Ian Birnam/Staff

If you would like to see live performances and interviews of the three bands down below, please check out our multimedia page.

Now in its sixth year, the Outside Lands Music and Arts Festival is once again about to take over San Francisco’s Golden Gate Park. Much like you don’t need to be reminded about the fog that will roll in around late afternoon, you don’t need a preview guide telling you about how rad Vampire Weekend is or how amazing it is that you have the chance to see Paul McCartney. Rather, this brief preview is meant to bring some smaller bands to your attention, three of which hail from the Bay Area. Try to catch these bands in between chowing down on pastrami cheese fries and dancing to the Red Hot Chili Peppers.

The Soft White Sixties

When you hear the term “Working Class Soul,” what do you think of? Perhaps the funk and jive of soul mixed in with some old-fashioned rock ’n’ roll? This combination in conjunction with a dose of pop sensibility gives an idea of what The Soft White Sixties bring to the table. The San Francisco five-piece have been playing numerous stints, including this year’s SXSW festival, where they’ve been performing tracks from Get Right., their upcoming LP. Album opener “City Lights” melds fuzzy keyboard riffs and guitar licks reminiscent of the Black Keys as vocalist Octavio Genera melts through the wall of sound. If the keys and six-strings make up the wall, though, then Ryan Noble’s bodacious bass is the foundation, fortified by the catchy drum beats from Joey Bustos. Those in need of some gritty pop tunes can catch The Soft White Sixties opening up the Lands End stage on Saturday.

Midi Matilda

If anyone has told you the spirit of the ’80s is dead, tell him or her to listen to the dance-inducing rhythms of Midi Matilda. With a nostalgic flair and silky, smooth beats, the duo of Skyler Kilborn and Logan Grime have formed a partnership made in electro-pop heaven. After they both graduated from Ex’pression College for Digital Arts in Emeryville, Kilborn and Grime released their EP, The Red Light District, and are planning on releasing a debut album in the near future. Tracks like “Ottawa” combine melodious synth riffs with harmonious “ooohs” as Kilborn’s vocals swim gracefully alongside them. Others consist of falsetto swoons and blaring horns mixed with soothing keyboard swells, such as on “Day Dreams.” If you’re an early riser and manage to get to the festival when it begins, the groovy duo will be opening up the Twin Peaks stage this Friday.

The Mother Hips

It is truly a rarity for a band to say they’ve been around for 10 years. It’s even more surprising to hear a band has stayed together for more than 20, such a statement that Bay Area folk-rock band The Mother Hips can confirm with pride. The band released their eighth record, Behind Beyond, this year, continuing their venture through the dusty trails of bluesy California twang. Not all tracks shine bright through the Bay fog, though. “Song For JB” serves as a memorial to friends of the band who have passed away in recent years, including Wilco member Jay Bennett, whom the song is named after. Other tracks have a much lighter tone, such as the hip-swaying narration of “Toughie.” Fans old and new of these veterans of rock can watch them take over the Panhandle stage at 6:05 p.m. this Saturday.

Atlas Genius

Other than porting over the delectable chocolate Tim Tam cookies to the United States. via Pepperidge Farm, Australia has also been successful in popularizing its rock bands in the States. Almost everyone has heard of Jet — you know you remember “Are You Gonna Be My Girl?” — and Powderfinger had their time here as well. However, the latest band to make it from down under are the brothers Keith and Michael Jeffery, better known as Atlas Genius. The duo first hit it big in this hemisphere with the swirling string plucks of “Trojans” but have become increasingly popular this year with their debut album, When It Was Now. Other tracks to watch out for this weekend include the lofty guitar strums and bass-toned synth of “Symptoms” and the blaring high-energy velocity of “Electric.” Sway away with the Aussie duo and their tourmates at the Twin Peaks stage at 2:10 p.m. this Saturday.

Ian Birnam covers music. Contact him at ibirnam@dailycal.org.

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Katie Holmes/Staff

The Bay Area is home to a lot of great performance venues hosting all types of artists and musical acts. One of the lesser-known of these may be the stunning Mather Redwood Grove. Nestled in the UC Berkeley Botanical Gardens, this spectacular setting comes to life every Thursday evening of the summer with the Redwood Grove Summer Concert Series. This annual program, now in its third year, features a diverse lineup of live performances ranging from folk, pop and rock to blues, jazz and world music. In discussing the venue’s unique location, program director Christine Manoux explained, “The idea behind the Summer Concert Series is to offer a venue that’s family-friendly and that features an eclectic lineup.” The intriguing lineup aside, soaking up the atmosphere in the Grove’s natural amphitheatre, surrounded by majestic redwoods in the early evening light, is in itself undoubtedly a one-of-a-kind experience.

Kicking off the evening in front of an eager crowd of all ages this past Thursday was the San Francisco based folk-pop duo Ramon & Jessica. Consisting of violinist Dina Maccabee and multi-instrumentalist Jesse Olsen (who were joined by a guest performer on the accordion toward the end of the show), Ramon & Jessica set the tone for the night by opening with an enchanting song that, as Olsen put it, “invokes the spirit of the native plants of California.” The duo’s elaborate harmonies, unusual arrangements and simple but moving lyrics seemed tailor-made for the serene setting. With their focus on themes of nature, coming home and bonding with earth, the lyrics invoked a sense of connection to the environment.

Following a short intermission, the second act of the night, Gojogo, took to the stage. The dynamic quartet performed original music composed collaboratively by the four members, music that can be described as a combination of the Western sounds of classical and jazz with the rhythmic traditions of India. Instruments incorporated into the show included violin, electric guitar, bass, Indian percussion and electronics. As well as celebrating their 10th anniversary as a group, Gojogo is also currently in the process of releasing their next record, from which they gave the audience a sneak peek of a few songs during the show. This record will be the band’s first theme album, a collection of songs inspired by the natural landscape of California. In line with the natural surroundings, Gojogo’s music proved mystical and haunting — a combination that produced an enthralling effect. The lingering, drawn-out tunes emanating from the stage seemed to fill up the spaces of the woods. For their last number, the group projected an animated version of the Russian folktale “The Hedgehog in the Fog” on a screen above the stage, to which they had set a musical score. This cute yet eerie film of a wayward hedgehog lost in the fog, with its dark undertones, was made even more captivating by the music. Judging by the audience’s response, this act was gripping and amusing to both the younger and older crowd.

Running until August 29, the remainder of the calendar offers a selection of acts whose musical genres span from golden-era tango to danceable old-timey R&B. If the performance this past Thursday was anything to go by, the rest of the series will be well worth attending. As succinctly summarized by Manoux after the show, “What’s so great about the series is that musicians love performing in this special space, and the audience loves the intimacy of it.”

Contact Corinne Platten at cplatten@dailycal.org.

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Sureya Melkonain/Staff

The third annual Phono del Sol music and food festival kicked off on a warm, sunny July 13 and featured some of the Bay Area’s hottest indie bands and most popular food trucks. The nonprofit organization The Bay Bridged started the festival as a way to converge the vibrant local music scene with the creativity of food trucks in the versatile venue of Protero del Sol — complete with a skate park, playground, two stages for performances and a beer garden. With 12 bands — some mature and venerable bands like Thee Oh Sees and a few young and rising bands like Surf Club — and eight food trucks, this is an up-and-coming festival that will only get better and attract bigger crowds in the future.

Cool Ghouls

One of the first bands that played was San Francisco’s Cool Ghouls. These San Francisco State alumni bring a harmonious blend of psychedelic, garage and rock n’ roll. Genres and ’60s influences aside, these folks are just fun-loving musicians who are out to jam together with the impressive trifecta of high and low vocals from Pat McDonald, Ryan Wong and Pat Thomas. “Natural Life” is a perfect example of the band’s convivial personality, with an undeniably catchy hook and upbeat lyrics. The horns in the background added a more contemporary twist to the throwback nature of the guitars. Cool Ghouls’ liveliness in focalizing these different sounds brought a conspicuous energy to the festival.

Social Studies 

Vocalist and keyboardist Natalia Rogovin evokes the ethereal and soulful voice of Beach House’s Victoria Legrand. “Away for the Weekend” features her smooth vocals, which, in juxtaposition with the sharp guitar and synth lines, create a delicately and oddly unifying structure — a commonality in many of their songs. The more somber tone of “Terracur” hushed the crowd and epitomized the band’s maturation in their sophomore LP, Developer. Besides the improved production, Developer focuses more on introspective exploration of the Kairotic moments in life, centering on the subtlety and fleeting nature. Even after the band finished their set, their songs remained unsettling and lingered on.

Bleached

When they played “Looking for a Fight,” Los Angeles sisters Jennifer and Jessie Clavin established their electrifying intensity with bombastic lyrics and swift guitar hooks. But despite the rhythmic, opening bass lines of “Dead in Your Head,” they were subtle in comparison to the lyrics about individualism and love, and the song showcased their versatility. Their soothing vocals along with the fast-paced structure in “Next Stop” added to the visceral surf-rock, pop-punk nature that matched the bright sunny ambience of the festival.

Marnie Stern

Walking on stage barefoot, Marnie Stern nonchalantly began her signature guitar tapping. She held nothing back — she did Woody Allen impressions and asked the audience if her vagina overpowered her guitar or if it was the other way around. But she proved that she isn’t all flash and no substance. “Noonan” featured her honesty and determined drive as a musician as she wailed, “Don’t you want to be somebody?” For her new album, The Chronicles of Marnia, Stern brought in drummer Kid Millions, who played impressive drum solos. These two virtuosos helped show the essence of rock n’ roll through Stern’s volatile guitar shredding and Kid Million’s powerfully raw drumming.

Thee Oh Sees

The veteran San Francisco punk stars have been around since 1997, but they haven’t run out of steam. Thee Oh Sees’ frenetic energy was palpable; the passion of frontman John Dwyer and guitarist Petey Dammit re-energized the crowd from a midday lull. In “Contraption/Soul Desert,” Dwyer’s shouts and screams rang across the field along with the band’s heavy, fast-paced bass lines and powerful guitar riffs. No matter how dissonant and accelerated the songs in their set were, it never descended into disorder, and the band never missed a beat — a testament to the chemistry of the band members. For their last song, Dwyer let the crowd jump on the stage with them.

K.Flay

K.Flay stood out in the festival not because she was the only hip-hop act but for her nonstop energy. She dropped lightning-fast lines that ranged from the nerdy — “My calculator’s TI-89, you’re stuck on 83” — to downright attention-grabbing: “Flow so menstrual I need a tampon on the track.” But K.Flay isn’t just about hitting clever one-liners. In “So Fast, So Maybe,” the electro-pop production and storytelling helped touch on her emergence as an artist and roused a sense of hope: “Well, I suggest you switch your mind state / When people ask you how it’s going, just say, ‘I’m great.’” K.Flay was able to be optimistic without being sentimental and sophisticated without being pretentious.

Contact Fan Huang at fhuang@dailycal.org.

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Emily Turner/Courtesy

When one pictures the face of San Francisco Pride, it probably isn’t round and slightly chubby with glasses, but Will Wiesenfeld represented all the same. “Is it Pride or something?” he yelled to those in the crowd, many of whom had just come from Pink Saturday in the Castro to attend Baths’ show at Great American Music Hall on June 29, the final performance of his 2013 tour. Opening acts included an energetic DJ set from D33J, followed by a dreamy performance by Houses; shows earlier in the tour had Baths opening for The Postal Service.

Based in L.A., “Baths” is the stage moniker of Wiesenfeld, a classically trained electronic musician whose music tends towards ambient pop filled with crackles, clicks and snarls, bearing some resemblance to the compositions of Toro Y Moi and Washed Out. When his music isn’t purely instrumental, it features his falsetto or vocal samples, creating an evocative collage of sound.

In striking contrast to the colorful, rave-esque attire of Pride attendees, Baths’ set was quite minimal, as was his set list — he performed only nine of his tracks, six of which were from his newest release Obsidian (2013). Ambience consisted just of colorful strobes and a hanging background light piece Wiesenfeld lovingly referred to as “our bullshit — this cost $200; was it worth it?” With only one other person assisting in DJing and backing vocals as well as a keyboard and laptop, Baths performed a mix of prerecorded and live music, which was to be expected from an electronic show. Less expected were frequent interludes, seemingly improvised, which showcased his musicianship; infectious beats layered with wordless vocals that got the crowd dancing in a way the wistful “Ironworks” or bipolar “No Past Lives” couldn’t quite achieve.

Wiesenfeld’s bedroom compositions felt somewhat unsettled on a live stage, much like the overall tone of Obsidian. His soft, understated vocals on the record became belted outbursts in the opening “Worsening,” and the chorus of “Plea” from his debut album, Cerulean (“Please tell me you need me”), became more anguished than pleading. In contrast, “Departure” (also from Cerulean) as well as the piano coda of “Miasma Sky” provided a refreshing break from the otherwise relentless bass; often, lulls in music between pieces left the audience restless and waiting for more. High points of the show included the enigmatic “Lovely Bloodflow” and encore-ending “No Eyes,” which turned up the volume until the crowd was whipped into a frenzy by the final crashing chorus.

Having stated to Pitchfork that his new record would lend itself much better to live performance than previous releases did, Wiesenfeld succeeded in making his live music more dynamic than a simple replaying of his pieces. While more of the actual tracks from his albums, particularly past releases, would have been welcome in an hour-and-a-half-long set, the show was definitely intended to engage and enliven the crowd. Wiesenfeld may have produced a dark, moody record this time around, but his performance was anything but.

Lovely Bloodflow from BATHS on Vimeo.

Contact Mohana Kute at mkute@dailycal.org.

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Ashley Chen/Senior Staff

While Converse’s Represent SF concert series at Slim’s was meant to function as a promo for the brand’s grand opening of its flagship store in the city last Friday, the ad was ambitious, to say the least. Running the course of the entire business week, each night was loosely devoted to a different genre: indie rock, hip-hop, electronic, alternative metal and hardcore punk, in that order. Meshing indie up-and-comers with nu-old school veterans and sprinkling in a bit of social media exploitation, the free series presented a kickin’ line-up for the classic line of kicks.

Hot Chip, Tycho, Blackbird Blackbird, Social Studies

The performances at Wednesday night’s edition of Represent SF can really only be described as an eclectic clusterfuck of both synthesized and organic sounds. UK wonky pop danceaholics Hot Chip headlined one of the more party-oriented billings of the week, following solid sets by Social Studies, Blackbird Blackbird and Tycho.

Out of the four, openers Social Studies seemed to be the most orthodox. But their lack of upfront quirkiness wasn’t necessarily a bad thing. Alternating appearances between SXSW and Noise Pop since 2009 has resulted in quite a tight live sound. Their decidedly chill marque of new wave succeeded to draw in the crowd for the impending antics.

Next up was Blackbird Blackbird, alias of Mikey Maramag, who DJ’ed a set of his own tunes. Many of these songs were typified by jagged melodies and chunky beats, inlaid with atmospheric samples of echoing guitars, keys and percussion. Basically, Blackbird Blackbird embodies the blogospheric chillwave subgenre. However, Maramag managed to breathe life into the increasingly overused style from behind his effects panel. He provided live vocals rather than relying purely on samples and managed to incite a decent amount of movement in the crowd through the tangible energy he drew from performing his own music.

When the time came for Tycho’s performance, the warmth of the audience’s reception was likely due to the high volume of Tycho fans present. That’s not to say their execution was bad in any way; on the contrary, the instrumental post-rock trio showed they’ve been around the block enough times to know their own moody material backward and forward, switching instruments at a moment’s notice and never flubbing a note. Suffice it to say, their sound would be too placid to carry a set longer than the 30-ish minutes they were given at Represent SF.

At long last, Hot Chip arrived as the only nonlocal band of the night. Their setup was positively crammed onto the stage, with two touring members bolstering the quintet’s line-up. Nevertheless, Hot Chip managed to exude a crazy amount of passion despite the space deficit. Heavily bespectacled frontman Alexis Taylor commanded attention, nasally belting from behind various synths and the occasional guitar. As many as three other members were synth-side at any given moment, and drums were supported by a second set, including a jarringly tropical steel drum. By the end of the show, they managed to prove their prowess as the ultimate club band, with not a still foot in the house.

Angel Haze, 100s, Blackalicious, Deltron 3030

The second installment of the Converse Represent SF series brought us a delectable night of raw energy as the performers made the stage their own with an impeccable array of hip-hop talent.

Berkeley rapper 100s set the tone for the night with a performance that showcased both hits from his debut album, Ice Cold Perm, and the impeccable hair in question. His music is like pimp rap you’d bump rolling 10 mph in a drop-top Cadillac — with a dash of trap. His drawl was infectious, his flow smooth, and his performance of the song “1999” escalated into a dance party as the crowd chanted, “Shake that ass like it’s 1999.”

Rowdy with anticipation for the artists to come, the crowds were treated with an intermission soundtrack that ranged from golden-era classics like Master P’s “Make ‘Em Say Uhh” to the rowdy Lil Jon club hit, “Get Low.”

The moment she came into the spotlight, Angel Haze commanded the attention of every single person in the room. Striding from one side of the stage to the next in a black snapback and layered hoodie, the rapper delivered vicious line-after-line of favorites “New York” and “Werkin’ Girls,” off last year’s Reservation EP. In addition, she previewed two new tracks, presumably from her upcoming LP, Dirty Gold, and even made her way off the stage for some much-deserved love from the crowd. Her delivery was near flawless, and seeing her perform live was proof enough that the 21-year-old has the potential to be one of the best female rappers in the game, so keep watch.

Next up was the legendary hip-hop act Blackalicious, which consists of rapper Gift of Gab and DJ/producer Chief Xcel of Sacramento. When the duo performed in Oakland earlier this year, their energy was spectacular. Tonight was no exception. Gift of Gab, along with guest Lateef the Truthspeaker and others, brought out classics like “Chemical Calisthenics,” “Blazing Arrow” and “Rhythm Sticks.”
By 9:30 p.m., Slim’s was buzzing with excitement as everyone was riding well on the high tide that only good music, dancing and legal (or illegal) substances could provide. It was time for Juicy J to make his appearance. Smoke billowed up toward the ceiling as the trap god and twerk advocate came onstage and announced that he had “smoked so much motherfucking weed today” and was ready to “turn up.” Juicy interacted well with the crowd and invited audience members to join him and his bottle of champagne onstage multiple times throughout the set, which included the essential “Bandz A Make Her Dance” and the delightful throwback to his Three 6 Mafia days, “Stay Fly.”

Headliners Deltron 3030 ended the night in a flourish of ear-melting, psychedelic hip-hop. The super group is made up of Dan the Automator, Del the Funky Homosapien (of Oakland’s Hieroglyphics crew) and Kid Koala. Their combination of lush cosmic beats, the sounds of an orchestra on acid and eerie raps took us on a futuristic rap odyssey of sorts, and the experience was nothing short of mesmerizing.

Contact Ashley Chen at achen@dailycal.org. Contact Erik Weiner at eweiner@dailycal.org.

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Sarah Brennan/Staff

Nothing evokes ’60s and ’70s psychedelia quite like a light show. At a time when light shows have been reappropriated by the EDM scene, Tame Impala brought the visual phenomenon back to its roots at their show at The Fox Theater last week.

Hailing from Perth, Australia, Tame Impala is composed of three core members: Dom Simper, Jay Watson and Kevin Parker — whose lead vocals have been tiresomely compared to John Lennon’s. The band performed in front of an enormous screen that displayed a range of psychedelic lights and images, synchronized to match the sonic waves of each song. What initially resembled a Windows ’98 screensaver became a rather elemental visual accompaniment to the sonic enticement of Tame Impala’s live show.

As the show progressed, the screen’s images evolved to look closely like renderings of the cover art of the band’s first album, Innerspeaker. At other moments, the screen displayed a single fiery spot at the center that resembles a volcanic hotspot — a fitting representation of the show’s overall tone. Tame Impala’s performance was far from stagnant; rather, it was alluringly eruptive with moments of subtle placidity — only before aural explosions.

With a neo-psychedelic noise that draws on inspirations like the Rolling Stones, Tame Impala has been widely praised for creating a fresh musical persona that makes them innovative without being simply derivative. The hour-and-a-half long set was packed with a balance of songs off of Innerspeaker and their sophomore album, Lonerism. There was nothing about Tame Impala’s show that was repetitive or lulled; they managed to maintain structure and fluidity in their performance while exuding consistently untamed energy from one song to the next, transitioning with compelling lengthy interludes that wove the songs seamlessly together to form one cohesive narrative of a set list.

Their performance was prefaced by an opening act from Los Angeles-based singer-songwriter Jonathan Wilson, whose sound leans a little more toward bluesy folk. Wilson’s lead-in successfully set the tone and helped the crowd in smoky, excited anticipation for the show’s main act.

Tame Impala opened their performance with a new song called “Led Zeppelin” and moved straight into “Solitude is Bliss.” One of the show’s highlights was “Be Above It,” an understated song full of whispers, rumblings and bursts that was made all the more memorable in a live performance. The band closed with a wildly captivating performance of “Nothing That Has Happened So Far Has Been Anything We Could Control,” an absolute immaculate cap-off to their stimulating trip of a show.

Tame Impala’s entrancing quality was reflected in the crowd’s reception. There was moshing during the band’s performance of their popular and catchy single “Elephant.” And someone felt it appropriate to get on another’s shoulders — prompting many “this-is-not-Coachella” stares from other audience members. In fact, each song performed elicited a different response from the audience, who slow-clapped for “Apocalypse” and swayed lighters for “Feels Like We Only Go Backwards.” At some point, a bra was thrown on stage for good measure. As cheesy as they may have been, these responses managed not to obstruct but enhance the downright pleasure of the show, generated by the band’s idiosyncratic, psychedelic splendor.

Contact Denise Lee at deniselee@dailycal.org.

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Fontana Records/Courtesy

Every girl has to grow up sometime — even one who hit No. 2 in her home country’s charts with her first single at the age of 20 or took home a BRIT award (the British version of a Grammy) for Best Female Artist at 21, like Kate Nash. Moving on from her cheery, indie-pop past (on 2008’s Made of Bricks, it was hard to not draw comparisons between her and fellow British export Lily Allen), Nash’s newest album, Girl Talk, doesn’t discuss her newfound feminist and rather “riot grrrl” identity — it shouts it.

Nash, as part of her Girl Talk tour, played in San Francisco on May 11 at the Chapel, one of San Francisco’s most beloved indie music stops. Peach Kelli Pop, headed by Allie Hanlon, opened before leaving the audience to the mercy of the ’90s-loving music programmer.

Finally, Nash and her band took the stage, beginning with a rousing version of “Sister” followed by “Death Proof,” both of which are from Girl Talk. Nash and her all-female band, which includes Emma Hughes on bass and Linda Buratto on guitar, exuded a raw energy that seems much more expected at a Fidlar concert than an all-ages show, where a good half the crowd was outside the stereotypical 18-to-30 age bracket.

As is fitting with an album that seems to be as much about the music itself as the ideology behind it, Nash often interspersed songs with tales and pep talks. After “Fri-End,” she discussed toxic friendships, and in another later vignette, she emphasized the importance of disregarding others’ opinions and being a strong, independent person.

A live show is a completely different experience from listening to an album for many reasons — the vibe, the collective energy, the sound — but most notable is the chance fans get to see what the artist is really like in person. Judging by her willingness to discuss rather unromantic everyday life issues that aren’t often mentioned in pop songs — as in “Another day goes by, and I don’t wash my hair” from Girl Talk’s “Lullaby for an Insomniac” — Nash comes off as quite down-to-earth and truly passionate about furthering feminism. She’s involved in two main projects: her role as Global Ambassador for the Because I Am A Girl Foundation, which she discussed between songs, and Kate Nash’s Rock ‘n’ Roll For Girls After School Club, which she founded in 2010. Nash started the club after realizing just how negatively popular culture and media affect young girls’ self-esteem and identities. Through it, she aims to empower young teenage girls and make them more confident and secure with who they are. Although Nash didn’t discuss this in her show, she didn’t need to — as she danced with and hugged fans to “3 AM,” her love for them and her commitment to their empowerment said it loud and clear.

Contact Tyler Allen at tallen@dailycal.org.

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Carli Baker/Staff

“This ain’t a motherf***ing rap show … it’s a party with all my friends. We’re singing songs we like. We out here on a weekday partying like it’s a weekend.” Sure enough, Danny Brown stayed true to his word and brought a dizzying energy to his sold-out show at The New Parish in Oakland on May 21.

When the Detroit rapper played a daytime concert on Sproul Plaza last spring, he showed us quite the good time. If that show were like grabbing a chilled beer and hot dog at a barbecue, this one would be like doing a keg stand, pulling handle shots and feasting on pizza, Cheetos and Takis at a house party downtown. While the venue was a hazy, substance-fueled delight filled up to the corners with a crowd that was high on life, the show was notably down-to-earth and intimate. The night became an impromptu celebration of adult life with a kid’s attitude — an embracing of the “play as hard as you work” mindset.

The openers for the night were Los Angeles-based hip-hop group OverDoz., who got the crowd pumped with a rowdy 40-minute set of their own work. Notable was their performance of the track “FSWSAD,” an acronym referencing the memorable lyric, “I wish I could f***, smoke weed and sleep all day, but I gotta get this money.” Each of the four members had his own approach when it came to dress and rap style, but collectively, the group played with funky, Outkast-esque influences and delivered an impressive and refreshingly high-spirited show.

Soon afterward, Brown bounded on stage with his afro flopping and donning a candy bright patterned zip-up, and the opening bars of “Jealousy,” a track he collaborated on with U.K. producer The Purist, started to play. Air horns were ablaze, and clouds of smoke billowed up to the balcony level as the audience welcomed him with open arms and bouncing limbs. After a crowd-pleasing performance of “Witit,” a track from 2011’s stellar album XXX, Brown introduced himself in a drawl with a sarcastic “My name is Daniel” and let out a signature hyena cackle. The show was finally in full motion.

What makes Brown such a memorable performer is his infectious nature. He’s the dude who knows exactly what it takes to “turn up” — the one you just can’t seem to peel your eyes or ears away from; the cackling troublemaker with a fetish for getting freaky and a wardrobe to match; the stranger you might want to dabble in some drugs with — or at least be in the room to watch. His outward persona is the perfect embodiment of his rap ability. When he broke out into a brief freestyle segment in the latter half of the show, we were treated with an example of the raw talent that got Brown where he is now. His delivery is aggressive, fervent and commanding; his lyrics are crafty, intelligent and ridiculously fun to yell out.

Whether he’s got the crowd chanting about smoking “blunt after blunt after blunt” or making a quip about rappers who pretend to be able to afford their lavish lifestyles while he embraces “that income tax swag,” the message in Brown’s music is at once incredibly honest and all his own. What’s more to appreciate is his open love for the female body — “I Will” is probably the most explicit demonstration. Although we (thankfully) did not get an encore of the Minneapolis debacle — where he received nonconsensual oral sex onstage from a female audience member — this time around, Brown proved once again why he’s such an endearing act to follow. Stay tuned for the release of his new album, Old, and catch him at the upcoming Rock the Bells music festival.

Contact Ashley Chen at achen@dailycal.org.

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Kathleen Karn/Courtesy

On May 10 and 11, the UC Berkeley Symphony Orchestra performed Ernest Bloch’s “Schelomo” cello concerto and Beethoven’s Symphony No. 9 in D minor to a packed house in Hertz Hall. The two pieces, separated by an intermission, contrasted each other in both tone and inspiration, coming together to display the full range of the talented orchestra and soloists. Highlighted performers included cellist Mosa Tsay, soprano Ann Moss, mezzo-soprano Abigail Nims, tenor Brian Thorsett and baritone Nik Nackley.

Swiss-born composer and former UC Berkeley faculty member Bloch did not realize his true style until his self-termed “Jewish Cycle” from 1911 to 1926, in which he produced works with a uniquely Jewish sentiment of singular melancholy and expressiveness. The most acclaimed work to come out of this period, “Schelomo” is a single-movement concerto that alternates between the vibrant voice of solo cello and powerful symphony orchestra.
Bloch describes the piece as stemming from the emotion of his Jewish heritage, centered in the story of King Solomon from Ecclesiastes. “One may imagine that the voice of the cello is the voice of King Solomon,” Bloch wrote. The complex voice of the orchestra is the voice of his age, the world, his experience. There are times when the orchestra seems to reflect his thoughts, just as the cello voices his words.” The piece evokes Middle Eastern flavors in dark, rich phrases that begin with a cello cadenza moving from high range to low, followed by accompanying col legno (hit with the wood) percussion in the bass sections, a stormy, full orchestra climax and a floating woodwind interlude foregrounding solo bassoon.

UC Berkeley junior Tsay beautifully conveyed Bloch’s voice of Solomon with a performance that both growled and sang, building in intensity to the piece’s many tutti (all together) sections in which the full orchestra repeated the mournful central motif. A musician since age seven, Tsay has been the Berkeley Symphony Orchestra’s principal cellist for two years and was recently awarded the 2013 Eisner Award for Music among many other honors for achievement in music performance.

Beethoven’s Ninth Symphony, “Choral,” provided a respite from the heaviness of Bloch. Completed in 1824, Beethoven revolutionized the symphony form by adding voice to the fourth movement, taking the text from Friedrich Schiller’s poem “An die Freude” — “Ode to Joy” — and setting it to what is now one of the most famous melodies of all time. Schiller intended the libretto to celebrate brotherhood, and set to Beethoven’s melody, “Ode to Joy” became the anthem for the fall of the Berlin Wall in 1989. As a whole, the symphony ranks among the most played worldwide.

The first movement, Allegro non troppo, un poco maestoso (fast, not too much, a little majestic) is fairly straightforward after the chaotic crests of Schelomo. With an introduction reminiscent of tuning instruments, it quickly evolves into a melody passed off from section to section, first constrained, then bursting in slow, punctuated crescendos. Molto vivace (very lively), written in the scherzo (light and humorous) form, is more energetic than the preceding movement but matches it in tone. A golden cello solo repeated throughout is quickly overtaken by rolling timpani, leading up to a frenzied tutti that melts into the third movement, Adagio molto e cantabile (slowly, much in a singing style), a tonal, stately and lush movement highlighting viola and horns.

These three movements are echoed in the final Presto movement (very fast) before the introduction of the singers. All professional musicians and recipients of many awards and honors, the four soloists provided a lush and operatic counterpoint to the familiar melody and were soon joined by the full UC Chamber Chorus, bringing the work to an ethereal and ecstatic conclusion.

Contact Mohana Kute at mkute@dailycal.org.

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Alejandra Ramirez/Staff

The Sperry Top-Sider Vacationland College Tour, presented by ASUC SUPERB Productions, hit Memorial Glade on Friday, featuring performances from Geographer and Rogue Wave. Sponsored by Sperry, the multicampus tour made its final stop at UC Berkeley, after traveling through UC San Diego, University of Oregon and other West Coast schools.

Geographer kicked off the live-music portion of the evening. The three-piece band from San Francisco owned the stage as they ran through their catalog of electronic indie dance pop. Singer Michael Deni was at ease onstage, dancing in his denim jacket and shades, prompting one attendee to post an Instagram photo of Deni with the hashtag “#futurehusband.” The fans bobbed their heads to the beat as the synth-infused grooves (complete with cello accompaniment) weaved in and out of the sunset. The energy picked up as Geographer played their more familiar songs, including popular single “Kites,” propelling the band to the end of their highly appreciated set.

The stage setup differed from that of your usual, relatively low-key Memorial Glade concerts. When bands such as Cold War Kids or The Antlers come for Cal Day, they typically set up shop on the dais in front of Doe Library. While a few devoted and particularly eager fans stand up close, most students lie on the grass somewhat distanced from the band. This time, Sperry rolled out their own small but well-equipped outdoor stage at the western edge of the glade, facing east, with an area roped off specifically for the crowd. Rather than passively listening from afar, students were at the foot of the stage, right in the middle of the action.
The break between the two bands was enough time to scrounge the table next to the stage, where event staff set up a spinning wheel bedecked with Sperry boat shoes. One spin of the wheel led to free giveaways, such as t-shirts, hats and beach balls. The event was reminiscent of a miniature Outside Lands — the mounted sign at the entryway, the grassy incline of the glade and the Bay Area chill setting in as the sun peeked through the trees.

Rogue Wave took the stage as the serene twilight began to fade. Frontman Zach Rogue asked the crowd to “move their bodies” to remedy the impending cold air. After opening with an upbeat new single, aptly titled “College,” the band segued into 2005’s “Bird On a Wire,” with its waltz-style pulse. The setlist was filled with familiar tunes, mixed in with a few songs from the band’s upcoming album. Before playing a run of these untried songs in the middle of the set, Rogue told everyone his philosophy on new material, explaining that new songs are like babies who are “finding their legs” — as such, we need to help “welcome them into the world.”

It was easy to see Rogue Wave’s years of experience — from Rogue hitting all of his notes and afro-donning drummer Patrick Spurgeon effortlessly harmonizing to the bassist impressively kicking a stray beach ball right on the downbeat. The band bounded toward the end, rocking hard on favorites such as “Chicago X 12,” “Lake Michigan” and “Harmonium.” Although Rogue cited a strict mandate from the powers that be to cut off the music by 9 p.m., the crowd was having none of it, chanting, “One more song!” Rogue Wave obliged, promising to play “one more love song” and closing out with an electric version of their hit “Eyes.” Singing along to their beloved song, with strings of star-like lights overhead, was a fitting send-off for a sublime night.

Contact David Bradford at dbradford@dailycal.org. Check him out on twitter at @catchadave.

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