Photos: London’s Rudimental at The Regency Ballroom


I remember many (many) years ago I was at Notting Hill Carnival. I was there with my mum and my two sisters. At one point we were lost somewhere down Ladbroke Grove between the floats, the people dancing and smell of food. I was standing there, overwhelmed by the costumes and the colors when my eldest sister tugged my arm to get my attention. We turned and in the distance M-Beat were performing live drum ‘n’ bass. My sister, six years my senior, wondered off to go and experience the sounds up-close, me being very young had to stay back with my mum watching the floats go by as she went to rave in the mid-afternoon sunshine.

Rudimental, hailing from East London, reminded me of that moment last night as their high tempo show had The Regency Ballroom bouncing from wall to wall.

Friday night, San Francisco, was the last stop on Rudimental’s current US Tour supporting the release of, We The Generation, their sophomore album. Number one in the UK, We The Generation feels like a collection of anthems about the realities of life, young love and youthful uncertainty. Read More

Interview: Oakland’s Lila Rose on darkness, collaboration and waking up


Alternately invoking “Goth-R&B,” electronic singer-songwriter types like Bjork, and an edgy dark rock, the music Lila Rose makes on her most recent album WE.ANIMALS. will stop you in your tracks.

Rose relocated to Oakland from Toronto only a few years ago and has found lots of success here in the Bay Area, being named the 2014 East Bay Express Artist of the Year after the release of her album Heart Machines. She’s got a new album now and released a video for her song “This Could Be Ha” last week. It it is dark, intense and wrought with the kind of struggle humans must face both individually and collectively. We caught up with her about the video, the process of making WE.ANIMALS, the importance of empathy, and connecting music to universal imperatives.

“This Could Be Ha” – Lila Rose

SFCRITIC: Seems like coming to California (from Toronto) was a big move for you. What inspired the move, and did you come first to the Bay Area or have you moved around in-state? Read More

The Mynabirds: stupendously good at the Swedish American Music Hall


David Byrne gave a TED talk five years ago exploring the relationship between the changing architecture of venues and the evolution of music — watch it; he’s brilliant — and asking the question, “Does the venue make the music?” Byrne’s answer is an unequivocal yes. Last night at the Swedish American Music Hall, indie-pop band The Mynabirds (Saddle Creek), touring their new album Lover’s Know, could have been a case study for this inquiry; the two distinct styles of songs played fared so differently in the Hall’s grand ballroom. All of them were good, but the ones that fit the venue were stupendously good, and I finally understood the use of the word “bird” in their name, as singer Laura Burhenn’s vocals spread albatross-wide and lifted me a’flight.

The grand ballroom, built in 1907 as a meeting place for the Swedish Society of San Francisco, features dark oak wainscoting 7′ high on every wall, intricate woodwork on its balcony, and is flanked by imposing thrones of a similarly dark oak. The stage is small. The walls are bare. There isn’t much to break up sound, which creates a problem not so much for fast songs, as for fast changing songs, songs with lots of lyrics, or quick turn arounds. Of the Mynabirds 14 songs, about half fit this category. They were good songs, mixing in with their pop sound some classic rock, and bringing to mind Grace Slick, early Rolling Stones, Three Dog Night, and Pink Floyd. There were politics, an ode to California, and there was a little bit of Motown on my favorite of these tunes, “Numbers Don’t Lie.” But, these songs needed a bigger stage and less alive acoustics to let their superpowers out. Read More

Ticket Giveaway 10/16: Aussie Duo Strange Talk’s New Look, New EP and New Single “Jive”


Friday October 16th is a big day for Australia’s electronic duo Strange Talk, it marks the culmination of a period of reinvention for the young act. We want you to be there to hear their new sound on the day release their new EP at Rickshaw Stop. We have two pairs of tickets for this show so your odds of winning are doubled!

a Rafflecopter giveaway
When we last saw Strange Talk here in SF May 2014 they were a four piece indie-synth-rock act, riding a big wave of publicity after having their single “Young Hearts” pushed to millions of Snapchat users around the world. But one hit doesn’t make a band a success, and they were savvy enough to evolve their music and act.

Their story is familiar to anyone who knows the music industry and the factory atmosphere around many up-and-coming groups. Two guys who love to make music, but who get lost in the world label pressure, management and constant touring. I highly recommend you read about their journey as told to Tone Deaf.

On Friday October 16th we get our first taste of the duo as they emerge leaner, dance-ier and perhaps even stranger. The shift allows frontmen Stephen Docker and Gerard Sidhu to focus more on songwriting and production. While I will miss the live instrumentation, I haven’t been able to stop listening to the new E.V.O.L.U.T.I.O.N EP since I got an early listen last month.

Today we get another new taste of the EP with “Jive.” This is a banger, and really demonstrates how far the group has come. The track has more in common with Justice than anything on 2014’s Cast Away. Check it out below: Read More



This past weekend Dublin Ireland’s Villagers, project of sonic mastermind Conor O’Brien, reminded San Francisco what powerful songwriting can be.

Starting on Saturday night, the band took a break from their tour with Paul Weller and braved it alone for their first headlining show of their latest album Darling Arthmetic in San Francisco at the Swedish American Hall. The all-seated venue was the optimal environment to wrap oneself in O’Brien’s resonant voice. Touring as a stripped down three piece featuring welsh virtuosos, Gwion Llewelyn (Drums, Trumpet, Vocals) and Mali Llywelyn (Keyboard, Piano, Vocals) the band shuffled through top drawer tracks from the Villagers three albums, harmonizing like a finger ringing around a crystal glass — perfection.

The wide eyed audience was then hit with “Becoming a Jackal”, where full crowd participation harmonizing was required, and they obliged creating an environment where no drugs were required to feel the high.
Read More

Song of the Day: Lung and Limbs “Signs Of Life,” Release Show 10/9 at Hotel Utah


Today we get a sneak peak at a new track from San Francisco-based Lungs and Limbs ahead of their official release show next Friday at Hotel Utah.

Here in San Francisco we know that October isn’t too late to release a fun summer jam, it’s actually probably the height of summer for us. Today we have “Signs Of Life” a new light and airy indie rock track with plenty of toe-tapping bass drum, and a repeating vocal hook that will get stuck in your head. The local act is made of of Karina Rousseau, Nick Tudor, Matt Power and Chris Casey. Vocalist Rousseau layers her lyrics with plenty of ‘ohs’ and is playfully mirrored during in the chorus by quick plucks of the guitar. A smooth bass line and synth tones accent the galloping pace of the drums to fill out the sound.

Check out the track yourself and see them live October 9th at Hotel Utah. Tickets are $10 bucks and you can pick them up here.

Photo provided by Breakup Records

Rock n Roll lives! (Slim Twig at the Hemlock)


When I wrote about Slim Twig playing at the Hemlock a few weeks ago, I wanted to see the live show mostly out of curiosity. The new album Thank You For Stickin’ With Twig (on DFA) is a strange, alluring, and massively-sounding production that seemed impossible to recreate live. What I didn’t realize is just how rock n roll it would all be smashed onto the Hemlock’s postage-stamp stage last night — rock n roll all the way through.

Let me set that stage for you:

Immediately before them, as support, was LA-based Jack Name. It may have been exactly their intention – LA Magazine reports that “nonconformity is a central theme in Name’s work” — but I found this band an utter assault on the ears. Decent beats and hooks were drowned by poorly executed guitar wanderings awash in an ear-piercing distortion. The vocals were buried in a similar distortion and barely audible, almost like Name was singing into a drainage pipe from the top of a building while a car alarm and a fire truck passed. Planted on two sides of a card table, looking at each other and never at the audience, with not even a second to breathe between songs, the visual presentation was as difficult as the sound. I could only take a few of these songs without feeling angry, like I wanted to break something. I left after three. Read More

Interview: Lincoln Durham Talks Cigar Box Blues, Mental Illness, and Upcoming Album


Noticing Lincoln Durham unpack his gear, it may be natural to assume five or six other musicians would later man the stage to help play so many instruments. There are nine or ten, maybe more depending on how you count. But surprise hits when no one else exits the Durham tour van (except Alissa Durham, later identified as Lincoln’s tour manager).

After he finishes arranging the instruments to form a central station fit for only one, the power of deduction prevails, albeit late to the party. Lincoln commands all the instruments and often does so simultaneously.

 “I fear being stagnant. From one album to the next, there’s a progression. [Along the way], there are a bunch of heavy, dark parts. I hope people continue to follow me down that path.”
– Lincoln Durham

Oh, that worn, hard shell suitcase is a funny stage prop, you might think to yourself just before Lincoln gives a subtle thumbs-up to the sound board in the back of the saloon. This is how he kicked off his headline show at Bottom Of The Hill this past Summer. Lincoln Durham has shown off his art to San Francisco twice in the last three years, both times at Bottom of the Hill. After he performed in support of Little Hurricane in 2014, Bottom of the Hill had no problems having Lincoln return to headline a show himself. Read More

Kamasi Washington – The New Guard of Jazz


In the wake of his recent collaborations with Kendrick Lamar and Flying Lotus, Kamasi Washington has put himself in the perfect position to reinvigorate jazz music, and if the young faces crowding the Warfield Saturday night are any indication, he is doing just that. Washington’s opening set for Snarky Puppy marks his first performance in San Francisco, and he left us wanting more. Wanting a lot more actually, because material from the tenor saxophonist’s sprawling solo debut The Epic, does not lend itself particularly well to a 45 minute opening set. That being said, Washington, along with his seven piece band, and several guest performers used their time effectively to melt faces and blow minds. The pace was set right out of the gate with an appropriately behemoth performance of The Epic’s opening track “Change of the Guard.”

There is no shortage of virtuosity in the company Washington keeps. His band, The Next Step is made up of his long-time friends and collaborators, many of whom are in his previous project The West Coast Get Down. The live ensemble included acoustic bassist Miles Mosley, Ryan Porter on trombone, vocals by Patrice Quinn, Brandon Coleman and Cameron Graves on keys, and two drum kits manned by Tony Austin and Ronald Bruner Jr. One of the most endearing parts of the show was seeing excitement and enthusiasm of the folks on stage as they listened to their colleagues take a solo and explore the space of Washington’s grandiose arrangements with improvisation. Read More

TICKET GIVEAWAY: Oakland Music Festival 9/26- GoldLink, Los Rakas, Trails and Ways + Many More


If you rely on stereotypes, Oakland is a dangerous place whose population mostly face bleak futures. But it doesn’t take much to realize the bullshit in that. Oakland is alive. It has a rich history, as home to not only the Black Panthers, but also one of the most vibrant African American middle class communities in the country starting in the 1920s, the final destination of Amelia Earhart’s successful solo flight from Honolulu, and the creation of Rocky Road ice cream. It also has a rich musical history with legends like MC Hammer, Digital Underground, Heiroglyphics, En Vogue and the Pointer Sisters all calling Oakland home. Oakland is a place of proud culture and strong community and its present moment is worthy of celebration.

Oakland Music Festival (OMF) set out in 2013 to do just that: pay homage to Oakland’s badassness. Happening next Saturday September 26th, the festival will put 42 artists on 5 stages to close out the summer in style. The bill boasts local and international acts that span pretty much any genre you’d be interested in (hip-hop, electronic, R&B, indie, Latin, rock, World), most notably buzzing rapper Goldlink and local indie darlings Trails & Ways. Per Bay Area festival standards, there will also be an Epicurean array of delectable edibles from local restaurants, and beverages from local breweries.

We want to help you get there, and we’re giving away two passes to the festival.

a Rafflecopter giveaway.

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