turn personal pain into a communal experience, where moments of quiet introspection melted seamlessly into beats that compelled bodies to sway and pulse. Chin Up Buttercup’s juxtaposition of mournful lyricism and upbeat electronic textures translated live into something both haunting and exhilarating, grounding the show in a powerful sense of vulnerability and release.  

Visually, the performance at The Crocodile balanced moody atmospherics with bursts of kinetic energy, mirroring the emotional crescendos of Stelmanis’s songwriting. Between songs, there was little in the way of patter—Austra let the music speak—but the intensity of her delivery and the immersive, layered synth arrangements created a palpable connection with the audience nonetheless. The tighter, rave-infused moments of the set turned the room into something close to a collective exhale, while slower, more introspective passages allowed for a moment of reflection amid the high-energy surge. In a venue with decades of iconic performances under its belt, Austra’s show didn’t just fit the Crocodile’s legacy of memorable nights—it added a distinct emotional depth that lingered with concertgoers long after the last echo faded.  

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Saturday night’s Weakened Friends show at Bottom of the Hill proved exactly why this Portland indie-rock trio has become such an essential presence on the current scene. From the moment Sonia Sturino and company kicked into tracks from their new album Feels Like Hell — a record brimming with punchy alt-rock riffs, cathartic post-pop-punk energy, and unfiltered emotional honesty — the room was electric. The songs hit with visceral force, their hooks landing harder in the intimate space than they do on record. Sturino’s voice, now fully embraced and liberated in its gender-nonconforming power, cut through the room with an honesty that made every lyric feel like a shared secret between band and crowd. Backed by Annie Hoffman’s grooving bass and Adam Hand’s propulsive drums, the band balanced grit and heart throughout an expansive set that turned every head-bang and sing-along into an affirmation of connection and community. Feels Like Hell’s themes of frustration, resilience, and hopeful defiance weren’t just present — they were alive on that stage, palpable in every shout and riff.

Adding to the specialness of the night was that this performance took place at Bottom of the Hill during its final year of operation before the beloved San Francisco venue shutters its doors at the end of 2026. For decades, the Potrero Hill club has been a proving ground for up-and-coming artists and a beloved home for seasoned indie acts alike — a space where fans could witness raw music up close and feel it in their chests. Weakened Friends brought together a community celebrating not just the band’s great music but also this legendary venue. In an era of growing corporatization and shrinking independent spaces, nights like this — loud, personal, and unforgettable — remind us just how vital places like Bottom of the Hill have been to music lovers and performers alike.

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