Tonight is BLVD’s third annual winter showcase at The Independent in San Francisco. Just six days after New Year’s Eve, winter takes a turn for the warmer while locals take the popular venue by storm. All guests are in rare form, including an unwavering party-ready honey badger centered prominently on the show flier- “Honey badger don’t care… honey badger just wants to get down!”

House lights dim to dark and three slender silhouettes slip on stage. The rowdy crowd settles as a calm, methodical pulse hits through the kick drum. The stage is swept over by a rich peach glow illuminating the members of BLVD– Dylan McIntosh, drums/samples, Curtis Sloane, electric guitar/samples, and Tripp Bains, bass/keyboard– along with an eager Westwood who is now standing, front and center, in the first row.

For the next ninety minutes, BLVD takes their audience– both local fans and long-time friends– on an euphoric roller coaster of synthesized jams, mashed up remixes, electro pop riffs, and energized arrangements that showcase classic BLVD genius; one epic dance party.

Since the conception of BLVD’s legacy in 2003, the band has tested various production and talent to stimulate their audience and progress their sound. They have featured elaborate laser shows that prove to be a sensational highpoint during late night sets. And in 2008-10 they invited noteworthy lyricist, Souleye, on board to fuse the trio’s instrumental talent with flowing hip hop vocals.

Tonight the band invites members of supporting acts– livetronica duo, Crush Effect, and electronic hip-hop group, Vokab Kompany– to sit in. Saxophonist Jesse Molloy fills the house with smooth, sophisticated vibration. And Vokab Kompany MCs, Robbie Gallo and Matt Burke, energize the stage with charismatic fashion giving fans a chance to reminisce on days when Souleye dominated the mic and danced the stage.

Over the last two years, BLVD has developed new method for their original sound. Their set is built on covered samples from Michael Jackson, Kaskade, Yeah Yeah Yeahs, Ghostland Observatory, Foster the People, Empire of the Sun, LMFAO, Foals and Calvin Harris; and peppered with new rhythms that range from original Cuban sahara to popular Miami cool. Luckily, BLVD has not abandoned their signature rhythm– an eerie X-Files cadence glittered with angelic beats that give way to hard-hitting wah-wah bass– and make conscious efforts to feature melodies that celebrate their initial blend of unique synthesized melodies and unpolluted instrumental technique.

Center stage, under sporadic projections of Japanese characters and pulsing heart rate monitors, McIntosh shoots a smirk to Bains at stage right and then looks to Sloane at stage left before announcing the next selection in their set, BLVD’s first-written song, “Again in the Light.”

Wearing satisfied smiles, collard black shirts, and professional confidence, BLVD is nine years deep, three men strong, four albums produced, and thousands of fans deserved. With a reinvented sound full of energy, sophisticated attitude and just enough pop culture to keep critics on their toes, BLVD still holds electronic legacy to make fans– and even a ferocious honey badger– get down.

Tripp Bains on bass guitar at The Independent- 1/6/2012. Photo by: John Mortimer Photography

Dylan McIntosh on drums at The Independent- 1/6/2012. Photo by: John Mortimer Photography

BLVD at The Independent- 1/6/2012. Photo by: John Mortimer Photography

Amy Powell: In the last 10 years, Hot Buttered Rum (HBR) has played music festivals across the nation. At which festival do you feel most “at home,” and why (people, place, festival goal/mission)?

Erik Yates: I’ll say Hardly Strictly Bluegrass – it’s here, has most of the musicians I look up to and, hey, it’s free.

AP: What are two things you look forward to when getting ready for a tour?

EY: The people we’ll play for & the music we’ll play for ‘em. I feel like I started into this business for the music, and that’ll always be its own reward, but I find myself also staying in it for the people, for the other players, for the friendships, for the fans I know and for the fans I don’t.

A girl appears from backstage wearing white go-go boots, a pink plastic dress, and a pink bow in her impossibly shiny brunette hair. She nods to the band (already in position) and steps into a fringe-curtained pedestal esteemed the “Hostage to Fortune Go-Go Cage.” It is May 9, 2011, the second and final run of “Elvis Costello and The Imposters present ‘The Revolver Tour’” at the Fox Theater in Oakland, CA.  The Revolver Tour is Costello’s first tour in twenty-five years, and fans (of all ages) are seated in anticipation for tonight’s “game-show” carnival. A drum roll builds, lights flash theatrically, and Elvis Costello takes the stage while the girl spins effortlessly inside her Go-Go cage. (Apparently, this is not her first “carnival.”)

With no set list, a slight English accent, and multiple stories to share (some involving Donald Trump), Costello is calm and poised wearing a dapper black hat and his classic black-rimmed glasses. His band, The Imposters, is colorful in clothing and rambunctious in character – the group is a mix between The Beach Boys, The Partridge Family, and the Austin Powers 1960s power and love revolution. Costello runs through a few songs to start off the show – “I Hope You’re Happy Now,” “Heart of the City,” “Strict Time,” and “Mystery Dance” – before Costello calls his assistant onstage.

His assistant, fitted tightly into a teal, yellow, and black one-piece, bell-bottom spandex suit, motions to a ten-foot wheel situated at stage left. The “Spectacular Spinning Songbook” features 40 song-titles, is color coordinated with red, yellow, and purple ribbons to categorize selections from Costello hits, rarities, and (never before covered-by-Costello) covers. The Songbook, now spinning, is lined with frantically flashing light bulbs. You can cut the crowd’s anticipation with a knife. “Bring someone up,” Costello calls to his assistant, “The fun is about to begin.”

Costello is flirty, flashy, and charismatic. He is an entertainer with dirty wit and a genuine heart. Between spins, he tells stories to excite his chosen Songbook spinners. “Now, while I play, you will sit over there, in the ‘Society Lounge.’ But be careful on those chairs, they are special, they are a gift from Donald Trump.”

Like clockwork, Costello’s assistant summons fan after fan on stage to “give The Songbook a strong spin” and reveal the next hit of tonight’s set-list. After a powerful push, spinners stand back and watch fate unfold. This time the Songbook selects, “Purple Rain,” a revised upbeat groovy jazz melody, accompanied by tight calypso reggae rhythms.

Next, two ladies are invited on stage. One offers to spin The Songbook while her friend ogles the gigantic wheel. The Songbook stops at a sparkling purple section titled, “BONUS!” Costello probes the ladies, “Do you know what sparkling purple mean..? That’s the jackpot “bonus!” You girls have some good music to listen to up here.”

Post-spin, Costello’s vivacious assistant invites the two (and every spinner) to Costello’s “Society Lounge.” She encourages guests to sip a cocktail (delivered from backstage VIP), to dance in the “Hostage to Fortune Go-Go Cage” (if they have the courage), and to just experience Costello Magic up close and personal. The ladies make their way to Donald Trump’s chairs as the stage is intoxicated with colors – green, orange, yellow, and purple. The crowd turns quiet, and the band starts to play (what turns into) a mini set of, “I Can Sing the Colors of the Rainbow.”

Costello engages his fans in another story. This time it’s about the artwork in a hotel room he stayed at in Berkeley circa 1970. “On the wall of the room, there was a beautiful, painted silhouette of a couple fucking. I knew this was a reminder for me – ‘things to do today’.” Eyebrows and laughter rise from the weed-dazed audience.

Costello runs through the next few songs without a Songbook selection. Fans yell “Chelsea!” as soon as they pick-up the well-remembered note combination of “(I Don’t Want To Go To) Chelsea.” The band plays deep reggae tones, and the lighting engineer flashes starry lights just before the stage is swallowed in bright yellow-orange hues.

The crowd continues to cheer until Costello walks out from backstage, alone, wearing a sparkly gold jacket with a black collar and, no surprise, his classic black-rimmed glasses. Costello serenades the audience, “I’m just one lone man, traveling, with a suitcase.” He continues, “Somebody’s calling me again,” before walking back off-stage.

The night ends with a third hard-hitting chaotic-rock encore rendition of “(What’s So Funny ‘Bout) Peace, Love, and Understanding.” Costello, still wearing the gold sparkling jacket, he claims is “a jacket you can cheat in,” is pleased with his production. He looks back to The Imposters, looks forward to his fans, and blows the Fox a kiss. The back lights flash frantically (vaudeville-finale style) and Costello is gone – off to perform his next outrageous musical carnival.

Amy Powell

The Revolver Tour, Fox Oakland - May 9, 2011

The Revolver Tour, Fox Theater Oakland – full set-list via Setlist.fm: http://tinyurl.com/44z4q8u

Struggling to keep two VIP hors d’oeuvres stations stocked, a food-runner bobs and weaves feverishly through a crowd of high brow Blue Bear Music School supporters at the sixth annual Blue Bear Music School (BBMS) Benefit at Bimbo’s 365 in San Francisco on May 20, 2011. This is not the first private event Southern style restaurant, 1300 on Fillmore, has catered but as the hired staff fought naïvely against logistical miscalculations the entire evening I became quickly weary of their ability and performance as a professional caterer.

At six-fifty-five, Bimbo’s 365 security and BBMS staff are coordinated and ready to greet guests. At six-fifty-five, Monetta White, 1300 on Fillmore owner and cater manager, is closely overseeing her five kitchen staff as they hurriedly transfer prepared appetizers onto (ridiculously) small serving platters. At seven o’clock, house doors open to paying benefit guests as scheduled. At seven-twenty, the two VIP food stations are ready (25 minutes late) with a smattering of over cooked and inadequately prepared classic Soul food fare.

The menu: pimento cheese toast, ham and cheese biscuits, Caesar salad with croutons and pecans, sausage and okra jambalaya, fried catfish and pulled pork sliders, fried chicken on a skewer stick, and shrimp grits and blue cheese grits served in bite size plastic containers with a plastic spoon. All dishes were prepared and cooked at 1300 on Fillmore, then re-heated and plated at Bimbo’s 365 for “quick and easy” serving in mind. Good concept, bad execution.

Over the next hour, VIP guests stream into Bimbo’s VIP section, packing the area by eight-twenty. It was obvious VIP guests had arrived hungry (most likely relying on the advertised “complimentary Southern inspired heavy hors d’oeuvres” for dinner) because there was a constant demand for food. But with only one food-runner, poor access to hors d’oeuvres tables, and tiny platters (filled with 10-15 items per plate) leaving the kitchen, 1300 on Fillmore was set for failure. It was evident, with the elements at hand, the frazzled caterer (and really any caterer) could not keep up their game.

On top of service and timeliness, the “Southern inspired heavy hors d’oeuvres” were not worth the extensive wait. The fried chicken breast was good in size, but dry in quality – I needed water/wine-backs to choke down my first (and only) bites. The salad’s romaine leaves were soggy with dressing and caked with parmesan cheese – I’m guessing that the salad had been dressed hours before it was served (in the industry, this is not common/good practice). The pulled pork filling was yum – the meat was moist with tangy spice and topped with two thin cucumber slices – but the bun was cold and much larger than the portion of meat. The shrimp and blue cheese grits were probably the best taste on the menu but they were served in such small samplers, no one could get the ample portion they desired. Good concepts, but again, bad execution.

If I were paying $150 for one VIP ticket, I would expect catering to be exceptional in quality, and plentiful in quantity. For such a pricey ticket, guests should not have to wait for mediocre hors d’oeuvres, and I know it was not BBMS’s intent to hire a caterer who did not provide “the best.” In San Francisco, we have multiple five star restaurants and catering businesses at our fingertips – 1300 on Fillmore caterer is not five stars, and it most certainly is not “the best.” My advice to Blue Bear Music School is: if you want your VIP guests to be impressed and feel as if they got their monies worth, do not feature catering from 1300 on Fillmore (2 star AP Review rating) at your exclusive event again.

1300 on Fillmore
1300 Fillmore Street, San Francisco
415.771.7100
Open Daily 5:00 pm – 1:00 am

Man Man, an experimental 5-piece band from Philadelphia, has created a unique musical phenomenon with curiously stimulating (and unruly) live performances that have entertained fans and critics since their conception in 2003. Today, the band has produced four studio albums, two EPs and have toured (practically everywhere) across the US.

In December 2010, Metrowize listed Man Man as one of the “25 Best Acts to See Live.” After reading a few of their most recent reviews, I quickly added the band to my “must see” list, and on May 14, 2011, I found myself at Bimbo’s 365 in San Francisco waiting for Man Man to take the stage. Post-show, I do not agree that Man Man is one of the best live acts I have seen, but I will say that their stage set-up is worthy of important mention.

Man Man Stage Post-Show, Bimbo's 365

Man Man’s dimly lit stage was a chaotic yet, surprisingly well-organized array of instruments, toys, sculptures and tools that gravitated around (and faced) a glowing red gem object positioned at center stage. The entire set-up resembled a space orbiting time-machine’s command center set in front of a sparkling starry-blue sky that swayed gently behind the band’s exploratory sound.

The stage boasted five individual instrument set-ups – one for each crazical musician. From the house floor, each set-up looked like a hodgepodge mix of metal, uneven colors, and personalized trinkets. Strands of red lighting rope precariously connected the five cockpits from one side of the stage to the other. The only constant between the five set-ups were uniform tom and bass drums patterned (like sore thumbs) with neon-cool colored shapes.

As Man Man’s first song started, I questioned the relevancy of some stage pieces. To call out a few, a ladder stood prominently behind the mass of equipment on stage left. An up-side-down unicycle projected upward from one of the instrument sets on stage right. And a yo-yo hung from a keyboard at center stage. I thought, “such an elaborate collection of non-noise-making pieces was unnecessary.” But as the show progressed, each piece of equipment, art and/or mechanism was used in some capacity by one of the band members – nothing on stage was “just for show.” Yes, the ladder and unicycle were both incorporated (and featured) in the set.

Man Man and their stage are a match made in unconventional hippy heaven. The stage helped to set-up the band for improvisational perfection – overloaded with unknown twists and unexpected turns to ensure that every Man Man show is a one-of-a-kind experience by a one-of-a kind band.

Back in February 2006, Prefix Magazine wrote, “Man Man’s music will irritate you, make you laugh, put you off and then bring you back for more.” I do see truth in this statement, and I do plan to catch the Man Man quintet for a second take on what the war paint wearing, costume trending, crowd exciting act brings to the world of spontaneously original music performed live.

Man Man Stage Post-Show, Bimbo's 365

Check out Man Man (the band): http://www.wearemanman.com

See Man Man (the live act): http://atlanta.thebackstagebeat.com/2011/04/man-man-tour

The single “I and Love and You,” written by Scott and Seth Avett of folk rock band, The Avett Brothers, is composed of sincere, simple, honest sorrow.

Read the lyrics and watch the video. Prepare to be “moved.”

“I and Love and You”
Written by Scott & Seth Avett

Load the car and write the note,
Grab your bag and grab your coat,
Tell the ones that need to know,
We are headed north.

One foot in, and one foot back,
But it don’t pay, to live like that,
So I cut the ties and I jumped the tracks,
For never to return.

Ah Brooklyn, Brooklyn take me in,
Are you aware the shape I’m in,
My hands they shake, my head it spins,
Ah Brooklyn, Brooklyn take me in.

When at first I learned to speak,
I used all my words to fight,
With him and her and you and me,
Oh, but it’s just a waste of time,
It’s such a waste of time.

That woman she’s got eyes that shine,
Like a pair of stolen polished dimes,
She asked to dance I said it’s fine,
I’ll see you in the morning time.

Ah Brooklyn, Brooklyn take me in,
Are you aware the shape I’m in,
My hands they shake my head it spins,
Ah Brooklyn, Brooklyn take me in.

Three words that became hard to say,
I and love and you.
What you were then I am today,
Look at the things I do.

Ah Brooklyn, Brooklyn take me in,
Are you aware the shape I’m in.
My hands they shake my head it spins,
Ah Brooklyn, Brooklyn take me in.

Dumbed down and numbed by time and age,
Your dreams to catch the world, the cage,
The highway sets the travelers’ stage,
All exits look the same.

Three words that became hard to say,
I and love and you,
I and love and you,
I and love and you.

Before driving south to Coachella Valley Arts and Music Festival in Indio, California, Phantogram duo hit The Independent in San Francisco on March 15, 2011 for a sold out electro/ghetto/bass/synth/rock show. Originally from Saratoga Springs, New York, guitarist, Josh Carter and keyboardist, Sarah Barthel have found a tight/humble energy that keep fans yelling, “I love you Josh,” and “I love you Sarah,” throughout their set.

Barthel is Alison Goldfrapp meets Alice Glass (Crystal Castles) with energetic/focused movements, light/airy vocals, and impossibly shiny/sharp/sexy midnight black hair. Phantogram fans, male and female, are captivated by her confident allure.

Barthel at Independent. Photo provided by - SF Station

The third track of the set, “When I’m Small” starts with a synthesized beat while Barthel makes robotic dance moves behind her keyboard showing off metallic black pants and edgy bangs that fall just over her eyes. She chants breathy vocals into the microphone, “Ohhh Ohhh,” that echo on loop before drums, keys and guitar join in. Barthel has comfortable ease on stage and an angelic voice. The beat slows as she ends the song with innocent lyrics, “Show me love.”

Stage right, next to Barthel, Carter is dressed in a red plaid fleece buttoned shirt and blue jeans. His guitar sits low on his hip. His presence is laid back/nonchalant/mellow – a complete one-eighty from Barthel’s seductive mystery. His back-up vocals are calm and articulated – singing back-up on most songs in the set, minus two tracks, “Turn It Off” and “Bloody Palms” where he sings main vocals.

During, “Mouth Full of Diamonds,” Carter holds his guitar like a prop and energetically dances around stage (interacting with his band and microphone stand) to stimulate fans. And fans cheer in response. Quickly, Carter takes a moment from entertaining the audience, closes his eyes, tilts his head back, and moves his fingers romantically over his guitar strings. Just before the synthesizer brings the song to a halt, Carter looks to Barthel, her eyes are closed, her head is rocking to the bass drum synth beat – Phantogram is totally immersed in their dark world of electronic American rock.

Phantogram at Independent. Photo provided by - Photo Guurl

At 11:20pm, the show is over. After eight concise songs and a one-song encore, the lights dim to black, house lights are on, and fans shuffle outside.  Although the concert passed quickly (songs lasted 3 minutes, 45 seconds on average and the encore was even shorter), Phantogram did not disappoint. The duo shared one debut song, “16 Years” (originally meant for Coachella fans), and hit each number with strong focus and force. Phantogram is a fresh phenomenon, and fans have pure passion for their curious sound creation.

Read Phantogram bio: http://www.barsuk.com/bands/phantogram

Listen & check upcoming tour dates: http://www.myspace.com/phantogram

It is ten minutes to six o’clock as I pull my car into the gated parking lot of Audio Box Studios in San Francisco. I see two members of the band, Guella, standing in the puddle-ridden parking lot. One member has a dog, who I formally meet minutes after his slobbery nose is sniffing my pant leg. I greet the two of four members as the final two arrive. The band quickly pull gear – guitars, pedal board, and a few neatly wrapped cables –  out of their trunks and we run inside as it starts to rain. Guella’s new drummer, Dan McGivern calls to Morrison, his curious Australian Shepard who is drinking water from one of the parking lot puddles.

The studio’s heavy metal door opens to a long white hallway of pad-locked doors, scuffed walls, plywood floors, and miscellaneous promotion posters tacked to the walls. Faint sounds of drum beats and MC lyrics echo down the lonely hallway – I am reminded of a scene from The Shining. Guella shares their studio with another band, which allows them to practice two nights a week. As the band – guitar/vocals, David Taus, keyboard/vocals, Taylor Garland, bass, Jeff Hunt, and drummer, Dan McGivern – set-up and tune their instruments, they talk about their recent happenings, and crack a couple beers to sip throughout practice.

“Ready? Let’s get a list down and warm up,” asserts ring leader Taus. He is talking into a live microphone and plucking his guitar lightly. The band quickly discusses what songs need work, pick three titles, and start “jamming.” Positioned in a close circle, they face each other so they can talk and watch each other play. As the warm-up continues, I examine the space. Colored Christmas lights hang from one end of the room to the other. Two white boards are mounted on opposite walls and are littered with set lists, notes, song names (36 original, 11 covers) and scribbled music chords. The room contains posters featuring Phish, Metallica, The Beatles, and Pantera (which is posted on the ceiling). Morrison is roaming slowly around amplifiers and chords. There is a fan in the corner, next to the second drum set, but tonight a heater is favored in the chilly, well-soundproofed room.

Guella stops their “jam” to work on the selected “need work” songs. They verbally go over each song as a project, discussing beginning notes, chorus, instrumental transitions, and breaks. Their rapport is light as they share jokes and laughs during debate. Now they play. Taus calls “chorus,” “verse,” and “instrumental,” to McGivern (Guella’s newest member by 2 months) to help him perfect one of the band’s hits, “Log Cabin.” On second run-through McGivern closes his eyes, listens, and samples different rhythms through each section of the song. He is getting it. “The ending still needs work,” states Taus, “Let’s run through one more time for good luck.”

Next song up is “The Corner,” featuring a Gospel tone with heavy organ and meaningful lyrics. Guella plays, stops, plays, and decides the guitar tone needs to be “simpler.” Garland suggests to Taus, “Just play notes. Strum with relaxed flow instead of tight with the beat.” First, the band runs through the entire song several times to get Taus comfortable with a “simpler” riff. Hesitant about the toned down melody, Taus takes solo time to finesse and fine tune his sound. Garland calls out song lyrics, “I’m not anywhere, if I’m not right where I am,” and Morrison is asleep next to Hunt’s feet. On the final run through, the band looks happy, and Taus is optimistic when the rest of the members are in favor of the guitar’s new melody.  They eagerly agree on the revised guitar riff and move on.

“Ben Beever” is the next and final practice song. The band runs through this jam piece (one of the newest in their repertoire) with ease. It starts as a full and powerful song, that tones down to a calm and melodic progression, to crescendo into a fierce Phish tribute. Garland gently delivers the lyrics, “Darkness gonna give way to light…we will come full circle before too long.” The band has perfected their technique for this song, but they need to find a vision. Each member makes their suggestion for improvement. Garland comments on what the song’s image should portray to the audience. Hunt and Taus discuss their visions of how the song is meant to sound to the audience and how they hope the audience will reciprocate to each variation. The discussion fazes out, and they are ready to move to the next part of practice.

Thirty five minutes left, it is time for a “scrimmage.” The band creates a set-list and one encore song to run through – “Jesus Oh My,” “Ghouls and Goblins,” “Gumbo,” “Fearlessly,” “Doom,” “Patience and Balance,” with “Log Cabin” as an encore. Throughout “scrimmage” the band is lose, well-oiled, and show-ready. Each song brings more improvisation and experimentation with technique, sound, and vocals. The 10×15 studio space is filled with a unified sound that groves, hiccups, and energizes. Morrison is now awake, standing at my feet. I look to the band, Guella is having fun.

As I thank and hug each band member good-bye – I am grateful for the opportunity – I look once more around the organized clutter that Guella calls “home.” As I walk back down the nondescript hallway, the beautiful lyrics repeat in my head, “Look at all the pretty things we built.” And I see, Guella has built a pretty music-making machine, with passion, friendship, and soul as their fuel.

Guella - Original Music from San Francisco - at Irelands 32 in Inner Richmond

The Independent is packed. It is February 24, 2011, the second official night of San Francisco’s 18^th annual Noise Pop Festival. Tonight, four bands will take the stage at the recently remodeled Independent – Voxhaul Broadcast, Ferocious Few and The Soft White Sixties and The Stone Foxes. It is pouring rain outside (snowfall is predicted tomorrow), yet the party crowd inside is vibrant and alive.

Like clockwork, each band leading up to the headliner plays a 25-minute set, and the set change is complete in 7 minutes. It’s just 11:20p and The Stone Foxes (Aaron Mort – guitarist, Spence Koehler – guitarist, Avi Vonocur – guitarist & bassist, and Shannon Koehler – drummer) take the stage. The four young boys are from California, met in San Francisco, and started playing together in 2005 to create (what is now) a thriving rock band. Their adolescent style screams hip, grunge, sexy-cool. Their music yells, “This is it, we know what we’re doing!” But their presence is awkward.

The Foxes are a band that have not yet learned the importance of stage presence –each band member stands lonely on stage, minus the drummer who is positioned directly behind guitarist, Koehler. The boys have not learned how to engage the audience or each other throughout the performance. They are a band that does not entice the audience to watch.

This aside, after I close my eyes and just listen to the music, I “see” a completely different band – a sophisticated rock n’ roll band that demonstrates the music I hear. I hear a band whose sound is well thought out and precise. I hear a band whose talent is humble and compassionate. I hear what could have been an up-and-coming rock band my father listened to in the 50s. Yes, this is it, and we’re listening.

To close the night, drummer, Koehler displays his diverse talent with a radical, loud and unconventional rap on the harmonica. The band and crowd are pumped up. Microphones are knocked from their stands, and a wet t-shirt is thrown into the audience, and all their fans are cheering. The stage lights dim for a mere minute as the band walks off, and back on stage. They play one more song for the night – a cover of “War Pigs,” by Black Sabbath. Classic.

I look forward to watching The Stone Foxes play live in a few years. Their music is there, but their appearance is not. Here’s to a successful evolution into the future. Go get ‘em boys!!

At The Independent in San Francisco on January 19, 2011, Zoe Keating is unconventional innovation, sweet curiosity, attractively quirky, a composed storyteller, tranquil passion under fiery grit, a serene experimentalist, engaging avant-garde, and a humbled perfectionist. In one word, she is brilliant. If only her computer software were more stable, her set would be seamless.

Zoe Keating at The Independent

Zoe Keating at The Independent