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"content": "\u003cp>When it came time to decide the cover image for Wet Leg’s sophomore album, the British \u003ca href=\"https://www.kqed.org/arts/tag/indie-rock\">indie rock\u003c/a> band packed items that might provide inspiration — velvet worms sewn by guitarist Hester Chambers, an oversized head of hair from a music video shoot, lizard-like gloves — and headed to an Airbnb.\u003c/p>\n\u003cp>“I wanted it to be something that was both super girly and feminine, but then at the same time, just totally repulsive,” said lead singer Rhian Teasdale, who art-directed the \u003cem>Moisturizer\u003c/em> cover with Iris Luz and Lava La Rue. “That juxtaposition, I don’t know, it just creates something that’s evocative.”\u003c/p>\n\u003cp>[aside postID='arts_13985738']The final image, inspired by a photo from that weekend, earned Teasdale, Luz and La Rue a Grammy nomination for best album cover — a category that will be awarded this year for the first time in over 50 years.\u003c/p>\n\u003cp>The other evocative covers nominated are Bad Bunny’s \u003cem>Debí Tirar Más Fotos\u003c/em>, Tyler, the Creator’s \u003cem>Chromakopia\u003c/em>, Perfume Genius’ \u003cem>Glory\u003c/em> and Djo’s \u003cem>The Crux\u003c/em>. The award goes to the project’s art directors: This year, the recording artists are included as nominees in all cases except for \u003cem>Glory\u003c/em>.\u003c/p>\n\u003cp>In recent years, covers had been assessed as part of the best recording package category, which considers all physical materials and images. The package for \u003cem>Brat\u003c/em>, with its pop culture-infiltrating green, earned Charli XCX, Brent David Freaney and Imogene Strauss a Grammy last year.\u003c/p>\n\u003cfigure id=\"attachment_13985805\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13985805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Tyler, the Creator’s ‘Chromakopia.’ \u003ccite>(Columbia Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Recording Academy CEO Harvey Mason Jr. told Grammy.com that the split is an effort to recognize the impact of cover art in the digital age. It also aligns with the Academy’s goal to recognize more of the artists that shape music, Mason said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the creative teams, the revived award amplifies what goes into building the visual worlds of music. “When a cover in a campaign hits right,” said photographer Neil Krug, nominated for \u003cem>The Crux\u003c/em>, “it’s part of the language and the fabric of what makes a great record a great record.”\u003c/p>\n\u003ch2>Capturing an energy\u003c/h2>\n\u003cp>The defining portrait of \u003cem>Chromakopia\u003c/em> — a monochrome close-up of Tyler, face concealed by a mask — was the last shot captured. Luis “Panch” Perez, the director of photography, said the expression in Tyler’s eyes stood out.\u003c/p>\n\u003cp>Getting there, he said, required tapping into a shared “unspoken language,” built by pulling references for the project’s surrealist, old Hollywood aesthetic — and by years of collaboration. “Tyler knows exactly how to move his body, he’s so well in control of that. I just have to be ready for whatever he’s going to do in front of the lens,” Perez said.\u003c/p>\n\u003cp>Perfume Genius worked with art directors Cody Critcheloe and Andrew J.S. on the cover for \u003cem>Glory\u003c/em>. He splays on a patchwork carpet inside a dark, homey interior, his stiletto boots extending toward a bright window. Colorful cords snake across the floor like microphone cords onstage.\u003c/p>\n\u003cfigure id=\"attachment_13985803\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl.jpg\" alt=\"\" width=\"2000\" height=\"1999\" class=\"size-full wp-image-13985803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Perfume Genius’ ‘Glory.’ \u003ccite>(Matador Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He said the image reflects the push and pull he found himself exploring while writing the album: the comfort and avoidance of an introverted, private life, versus the confidence required of his “maximal” public-facing persona: “How do I have each of those things season my life?”\u003c/p>\n\u003cp>The goal wasn’t to capture a specific scene, or choreography. “It was mostly about an energy,” said Critcheloe, who photographed the cover.\u003c/p>\n\u003cp>“People have said to both of us that they can’t figure out what the aesthetic of the album cover is,” he added. “That’s the best thing to hear.”\u003c/p>\n\u003cp>The creature-like version of Teasdale that appears on Wet Leg’s \u003cem>Moisturizer\u003c/em> cover — squatting, hands outstretched, eerie grin trained toward the camera — is also meant to evoke friction. “The album explores themes of love and longing. But also, there are a couple moments on the album that are so, you know, just feral,” she said.\u003c/p>\n\u003ch2>Crafting, casting and styling a world\u003c/h2>\n\u003cp>The pivotal setting of \u003cem>The Crux\u003c/em> — the third album by Djo, the musical moniker for actor Joe Keery — was a fictional hotel on the Brooklyn-inspired section of the Paramount Studios backlot.\u003c/p>\n\u003cp>Krug, Djo and collaborator Jake Hirshland looked at dense scenes, like Alfred Hitchcock’s 1954 film \u003cem>Rear Window\u003c/em> (also shot on a Paramount Studios lot), for inspiration. They considered locations in (the real) New York and Atlanta, where the artist was filming \u003cem>Stranger Things\u003c/em>, before locking the lot in.\u003c/p>\n\u003cfigure id=\"attachment_13985804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096.jpg\" alt=\"a four-story brick building with various scenes in its windows stands in front of a street with cars and people\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13985804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Djo’s ‘The Crux.’ \u003ccite>(AWAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next came casting the characters that make up the scene. “Anything that we could come up with, we were just like throwing it at the canvas,” Krug said. A couple kiss in a window. A man fights a parking ticket in the foreground. Djo is seen only from the back, dangling from a window in a white suit.\u003c/p>\n\u003cp>Art director William Wesley II oversaw production details, including designing the neon sign that bears the album’s name — an homage to iconic hotels like the Chateau Marmont. “Everything is intentional,” he said. “It’s really a sum of its parts and it’s the sum of many people’s contributions.”\u003c/p>\n\u003cp>A pair of white plastic chairs are the only props on the cover of \u003cem>Debí Tirar Más Fotos\u003c/em>, which translates to “I should have taken more photos.” Art directed by Bad Bunny himself, the image by Puerto Rican photographer Eric Rojas also features plantain trees — a symbol of the island, but also of the Caribbean and Latin America overall. There is a nostalgia to the simple combination — conjuring a day at the beach, or a backyard gathering — that also mirrors the album’s diasporic, history-making storytelling.\u003c/p>\n\u003cp>“Debí Tirar Más Fotos” and “Chromakopia” are also nominated for album of the year.\u003c/p>\n\u003cfigure id=\"attachment_13985801\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l.jpg\" alt=\"Two white plastic patio chairs sit amongst tropical foliage on the lawn\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13985801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Bad Bunny’s ‘Debí Tirar Más Fotos .’ \u003ccite>(Rimas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What makes a cover Grammy-eligible?\u003c/h2>\n\u003cp>Official Grammy rules say albums do not need to exist physically to be considered in this category — a key point in differentiating the award from its package counterpart.\u003c/p>\n\u003cp>This year’s nominees, however, are all available on vinyl or CD. Krug, who has worked on covers for Lana Del Rey and Tame Impala, said the vinyl presentation is often the first point discussed.\u003c/p>\n\u003cp>“When you have the physical vinyls in your home or your apartment, that stuff lives with you. It’s out in your space, whether you’re having a good day or a bad day, you’re getting married or breaking up with whomever,” Krug said. “There’s this rediscovery of the art form.”\u003c/p>\n\u003cp>Voters must consider the cover’s creativity and design, alongside the illustration, photography or graphic elements. Trophies go to the winning art directors, and certificates to designers, illustrators or photographers, if applicable.\u003c/p>\n\u003cp>In a sign of the growing pains of a new category, this year’s list of nominees saw edits ahead of the voting window’s opening — a process not uncommon in other categories with multiple nominees. Djo, Krug, Hirshland and Taylor Vandergrift were added alongside Wesley for \u003cem>The Crux\u003c/em>; Perez and photographer Shaun Llewellyn were removed for \u003cem>Chromakopia\u003c/em>, replaced by just Tyler. Luz and La Rue joined Teasdale for \u003cem>Moisturizer\u003c/em>, while several others — including the rest of the band — were removed.\u003c/p>\n\u003cp>“I was super surprised and really excited because I wasn’t aware that it was a category,” Critcheloe said of his nomination. “I love the idea of making things that are strange and subversive and irreverent, and having an audience that is bigger than it’s supposed to be.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 68th Grammy Awards are held Feb. 1, 2026, at Crypto.com Arena in Los Angeles. The show will air on CBS and stream on Paramount+.\u003c/em>\u003c/p>\n\n",
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"title": "New Grammy Category Honors Album Covers and the Artists Behind Them | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it came time to decide the cover image for Wet Leg’s sophomore album, the British \u003ca href=\"https://www.kqed.org/arts/tag/indie-rock\">indie rock\u003c/a> band packed items that might provide inspiration — velvet worms sewn by guitarist Hester Chambers, an oversized head of hair from a music video shoot, lizard-like gloves — and headed to an Airbnb.\u003c/p>\n\u003cp>“I wanted it to be something that was both super girly and feminine, but then at the same time, just totally repulsive,” said lead singer Rhian Teasdale, who art-directed the \u003cem>Moisturizer\u003c/em> cover with Iris Luz and Lava La Rue. “That juxtaposition, I don’t know, it just creates something that’s evocative.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The final image, inspired by a photo from that weekend, earned Teasdale, Luz and La Rue a Grammy nomination for best album cover — a category that will be awarded this year for the first time in over 50 years.\u003c/p>\n\u003cp>The other evocative covers nominated are Bad Bunny’s \u003cem>Debí Tirar Más Fotos\u003c/em>, Tyler, the Creator’s \u003cem>Chromakopia\u003c/em>, Perfume Genius’ \u003cem>Glory\u003c/em> and Djo’s \u003cem>The Crux\u003c/em>. The award goes to the project’s art directors: This year, the recording artists are included as nominees in all cases except for \u003cem>Glory\u003c/em>.\u003c/p>\n\u003cp>In recent years, covers had been assessed as part of the best recording package category, which considers all physical materials and images. The package for \u003cem>Brat\u003c/em>, with its pop culture-infiltrating green, earned Charli XCX, Brent David Freaney and Imogene Strauss a Grammy last year.\u003c/p>\n\u003cfigure id=\"attachment_13985805\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13985805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Tyler, the Creator’s ‘Chromakopia.’ \u003ccite>(Columbia Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Recording Academy CEO Harvey Mason Jr. told Grammy.com that the split is an effort to recognize the impact of cover art in the digital age. It also aligns with the Academy’s goal to recognize more of the artists that shape music, Mason said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the creative teams, the revived award amplifies what goes into building the visual worlds of music. “When a cover in a campaign hits right,” said photographer Neil Krug, nominated for \u003cem>The Crux\u003c/em>, “it’s part of the language and the fabric of what makes a great record a great record.”\u003c/p>\n\u003ch2>Capturing an energy\u003c/h2>\n\u003cp>The defining portrait of \u003cem>Chromakopia\u003c/em> — a monochrome close-up of Tyler, face concealed by a mask — was the last shot captured. Luis “Panch” Perez, the director of photography, said the expression in Tyler’s eyes stood out.\u003c/p>\n\u003cp>Getting there, he said, required tapping into a shared “unspoken language,” built by pulling references for the project’s surrealist, old Hollywood aesthetic — and by years of collaboration. “Tyler knows exactly how to move his body, he’s so well in control of that. I just have to be ready for whatever he’s going to do in front of the lens,” Perez said.\u003c/p>\n\u003cp>Perfume Genius worked with art directors Cody Critcheloe and Andrew J.S. on the cover for \u003cem>Glory\u003c/em>. He splays on a patchwork carpet inside a dark, homey interior, his stiletto boots extending toward a bright window. Colorful cords snake across the floor like microphone cords onstage.\u003c/p>\n\u003cfigure id=\"attachment_13985803\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl.jpg\" alt=\"\" width=\"2000\" height=\"1999\" class=\"size-full wp-image-13985803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Perfume Genius’ ‘Glory.’ \u003ccite>(Matador Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He said the image reflects the push and pull he found himself exploring while writing the album: the comfort and avoidance of an introverted, private life, versus the confidence required of his “maximal” public-facing persona: “How do I have each of those things season my life?”\u003c/p>\n\u003cp>The goal wasn’t to capture a specific scene, or choreography. “It was mostly about an energy,” said Critcheloe, who photographed the cover.\u003c/p>\n\u003cp>“People have said to both of us that they can’t figure out what the aesthetic of the album cover is,” he added. “That’s the best thing to hear.”\u003c/p>\n\u003cp>The creature-like version of Teasdale that appears on Wet Leg’s \u003cem>Moisturizer\u003c/em> cover — squatting, hands outstretched, eerie grin trained toward the camera — is also meant to evoke friction. “The album explores themes of love and longing. But also, there are a couple moments on the album that are so, you know, just feral,” she said.\u003c/p>\n\u003ch2>Crafting, casting and styling a world\u003c/h2>\n\u003cp>The pivotal setting of \u003cem>The Crux\u003c/em> — the third album by Djo, the musical moniker for actor Joe Keery — was a fictional hotel on the Brooklyn-inspired section of the Paramount Studios backlot.\u003c/p>\n\u003cp>Krug, Djo and collaborator Jake Hirshland looked at dense scenes, like Alfred Hitchcock’s 1954 film \u003cem>Rear Window\u003c/em> (also shot on a Paramount Studios lot), for inspiration. They considered locations in (the real) New York and Atlanta, where the artist was filming \u003cem>Stranger Things\u003c/em>, before locking the lot in.\u003c/p>\n\u003cfigure id=\"attachment_13985804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096.jpg\" alt=\"a four-story brick building with various scenes in its windows stands in front of a street with cars and people\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13985804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Djo’s ‘The Crux.’ \u003ccite>(AWAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next came casting the characters that make up the scene. “Anything that we could come up with, we were just like throwing it at the canvas,” Krug said. A couple kiss in a window. A man fights a parking ticket in the foreground. Djo is seen only from the back, dangling from a window in a white suit.\u003c/p>\n\u003cp>Art director William Wesley II oversaw production details, including designing the neon sign that bears the album’s name — an homage to iconic hotels like the Chateau Marmont. “Everything is intentional,” he said. “It’s really a sum of its parts and it’s the sum of many people’s contributions.”\u003c/p>\n\u003cp>A pair of white plastic chairs are the only props on the cover of \u003cem>Debí Tirar Más Fotos\u003c/em>, which translates to “I should have taken more photos.” Art directed by Bad Bunny himself, the image by Puerto Rican photographer Eric Rojas also features plantain trees — a symbol of the island, but also of the Caribbean and Latin America overall. There is a nostalgia to the simple combination — conjuring a day at the beach, or a backyard gathering — that also mirrors the album’s diasporic, history-making storytelling.\u003c/p>\n\u003cp>“Debí Tirar Más Fotos” and “Chromakopia” are also nominated for album of the year.\u003c/p>\n\u003cfigure id=\"attachment_13985801\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l.jpg\" alt=\"Two white plastic patio chairs sit amongst tropical foliage on the lawn\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13985801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Bad Bunny’s ‘Debí Tirar Más Fotos .’ \u003ccite>(Rimas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What makes a cover Grammy-eligible?\u003c/h2>\n\u003cp>Official Grammy rules say albums do not need to exist physically to be considered in this category — a key point in differentiating the award from its package counterpart.\u003c/p>\n\u003cp>This year’s nominees, however, are all available on vinyl or CD. Krug, who has worked on covers for Lana Del Rey and Tame Impala, said the vinyl presentation is often the first point discussed.\u003c/p>\n\u003cp>“When you have the physical vinyls in your home or your apartment, that stuff lives with you. It’s out in your space, whether you’re having a good day or a bad day, you’re getting married or breaking up with whomever,” Krug said. “There’s this rediscovery of the art form.”\u003c/p>\n\u003cp>Voters must consider the cover’s creativity and design, alongside the illustration, photography or graphic elements. Trophies go to the winning art directors, and certificates to designers, illustrators or photographers, if applicable.\u003c/p>\n\u003cp>In a sign of the growing pains of a new category, this year’s list of nominees saw edits ahead of the voting window’s opening — a process not uncommon in other categories with multiple nominees. Djo, Krug, Hirshland and Taylor Vandergrift were added alongside Wesley for \u003cem>The Crux\u003c/em>; Perez and photographer Shaun Llewellyn were removed for \u003cem>Chromakopia\u003c/em>, replaced by just Tyler. Luz and La Rue joined Teasdale for \u003cem>Moisturizer\u003c/em>, while several others — including the rest of the band — were removed.\u003c/p>\n\u003cp>“I was super surprised and really excited because I wasn’t aware that it was a category,” Critcheloe said of his nomination. “I love the idea of making things that are strange and subversive and irreverent, and having an audience that is bigger than it’s supposed to be.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 68th Grammy Awards are held Feb. 1, 2026, at Crypto.com Arena in Los Angeles. The show will air on CBS and stream on Paramount+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve been \u003ca href=\"https://www.nme.com/news/music/pavements-harness-your-hopes-goes-viral-on-tiktok-again-3616479\">harnessing your hopes\u003c/a> for Pavement to return to the Bay Area, today’s your lucky day: the band has been announced as the kickoff headliners for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland.\u003c/p>\n\u003cp>In what’s being called a “pre-party” for the long-running independent festival, Pavement will play in Mosswood Park on Friday, July 17, with openers Vivian Girls, Wednesday and more, hosted by film legend \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">John Waters\u003c/a>. The festival will commence on Saturday and Sunday as usual; that full lineup will be announced in coming weeks.\u003c/p>\n\u003cp>[aside postID='arts_13978802']The Mosswood date marks the first Bay Area show in four years for Pavement. Founded in Stockton but now spread all over the country, the indie-rock stalwarts staunchly, if obtusely, reflected their Northern California roots in ragged-but-right aesthetics and songs like “Two States” and “Unfair.” (In 2022, during the band’s three-night run at the Masonic Auditorium in San Francisco, singer Stephen Malkmus changed the lyrics during “Fillmore Jive” to take a jovial swipe at Mill Valley.)\u003c/p>\n\u003cp>In 2024, the band released a surreal pseudo-documentary, \u003cem>Pavements\u003c/em>, that \u003ca href=\"https://www.reddit.com/r/pavement/comments/1kmkhic/saw_the_movie_and_am_so_confused/\">confused even their biggest fans\u003c/a>. Concurrently, \u003ca href=\"https://stereogum.com/2105993/pavement-harness-your-hopes-spotify/columns/sounding-board\">Pavement themselves have been perplexed at their obscure B-sides’ virality\u003c/a> on Spotify and TikTok.\u003c/p>\n\u003cp>In addition to expanding the festival to three days, the booking also represents a slight expansion of Mosswood’s garage-punk roots, planted when the festival was known as Burger Boogaloo; previous headliners over the years include Iggy Pop, Kim Gordon, X, the Mummies and Bikini Kill. But if the crowd climbing trees and craning their necks to \u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">watch Devo through the fence\u003c/a> last year is any indication, no one’s really being too picky about genre. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for the Friday Pavement show are \u003ca href=\"https://mosswoodmeltdown.com/\">on sale now\u003c/a>. Separate from regular Saturday–Sunday festival tickets, they cost $99 for general admission and $165 for VIP. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been \u003ca href=\"https://www.nme.com/news/music/pavements-harness-your-hopes-goes-viral-on-tiktok-again-3616479\">harnessing your hopes\u003c/a> for Pavement to return to the Bay Area, today’s your lucky day: the band has been announced as the kickoff headliners for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland.\u003c/p>\n\u003cp>In what’s being called a “pre-party” for the long-running independent festival, Pavement will play in Mosswood Park on Friday, July 17, with openers Vivian Girls, Wednesday and more, hosted by film legend \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">John Waters\u003c/a>. The festival will commence on Saturday and Sunday as usual; that full lineup will be announced in coming weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Mosswood date marks the first Bay Area show in four years for Pavement. Founded in Stockton but now spread all over the country, the indie-rock stalwarts staunchly, if obtusely, reflected their Northern California roots in ragged-but-right aesthetics and songs like “Two States” and “Unfair.” (In 2022, during the band’s three-night run at the Masonic Auditorium in San Francisco, singer Stephen Malkmus changed the lyrics during “Fillmore Jive” to take a jovial swipe at Mill Valley.)\u003c/p>\n\u003cp>In 2024, the band released a surreal pseudo-documentary, \u003cem>Pavements\u003c/em>, that \u003ca href=\"https://www.reddit.com/r/pavement/comments/1kmkhic/saw_the_movie_and_am_so_confused/\">confused even their biggest fans\u003c/a>. Concurrently, \u003ca href=\"https://stereogum.com/2105993/pavement-harness-your-hopes-spotify/columns/sounding-board\">Pavement themselves have been perplexed at their obscure B-sides’ virality\u003c/a> on Spotify and TikTok.\u003c/p>\n\u003cp>In addition to expanding the festival to three days, the booking also represents a slight expansion of Mosswood’s garage-punk roots, planted when the festival was known as Burger Boogaloo; previous headliners over the years include Iggy Pop, Kim Gordon, X, the Mummies and Bikini Kill. But if the crowd climbing trees and craning their necks to \u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">watch Devo through the fence\u003c/a> last year is any indication, no one’s really being too picky about genre. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Indie band Deerhoof has severed ties with \u003ca href=\"https://www.kqed.org/arts/tag/spotify\">Spotify\u003c/a>, the group announced Monday, citing CEO Daniel Ek’s substantial investments in military AI technology. \u003c/p>\n\u003cp>The angular indie band, which formed in San Francisco in 1994, said in a post on social media that \u003ca href=\"https://www.instagram.com/p/DLhpeEzMMkn/?img_index=1\">it will remove its entire catalog from the streaming platform\u003c/a> upon learning that Ek had led a $700 million round of funding for the European defense company Helsing. The startup develops AI defense software for use in air, land and sea warfare, and manufactures \u003ca href=\"https://helsing.ai/hx-2\">military drones\u003c/a> used in air strikes.\u003c/p>\n\u003cp>[aside postID='arts_13893952']Helsing announced the round of funding via Ek’s venture capital firm Prima Materia in a June 17 press release, which also named Ek as the new chairman of Helsing. \u003c/p>\n\u003cp>“We don’t want our music killing people,” the band’s statement reads. It goes on to call out the billionaire class for using the military as its security detail, the AI military tech sector for testing its products on people in Gaza, and Spotify for being an “already widely hated data-mining scam masquerading as a ‘music company.’”\u003c/p>\n\u003cp>Deerhoof’s current record label, Joyful Noise Recordings, \u003ca href=\"https://www.instagram.com/p/DLh5g5Qs90f/\">issued a statement in support of the band’s decision\u003c/a>, adding that “we too are sickened by the fact that our releases have inadvertently contributed to the global war machine.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since its inception, Deerhoof has released over 20 albums. No longer formally based in San Francisco, its members now live in various parts of the country. Last month, the band performed a \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-band-still-worlds-best-20353536.php\">homecoming show at the Rickshaw Stop\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postID='arts_10145479,news_12042653']Read the band’s full statement below.\u003c/p>\n\u003cblockquote>\u003cp>We’re taking Deerhoof off Spotify.\u003c/p>\n\u003cp>“Daniel Ek uses $700 million of his Spotify fortune to become chairman of AI battle tech company” was not a headline we enjoyed reading this week. We don’t want our music killing people. We don’t want our success being tied to AI battle tech.\u003c/p>\n\u003cp>We are privileged that it was a pretty easy decision for us. Spotify only pays a pittance anyway, and we earn a lot more from touring. But we also understand that other artists and labels do rely on Spotify for a bigger chunk of their income, and don’t judge those who can’t make the same move in the short term.\u003c/p>\n\u003cp>AI battle tech is clearly emerging as the hot new big ticket item for the super-rich. It’s increasingly clear that the military and police exist primarily as the security detail for the billionaire class. The more of the killing you can get computers to do, the better your bottom line.\u003c/p>\n\u003cp>Computerized targeting, computerized extermination, computerized destabilization for profit, successfully tested on the people of Gaza, also finally solves the perennial inconvenience to war-makers — it takes human compassion and morality out of the equation.\u003c/p>\n\u003cp>Spotify is flushing itself down the toilet. Eventually artists will want to leave this already widely hated data-mining scam masquerading as a “music company.” It’s creepy for users and crappy for artists. Music-making lasts forever but this or that digital get-rich-quick scheme is sure to become obsolete.\u003c/p>\n\u003cp>One of the claims often made about Spotify is that it theoretically makes one’s music discoverable by anyone who signs up, no matter how remote they may be from the self-proclaimed centers of hipness. But just because someone is far from Western gatekeepers does not mean they lack culture, or need to hear our band. Deerhoof is a small mom and pop operation, and know when enough is enough. We aren’t capitalists, and don’t wish to take over the world. Especially if the price of “discoverability” is letting oligarchs fill the globe with computerized weaponry, we’re going to pass on the supposed benefits.\u003c/p>\n\u003cp>The big picture is this: Our politico-economic system increasingly presents humanity with a hideous fait accompli: Buy from me, vote for me, consume my media, use my service. Yes, it means mass deportation, mass detainment, and mass extermination of those deemed unprofitable by a handful of rich white people living in enclaves protected by AI weaponry. But if you don’t, you cannot have a job. We think this dilemma is coming to a head soon, and we predict that most people aren’t going to take the billionaires’ side.\u003c/p>\n\u003cp>We aren’t sure exactly how soon the takedowns can happen, but it will be as soon as possible. We want to thank our various labels for their support on this tricky decision. The grunt work of pulling content off of Spotify is something they’re now tasked with, and they are sharing the financial hit. We know we are asking them to make a sacrifice, and it means a lot to us.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Indie band Deerhoof has severed ties with \u003ca href=\"https://www.kqed.org/arts/tag/spotify\">Spotify\u003c/a>, the group announced Monday, citing CEO Daniel Ek’s substantial investments in military AI technology. \u003c/p>\n\u003cp>The angular indie band, which formed in San Francisco in 1994, said in a post on social media that \u003ca href=\"https://www.instagram.com/p/DLhpeEzMMkn/?img_index=1\">it will remove its entire catalog from the streaming platform\u003c/a> upon learning that Ek had led a $700 million round of funding for the European defense company Helsing. The startup develops AI defense software for use in air, land and sea warfare, and manufactures \u003ca href=\"https://helsing.ai/hx-2\">military drones\u003c/a> used in air strikes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Helsing announced the round of funding via Ek’s venture capital firm Prima Materia in a June 17 press release, which also named Ek as the new chairman of Helsing. \u003c/p>\n\u003cp>“We don’t want our music killing people,” the band’s statement reads. It goes on to call out the billionaire class for using the military as its security detail, the AI military tech sector for testing its products on people in Gaza, and Spotify for being an “already widely hated data-mining scam masquerading as a ‘music company.’”\u003c/p>\n\u003cp>Deerhoof’s current record label, Joyful Noise Recordings, \u003ca href=\"https://www.instagram.com/p/DLh5g5Qs90f/\">issued a statement in support of the band’s decision\u003c/a>, adding that “we too are sickened by the fact that our releases have inadvertently contributed to the global war machine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since its inception, Deerhoof has released over 20 albums. No longer formally based in San Francisco, its members now live in various parts of the country. Last month, the band performed a \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-band-still-worlds-best-20353536.php\">homecoming show at the Rickshaw Stop\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Read the band’s full statement below.\u003c/p>\n\u003cblockquote>\u003cp>We’re taking Deerhoof off Spotify.\u003c/p>\n\u003cp>“Daniel Ek uses $700 million of his Spotify fortune to become chairman of AI battle tech company” was not a headline we enjoyed reading this week. We don’t want our music killing people. We don’t want our success being tied to AI battle tech.\u003c/p>\n\u003cp>We are privileged that it was a pretty easy decision for us. Spotify only pays a pittance anyway, and we earn a lot more from touring. But we also understand that other artists and labels do rely on Spotify for a bigger chunk of their income, and don’t judge those who can’t make the same move in the short term.\u003c/p>\n\u003cp>AI battle tech is clearly emerging as the hot new big ticket item for the super-rich. It’s increasingly clear that the military and police exist primarily as the security detail for the billionaire class. The more of the killing you can get computers to do, the better your bottom line.\u003c/p>\n\u003cp>Computerized targeting, computerized extermination, computerized destabilization for profit, successfully tested on the people of Gaza, also finally solves the perennial inconvenience to war-makers — it takes human compassion and morality out of the equation.\u003c/p>\n\u003cp>Spotify is flushing itself down the toilet. Eventually artists will want to leave this already widely hated data-mining scam masquerading as a “music company.” It’s creepy for users and crappy for artists. Music-making lasts forever but this or that digital get-rich-quick scheme is sure to become obsolete.\u003c/p>\n\u003cp>One of the claims often made about Spotify is that it theoretically makes one’s music discoverable by anyone who signs up, no matter how remote they may be from the self-proclaimed centers of hipness. But just because someone is far from Western gatekeepers does not mean they lack culture, or need to hear our band. Deerhoof is a small mom and pop operation, and know when enough is enough. We aren’t capitalists, and don’t wish to take over the world. Especially if the price of “discoverability” is letting oligarchs fill the globe with computerized weaponry, we’re going to pass on the supposed benefits.\u003c/p>\n\u003cp>The big picture is this: Our politico-economic system increasingly presents humanity with a hideous fait accompli: Buy from me, vote for me, consume my media, use my service. Yes, it means mass deportation, mass detainment, and mass extermination of those deemed unprofitable by a handful of rich white people living in enclaves protected by AI weaponry. But if you don’t, you cannot have a job. We think this dilemma is coming to a head soon, and we predict that most people aren’t going to take the billionaires’ side.\u003c/p>\n\u003cp>We aren’t sure exactly how soon the takedowns can happen, but it will be as soon as possible. We want to thank our various labels for their support on this tricky decision. The grunt work of pulling content off of Spotify is something they’re now tasked with, and they are sharing the financial hit. We know we are asking them to make a sacrifice, and it means a lot to us.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13976155\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley.jpg\" alt=\"Album cover: Four band members stand in front of a brick wall in a photo from the late '90s.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Rilo Kiley’s new greatest hits album, ‘That’s How We Choose to Remember It,’ released on May 9, 2025. The legendary indie rock band’s reunion tour comes to Berkeley on Oct. 16. \u003ccite>(Courtesy of Rilo Kiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When legendary early-aughts \u003ca href=\"https://www.kqed.org/arts/tag/indie-rock\">indie rock\u003c/a> band Rilo Kiley announced its first slate of concerts since 2008 earlier this year, Bay Area fans pored through the schedule in disappointment: The closest the long-awaited reunion tour would be coming to the Bay was a May 5 \u003ca href=\"https://www.rollingstone.com/music/music-live-reviews/rilo-kiley-reunion-tour-concert-set-list-1235327785/\">kick-off show in San Luis Obispo\u003c/a>.\u003c/p>\n\u003cp>Here’s good news, then: The band just added six new tour dates in the fall, and one of them will be an \u003ca href=\"https://www.ticketmaster.com/event/1C0062A8F5EE5BDE\">Oct. 16 show\u003c/a> at the Greek Theatre in Berkeley. \u003ca href=\"https://www.nytimes.com/2020/04/01/arts/music/waxahatchee-saint-cloud-review.html\">Waxahatchee\u003c/a>, a recent \u003ca href=\"https://www.youtube.com/watch?v=ps1f7p720FA\">Tiny Desk performer\u003c/a> and indie cult favorite in its own right, will open.\u003c/p>\n\u003cp>Fronted by lead vocalist Jenny Lewis and guitarist Blake Sennett — both former child actors — Rilo Kiley rose to prominence in the early 2000s on the strength of its \u003ca href=\"https://www.youtube.com/watch?v=g8uHbf0TkQY\">smart, often darkly humorous lyrics\u003c/a> about finding one’s place in the world, and Lewis’ \u003ca href=\"https://www.youtube.com/watch?v=5J-hXw5UpQU\">soaring vocals\u003c/a>. Famously, the band broke up right after the tour promoting its most commercially successful album, \u003cem>Under the Blacklight,\u003c/em> due to long-simmering tensions between Lewis and Sennett.\u003c/p>\n\u003cp>But when the four original band members\u003ca href=\"https://www.nytimes.com/2025/04/29/arts/music/rilo-kiley-reunion-tour.html\"> reconnected during the pandemic\u003c/a>, enough time had passed for them to feel nostalgic about the possibility of a reunion.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g8uHbf0TkQY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It couldn’t have happened any sooner,” Lewis told former \u003cem>Pitchfork\u003c/em> staff writer Quinn Moreland in the band’s \u003ca href=\"https://www.rilokiley.com/copy-of-about\">comeback announcement\u003c/a>. “It feels like now is the time to share that joy and love with each other and with everyone else.”\u003c/p>\n\u003cp>In parallel with the reunion tour, the band released a self-curated greatest hits album, \u003ca href=\"https://rilokiley.bandcamp.com/album/thats-how-we-choose-to-remember-it\">\u003ci>That’s How We Choose to Remember It\u003c/i>\u003c/a>, on May 9.\u003c/p>\n\u003cp>Here’s what you need to know about snagging tickets for Rilo Kiley’s Oct. 16 show in Berkeley: \u003ca href=\"https://www.ticketmaster.com/event/1C0062A8F5EE5BDE\">Presale tickets\u003c/a> are currently available through Ticketmaster using the the band’s presale code, “Foxes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another Planet Entertainment, the concert’s co-producer, has its own presale starting on Thursday, May 15 at 10 a.m. using the code “silverlining.” Meanwhile, general ticket sales for the show open up on Friday, May 16 at 10 a.m.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13976155\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley.jpg\" alt=\"Album cover: Four band members stand in front of a brick wall in a photo from the late '90s.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rilo-kiley-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Rilo Kiley’s new greatest hits album, ‘That’s How We Choose to Remember It,’ released on May 9, 2025. The legendary indie rock band’s reunion tour comes to Berkeley on Oct. 16. \u003ccite>(Courtesy of Rilo Kiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When legendary early-aughts \u003ca href=\"https://www.kqed.org/arts/tag/indie-rock\">indie rock\u003c/a> band Rilo Kiley announced its first slate of concerts since 2008 earlier this year, Bay Area fans pored through the schedule in disappointment: The closest the long-awaited reunion tour would be coming to the Bay was a May 5 \u003ca href=\"https://www.rollingstone.com/music/music-live-reviews/rilo-kiley-reunion-tour-concert-set-list-1235327785/\">kick-off show in San Luis Obispo\u003c/a>.\u003c/p>\n\u003cp>Here’s good news, then: The band just added six new tour dates in the fall, and one of them will be an \u003ca href=\"https://www.ticketmaster.com/event/1C0062A8F5EE5BDE\">Oct. 16 show\u003c/a> at the Greek Theatre in Berkeley. \u003ca href=\"https://www.nytimes.com/2020/04/01/arts/music/waxahatchee-saint-cloud-review.html\">Waxahatchee\u003c/a>, a recent \u003ca href=\"https://www.youtube.com/watch?v=ps1f7p720FA\">Tiny Desk performer\u003c/a> and indie cult favorite in its own right, will open.\u003c/p>\n\u003cp>Fronted by lead vocalist Jenny Lewis and guitarist Blake Sennett — both former child actors — Rilo Kiley rose to prominence in the early 2000s on the strength of its \u003ca href=\"https://www.youtube.com/watch?v=g8uHbf0TkQY\">smart, often darkly humorous lyrics\u003c/a> about finding one’s place in the world, and Lewis’ \u003ca href=\"https://www.youtube.com/watch?v=5J-hXw5UpQU\">soaring vocals\u003c/a>. Famously, the band broke up right after the tour promoting its most commercially successful album, \u003cem>Under the Blacklight,\u003c/em> due to long-simmering tensions between Lewis and Sennett.\u003c/p>\n\u003cp>But when the four original band members\u003ca href=\"https://www.nytimes.com/2025/04/29/arts/music/rilo-kiley-reunion-tour.html\"> reconnected during the pandemic\u003c/a>, enough time had passed for them to feel nostalgic about the possibility of a reunion.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g8uHbf0TkQY'\n title='//www.youtube.com/embed/g8uHbf0TkQY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It couldn’t have happened any sooner,” Lewis told former \u003cem>Pitchfork\u003c/em> staff writer Quinn Moreland in the band’s \u003ca href=\"https://www.rilokiley.com/copy-of-about\">comeback announcement\u003c/a>. “It feels like now is the time to share that joy and love with each other and with everyone else.”\u003c/p>\n\u003cp>In parallel with the reunion tour, the band released a self-curated greatest hits album, \u003ca href=\"https://rilokiley.bandcamp.com/album/thats-how-we-choose-to-remember-it\">\u003ci>That’s How We Choose to Remember It\u003c/i>\u003c/a>, on May 9.\u003c/p>\n\u003cp>Here’s what you need to know about snagging tickets for Rilo Kiley’s Oct. 16 show in Berkeley: \u003ca href=\"https://www.ticketmaster.com/event/1C0062A8F5EE5BDE\">Presale tickets\u003c/a> are currently available through Ticketmaster using the the band’s presale code, “Foxes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another Planet Entertainment, the concert’s co-producer, has its own presale starting on Thursday, May 15 at 10 a.m. using the code “silverlining.” Meanwhile, general ticket sales for the show open up on Friday, May 16 at 10 a.m.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "St. Vincent at Grace Cathedral: Rock ‘n’ Roll Genius — and Comedy Gold",
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"content": "\u003cp>St. Vincent has a soft spot for San Francisco. Bathed in red light beneath Grace Cathedral’s high ceilings Sunday night, the artist remembered first arriving here from suburban Dallas as a teenager to visit her aunt and uncle, the jazz duo Tuck & Patti. Showing her around town, they took her to Amoeba Music on Haight Street, where a cashier with a cool haircut and Replacements T-shirt invited the young St. Vincent to start a band.\u003c/p>\n\u003cp>“Oh, there’s life outside. There’s a whole city of fuckin’ freaks,” St. Vincent remembered realizing. The former teenage misfits in the audience approvingly cheered. “There’s some place I belong.”\u003c/p>\n\u003cp>Coming off an incredibly hot streak — performing at \u003ca href=\"https://www.kqed.org/arts/13971898/how-to-watch-saturday-night-live-snl-50th-anniversary-special\">SNL50\u003c/a>, winning three Grammys, fronting Nirvana at FireAid LA — St. Vincent came back to San Francisco on Sunday night to have some fun. At Grace Cathedral, she kicked off her shoes, sang stunning ballads and snuck in a few dirty jokes.\u003c/p>\n\u003cfigure id=\"attachment_13972239\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR.jpg\" alt=\"view down church nave dramatically lit with red light, performer on stage at altar\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent at Grace Cathedral. \u003ccite>(Paige K. Parsons/Noise Pop Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The concert at the iconic landmark was part of \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a>, and was clearly the festival’s biggest get. When St. Vincent comes to the Bay, she usually plays large-capacity venues like Bill Graham Civic Auditorium and the Greek Theatre. Naturally, tickets sold out immediately for the intimate show at the Gothic church perched atop Nob Hill.\u003c/p>\n\u003cp>Dressed in a black silk top, matching skirt and sheer stockings, St. Vincent appeared holding her signature angular guitar through a mist of fog that floated up to the 91-ft. high ceilings. She began her set elegantly with “Hell Is Near,” the opening track of her 2024 album \u003ci>All Born Screaming\u003c/i>. With a slower tempo, and drums and electronics stripped away, St. Vincent’s unfiltered voice came through with striking clarity, tenderness and range as the keyboardist from her band, Rachel Eckroth, accompanied her on grand piano.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This minimalist approach to St. Vincent’s new material offered space to contemplate her existential lyrics, all about embracing, almost in a Buddhist way, the agony and ecstasy that make up our short time here on Earth. During “Violent Times,” she followed up a line about the petrified lovers of Pompeii with a raw, emotional vocal run; chills passed down my spine, and my eyes welled up with tears.\u003c/p>\n\u003cfigure id=\"attachment_13972241\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972241\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR.jpg\" alt=\"white woman in black jacket and skirt laughs while holding mic on stage\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent laughs on stage during her sold-out Feb. 23, 2025 show at Grace Cathedral. \u003ccite>(Paige K. Parsons/Noise Pop Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the poetry and beauty of her music, St. Vincent is also goofy as hell, and posseses impeccable comedic timing. When choosing her setlist from her vast catalogue, she stayed away from the punchy synth-pop of “Loss Ageless” or snarling guitar licks of “Broken Man,” and leaned into her older ballads.\u003c/p>\n\u003cp>“Here’s another blast from the past — another \u003ci>finger\u003c/i> blast from the past,” she said impishly as she introduced “Marry Me,” a love song addressed to a man, which put St. Vincent on the map in 2007. Delayed giggles rang throughout the church as people got the joke. She sweetly sang the line, “You won’t realize I’ve gone,” before breaking out of character and exclaiming her truth: “’Cause I’m gay!”\u003c/p>\n\u003cp>St. Vincent: rock ‘n’ roll genius and … secret comedian?\u003c/p>\n\u003cfigure id=\"attachment_13972243\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR.jpg\" alt=\"woman in black outfit lays on top of piano facing piano player on stage\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent at Grace Cathedral. \u003ccite>(Paige K. Parsons/Noise Pop Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah, let’s \u003cem>gooo\u003c/em>, San Francisco, it’s another motherfuckin’ heartfelt ballad,” she called out in the deep bellow of a sports bro before coyly perching up on the piano to sing the love song “Candy Darling” from \u003ci>Daddy’s Home\u003c/i>, her 2021 album oozing with early ’70s sleaze.\u003c/p>\n\u003cp>She might’ve been relaxed and playful, but St. Vincent’s singing and guitar playing never faltered. The gorgeous 90-minute set came to a close with a sparse, downtempo version of her funk song “The Melting of the Sun,” which she ended with a guitar solo delicate as a spider web as she ushered us into the foggy, moonlit night.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noisepop.com/\">Noise Pop concerts continue\u003c/a> at San Francisco venues through March 2.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>St. Vincent has a soft spot for San Francisco. Bathed in red light beneath Grace Cathedral’s high ceilings Sunday night, the artist remembered first arriving here from suburban Dallas as a teenager to visit her aunt and uncle, the jazz duo Tuck & Patti. Showing her around town, they took her to Amoeba Music on Haight Street, where a cashier with a cool haircut and Replacements T-shirt invited the young St. Vincent to start a band.\u003c/p>\n\u003cp>“Oh, there’s life outside. There’s a whole city of fuckin’ freaks,” St. Vincent remembered realizing. The former teenage misfits in the audience approvingly cheered. “There’s some place I belong.”\u003c/p>\n\u003cp>Coming off an incredibly hot streak — performing at \u003ca href=\"https://www.kqed.org/arts/13971898/how-to-watch-saturday-night-live-snl-50th-anniversary-special\">SNL50\u003c/a>, winning three Grammys, fronting Nirvana at FireAid LA — St. Vincent came back to San Francisco on Sunday night to have some fun. At Grace Cathedral, she kicked off her shoes, sang stunning ballads and snuck in a few dirty jokes.\u003c/p>\n\u003cfigure id=\"attachment_13972239\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR.jpg\" alt=\"view down church nave dramatically lit with red light, performer on stage at altar\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent at Grace Cathedral. \u003ccite>(Paige K. Parsons/Noise Pop Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The concert at the iconic landmark was part of \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a>, and was clearly the festival’s biggest get. When St. Vincent comes to the Bay, she usually plays large-capacity venues like Bill Graham Civic Auditorium and the Greek Theatre. Naturally, tickets sold out immediately for the intimate show at the Gothic church perched atop Nob Hill.\u003c/p>\n\u003cp>Dressed in a black silk top, matching skirt and sheer stockings, St. Vincent appeared holding her signature angular guitar through a mist of fog that floated up to the 91-ft. high ceilings. She began her set elegantly with “Hell Is Near,” the opening track of her 2024 album \u003ci>All Born Screaming\u003c/i>. With a slower tempo, and drums and electronics stripped away, St. Vincent’s unfiltered voice came through with striking clarity, tenderness and range as the keyboardist from her band, Rachel Eckroth, accompanied her on grand piano.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This minimalist approach to St. Vincent’s new material offered space to contemplate her existential lyrics, all about embracing, almost in a Buddhist way, the agony and ecstasy that make up our short time here on Earth. During “Violent Times,” she followed up a line about the petrified lovers of Pompeii with a raw, emotional vocal run; chills passed down my spine, and my eyes welled up with tears.\u003c/p>\n\u003cfigure id=\"attachment_13972241\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972241\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR.jpg\" alt=\"white woman in black jacket and skirt laughs while holding mic on stage\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent laughs on stage during her sold-out Feb. 23, 2025 show at Grace Cathedral. \u003ccite>(Paige K. Parsons/Noise Pop Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the poetry and beauty of her music, St. Vincent is also goofy as hell, and posseses impeccable comedic timing. When choosing her setlist from her vast catalogue, she stayed away from the punchy synth-pop of “Loss Ageless” or snarling guitar licks of “Broken Man,” and leaned into her older ballads.\u003c/p>\n\u003cp>“Here’s another blast from the past — another \u003ci>finger\u003c/i> blast from the past,” she said impishly as she introduced “Marry Me,” a love song addressed to a man, which put St. Vincent on the map in 2007. Delayed giggles rang throughout the church as people got the joke. She sweetly sang the line, “You won’t realize I’ve gone,” before breaking out of character and exclaiming her truth: “’Cause I’m gay!”\u003c/p>\n\u003cp>St. Vincent: rock ‘n’ roll genius and … secret comedian?\u003c/p>\n\u003cfigure id=\"attachment_13972243\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR.jpg\" alt=\"woman in black outfit lays on top of piano facing piano player on stage\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent at Grace Cathedral. \u003ccite>(Paige K. Parsons/Noise Pop Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah, let’s \u003cem>gooo\u003c/em>, San Francisco, it’s another motherfuckin’ heartfelt ballad,” she called out in the deep bellow of a sports bro before coyly perching up on the piano to sing the love song “Candy Darling” from \u003ci>Daddy’s Home\u003c/i>, her 2021 album oozing with early ’70s sleaze.\u003c/p>\n\u003cp>She might’ve been relaxed and playful, but St. Vincent’s singing and guitar playing never faltered. The gorgeous 90-minute set came to a close with a sparse, downtempo version of her funk song “The Melting of the Sun,” which she ended with a guitar solo delicate as a spider web as she ushered us into the foggy, moonlit night.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noisepop.com/\">Noise Pop concerts continue\u003c/a> at San Francisco venues through March 2.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/chrifcohen/?hl=en\">Chis Cohen\u003c/a>’s 2024 album, \u003ci>Paint a Room\u003c/i> (out via the venerable indie label Hardly Art), feels fitting for these dark January nights. It’s a cozy record that pairs well with a hot mug of tea by candlelight. A prolific producer and sideman who was a member of Deerhoof in the mid-aughts, Cohen pens thoughtful lyrics and quiet melodies for sensitive souls.\u003c/p>\n\u003cp>A soft woodwind section arranged by Josh Johnson — who won a Grammy for his work with Meshell Ndegeocello — accompanies Cohen’s gently sung reflections on the strife of our world, and how laughter and care for one another can get us through. Lead single “Damage,” featuring horn arrangements by prolific jazz multi-instrumentalist Jeff Parker, is particularly striking in its meditation on abuses of power, from the U.S. to Gaza. (Cohen recorded the album in a rental house in Altadena, which has been devastated by the Eaton Fire — \u003ca href=\"https://www.kqed.org/news/12021150/where-to-donate-help-los-angeles-wildfire-eaton-fire-palisades-pasadena\">here’s how to help\u003c/a>.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1854942293/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Back from a European tour, the Chris Cohen Band (with Davin Givhan on bass, Josh da Costa on drums and Jay Israelson on keys) is set to play on Friday, Jan. 17 at San Francisco’s Bottom of the Hill. The intimate venue — whose graffitied bathroom nods to its three decades as an underground music haven — will host a night of vibey spiritual jazz and psychedelia that’s the right level of low-key for our collective post-holiday hermetic mood.\u003c/p>\n\u003cp>The lineup also features \u003ca href=\"https://www.instagram.com/chefleee/\">Cheflee\u003c/a>, a standout artist from the jazz-adjacent, experimental beat scene that’s coalesced around the performance platform \u003ca href=\"https://www.kqed.org/arts/13837846/oaklands-experimental-hip-hop-party-smart-bomb-is-blowing-up\">Smart Bomb\u003c/a>. Cheflee, too, released a solid album in 2024: \u003ci>Fescue June\u003c/i>, a collection of 22 wiggly, synth-heavy lo-fi tracks that meander through a pleasant post-nap haze of samples and lyrics about self actualization.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1419867376/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Also joining the bill is San Francisco psychedelic rock band \u003ca href=\"https://www.instagram.com/ellieisgrooblen/?hl=en\">Grooblen\u003c/a>, whose 2023 album \u003ci>A Wormhole is a Freeway to the Stars\u003c/i> finds little universes of meaning in mundane moments, like picking one’s nails or skinny dipping in a river. The band promises new music later this year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1221045970/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Chris Cohen, Cheflee and Grooblen perform at Bottom of the Hill on Jan. 17. \u003ca href=\"https://www.bottomofthehill.com/20250117.html\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/chrifcohen/?hl=en\">Chis Cohen\u003c/a>’s 2024 album, \u003ci>Paint a Room\u003c/i> (out via the venerable indie label Hardly Art), feels fitting for these dark January nights. It’s a cozy record that pairs well with a hot mug of tea by candlelight. A prolific producer and sideman who was a member of Deerhoof in the mid-aughts, Cohen pens thoughtful lyrics and quiet melodies for sensitive souls.\u003c/p>\n\u003cp>A soft woodwind section arranged by Josh Johnson — who won a Grammy for his work with Meshell Ndegeocello — accompanies Cohen’s gently sung reflections on the strife of our world, and how laughter and care for one another can get us through. Lead single “Damage,” featuring horn arrangements by prolific jazz multi-instrumentalist Jeff Parker, is particularly striking in its meditation on abuses of power, from the U.S. to Gaza. (Cohen recorded the album in a rental house in Altadena, which has been devastated by the Eaton Fire — \u003ca href=\"https://www.kqed.org/news/12021150/where-to-donate-help-los-angeles-wildfire-eaton-fire-palisades-pasadena\">here’s how to help\u003c/a>.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1854942293/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Back from a European tour, the Chris Cohen Band (with Davin Givhan on bass, Josh da Costa on drums and Jay Israelson on keys) is set to play on Friday, Jan. 17 at San Francisco’s Bottom of the Hill. The intimate venue — whose graffitied bathroom nods to its three decades as an underground music haven — will host a night of vibey spiritual jazz and psychedelia that’s the right level of low-key for our collective post-holiday hermetic mood.\u003c/p>\n\u003cp>The lineup also features \u003ca href=\"https://www.instagram.com/chefleee/\">Cheflee\u003c/a>, a standout artist from the jazz-adjacent, experimental beat scene that’s coalesced around the performance platform \u003ca href=\"https://www.kqed.org/arts/13837846/oaklands-experimental-hip-hop-party-smart-bomb-is-blowing-up\">Smart Bomb\u003c/a>. Cheflee, too, released a solid album in 2024: \u003ci>Fescue June\u003c/i>, a collection of 22 wiggly, synth-heavy lo-fi tracks that meander through a pleasant post-nap haze of samples and lyrics about self actualization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1419867376/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Also joining the bill is San Francisco psychedelic rock band \u003ca href=\"https://www.instagram.com/ellieisgrooblen/?hl=en\">Grooblen\u003c/a>, whose 2023 album \u003ci>A Wormhole is a Freeway to the Stars\u003c/i> finds little universes of meaning in mundane moments, like picking one’s nails or skinny dipping in a river. The band promises new music later this year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1221045970/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Chris Cohen, Cheflee and Grooblen perform at Bottom of the Hill on Jan. 17. \u003ca href=\"https://www.bottomofthehill.com/20250117.html\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13967787\" class=\"wp-caption aligncenter\" style=\"max-width: 1395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png\" alt=\"An orange book cover featuring a black and white image of a band.\" width=\"1395\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png 1395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-800x1147.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1020x1462.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-768x1101.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1071x1536.png 1071w\" sizes=\"auto, (max-width: 1395px) 100vw, 1395px\">\u003cfigcaption class=\"wp-caption-text\">‘The Name of This Band Is R.E.M.: A Biography’ by Peter Ames Carlin. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The best way to read \u003cem>The Name of This Band is R.E.M.\u003c/em> is with a pair of headphones and a collection of the band’s albums on streaming services or CDs. Opt for the cassettes or vinyl if you want to go old school.\u003c/p>\n\u003cp>Peter Ames Carlin’s book isn’t just a cultural biography of the band going back to its formation in the-then sleepy college town of Athens, Georgia. It’s also a poetic meditation on what made so many of the band’s songs stand out, and continue to shine.\u003c/p>\n\u003cp>[aside postid='arts_13967509']“It was a new kind of post-punk, alternative music that straddled obscurity and directness, dissent and delicacy, unapologetic and unashamed pure pop,” he writes about the reaction to the band’s music in the early 1980s.\u003c/p>\n\u003cp>Carlin’s book offers plenty of behind the scenes details and trivia about R.E.M.’s rise. Fans will enjoy reading about how record executives were wary of making “Losing My Religion,” the band’s iconic hit, the first single from its album \u003cem>Out of Time\u003c/em>.\u003c/p>\n\u003cp>It’s also a fascinating history of a different era in music before social media created viral stars, when bands like R.E.M. rose up through college radio. The early sections of the book offer a vivid description of the music scene in Athens and the band’s beginning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book also explores the band’s political activism, including their work on environmental causes and promotion of the Rock the Vote campaign.\u003c/p>\n\u003cp>The band members didn’t agree to interviews for Carlin’s book, and that’s one of the few weaknesses of what is an otherwise well-researched history. Anyone hoping to discover major new revelations about the band and its members will likely be disappointed, but Carlin ably demonstrates the impact R.E.M.’s music has had and why its history is worth revisiting.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Name of This Band is R.E.M.’ is out now, via Doubleday.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13967787\" class=\"wp-caption aligncenter\" style=\"max-width: 1395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png\" alt=\"An orange book cover featuring a black and white image of a band.\" width=\"1395\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png 1395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-800x1147.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1020x1462.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-768x1101.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1071x1536.png 1071w\" sizes=\"auto, (max-width: 1395px) 100vw, 1395px\">\u003cfigcaption class=\"wp-caption-text\">‘The Name of This Band Is R.E.M.: A Biography’ by Peter Ames Carlin. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The best way to read \u003cem>The Name of This Band is R.E.M.\u003c/em> is with a pair of headphones and a collection of the band’s albums on streaming services or CDs. Opt for the cassettes or vinyl if you want to go old school.\u003c/p>\n\u003cp>Peter Ames Carlin’s book isn’t just a cultural biography of the band going back to its formation in the-then sleepy college town of Athens, Georgia. It’s also a poetic meditation on what made so many of the band’s songs stand out, and continue to shine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It was a new kind of post-punk, alternative music that straddled obscurity and directness, dissent and delicacy, unapologetic and unashamed pure pop,” he writes about the reaction to the band’s music in the early 1980s.\u003c/p>\n\u003cp>Carlin’s book offers plenty of behind the scenes details and trivia about R.E.M.’s rise. Fans will enjoy reading about how record executives were wary of making “Losing My Religion,” the band’s iconic hit, the first single from its album \u003cem>Out of Time\u003c/em>.\u003c/p>\n\u003cp>It’s also a fascinating history of a different era in music before social media created viral stars, when bands like R.E.M. rose up through college radio. The early sections of the book offer a vivid description of the music scene in Athens and the band’s beginning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book also explores the band’s political activism, including their work on environmental causes and promotion of the Rock the Vote campaign.\u003c/p>\n\u003cp>The band members didn’t agree to interviews for Carlin’s book, and that’s one of the few weaknesses of what is an otherwise well-researched history. Anyone hoping to discover major new revelations about the band and its members will likely be disappointed, but Carlin ably demonstrates the impact R.E.M.’s music has had and why its history is worth revisiting.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Name of This Band is R.E.M.’ is out now, via Doubleday.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-laundromat-pizza-outer-richmond-musicians-bands-staff",
"title": "Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond",
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"content": "\u003cp>On Wednesday evenings, Alex Wolfert feels like he’s on stage — even if none of his three bands is performing that night.\u003c/p>\n\u003cp>That’s because Wolfert, 24, works Wednesdays at \u003ca href=\"https://www.thelaundromatsf.com/\">The Laundromat\u003c/a> — a bagels-in-the-morning, pizzas-and-wine-in-the-evening spot in San Francisco’s Outer Richmond that doubles as a micro-community of the city’s indie musicians. Hours pass to the hum of vinyl LPs from its sizable collection; dough and industry advice are thrown and caught; band tees are complimented. Co-workers’ demos are played on shared rides home, and employees cover shifts when others play shows or go on tour.\u003c/p>\n\u003cp>But mainly, The Laundromat’s supportive, tight-knit staff show that the artist’s tradition of working behind a counter on the nights not spent on stage is alive and well in an increasingly unaffordable, tech-centered city.\u003c/p>\n\u003cfigure id=\"attachment_13959564\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert serves orders at The Laundromat, where he works alongside other musicians from San Francisco bands. Wolfert plays in Uncle Chris, Double Helix Peace Treaty and Starfish Prime. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a typical shift, Wolfert, with his easy smile, might step outside to wipe down a table, passing the hour-long line and white horizon of Ocean Beach. His thoughts will race: He needs to text Joey he can record this week; Korey wants to rehearse next week; that one party needs water; two tables need to be set. Then he’ll grab a mushroom combo, balancing dipping dishes of honey and ranch between his fingers, and slide them all onto a crowded table.\u003c/p>\n\u003cp>As the phone rings, he’ll notice the Groove Armada record is on the penultimate track of Side B.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One! More! Song!” he chirps in these moments over the beat to co-workers, Max Edelman, 29 (drummer for alt-rock band \u003ca href=\"https://www.instagram.com/sourwidows\">Sour Widows\u003c/a> and black metal band \u003ca href=\"https://www.instagram.com/rokeblackmetal/\">Roke\u003c/a>), and Eva Treadway, 29 (guitarist in the ’60s-style pop band \u003ca href=\"https://www.instagram.com/theshesmusic/\">The She’s\u003c/a> and the noisy ’90s-style rock group \u003ca href=\"https://www.instagram.com/world_smasher/\">World Smasher\u003c/a>). Edelman might be pouring a skin-contact orange wine into one patron’s glass while Treadway — wearing a baseball cap with the word “Laundromat” in a squiggly font, designed by \u003ca href=\"https://www.instagram.com/secret.cobra.information/\">Trey Flanigan\u003c/a> of local band \u003ca href=\"https://pardoner.bandcamp.com/\">Pardoner\u003c/a> — pours a chilled red into another. A sausage pie’s ready for delivery. The phone’s ringing again.\u003c/p>\n\u003cfigure id=\"attachment_13959565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway and Max Edelman work behind the bar at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busy nights like these are exhilarating to Wolfert. It’s like when his fingers are on the bass strings at Kilowatt or the Knockout. He plays with the jazz-inspired indie-pop group \u003ca href=\"https://www.kqed.org/news/11985883/uncle-chris-dove-on-the-ocean\">Uncle Chris,\u003c/a> the rock-driven songwriting-forward alt-pop of \u003ca href=\"https://www.instagram.com/starfishprime999/\">Starfish Prime\u003c/a> and the gritty, edgy sounds of \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a>. Working at The Laundromat can be like the climax of a song, he says. The crowd is rapt. The band’s locked in. The sound engineer is waving a symbol he can half see. His friends are in the front row making heart hands.\u003c/p>\n\u003cp>There’s a beast flowing through the air at that moment, he says. At The Laundromat, it’s caught and upheld by his co-workers, who are also his friends and some of his favorite musicians, similarly running pizzas or laughing in passing.\u003c/p>\n\u003cp>“There are parallels in service as in performance,” says Treadway just before their shift on a recent Wednesday. “We have our flow and we’re putting on a little bit of a show. Like, you’re providing this environment, you’re helping to curate it and you’re helping it to run, and you’re really fucking leaning on the people around you as your team.”\u003c/p>\n\u003cp>Navigating this organized chaos comes naturally to people who’ve worked together in a collaborative way artistically, Treadway adds, “because so much of being in a band is compromise and truly working together and doing hard things together. I don’t know anyone that’s a working musician in San Francisco that’s not working really, really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13959557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway poses for a portrait at The Laundromat. Treadway plays in The She’s and World Smasher. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians have worked service jobs since the beginning of undercompensated music and undercompensated labor. But the marriage’s harmony largely depends on institutional support – especially in San Francisco, where rents are always going up, prices are high and \u003ca href=\"https://www.sfgate.com/local/article/under-100k-low-income-san-francisco-18168899.php\">anyone making less than $100,000 a year is considered low-income\u003c/a>. The Tenderloin rehearsal space shared by two of Wolfert’s bands, a tight room split between five bands total, costs $800 a month. He lives with four roommates, one of whom is a bandmate.\u003c/p>\n\u003cp>When asked how to best support San Francisco’s musicians, Treadway says to tip well and pay in cash. Break out of the “transaction” mindset. Sometimes people forget their waiter is “a cool person who’s working really hard, who has their own interests, who maybe has their own band,” they add.\u003c/p>\n\u003cp>“Supporting your local restaurant is supporting your local musicians,” says Treadway. “Never forget it.”\u003c/p>\n\u003cfigure id=\"attachment_13959555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Edelman poses for a portrait at The Laundromat. Edelman plays in the bands Sour Widows and Roke. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s music scene is a fragile ecosystem, one supported through ticket and merch sales and prenegotiated percentages of the bar. And it’s supported most directly by the musicians themselves, waiting tables and humming a song idea as they grab Table Three’s vegan cheese.\u003c/p>\n\u003cp>Local music survives, says Wolfert, because of places like The Laundromat, and because people in the scene help each other out. Musicians hook other musicians up with places to practice or record; they ask local acts to open when they headline; they let them know when their neighborhood pizza place is hiring.\u003c/p>\n\u003cfigure id=\"attachment_13959563\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert talks with a co-worker at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, I feel like you’re working so many different jobs all at once,” says Edelman. “And then you work your job. And you’re not being paid, usually, for the music aspect.” Edelman, who’s tended bar at The Laundromat for more than a year, learned about the job from an Instagram post by Treadway, right after the two returned to San Francisco from playing South by Southwest.\u003c/p>\n\u003cp>Treadway calls The Laundromat “a project”; Edelman opts for a musician-artist space as well as a culinary spot. Wolfert jokes that people say from the outside, it looks like “a little cult.” (The Laundromat’s musician staff also includes Keith Frerichs of \u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a>, who is absent on this particular day to prepare for a North American tour.)\u003c/p>\n\u003cp>When Wolfert worked at a prior pizza place, he says he felt validated as a musician. But there’s validation, and then there’s encouragement from managers and owners. Here, your co-workers and bosses will proactively sit down around a calendar of your upcoming tour dates. They’ll work together to cover shifts; they’ll make it happen.\u003c/p>\n\u003cfigure id=\"attachment_13959559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bumper stickers by Christopher DeLoach (@thatscoolthankyou on Instagram) hang at the entrance to The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laundromat co-owners Kevin Rodgers and Jenna O’Connell don’t play music themselves, but both have histories of working with musicians in the service industry. The Laundromat, Rodgers says, is the most musician-concentrated workplace in his career. With so many band members and music lovers on staff, Rodgers says, they all just get it.\u003c/p>\n\u003cp>“Feeling like you’re in a place where your actual artistic endeavors are supported, that feels really important to me as someone who has played music my whole life,” says Treadway. “What makes people whole is being able to participate in their artistic endeavors.”\u003c/p>\n\u003cp>Ever since Treadway started in San Francisco’s music scene, people have said that the scene is dying. That everyone’s moving to L.A. They don’t think that’s true.\u003c/p>\n\u003cp>“There’s always going to be music in San Francisco,” Treadway says. “It’s in the DNA of the city, and has been since before any of us even were considered to exist.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a> are currently touring North America, and play \u003ca href=\"https://dice.fm/event/wkpon-the-umbrellas-pocket-full-of-crumbs-and-latitude-29th-jun-kilowatt-san-francisco-tickets?\">Saturday, June 29, at Kilowatt in San Francisco\u003c/a>. \u003ca href=\"https://www.sourwidows.com/\">Sour Widows\u003c/a> begins a U.S. tour this month, and plays \u003ca href=\"https://theindependentsf.com/event/13375114/sour-widows/\">Saturday, July 13, at the Independent\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a> plays \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/credit-electric-w-dutch-interior-amp-double-helix-peace-treaty-doors-700-pm-music-730-pm\">Wednesday, August 14, at the 4 Star Theater\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday evenings, Alex Wolfert feels like he’s on stage — even if none of his three bands is performing that night.\u003c/p>\n\u003cp>That’s because Wolfert, 24, works Wednesdays at \u003ca href=\"https://www.thelaundromatsf.com/\">The Laundromat\u003c/a> — a bagels-in-the-morning, pizzas-and-wine-in-the-evening spot in San Francisco’s Outer Richmond that doubles as a micro-community of the city’s indie musicians. Hours pass to the hum of vinyl LPs from its sizable collection; dough and industry advice are thrown and caught; band tees are complimented. Co-workers’ demos are played on shared rides home, and employees cover shifts when others play shows or go on tour.\u003c/p>\n\u003cp>But mainly, The Laundromat’s supportive, tight-knit staff show that the artist’s tradition of working behind a counter on the nights not spent on stage is alive and well in an increasingly unaffordable, tech-centered city.\u003c/p>\n\u003cfigure id=\"attachment_13959564\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert serves orders at The Laundromat, where he works alongside other musicians from San Francisco bands. Wolfert plays in Uncle Chris, Double Helix Peace Treaty and Starfish Prime. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a typical shift, Wolfert, with his easy smile, might step outside to wipe down a table, passing the hour-long line and white horizon of Ocean Beach. His thoughts will race: He needs to text Joey he can record this week; Korey wants to rehearse next week; that one party needs water; two tables need to be set. Then he’ll grab a mushroom combo, balancing dipping dishes of honey and ranch between his fingers, and slide them all onto a crowded table.\u003c/p>\n\u003cp>As the phone rings, he’ll notice the Groove Armada record is on the penultimate track of Side B.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One! More! Song!” he chirps in these moments over the beat to co-workers, Max Edelman, 29 (drummer for alt-rock band \u003ca href=\"https://www.instagram.com/sourwidows\">Sour Widows\u003c/a> and black metal band \u003ca href=\"https://www.instagram.com/rokeblackmetal/\">Roke\u003c/a>), and Eva Treadway, 29 (guitarist in the ’60s-style pop band \u003ca href=\"https://www.instagram.com/theshesmusic/\">The She’s\u003c/a> and the noisy ’90s-style rock group \u003ca href=\"https://www.instagram.com/world_smasher/\">World Smasher\u003c/a>). Edelman might be pouring a skin-contact orange wine into one patron’s glass while Treadway — wearing a baseball cap with the word “Laundromat” in a squiggly font, designed by \u003ca href=\"https://www.instagram.com/secret.cobra.information/\">Trey Flanigan\u003c/a> of local band \u003ca href=\"https://pardoner.bandcamp.com/\">Pardoner\u003c/a> — pours a chilled red into another. A sausage pie’s ready for delivery. The phone’s ringing again.\u003c/p>\n\u003cfigure id=\"attachment_13959565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway and Max Edelman work behind the bar at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busy nights like these are exhilarating to Wolfert. It’s like when his fingers are on the bass strings at Kilowatt or the Knockout. He plays with the jazz-inspired indie-pop group \u003ca href=\"https://www.kqed.org/news/11985883/uncle-chris-dove-on-the-ocean\">Uncle Chris,\u003c/a> the rock-driven songwriting-forward alt-pop of \u003ca href=\"https://www.instagram.com/starfishprime999/\">Starfish Prime\u003c/a> and the gritty, edgy sounds of \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a>. Working at The Laundromat can be like the climax of a song, he says. The crowd is rapt. The band’s locked in. The sound engineer is waving a symbol he can half see. His friends are in the front row making heart hands.\u003c/p>\n\u003cp>There’s a beast flowing through the air at that moment, he says. At The Laundromat, it’s caught and upheld by his co-workers, who are also his friends and some of his favorite musicians, similarly running pizzas or laughing in passing.\u003c/p>\n\u003cp>“There are parallels in service as in performance,” says Treadway just before their shift on a recent Wednesday. “We have our flow and we’re putting on a little bit of a show. Like, you’re providing this environment, you’re helping to curate it and you’re helping it to run, and you’re really fucking leaning on the people around you as your team.”\u003c/p>\n\u003cp>Navigating this organized chaos comes naturally to people who’ve worked together in a collaborative way artistically, Treadway adds, “because so much of being in a band is compromise and truly working together and doing hard things together. I don’t know anyone that’s a working musician in San Francisco that’s not working really, really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13959557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway poses for a portrait at The Laundromat. Treadway plays in The She’s and World Smasher. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians have worked service jobs since the beginning of undercompensated music and undercompensated labor. But the marriage’s harmony largely depends on institutional support – especially in San Francisco, where rents are always going up, prices are high and \u003ca href=\"https://www.sfgate.com/local/article/under-100k-low-income-san-francisco-18168899.php\">anyone making less than $100,000 a year is considered low-income\u003c/a>. The Tenderloin rehearsal space shared by two of Wolfert’s bands, a tight room split between five bands total, costs $800 a month. He lives with four roommates, one of whom is a bandmate.\u003c/p>\n\u003cp>When asked how to best support San Francisco’s musicians, Treadway says to tip well and pay in cash. Break out of the “transaction” mindset. Sometimes people forget their waiter is “a cool person who’s working really hard, who has their own interests, who maybe has their own band,” they add.\u003c/p>\n\u003cp>“Supporting your local restaurant is supporting your local musicians,” says Treadway. “Never forget it.”\u003c/p>\n\u003cfigure id=\"attachment_13959555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Edelman poses for a portrait at The Laundromat. Edelman plays in the bands Sour Widows and Roke. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s music scene is a fragile ecosystem, one supported through ticket and merch sales and prenegotiated percentages of the bar. And it’s supported most directly by the musicians themselves, waiting tables and humming a song idea as they grab Table Three’s vegan cheese.\u003c/p>\n\u003cp>Local music survives, says Wolfert, because of places like The Laundromat, and because people in the scene help each other out. Musicians hook other musicians up with places to practice or record; they ask local acts to open when they headline; they let them know when their neighborhood pizza place is hiring.\u003c/p>\n\u003cfigure id=\"attachment_13959563\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert talks with a co-worker at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, I feel like you’re working so many different jobs all at once,” says Edelman. “And then you work your job. And you’re not being paid, usually, for the music aspect.” Edelman, who’s tended bar at The Laundromat for more than a year, learned about the job from an Instagram post by Treadway, right after the two returned to San Francisco from playing South by Southwest.\u003c/p>\n\u003cp>Treadway calls The Laundromat “a project”; Edelman opts for a musician-artist space as well as a culinary spot. Wolfert jokes that people say from the outside, it looks like “a little cult.” (The Laundromat’s musician staff also includes Keith Frerichs of \u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a>, who is absent on this particular day to prepare for a North American tour.)\u003c/p>\n\u003cp>When Wolfert worked at a prior pizza place, he says he felt validated as a musician. But there’s validation, and then there’s encouragement from managers and owners. Here, your co-workers and bosses will proactively sit down around a calendar of your upcoming tour dates. They’ll work together to cover shifts; they’ll make it happen.\u003c/p>\n\u003cfigure id=\"attachment_13959559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bumper stickers by Christopher DeLoach (@thatscoolthankyou on Instagram) hang at the entrance to The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laundromat co-owners Kevin Rodgers and Jenna O’Connell don’t play music themselves, but both have histories of working with musicians in the service industry. The Laundromat, Rodgers says, is the most musician-concentrated workplace in his career. With so many band members and music lovers on staff, Rodgers says, they all just get it.\u003c/p>\n\u003cp>“Feeling like you’re in a place where your actual artistic endeavors are supported, that feels really important to me as someone who has played music my whole life,” says Treadway. “What makes people whole is being able to participate in their artistic endeavors.”\u003c/p>\n\u003cp>Ever since Treadway started in San Francisco’s music scene, people have said that the scene is dying. That everyone’s moving to L.A. They don’t think that’s true.\u003c/p>\n\u003cp>“There’s always going to be music in San Francisco,” Treadway says. “It’s in the DNA of the city, and has been since before any of us even were considered to exist.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a> are currently touring North America, and play \u003ca href=\"https://dice.fm/event/wkpon-the-umbrellas-pocket-full-of-crumbs-and-latitude-29th-jun-kilowatt-san-francisco-tickets?\">Saturday, June 29, at Kilowatt in San Francisco\u003c/a>. \u003ca href=\"https://www.sourwidows.com/\">Sour Widows\u003c/a> begins a U.S. tour this month, and plays \u003ca href=\"https://theindependentsf.com/event/13375114/sour-widows/\">Saturday, July 13, at the Independent\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a> plays \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/credit-electric-w-dutch-interior-amp-double-helix-peace-treaty-doors-700-pm-music-730-pm\">Wednesday, August 14, at the 4 Star Theater\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pinay Punk Original Lizzie Killian Finds a New Groove With Teens in Trouble",
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"content": "\u003cp>Lizzie Killian is an overnight success two decades in the making thanks to her new project, Teens in Trouble.\u003c/p>\n\u003cp>The band’s debut full-length album, \u003ca href=\"https://teensintrouble.bandcamp.com/album/whats-mine-2\">\u003cem>What’s Mine \u003c/em>\u003c/a>(out March 29 via \u003ca href=\"https://asianmanrecords.com/\">Asian Man Records\u003c/a>), graduates this Bay Area original from the background to the lead. With contemplative slacker protests in sonically punchy packages, Killian’s songwriting excels with melodic tracks that linger. From the anthemic opening single, “You Don’t Want to Mess with Me,” to the record’s finale, “I’m Not Perfect,” there’s a musical maturity that complements her own journey laid bare on the record.\u003c/p>\n\u003cp>https://youtu.be/EAtv3MtHmis?si=V2sxH5M-rmKC8xff\u003c/p>\n\u003cp>“The weird thing is I’ve just been trying to use this project as a way to dig into my authentic self or whatever, hokey stuff like that, and really trying to tune into what feels good for me,” Killian says.\u003c/p>\n\u003cp>The approach seems to be working: Teens in Trouble recently came off a tour run supporting veteran rockers RX Bandits. “Ever since I’ve been doing that, these opportunities have been presenting themselves,” Killian reflects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Raised in San Francisco’s Outer Sunset district in a Filipino immigrant household, Killian got her first taste of D.I.Y. when she saved enough money to buy her first electric guitar. She spent her teen years waiting outside 21-and-up venues to play with the band she joined, the Filipina-led \u003ca href=\"https://www.youtube.com/watch?v=nunYEBLbrPQ\">Sputterdoll\u003c/a>.\u003c/p>\n\u003cp>“Being a Filipina woman myself, it made me realize there was more than the white guy-fronted bands that I had been listening to, that we can rock just as hard,” she says. [aside postid='arts_13954914']\u003c/p>\n\u003cp>Sputterdoll played Warped Tour’s Shiragirls stage in 2005. They played The Pound — a great rock club out of horror movie central casting on Pier 96 — with Plain White T’s before Plain White T’s churned out a national hit. Of course, rocking DNA Lounge is part of her local lore. Unfortunately, pursuing music caused her to clash with her parents. She eventually worked three jobs to support herself, all while trying to keep her music dreams alive.\u003c/p>\n\u003cp>Once Killian became a certified musical veteran, she noticed her contemporaries in the Bay Area’s music scene mostly moved on or moved out. Teens in Trouble was born from a need to be independent and active, but she was twisting in the wind, and the project immediately stalled.\u003c/p>\n\u003cp>“My brain was so focused on work, that I didn’t know how to write songs anymore. At least, that’s what it felt like,” she says. “There was a point in 2017 where I was like, ‘Maybe that’s it for me. I guess I’m done with music or something.’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3779175158/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Killian loves to bet on herself, though, and music is her gamble of choice. So in 2022, she doubled-down, asserting herself as a songwriter and performer, launching Teens in Trouble in earnest. Killian’s D.I.Y.-ethos meshes well with the label that signed her. San Jose’s Asian Man Records is Mike Park’s long-running operation out of his mom’s South Bay garage. That support energized Lizzie to assemble musicians to fully realize Teens in Trouble under her guidance.\u003c/p>\n\u003cp>https://youtu.be/9NvLKmCjK30?si=Z5GzC2pYBMEjJ85i\u003c/p>\n\u003cp>Despite moving to Raleigh, North Carolina right before the pandemic, Killian’s Bay Area network has been key to her momentum for \u003cem>What’s Mine\u003c/em>, recorded at District Recording in San Jose.\u003c/p>\n\u003cp>A slew of music videos with her best friend, director and cinematographer Aja Pop (another San Francisco Filipina), have amplified Teens in Trouble’s presence in the Bay and beyond. The visuals for the singles on \u003cem>What’s Mine\u003c/em> — “You Don’t Want to Mess with Me,” “Playlist” and “It’s Up To Me” — all feature Aja Pop’s quirky and dreamy creative signature, inspired by French filmmaker’s Michel Gondry’s work with The White Stripes, and bolster Teens in Trouble’s proper arrival.\u003c/p>\n\u003cp>“I was not at all surprised that [Lizzie] figured it out, and got her act together — so to speak — to make this project happen,” says Pop. “I encourage all my friends to get their act together literally and figuratively because once you got that, that’s a sign of self-love.” [aside postid='arts_13954771']\u003c/p>\n\u003cp>Randy Moore, a San Jose-based bassist and producer, became part of Teens in Trouble through working with Asian Man Records. In a strangers-must-be-friends scenario, Killian entrusted Moore to produce her music — his first time producing an entire album for someone other than himself. A shared love of early Weezer’s vulnerability informed their common goals. Killian’s only directive? If the song didn’t make her move, it had to be reworked.\u003c/p>\n\u003cp>“A lot of the topics Lizzie talks about are vulnerable subjects, but instead of doing a somber overall record, guitars are big, guitars are heavy — we still like to rock out, but we still like to talk about our feelings,” Moore says. “That was the mantra going into it.”\u003c/p>\n\u003cp>Rounding out the lineup are lead guitarist Mike Huguenor of San Jose, whose old band Shinobu was often found on bills with Sputterdoll, and drummer Henry Chadwick from Santa Cruz, now based in Portland.\u003c/p>\n\u003cp>According to Killian, it all happened so fast — assembling a reliable team, getting onto a label, playing shows regularly again and now a full-length album. So it goes for an overnight success decades in the making.\u003c/p>\n\u003cp>“It’s been kind of a wild ride. In some regards, it feels like it went from zero to 100,” Killian says.\u003c/p>\n\u003cp>https://youtu.be/Ly3z1QG5EjM?si=cMm5Gb4FJgmJtkFx\u003c/p>\n\u003cp>Aja Pop adds: ”We’re Filipino-American girls living out our creative fantasies, not only in the Bay Area, but coast to coast, in places you wouldn’t expect.”\u003c/p>\n\u003cp>As for Lizzie’s relationship with her parents?\u003c/p>\n\u003cp>“We get along great now. They love Teens in Trouble,” she says. “Every time I visit, my mom’s always watching the same four videos that are on YouTube right now. I’m like, ‘Mom, we have other songs too, I swear.’” [aside postid='arts_13954854']\u003c/p>\n\u003cp>With \u003cem>What’s Mine\u003c/em>, Killian is making music that would feel at home blasting out of an Outer Sunset garage, from a surf van at Ocean Beach or out of someone’s headphones on the N Judah train on another foggy day of hating work. It’s a cohesive, well-sequenced listen that invites an immediate replay.\u003c/p>\n\u003cp>“That’s kinda funny about putting music out, especially in this time where everything is so visible for people. People are watching my growth as a musician or artist through these releases,” Killian reflects, “which is both scary, but also I’m proud of the music I’m putting out and my progress.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Teens in Trouble celebrates ‘What’s Mine’ with a \u003ca href=\"https://teensintrouble.bandcamp.com/merch/whats-mine-listening-party\">virtual listening party\u003c/a> on Bandcamp on Friday, March 29, at 9.a.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Raised in San Francisco’s Outer Sunset district in a Filipino immigrant household, Killian got her first taste of D.I.Y. when she saved enough money to buy her first electric guitar. She spent her teen years waiting outside 21-and-up venues to play with the band she joined, the Filipina-led \u003ca href=\"https://www.youtube.com/watch?v=nunYEBLbrPQ\">Sputterdoll\u003c/a>.\u003c/p>\n\u003cp>“Being a Filipina woman myself, it made me realize there was more than the white guy-fronted bands that I had been listening to, that we can rock just as hard,” she says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sputterdoll played Warped Tour’s Shiragirls stage in 2005. They played The Pound — a great rock club out of horror movie central casting on Pier 96 — with Plain White T’s before Plain White T’s churned out a national hit. Of course, rocking DNA Lounge is part of her local lore. Unfortunately, pursuing music caused her to clash with her parents. She eventually worked three jobs to support herself, all while trying to keep her music dreams alive.\u003c/p>\n\u003cp>Once Killian became a certified musical veteran, she noticed her contemporaries in the Bay Area’s music scene mostly moved on or moved out. Teens in Trouble was born from a need to be independent and active, but she was twisting in the wind, and the project immediately stalled.\u003c/p>\n\u003cp>“My brain was so focused on work, that I didn’t know how to write songs anymore. At least, that’s what it felt like,” she says. “There was a point in 2017 where I was like, ‘Maybe that’s it for me. I guess I’m done with music or something.’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3779175158/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Killian loves to bet on herself, though, and music is her gamble of choice. So in 2022, she doubled-down, asserting herself as a songwriter and performer, launching Teens in Trouble in earnest. Killian’s D.I.Y.-ethos meshes well with the label that signed her. San Jose’s Asian Man Records is Mike Park’s long-running operation out of his mom’s South Bay garage. That support energized Lizzie to assemble musicians to fully realize Teens in Trouble under her guidance.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9NvLKmCjK30'\n title='//www.youtube.com/embed/9NvLKmCjK30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite moving to Raleigh, North Carolina right before the pandemic, Killian’s Bay Area network has been key to her momentum for \u003cem>What’s Mine\u003c/em>, recorded at District Recording in San Jose.\u003c/p>\n\u003cp>A slew of music videos with her best friend, director and cinematographer Aja Pop (another San Francisco Filipina), have amplified Teens in Trouble’s presence in the Bay and beyond. The visuals for the singles on \u003cem>What’s Mine\u003c/em> — “You Don’t Want to Mess with Me,” “Playlist” and “It’s Up To Me” — all feature Aja Pop’s quirky and dreamy creative signature, inspired by French filmmaker’s Michel Gondry’s work with The White Stripes, and bolster Teens in Trouble’s proper arrival.\u003c/p>\n\u003cp>“I was not at all surprised that [Lizzie] figured it out, and got her act together — so to speak — to make this project happen,” says Pop. “I encourage all my friends to get their act together literally and figuratively because once you got that, that’s a sign of self-love.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Randy Moore, a San Jose-based bassist and producer, became part of Teens in Trouble through working with Asian Man Records. In a strangers-must-be-friends scenario, Killian entrusted Moore to produce her music — his first time producing an entire album for someone other than himself. A shared love of early Weezer’s vulnerability informed their common goals. Killian’s only directive? If the song didn’t make her move, it had to be reworked.\u003c/p>\n\u003cp>“A lot of the topics Lizzie talks about are vulnerable subjects, but instead of doing a somber overall record, guitars are big, guitars are heavy — we still like to rock out, but we still like to talk about our feelings,” Moore says. “That was the mantra going into it.”\u003c/p>\n\u003cp>Rounding out the lineup are lead guitarist Mike Huguenor of San Jose, whose old band Shinobu was often found on bills with Sputterdoll, and drummer Henry Chadwick from Santa Cruz, now based in Portland.\u003c/p>\n\u003cp>According to Killian, it all happened so fast — assembling a reliable team, getting onto a label, playing shows regularly again and now a full-length album. So it goes for an overnight success decades in the making.\u003c/p>\n\u003cp>“It’s been kind of a wild ride. In some regards, it feels like it went from zero to 100,” Killian says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ly3z1QG5EjM'\n title='//www.youtube.com/embed/Ly3z1QG5EjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aja Pop adds: ”We’re Filipino-American girls living out our creative fantasies, not only in the Bay Area, but coast to coast, in places you wouldn’t expect.”\u003c/p>\n\u003cp>As for Lizzie’s relationship with her parents?\u003c/p>\n\u003cp>“We get along great now. They love Teens in Trouble,” she says. “Every time I visit, my mom’s always watching the same four videos that are on YouTube right now. I’m like, ‘Mom, we have other songs too, I swear.’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With \u003cem>What’s Mine\u003c/em>, Killian is making music that would feel at home blasting out of an Outer Sunset garage, from a surf van at Ocean Beach or out of someone’s headphones on the N Judah train on another foggy day of hating work. It’s a cohesive, well-sequenced listen that invites an immediate replay.\u003c/p>\n\u003cp>“That’s kinda funny about putting music out, especially in this time where everything is so visible for people. People are watching my growth as a musician or artist through these releases,” Killian reflects, “which is both scary, but also I’m proud of the music I’m putting out and my progress.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Teens in Trouble celebrates ‘What’s Mine’ with a \u003ca href=\"https://teensintrouble.bandcamp.com/merch/whats-mine-listening-party\">virtual listening party\u003c/a> on Bandcamp on Friday, March 29, at 9.a.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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