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"content": "\n\u003cp>\u003ca href=\"https://noisepopfest.com/schedule\">Noise Pop\u003c/a> just announced phase one of the lineup for its 2027 festival, which takes over San Francisco venues Feb. 18–28 with a packed schedule of shows. Politically outspoken indie rock band \u003ca href=\"https://www.kqed.org/arts/13978141/deerhoof-quits-spotify-daniel-ek-700-million-military-ai-investment\">Deerhoof\u003c/a>, which formed in San Francisco in 1994, will take the stage at Great American Music Hall on Feb. 24. The group released a new, sci-fi-themed album, \u003cem>Divine Schism\u003c/em>, earlier this month, full of textured guitars and synths that feel both gritty and whimsical.\u003c/p>\n\n\n\n\u003cp>On Feb. 27, Nashville country, blues and gospel band Lambchop will perform at the majestic Grace Cathedral, where Noise Pop has previously hosted shows by St. Vincent and other musical greats. Lambchop will be joined by the Bay Area’s experimental vocal ensemble, \u003ca href=\"https://www.kqed.org/news/11986878/free-key-choir-whats-in-a-name\">Free Key Choir\u003c/a>. \u003c/p>\n\n\n\n\u003cp>At SFJAZZ on Feb. 20 and 21, saxophonist \u003ca href=\"https://www.kqed.org/arts/13975538/ayo-brame-oakland-jazz-prodigy-saxophone-yoshis-review\">Ayo Brame\u003c/a>, a 19-year-old rising star from Oakland, will perform two solo shows. Earlier this year, Brame was featured on Jill Scott’s long-awaited comeback album, \u003cem>To Whom This May Concern\u003c/em>.\u003c/p>\n\n\n\n\u003cp>Other lineup highlights include Jess Williamson, Modeselektor, Devvy Dub, Big Sis, Two Lanes, Powerplant, Lady Radiator, Cut Worms, Radio Free Alice, Here We Go Magic, Labrats, the Stone Foxes, Gibby Haynes, Caroline Rose, Sun Gazer, Sparklmami and Girl Ultra. More acts will be announced in the coming months. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://noisepopfest.com/schedule\">Noise Pop\u003c/a> just announced phase one of the lineup for its 2027 festival, which takes over San Francisco venues Feb. 18–28 with a packed schedule of shows. Politically outspoken indie rock band \u003ca href=\"https://www.kqed.org/arts/13978141/deerhoof-quits-spotify-daniel-ek-700-million-military-ai-investment\">Deerhoof\u003c/a>, which formed in San Francisco in 1994, will take the stage at Great American Music Hall on Feb. 24. The group released a new, sci-fi-themed album, \u003cem>Divine Schism\u003c/em>, earlier this month, full of textured guitars and synths that feel both gritty and whimsical.\u003c/p>\n\n\n\n\u003cp>On Feb. 27, Nashville country, blues and gospel band Lambchop will perform at the majestic Grace Cathedral, where Noise Pop has previously hosted shows by St. Vincent and other musical greats. Lambchop will be joined by the Bay Area’s experimental vocal ensemble, \u003ca href=\"https://www.kqed.org/news/11986878/free-key-choir-whats-in-a-name\">Free Key Choir\u003c/a>. \u003c/p>\n\n\n\n\u003cp>At SFJAZZ on Feb. 20 and 21, saxophonist \u003ca href=\"https://www.kqed.org/arts/13975538/ayo-brame-oakland-jazz-prodigy-saxophone-yoshis-review\">Ayo Brame\u003c/a>, a 19-year-old rising star from Oakland, will perform two solo shows. Earlier this year, Brame was featured on Jill Scott’s long-awaited comeback album, \u003cem>To Whom This May Concern\u003c/em>.\u003c/p>\n\n\n\n\u003cp>Other lineup highlights include Jess Williamson, Modeselektor, Devvy Dub, Big Sis, Two Lanes, Powerplant, Lady Radiator, Cut Worms, Radio Free Alice, Here We Go Magic, Labrats, the Stone Foxes, Gibby Haynes, Caroline Rose, Sun Gazer, Sparklmami and Girl Ultra. More acts will be announced in the coming months. \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, for the 33rd year in a row, \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> will fill the Bay Area’s clubs, art spaces, concert halls and dive bars with live music, bringing together top-tier local artists with cult-favorite touring acts. The \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">homegrown festival\u003c/a> runs Feb. 19–March 1, and features over 150 bands at 20 different venues, with Tortoise, Stephen Malkmus, Wisp and Cupcakke at the top of the lineup.\u003c/p>\n\u003cp>Unlike weekend-long fests with hefty ticket prices, Noise Pop is what you make it. Fans can purchase affordable individual tickets to one-off shows, or choose to go all in with badges that allow access to multiple concerts throughout each night.\u003c/p>\n\u003cp>The festival’s producers also work with the city to put on \u003ca href=\"https://sfmusicweek.org/\">San Francisco Music Week\u003c/a>, running Feb. 23–March 1. It overlaps with Noise Pop and features concerts as well as an industry summit, talks and workshops.\u003c/p>\n\u003cp>During a year when San Francisco is losing two beloved independent venues — the \u003ca href=\"https://www.coyotemedia.org/san-francisco-club-bottom-of-the-hill-to-close-at-the-end-of-2026/\">Bottom of the Hill\u003c/a> and \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-punk-bar-parkside-close-21322202.php\">Thee Parkside\u003c/a> — it’s as important as ever to plug in and support your local scene. Below you’ll find five Bay Area acts not to miss at the festival.\u003c/p>\n\u003cp>https://youtu.be/LfRK51Rv7x4?si=afFZixjPdK7kc43Q\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/publicsf/events/giraffage-chrome-sparks-dj-presented-by-noise-pop-festival-public-works-165121\">Giraffage\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 21, 9:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Public Works, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Giraffage emerged a decade ago with head-in-the-cloud beats evoking a hazy daydream. His most recent music (especially in his duo with Ryan Hemsworth, Bodysync) is much less cerebral. The San Jose-born electronic musician goes in on feel-good, four-on-the-floor beats that vibrate with the adrenaline-fueled energy of a ’90s jock jam. Stretching and hydrating is a must before Giraffage’s sweat-inducing set at Public Works during Noise Pop’s first weekend.\u003c/p>\n\u003cp>https://youtu.be/TOVGTxqUd00?si=MEKHEg8dk76jDW_f\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/lyrics-born-171457\">Lyrics Born\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 8 p.m.\u003c/em>\u003cbr>\n\u003cem>Gray Area, San Francisco\u003c/em>\u003c/p>\n\u003cp>Over his 30-plus-year career, Lyrics Born has cemented himself as a laid-back wordsmith whose songs are as likely to get the dance floor moving as they are to hit listeners in the heart with pieces of life wisdom. His solo debut \u003ci>Later That Day\u003c/i> made \u003cem>Rolling Stone\u003c/em>’s list of the \u003ca href=\"https://www.rollingstone.com/music/music-lists/best-hip-hop-albums-1323916/\">200 Greatest Hip-Hop Albums of All Time\u003c/a>; he’s put out no shortage of funk-drenched bangers since, most recently his 2024 album \u003ci>Goodbye, Sticky Rice\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/h0-k7vW9Xek?si=nAUpg42z9I3yvfoZ\u003c/p>\n\u003ch2>\u003ca href=\"https://www.theuctheatre.org/shows/clipping-27-feb\">clipping.\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 7 p.m.\u003cbr>\nUC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Before he starred in \u003ci>Hamilton\u003c/i> and \u003ci>Blindspotting\u003c/i>, Daveed Diggs came up in clipping., a hip-hop trio that pairs his tongue-twisting lyricism with jagged, experimental production by William Hutson and Jonathan Snipes. clipping.’s 2025 album \u003ci>Dead Channel Sky\u003c/i> pulses with the intensity of a warehouse rave, with industrial beats that match Diggs’ careening verses. This is an album for letting go, moving your body and, who knows, maybe even hopping into the mosh pit.\u003c/p>\n\u003cp>https://youtu.be/L8zILRiE5wk?si=tlQLa7XnoZlQd0WK\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/jay-som-168945\">Jay Som\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 6:30 p.m.\u003cbr>\nGray Area, San Francisco \u003c/em>\u003c/p>\n\u003cp>Jay Som began writing songs in her suburban East Bay bedroom, and her take on indie rock — punchy yet heartrending, catchy yet off-kilter enough to make you pause and ponder — has since caught the ear of big names like Paramore’s Hayley Williams, who features on Jay Som’s 2025 album \u003ci>Belong\u003c/i>. It’s Jay Som’s first release in six years, and Noise Pop will mark a welcome return to her hometown stage.\u003c/p>\n\u003cp>https://youtu.be/7gxHJnNYTAI?si=gKPTln8IXN2mDWzx\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/hugo-de-la-lune/\">Hugo De La Lune\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 7 and 8:30 p.m.\u003cbr>\nSFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hugo De La Lune calls themself African Dracula, and indeed, it’s not hard to imagine their haunting, sultry vocals echoing from a dark piano bar in \u003ci>Interview with a Vampire\u003c/i>. The emerging singer-songwriter has an arresting vocal range befitting of their high-drama storytelling, which is bound to captivate listeners during their two back-to-back shows at SFJAZZ.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, for the 33rd year in a row, \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> will fill the Bay Area’s clubs, art spaces, concert halls and dive bars with live music, bringing together top-tier local artists with cult-favorite touring acts. The \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">homegrown festival\u003c/a> runs Feb. 19–March 1, and features over 150 bands at 20 different venues, with Tortoise, Stephen Malkmus, Wisp and Cupcakke at the top of the lineup.\u003c/p>\n\u003cp>Unlike weekend-long fests with hefty ticket prices, Noise Pop is what you make it. Fans can purchase affordable individual tickets to one-off shows, or choose to go all in with badges that allow access to multiple concerts throughout each night.\u003c/p>\n\u003cp>The festival’s producers also work with the city to put on \u003ca href=\"https://sfmusicweek.org/\">San Francisco Music Week\u003c/a>, running Feb. 23–March 1. It overlaps with Noise Pop and features concerts as well as an industry summit, talks and workshops.\u003c/p>\n\u003cp>During a year when San Francisco is losing two beloved independent venues — the \u003ca href=\"https://www.coyotemedia.org/san-francisco-club-bottom-of-the-hill-to-close-at-the-end-of-2026/\">Bottom of the Hill\u003c/a> and \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-punk-bar-parkside-close-21322202.php\">Thee Parkside\u003c/a> — it’s as important as ever to plug in and support your local scene. Below you’ll find five Bay Area acts not to miss at the festival.\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/LfRK51Rv7x4'\n title='//www.youtube.com/embed/LfRK51Rv7x4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/publicsf/events/giraffage-chrome-sparks-dj-presented-by-noise-pop-festival-public-works-165121\">Giraffage\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 21, 9:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Public Works, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Giraffage emerged a decade ago with head-in-the-cloud beats evoking a hazy daydream. His most recent music (especially in his duo with Ryan Hemsworth, Bodysync) is much less cerebral. The San Jose-born electronic musician goes in on feel-good, four-on-the-floor beats that vibrate with the adrenaline-fueled energy of a ’90s jock jam. Stretching and hydrating is a must before Giraffage’s sweat-inducing set at Public Works during Noise Pop’s first weekend.\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/TOVGTxqUd00'\n title='//www.youtube.com/embed/TOVGTxqUd00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/lyrics-born-171457\">Lyrics Born\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 8 p.m.\u003c/em>\u003cbr>\n\u003cem>Gray Area, San Francisco\u003c/em>\u003c/p>\n\u003cp>Over his 30-plus-year career, Lyrics Born has cemented himself as a laid-back wordsmith whose songs are as likely to get the dance floor moving as they are to hit listeners in the heart with pieces of life wisdom. His solo debut \u003ci>Later That Day\u003c/i> made \u003cem>Rolling Stone\u003c/em>’s list of the \u003ca href=\"https://www.rollingstone.com/music/music-lists/best-hip-hop-albums-1323916/\">200 Greatest Hip-Hop Albums of All Time\u003c/a>; he’s put out no shortage of funk-drenched bangers since, most recently his 2024 album \u003ci>Goodbye, Sticky Rice\u003c/i>.\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/h0-k7vW9Xek'\n title='//www.youtube.com/embed/h0-k7vW9Xek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.theuctheatre.org/shows/clipping-27-feb\">clipping.\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 7 p.m.\u003cbr>\nUC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Before he starred in \u003ci>Hamilton\u003c/i> and \u003ci>Blindspotting\u003c/i>, Daveed Diggs came up in clipping., a hip-hop trio that pairs his tongue-twisting lyricism with jagged, experimental production by William Hutson and Jonathan Snipes. clipping.’s 2025 album \u003ci>Dead Channel Sky\u003c/i> pulses with the intensity of a warehouse rave, with industrial beats that match Diggs’ careening verses. This is an album for letting go, moving your body and, who knows, maybe even hopping into the mosh pit.\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/L8zILRiE5wk'\n title='//www.youtube.com/embed/L8zILRiE5wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/jay-som-168945\">Jay Som\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 6:30 p.m.\u003cbr>\nGray Area, San Francisco \u003c/em>\u003c/p>\n\u003cp>Jay Som began writing songs in her suburban East Bay bedroom, and her take on indie rock — punchy yet heartrending, catchy yet off-kilter enough to make you pause and ponder — has since caught the ear of big names like Paramore’s Hayley Williams, who features on Jay Som’s 2025 album \u003ci>Belong\u003c/i>. It’s Jay Som’s first release in six years, and Noise Pop will mark a welcome return to her hometown stage.\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/7gxHJnNYTAI'\n title='//www.youtube.com/embed/7gxHJnNYTAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/hugo-de-la-lune/\">Hugo De La Lune\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 7 and 8:30 p.m.\u003cbr>\nSFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hugo De La Lune calls themself African Dracula, and indeed, it’s not hard to imagine their haunting, sultry vocals echoing from a dark piano bar in \u003ci>Interview with a Vampire\u003c/i>. The emerging singer-songwriter has an arresting vocal range befitting of their high-drama storytelling, which is bound to captivate listeners during their two back-to-back shows at SFJAZZ.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Noise Pop Adds Giraffage, cupcakKe to Its 2026 Lineup",
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"content": "\u003cp>\u003cstrong>Update, Dec. 11, 2025: \u003c/strong>Today Noise Pop announced phase two of its lineup. The list of artists performing now includes San Jose electric music producer \u003ca href=\"https://www.instagram.com/giraffage/\">Giraffage\u003c/a>, Chicago-raised raunchy rapper \u003ca href=\"https://www.instagram.com/cupcakkeafreakk/?hl=en\">cupcakKe\u003c/a>, Canadian electronic musician \u003ca href=\"https://www.instagram.com/mariedavidson.official/?hl=en\">Marie Davidson\u003c/a>, Pennsylvania-grown experimental artist \u003ca href=\"https://www.instagram.com/tobaxxo/\">Tobacco\u003c/a> and more.\u003c/p>\n\u003cp>\u003cstrong>Original story, Oct. 23, 2025: \u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.noisepopfest.com/\">The Noise Pop Festival\u003c/a>, San Francisco’s annual celebration of independent music, just announced the initial lineup for its 2026 event.\u003c/p>\n\u003cp>Taking place from Feb. 19 through March 1 of next year, the event comes with a stacked bill — the first phase of which was announced today. Per usual, it features both veteran and up-and-coming artists, with headliners that include Chicago-based rock band \u003ca href=\"https://www.trts.com/\">Tortoise\u003c/a>, Oakland fusion-electronic group \u003ca href=\"https://www.beatsantique.com/\">Beats Antique\u003c/a>, and California hip-hop group \u003ca href=\"https://www.clppng.com/\">Clipping\u003c/a> featuring Bay Area rapper/actor/producer \u003ca href=\"https://www.kqed.org/forum/2010101907856/forum-from-the-archives-daveed-diggs-live-at-kqed-fest\">Daveed Diggs\u003c/a>.\u003c/p>\n\u003cp>But this year, there’s something new — an opportunity for more local artists to get their shine on. Noise Pop organizers are inviting Bay Area musicians to \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdtGm2hEmvjwuNqzkGXlChSLJLnKLU4rNCBls3as9e7ZQCoRw/viewform\">submit their work for a chance to play\u003c/a> at a venue during the festival.\u003c/p>\n\u003cfigure id=\"attachment_13982813\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982813\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/shannon1__main_artist_photo.jpg\" alt=\"A person wearing a hat, holding a guitar in one hand and a dog in the other.\" width=\"2000\" height=\"1384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/shannon1__main_artist_photo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/shannon1__main_artist_photo-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/shannon1__main_artist_photo-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/shannon1__main_artist_photo-1536x1063.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Napa’s Shannon Shaw is scheduled to perform at KQED on Feb. 26 as a part of the Noise Pop Festival. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noise Pop promoters have also teamed up with Seattle-based \u003ca href=\"https://www.kqed.org/arts/13954030/kexp-san-francisco-bay-area-expansion-92-7-fm\">radio station KEXP, \u003c/a>which expanded into the Bay Area in 2024, for\u003ca href=\"https://www.kexp.org/noisepop/\"> a special competition\u003c/a> in which the winning artist records a \u003cem>Live on KEXP\u003c/em> performance. In addition, that musician will get the chance to rock the crowd at a live show — venue to be determined — presented by \u003ca href=\"https://www.kqed.org/arts/13962790/kexp-bay-area-music-vinelands-kelley-stoltz\">KEXP’s Bay Area program,\u003cem> Vinelands.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since Noise Pop’s start in 1993 as a one-night show where a handful of groups played The Independent (known then as The Kennel Club), the festival has centered indie musicians who do it for the love of the art. While the company has grown — and so has the festival — that spirit remains.\u003c/p>\n\u003cp>This year, the festival includes 11 days of drum-smashing, guitar-shredding and soul-churning performances, as over 150 bands play across more than 25 venues scattered around San Francisco and the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_13982817\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982817\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/55A6B389-CE04-4F8D-9E2E-45FEC30FEDDD.jpeg\" alt=\"\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/55A6B389-CE04-4F8D-9E2E-45FEC30FEDDD.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/55A6B389-CE04-4F8D-9E2E-45FEC30FEDDD-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/55A6B389-CE04-4F8D-9E2E-45FEC30FEDDD-768x614.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/55A6B389-CE04-4F8D-9E2E-45FEC30FEDDD-1536x1229.jpeg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Denver’s Grammy nominated band DeVotchKa is set to play at San Francisco’s Gray Area on Feb. 21 as a part of the Noise Pop Festival. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s programming starts with \u003ca href=\"https://www.instagram.com/vs_self/?hl=en\">Vs Self,\u003c/a> an emo-jazz band from Southern California, who kick off festivities a few days early with a Feb. 15 show at San Francisco’s August Hall. The schedule concludes with a March 1 performance by Santa Fe guitarist and singer \u003ca href=\"https://www.instagram.com/therealestherrose/?hl=en\">Esther Rose\u003c/a> at Kilowatt Bar.\u003c/p>\n\u003cp>The festival’s itinerary also includes performances by Denver’s multi-instrumental alternative band \u003ca href=\"https://www.devotchka.net/\">DeVotchka\u003c/a> and Napa vocalist \u003ca href=\"https://www.instagram.com/shannonshaw/?hl=en\">Shannon Shaw\u003c/a> (of Shannon & The Clams), who is set to take the stage \u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/shannon-shaw-friends-at-kqed-live-162238\">at KQED’s headquarters on Feb. 26\u003c/a>. More artists will be announced in the coming weeks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Noise Pop Festival takes place Feb. 19 through March 1, 2026 at selected venues in San Francisco and the East Bay.\u003ca href=\"https://www.noisepopfest.com/\"> For more information click here.\u003c/a> \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Dec. 11, 2025: \u003c/strong>Today Noise Pop announced phase two of its lineup. The list of artists performing now includes San Jose electric music producer \u003ca href=\"https://www.instagram.com/giraffage/\">Giraffage\u003c/a>, Chicago-raised raunchy rapper \u003ca href=\"https://www.instagram.com/cupcakkeafreakk/?hl=en\">cupcakKe\u003c/a>, Canadian electronic musician \u003ca href=\"https://www.instagram.com/mariedavidson.official/?hl=en\">Marie Davidson\u003c/a>, Pennsylvania-grown experimental artist \u003ca href=\"https://www.instagram.com/tobaxxo/\">Tobacco\u003c/a> and more.\u003c/p>\n\u003cp>\u003cstrong>Original story, Oct. 23, 2025: \u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.noisepopfest.com/\">The Noise Pop Festival\u003c/a>, San Francisco’s annual celebration of independent music, just announced the initial lineup for its 2026 event.\u003c/p>\n\u003cp>Taking place from Feb. 19 through March 1 of next year, the event comes with a stacked bill — the first phase of which was announced today. Per usual, it features both veteran and up-and-coming artists, with headliners that include Chicago-based rock band \u003ca href=\"https://www.trts.com/\">Tortoise\u003c/a>, Oakland fusion-electronic group \u003ca href=\"https://www.beatsantique.com/\">Beats Antique\u003c/a>, and California hip-hop group \u003ca href=\"https://www.clppng.com/\">Clipping\u003c/a> featuring Bay Area rapper/actor/producer \u003ca href=\"https://www.kqed.org/forum/2010101907856/forum-from-the-archives-daveed-diggs-live-at-kqed-fest\">Daveed Diggs\u003c/a>.\u003c/p>\n\u003cp>But this year, there’s something new — an opportunity for more local artists to get their shine on. Noise Pop organizers are inviting Bay Area musicians to \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdtGm2hEmvjwuNqzkGXlChSLJLnKLU4rNCBls3as9e7ZQCoRw/viewform\">submit their work for a chance to play\u003c/a> at a venue during the festival.\u003c/p>\n\u003cfigure id=\"attachment_13982813\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982813\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/shannon1__main_artist_photo.jpg\" alt=\"A person wearing a hat, holding a guitar in one hand and a dog in the other.\" width=\"2000\" height=\"1384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/shannon1__main_artist_photo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/shannon1__main_artist_photo-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/shannon1__main_artist_photo-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/shannon1__main_artist_photo-1536x1063.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Napa’s Shannon Shaw is scheduled to perform at KQED on Feb. 26 as a part of the Noise Pop Festival. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noise Pop promoters have also teamed up with Seattle-based \u003ca href=\"https://www.kqed.org/arts/13954030/kexp-san-francisco-bay-area-expansion-92-7-fm\">radio station KEXP, \u003c/a>which expanded into the Bay Area in 2024, for\u003ca href=\"https://www.kexp.org/noisepop/\"> a special competition\u003c/a> in which the winning artist records a \u003cem>Live on KEXP\u003c/em> performance. In addition, that musician will get the chance to rock the crowd at a live show — venue to be determined — presented by \u003ca href=\"https://www.kqed.org/arts/13962790/kexp-bay-area-music-vinelands-kelley-stoltz\">KEXP’s Bay Area program,\u003cem> Vinelands.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since Noise Pop’s start in 1993 as a one-night show where a handful of groups played The Independent (known then as The Kennel Club), the festival has centered indie musicians who do it for the love of the art. While the company has grown — and so has the festival — that spirit remains.\u003c/p>\n\u003cp>This year, the festival includes 11 days of drum-smashing, guitar-shredding and soul-churning performances, as over 150 bands play across more than 25 venues scattered around San Francisco and the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_13982817\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982817\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/55A6B389-CE04-4F8D-9E2E-45FEC30FEDDD.jpeg\" alt=\"\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/55A6B389-CE04-4F8D-9E2E-45FEC30FEDDD.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/55A6B389-CE04-4F8D-9E2E-45FEC30FEDDD-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/55A6B389-CE04-4F8D-9E2E-45FEC30FEDDD-768x614.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/55A6B389-CE04-4F8D-9E2E-45FEC30FEDDD-1536x1229.jpeg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Denver’s Grammy nominated band DeVotchKa is set to play at San Francisco’s Gray Area on Feb. 21 as a part of the Noise Pop Festival. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s programming starts with \u003ca href=\"https://www.instagram.com/vs_self/?hl=en\">Vs Self,\u003c/a> an emo-jazz band from Southern California, who kick off festivities a few days early with a Feb. 15 show at San Francisco’s August Hall. The schedule concludes with a March 1 performance by Santa Fe guitarist and singer \u003ca href=\"https://www.instagram.com/therealestherrose/?hl=en\">Esther Rose\u003c/a> at Kilowatt Bar.\u003c/p>\n\u003cp>The festival’s itinerary also includes performances by Denver’s multi-instrumental alternative band \u003ca href=\"https://www.devotchka.net/\">DeVotchka\u003c/a> and Napa vocalist \u003ca href=\"https://www.instagram.com/shannonshaw/?hl=en\">Shannon Shaw\u003c/a> (of Shannon & The Clams), who is set to take the stage \u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/shannon-shaw-friends-at-kqed-live-162238\">at KQED’s headquarters on Feb. 26\u003c/a>. More artists will be announced in the coming weeks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Noise Pop Festival takes place Feb. 19 through March 1, 2026 at selected venues in San Francisco and the East Bay.\u003ca href=\"https://www.noisepopfest.com/\"> For more information click here.\u003c/a> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been an exciting time for San Francisco’s music scene. Local rappers and DJs showed out at high-profile parties for \u003ca href=\"https://www.kqed.org/arts/13971948/nba-all-star-weekend-bay-area-culture-murals-rappers-community\">NBA All-Star Weekend\u003c/a>. \u003ci>Billboard\u003c/i> ran a \u003ca href=\"https://www.billboard.com/business/record-labels/empire-ghazi-san-francisco-billboard-cover-story-1235897490/\">cover story on the entrepreneur Ghazi\u003c/a>, who built EMPIRE into the largest privately held record label in the U.S. And last week, nearly 100 bands performed at over a dozen venues for this year’s \u003ca href=\"https://www.kqed.org/arts/13972528/noise-pop-festival-san-francisco-2025-review\">Noise Pop festival\u003c/a>.\u003c/p>\n\u003cp>Simultaneously, Noise Pop producers teamed up with city government for the first-ever San Francisco Music Week, a series of panels, workshops and events aimed at bolstering the local ecosystem.\u003c/p>\n\u003cp>Music Week culminated on Feb. 28 with an Industry Summit, which brought independent artists and small venue operators in dialogue with powerful people like Mayor Daniel Lurie, executives from Another Planet Entertainment and Goldenvoice, and the director of the Recording Academy’s San Francisco chapter.\u003c/p>\n\u003cp>When about 200 caffeinated music professionals and enthusiasts first sat down in the wood-paneled ballroom of Swedish American Hall, people kept repeating a certain phrase: “We’re so back.”\u003c/p>\n\u003cp>“Let’s get this city to its rightful place, which is the greatest city in the world,” said Lurie during his 15-minute onstage conversation with Noise Pop co-owner Jordan Kurland.\u003c/p>\n\u003cfigure id=\"attachment_13972567\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Noise Pop’s Jordan Kurland interviews Mayor Daniel Lurie at the San Francisco Music Week Industry Summit on Feb. 28, 2025. \u003ccite>(Fotos by Alejandro (@fotosbyalejandro))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, the Bay Area has an incredible legacy of nurturing musicians and artistic movements, from Carlos Santana to E-40, from hippies to hyphy. But as discussions deepened throughout the summit, the tone shifted from local pride to unpacking the dire situation holding San Francisco back from its full potential as a music industry hub. Exorbitant rents that require artists to move away or hold down multiple jobs, leaving no time for music. Impossible economics for small venues. A collective post-COVID mood shift towards introversion. Large labels and promoters profiting; small businesses in crisis. A brain drain to New York and Los Angeles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet as speakers aired out these very real obstacles, there was also hope in the ether. As freelance journalist and KQED contributor Emma Silvers pointed out during a panel, “We have government officials talking about nightlife as something other than a nuisance, which honestly is a really big change in my lifetime.”\u003c/p>\n\u003cp>So how do musicians and industry workers want to leverage that interest to boost San Francisco as a music city? Here are a few key takeaways. [aside postid='arts_13972528']\u003c/p>\n\u003ch2>Locking in government support for the arts\u003c/h2>\n\u003cp>In the 2010s, Mayor Ed Lee turned Market Street into a tech corridor with tax incentives that lured in large corporations. But after pandemic office closures rendered downtown nearly a ghost town, Lee’s successor, London Breed, positioned arts and music as key to San Francisco’s economic recovery. Throughout 2024, she created several Entertainment Zones to promote block parties that drove customers to bars and restaurants, and spent $2.5 million on free concerts. Lurie, who celebrated his inauguration with a free block party headlined by SF EDM star Zhu, seems to want to build upon that policy.\u003c/p>\n\u003cp>“I think the Entertainment Zones, the Free First Thursdays, Outside Lands, Music Week — I mean, there’s no reason why we can’t continue these. They’re working, and I’m going to lean into them,” he told KQED as his staff hustled him out of Swedish American Hall to his next engagement.\u003c/p>\n\u003cp>But what will happen to city support of the arts once the free shows have drawn sufficient foot traffic, and therefore business interest, downtown? As multi-hyphenate musician and educator La Doña pointed out in her panel, San Francisco doesn’t have a great track record of standing by its artists and working class. (“There’s a lot of people that are successful in San Francisco, but it’s not usually the people who were born and raised here,” she said.)\u003c/p>\n\u003cfigure id=\"attachment_13972565\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goldenvoice talent buyer Danny Bell, musician La Doña and Rickshaw Stop talent buyer Dan Strachota (left to right) speak at the San Francisco Music Week Industry Summit on Feb. 28, 2025. \u003ccite>(Fotos by Alejandro (@fotosbyalejandro))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“City Hall really needs to protect the arts community, enable the arts community, before everything is occupied by AI companies, which we know is coming,” said Noise Pop’s Jordan Kurland.\u003c/p>\n\u003cp>He and several San Francisco arts leaders, including EMPIRE’s Ghazi, advise Lurie on cultural matters. In a backstage interview, Kurland pointed to several successful initiatives in other cities, including Seattle’s Office of Film and Music, which has promoted creative use of office space and career development for artists.\u003c/p>\n\u003cp>“Soon, office spaces will be rented again,” Kurland said. “Right now, there’s an opportunity to carve out — whether it’s to turn some of these office spaces into creative spaces, whether it’s offering some lower-than-market rate housing for artists, now’s the time.”\u003c/p>\n\u003cp>In his 15-minute talk at the Industry Summit, Lurie offered a list of possible solutions, including workforce housing for artists, more low-income and affordable housing, less red tape for small businesses, better public education and improvements to public transit. How effective his policies on these issues will be, however, remains to be seen. [aside postid='arts_13972213']\u003c/p>\n\u003cp>“It’s going to take time,” he implored. “Know this, I’m not here to tell you things are going to change overnight.”\u003c/p>\n\u003ch2>What do artists want? Economic justice\u003c/h2>\n\u003cp>During the Future of San Francisco Music panel, Analog Dog singer Austin Waz summed up the struggle of working musicians this way: “I just sold out The Independent,” he said, referring to the 500-person-capacity club, “but I can’t afford my apartment.”\u003c/p>\n\u003cp>Even P-Lo, the hitmaking rapper-producer, revealed in his keynote address that he lived with his parents until age 25 to make his career work.\u003c/p>\n\u003cp>There was a lot of talk throughout the day about creating opportunities for local artists to open for touring artists. But Maryam Qudus, who performs as Space Moth, said rates for those kinds of gigs haven’t gone up since she started getting them in 2011. “Generally it’s $300 if you’re an opener, and that’s really rough,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13972566\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo gives a keynote talk at the San Francisco Music Week Industry Summit on Feb. 28, 2025 at Swedish American Hall. \u003ccite>(Fotos by Alejandro (@fotosbyalejandro))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With artists scraping by, the economy of managers and booking agents around them shrinks as well, La Doña pointed out. Small venues, too, are struggling. Waz, who books shows at Kilowatt in the Mission District, said he’s seen at least 10 close in the past two years.\u003c/p>\n\u003cp>A possible solution? Government subsidies, philanthropic funding and corporate sponsorship for artists and venues, several speakers suggested. Waz shouted out the Market Street Arts program, a collaboration between the Office of Economic and Workforce Development and a private foundation, as a model for paying artists to perform at free community events, as well as recent city-funded SF Live concerts in parks and public spaces.\u003c/p>\n\u003cp>For many of the speakers, bolstering San Francisco’s music scene is so much more than making the city a hospitable place for big stars to stop by on tour. It’s about nurturing the creativity of upstart artists and small venues that are their proving grounds, so that new music can emanate from the city’s stages, sidewalks and speakers for generations to come.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Art is a spiritual practice. And similar to healthcare, it is good for your body, it is good for your soul, it is good for society,” Waz said, prompting robust applause. “So that’s why I think you have the opportunity here to start to re-conceptualize music in and of itself. This is not a commodity of industry. This is a human right. And it is the thing that brings us all together. Without protections, without city governments protecting human rights, they are at stake.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been an exciting time for San Francisco’s music scene. Local rappers and DJs showed out at high-profile parties for \u003ca href=\"https://www.kqed.org/arts/13971948/nba-all-star-weekend-bay-area-culture-murals-rappers-community\">NBA All-Star Weekend\u003c/a>. \u003ci>Billboard\u003c/i> ran a \u003ca href=\"https://www.billboard.com/business/record-labels/empire-ghazi-san-francisco-billboard-cover-story-1235897490/\">cover story on the entrepreneur Ghazi\u003c/a>, who built EMPIRE into the largest privately held record label in the U.S. And last week, nearly 100 bands performed at over a dozen venues for this year’s \u003ca href=\"https://www.kqed.org/arts/13972528/noise-pop-festival-san-francisco-2025-review\">Noise Pop festival\u003c/a>.\u003c/p>\n\u003cp>Simultaneously, Noise Pop producers teamed up with city government for the first-ever San Francisco Music Week, a series of panels, workshops and events aimed at bolstering the local ecosystem.\u003c/p>\n\u003cp>Music Week culminated on Feb. 28 with an Industry Summit, which brought independent artists and small venue operators in dialogue with powerful people like Mayor Daniel Lurie, executives from Another Planet Entertainment and Goldenvoice, and the director of the Recording Academy’s San Francisco chapter.\u003c/p>\n\u003cp>When about 200 caffeinated music professionals and enthusiasts first sat down in the wood-paneled ballroom of Swedish American Hall, people kept repeating a certain phrase: “We’re so back.”\u003c/p>\n\u003cp>“Let’s get this city to its rightful place, which is the greatest city in the world,” said Lurie during his 15-minute onstage conversation with Noise Pop co-owner Jordan Kurland.\u003c/p>\n\u003cfigure id=\"attachment_13972567\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Mayor-Lurie_02-credit-@fotosbyalejandro-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Noise Pop’s Jordan Kurland interviews Mayor Daniel Lurie at the San Francisco Music Week Industry Summit on Feb. 28, 2025. \u003ccite>(Fotos by Alejandro (@fotosbyalejandro))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, the Bay Area has an incredible legacy of nurturing musicians and artistic movements, from Carlos Santana to E-40, from hippies to hyphy. But as discussions deepened throughout the summit, the tone shifted from local pride to unpacking the dire situation holding San Francisco back from its full potential as a music industry hub. Exorbitant rents that require artists to move away or hold down multiple jobs, leaving no time for music. Impossible economics for small venues. A collective post-COVID mood shift towards introversion. Large labels and promoters profiting; small businesses in crisis. A brain drain to New York and Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet as speakers aired out these very real obstacles, there was also hope in the ether. As freelance journalist and KQED contributor Emma Silvers pointed out during a panel, “We have government officials talking about nightlife as something other than a nuisance, which honestly is a really big change in my lifetime.”\u003c/p>\n\u003cp>So how do musicians and industry workers want to leverage that interest to boost San Francisco as a music city? Here are a few key takeaways. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Locking in government support for the arts\u003c/h2>\n\u003cp>In the 2010s, Mayor Ed Lee turned Market Street into a tech corridor with tax incentives that lured in large corporations. But after pandemic office closures rendered downtown nearly a ghost town, Lee’s successor, London Breed, positioned arts and music as key to San Francisco’s economic recovery. Throughout 2024, she created several Entertainment Zones to promote block parties that drove customers to bars and restaurants, and spent $2.5 million on free concerts. Lurie, who celebrated his inauguration with a free block party headlined by SF EDM star Zhu, seems to want to build upon that policy.\u003c/p>\n\u003cp>“I think the Entertainment Zones, the Free First Thursdays, Outside Lands, Music Week — I mean, there’s no reason why we can’t continue these. They’re working, and I’m going to lean into them,” he told KQED as his staff hustled him out of Swedish American Hall to his next engagement.\u003c/p>\n\u003cp>But what will happen to city support of the arts once the free shows have drawn sufficient foot traffic, and therefore business interest, downtown? As multi-hyphenate musician and educator La Doña pointed out in her panel, San Francisco doesn’t have a great track record of standing by its artists and working class. (“There’s a lot of people that are successful in San Francisco, but it’s not usually the people who were born and raised here,” she said.)\u003c/p>\n\u003cfigure id=\"attachment_13972565\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_Future-Panel_04-credit-@fotosbyalejandro-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goldenvoice talent buyer Danny Bell, musician La Doña and Rickshaw Stop talent buyer Dan Strachota (left to right) speak at the San Francisco Music Week Industry Summit on Feb. 28, 2025. \u003ccite>(Fotos by Alejandro (@fotosbyalejandro))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“City Hall really needs to protect the arts community, enable the arts community, before everything is occupied by AI companies, which we know is coming,” said Noise Pop’s Jordan Kurland.\u003c/p>\n\u003cp>He and several San Francisco arts leaders, including EMPIRE’s Ghazi, advise Lurie on cultural matters. In a backstage interview, Kurland pointed to several successful initiatives in other cities, including Seattle’s Office of Film and Music, which has promoted creative use of office space and career development for artists.\u003c/p>\n\u003cp>“Soon, office spaces will be rented again,” Kurland said. “Right now, there’s an opportunity to carve out — whether it’s to turn some of these office spaces into creative spaces, whether it’s offering some lower-than-market rate housing for artists, now’s the time.”\u003c/p>\n\u003cp>In his 15-minute talk at the Industry Summit, Lurie offered a list of possible solutions, including workforce housing for artists, more low-income and affordable housing, less red tape for small businesses, better public education and improvements to public transit. How effective his policies on these issues will be, however, remains to be seen. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s going to take time,” he implored. “Know this, I’m not here to tell you things are going to change overnight.”\u003c/p>\n\u003ch2>What do artists want? Economic justice\u003c/h2>\n\u003cp>During the Future of San Francisco Music panel, Analog Dog singer Austin Waz summed up the struggle of working musicians this way: “I just sold out The Independent,” he said, referring to the 500-person-capacity club, “but I can’t afford my apartment.”\u003c/p>\n\u003cp>Even P-Lo, the hitmaking rapper-producer, revealed in his keynote address that he lived with his parents until age 25 to make his career work.\u003c/p>\n\u003cp>There was a lot of talk throughout the day about creating opportunities for local artists to open for touring artists. But Maryam Qudus, who performs as Space Moth, said rates for those kinds of gigs haven’t gone up since she started getting them in 2011. “Generally it’s $300 if you’re an opener, and that’s really rough,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13972566\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Music-Summit_P-Lo_02-credit-@fotosbyalejandro-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo gives a keynote talk at the San Francisco Music Week Industry Summit on Feb. 28, 2025 at Swedish American Hall. \u003ccite>(Fotos by Alejandro (@fotosbyalejandro))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With artists scraping by, the economy of managers and booking agents around them shrinks as well, La Doña pointed out. Small venues, too, are struggling. Waz, who books shows at Kilowatt in the Mission District, said he’s seen at least 10 close in the past two years.\u003c/p>\n\u003cp>A possible solution? Government subsidies, philanthropic funding and corporate sponsorship for artists and venues, several speakers suggested. Waz shouted out the Market Street Arts program, a collaboration between the Office of Economic and Workforce Development and a private foundation, as a model for paying artists to perform at free community events, as well as recent city-funded SF Live concerts in parks and public spaces.\u003c/p>\n\u003cp>For many of the speakers, bolstering San Francisco’s music scene is so much more than making the city a hospitable place for big stars to stop by on tour. It’s about nurturing the creativity of upstart artists and small venues that are their proving grounds, so that new music can emanate from the city’s stages, sidewalks and speakers for generations to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Art is a spiritual practice. And similar to healthcare, it is good for your body, it is good for your soul, it is good for society,” Waz said, prompting robust applause. “So that’s why I think you have the opportunity here to start to re-conceptualize music in and of itself. This is not a commodity of industry. This is a human right. And it is the thing that brings us all together. Without protections, without city governments protecting human rights, they are at stake.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "noise-pop-festival-san-francisco-2025-review",
"title": "Rare Performances, Rising Acts Made Noise Pop 2025 Special",
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"headTitle": "Rare Performances, Rising Acts Made Noise Pop 2025 Special | KQED",
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"content": "\u003cp>There’s nothing quite like \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a> to remind you that, even with all the entertainment at our fingertips, nothing can replace live music. Throughout the week, as I accumulated hand stamps and wristbands at venues from the Tenderloin to the Panhandle, it was hard not to feel \u003ci>alive\u003c/i> and grateful for the many high-caliber musicians and absolutely stoked fans of different ages, backgrounds and subcultures.\u003c/p>\n\u003cfigure id=\"attachment_13972477\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972477\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41.jpg\" alt=\"A DJ spins a turntable. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dam-Funk performs at the Noise Pop opening night party at the California Academy of Sciences on Feb. 20, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 10-day festival kicked off with a Feb. 20 opening party with Dam-Funk at the California Academy of Sciences, and brought impressive headliners to unique settings (\u003ca href=\"https://www.kqed.org/arts/13972213/st-vincent-grace-cathedral-san-francisc-noise-pop-review\">St. Vincent\u003c/a> and Ben Gibbard in the gorgeous Grace Cathedral, for one) and storied nightclubs alike. True to the festival’s roots, this year’s edition was heavy on indie rock, both with nostalgic acts like American Football and new-gen stars like Soccer Mommy. It also brought out left-field pop and cult hip-hop acts with passionate, niche followings. (My only complaint was a lack of local hip-hop artists during this vibrant time in the Bay Area scene.)\u003c/p>\n\u003cp>Below you’ll find a scene report from Noise Pop’s most exciting sets, plus lots more photos.\u003c/p>\n\u003cfigure id=\"attachment_13972470\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972470\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Earl Sweatshirt performs at the Great American Music Hall in San Francisco on Feb. 25, 2025, as part of the Noise Pop festival. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Earl Sweatshirt brought out the introverts\u003c/h2>\n\u003cp>Earl Sweatshirt doesn’t really write songs with hooks. He says things that most people in the music industry aren’t willing to say (like “free Gaza”). And the beats he chooses are jarring and jagged, made from asymmetrical loops that don’t really work for dancing. Not that his fans care. The dense crowd at his two back-to-back shows at Great American Music Hall rapped along to his deep cuts, spitting each bar with their chests. On Tuesday night, it felt like 400 introverts found their tribe after years of passionately, privately listening to Sweatshirt in their bedrooms.\u003c/p>\n\u003cfigure id=\"attachment_13972468\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Navy Blue performs at the Great American Music Hall in San Francisco on Feb. 25, 2025, as part of the Noise Pop festival. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sweatshirt arrived on stage to the guitar loop from his 2018 instrumental song “Riot!” “I feel like a Pop Tart right now,” he told the crowd. He probably wasn’t the only one having a psychedelic experience. When he delivered the dense, poetic bars of “E. Coli,” with its old-school-sounding choral beat produced by The Alchemist, phones went up and dozens of joints sparked throughout the crowd. During the set he brought back opening acts Navy Blue and Zelooperz, who had delivered heartfelt and moshpit-worthy performances, respectively, earlier in the night.\u003c/p>\n\u003cfigure id=\"attachment_13972473\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glixen performs at Bottom of the Hill in San Francisco on Feb. 25, 2025, as part of the Noise Pop festival. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A chance to catch Glixen before they blow up\u003c/h2>\n\u003cp>Glixen’s Tuesday-night show at Bottom of the Hill might have been the last chance to see them in the lovably ramshackle dive before they blow up. The young four-piece shoegaze band from Phoenix is currently on a tour of small clubs before they land in front of 125,000 festival-goers at Coachella in April. At Bottom of the Hill Tuesday, they exuded quiet confidence, mostly letting screechy distortion speak for them instead of bantering with the crowd. An audience aged 18 to 60 — the latter camp probably drawn to the show because of Glixen’s similarities to My Bloody Valentine — bobbed along in a trance as Aislinn Ritchie’s thin vocals floated along in frothy spumes of sludgy instrumentation.\u003c/p>\n\u003cfigure id=\"attachment_13972475\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972475\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glixen performs at Bottom of the Hill in San Francisco on Feb. 25, 2025, as part of the Noise Pop festival. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972490\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The band Cymande plays at August Hall in San Francisco on Feb. 26, 2025. The group was originally formed in the early 1970s by Caribbean born, London based musicians.\u003c/figcaption>\u003c/figure>\n\u003ch2>Cymande returned in top form\u003c/h2>\n\u003cp>“We’re gonna play you a song that put us on the map before we took a short break for 50 years,” joked Patrick Patterson, Cymande’s guitarist, as a funky bassline kicked off their 1972 hit “Bra.” With each shake of the shaker, trilling guitar riff and sunny burst of trumpet, the audience ascended into ecstatic, full-body dance moves. Folks with grey hair, who probably first heard the Caribbean-British band five decades ago, moved their hips, clearly getting their groove back — if they ever even lost it in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though they may not be a household name, Cymande had a huge impact. They appeared on \u003ci>Soul Train\u003c/i> and headlined Harlem’s Apollo Theater; hip-hop greats like Gang Starr and De La Soul sampled several of their songs, including “Bra,” which was also featured in a Spike Lee joint.\u003c/p>\n\u003cfigure id=\"attachment_13972489\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972489\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans cheer for Cymande at August Hall in San Francisco on Feb. 26, 2025. The group was originally formed in the early 1970s by Caribbean born, London based musicians. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nine-piece band is now back together, with a new album out. Remarkably, their sold-out Wednesday Noise Pop set showed them in top form. Steve Scipio’s vocals resounded through August Hall, totally butter-smooth. The dynamic percussion section brought Afro-Caribbean flare to new tracks like “Chasing an Empty Dream,” which built upon Cymande’s original sound without trying to relive the past.\u003c/p>\n\u003cfigure id=\"attachment_13972482\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard performs at the Independent, as part of the Noise Pop festival, in San Francisco on Feb. 26, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dawn Richard enamored the crowd\u003c/h2>\n\u003cp>When I arrived late to Dawn Richard and Spencer Zahn’s show after seeing Cymande, it felt like walking in on strangers falling in love. I don’t mean the two musicians, but Richard and the audience. Everyone in the seated, 100-ish-person crowd at the Independent was beaming, absolutely enamored with the singer. Richard exuded warmth and poise as she joked, told stories and serenaded the audience as Zahn provided dreamy, sparse keys and guitar.\u003c/p>\n\u003cp>While some may know Richard from the 2000s R&B act Danity Kane, Wednesday’s performance caught up those not paying attention on her creative flourishment since her beginnings in a manufactured girl group. She and Zahn performed the ethereal, confessional songs from their two collaborative albums, \u003ci>Pigments\u003c/i> and \u003ci>Quiet in a World Full of Noise\u003c/i>, which both lean into contemporary classical music and downtempo art pop. At one point, a fan went up to the front and asked Richard for a selfie mid-show. “I wanna have your kind of energy,” she joked, applauding their confidence.\u003c/p>\n\u003cfigure id=\"attachment_13972480\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Shannan Gibson, Neokoni Pagala and Ke-Ke Gatewood clap as Dawn Richard and Spencer Zahn perform at the Independent, as part of the Noise Pop festival, in San Francisco on Feb. 26, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time their song “Traditions” arrived, about the simple joys of family in Richard’s hometown of New Orleans, fans filled in the call-and-response of her heartfelt lyrics: “You call it superstitions / I call it traditions / You call it lucky / I call it blessings.” When the lights came up, there was a new openness in the room. Strangers chatted together excitedly. Richard and Zahn posted up at the merch table and talked at length with each fan, with smiles and intentional eye contact. We were all in it together, transformed by the beauty of the experience. It felt healing.\u003c/p>\n\u003cfigure id=\"attachment_13972500\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dani Offline performs at SFJAZZ for Noise Pop in San Francisco, Calif., Thursday, Feb. 27, 2025. \u003ccite>(David Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dani Offline won over new fans\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>SFJAZZ books mostly touring acts, but Dani Offline’s two sold-out back-to-back sets on Thursday night made a compelling case for why the state-of-the-art venue should invest more in the local scene. With her honeyed soprano voice, Offline expanded songs she produced on her laptop in her bedroom with the help of a talented band (that included David Exume of the KQED-produced podcast Snap Judgment on bass). If there’s one lane Offline excels in, it’s sweetly earnest love songs, which got the audience not just singing along but accompanying her in two-part harmony. Even people off the street couldn’t help but smile as they peeked into the performance through the window of the Joe Henderson Lab. Towards the end, Offline performed a soon-to-be-released track that she and her band recorded completely analog, in one take. If the warm response in the room was any indication, hers is a name we’ll be hearing more in the Bay Area music scene soon.\u003c/p>\n\u003ch2>More photos from Noise Pop\u003c/h2>\n\u003cfigure id=\"attachment_13972502\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Danny Brown performs at SFJAZZ for Noise Pop in San Francisco, Calif., Thursday, Feb. 27, 2025.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972509\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soccer Mommy performs at the Fillmore, as part of the Noise Pop music festival, in San Francisco on Feb. 28, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers pack into 1015 Folsom for the Noise Pop music event in San Francisco, Calif., on Friday, February 28, 2025. \u003ccite>(David Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972466\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972466\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Founding member of the Flamin’ Groovies, Cyril Jordan, plays with the group at the 4 Star Theatre in San Francisco’s Richmond District on Feb. 22, 2025, during the Noise Pop Festival. The Flamin’ Groovies are a rock and roll band formed in San Francisco in 1965. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972486\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The band Uncle Chris performs as part of the Noise Pop Festival at Kilowatt Bar, in San Francisco on Sunday, Feb 23, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972461\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972461\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch as Geographer performs at August Hall in San Francisco as part of Noise Pop on Feb. 21, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972496\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972496\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Cole Terrazas spins at 1015 Folsom for the Noise Pop music event in San Francisco, Calif., on Saturday, March 1, 2025. \u003ccite>(David Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972494\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972494\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A couple focuses on eachother above a packed dance floor at 1015 Folsom for the Noise Pop music event in San Francisco, Calif., on Friday, February 28, 2025. \u003ccite>(David Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972510\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soccer Mommy performs at the Fillmore, as part of the Noise Pop music festival, in San Francisco on Feb. 28, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972479\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard and Spencer Zahn perform at the Independent, as part of the Noise Pop festival, in San Francisco on Feb. 26, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Cymande returned in top form at August Hall; Dani Offline won over new fans at SFJAZZ. ",
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"title": "Review and Photos: Noise Pop 2025 Lit Up San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s nothing quite like \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a> to remind you that, even with all the entertainment at our fingertips, nothing can replace live music. Throughout the week, as I accumulated hand stamps and wristbands at venues from the Tenderloin to the Panhandle, it was hard not to feel \u003ci>alive\u003c/i> and grateful for the many high-caliber musicians and absolutely stoked fans of different ages, backgrounds and subcultures.\u003c/p>\n\u003cfigure id=\"attachment_13972477\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972477\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41.jpg\" alt=\"A DJ spins a turntable. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250220_NoisePopDamFunk-41-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dam-Funk performs at the Noise Pop opening night party at the California Academy of Sciences on Feb. 20, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 10-day festival kicked off with a Feb. 20 opening party with Dam-Funk at the California Academy of Sciences, and brought impressive headliners to unique settings (\u003ca href=\"https://www.kqed.org/arts/13972213/st-vincent-grace-cathedral-san-francisc-noise-pop-review\">St. Vincent\u003c/a> and Ben Gibbard in the gorgeous Grace Cathedral, for one) and storied nightclubs alike. True to the festival’s roots, this year’s edition was heavy on indie rock, both with nostalgic acts like American Football and new-gen stars like Soccer Mommy. It also brought out left-field pop and cult hip-hop acts with passionate, niche followings. (My only complaint was a lack of local hip-hop artists during this vibrant time in the Bay Area scene.)\u003c/p>\n\u003cp>Below you’ll find a scene report from Noise Pop’s most exciting sets, plus lots more photos.\u003c/p>\n\u003cfigure id=\"attachment_13972470\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972470\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-14-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Earl Sweatshirt performs at the Great American Music Hall in San Francisco on Feb. 25, 2025, as part of the Noise Pop festival. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Earl Sweatshirt brought out the introverts\u003c/h2>\n\u003cp>Earl Sweatshirt doesn’t really write songs with hooks. He says things that most people in the music industry aren’t willing to say (like “free Gaza”). And the beats he chooses are jarring and jagged, made from asymmetrical loops that don’t really work for dancing. Not that his fans care. The dense crowd at his two back-to-back shows at Great American Music Hall rapped along to his deep cuts, spitting each bar with their chests. On Tuesday night, it felt like 400 introverts found their tribe after years of passionately, privately listening to Sweatshirt in their bedrooms.\u003c/p>\n\u003cfigure id=\"attachment_13972468\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopEarlSweatshirt-03-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Navy Blue performs at the Great American Music Hall in San Francisco on Feb. 25, 2025, as part of the Noise Pop festival. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sweatshirt arrived on stage to the guitar loop from his 2018 instrumental song “Riot!” “I feel like a Pop Tart right now,” he told the crowd. He probably wasn’t the only one having a psychedelic experience. When he delivered the dense, poetic bars of “E. Coli,” with its old-school-sounding choral beat produced by The Alchemist, phones went up and dozens of joints sparked throughout the crowd. During the set he brought back opening acts Navy Blue and Zelooperz, who had delivered heartfelt and moshpit-worthy performances, respectively, earlier in the night.\u003c/p>\n\u003cfigure id=\"attachment_13972473\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-03-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glixen performs at Bottom of the Hill in San Francisco on Feb. 25, 2025, as part of the Noise Pop festival. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A chance to catch Glixen before they blow up\u003c/h2>\n\u003cp>Glixen’s Tuesday-night show at Bottom of the Hill might have been the last chance to see them in the lovably ramshackle dive before they blow up. The young four-piece shoegaze band from Phoenix is currently on a tour of small clubs before they land in front of 125,000 festival-goers at Coachella in April. At Bottom of the Hill Tuesday, they exuded quiet confidence, mostly letting screechy distortion speak for them instead of bantering with the crowd. An audience aged 18 to 60 — the latter camp probably drawn to the show because of Glixen’s similarities to My Bloody Valentine — bobbed along in a trance as Aislinn Ritchie’s thin vocals floated along in frothy spumes of sludgy instrumentation.\u003c/p>\n\u003cfigure id=\"attachment_13972475\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972475\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-05-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glixen performs at Bottom of the Hill in San Francisco on Feb. 25, 2025, as part of the Noise Pop festival. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972490\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-08-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The band Cymande plays at August Hall in San Francisco on Feb. 26, 2025. The group was originally formed in the early 1970s by Caribbean born, London based musicians.\u003c/figcaption>\u003c/figure>\n\u003ch2>Cymande returned in top form\u003c/h2>\n\u003cp>“We’re gonna play you a song that put us on the map before we took a short break for 50 years,” joked Patrick Patterson, Cymande’s guitarist, as a funky bassline kicked off their 1972 hit “Bra.” With each shake of the shaker, trilling guitar riff and sunny burst of trumpet, the audience ascended into ecstatic, full-body dance moves. Folks with grey hair, who probably first heard the Caribbean-British band five decades ago, moved their hips, clearly getting their groove back — if they ever even lost it in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though they may not be a household name, Cymande had a huge impact. They appeared on \u003ci>Soul Train\u003c/i> and headlined Harlem’s Apollo Theater; hip-hop greats like Gang Starr and De La Soul sampled several of their songs, including “Bra,” which was also featured in a Spike Lee joint.\u003c/p>\n\u003cfigure id=\"attachment_13972489\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972489\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250226-NoisePopCymande-05-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans cheer for Cymande at August Hall in San Francisco on Feb. 26, 2025. The group was originally formed in the early 1970s by Caribbean born, London based musicians. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nine-piece band is now back together, with a new album out. Remarkably, their sold-out Wednesday Noise Pop set showed them in top form. Steve Scipio’s vocals resounded through August Hall, totally butter-smooth. The dynamic percussion section brought Afro-Caribbean flare to new tracks like “Chasing an Empty Dream,” which built upon Cymande’s original sound without trying to relive the past.\u003c/p>\n\u003cfigure id=\"attachment_13972482\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-24-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard performs at the Independent, as part of the Noise Pop festival, in San Francisco on Feb. 26, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dawn Richard enamored the crowd\u003c/h2>\n\u003cp>When I arrived late to Dawn Richard and Spencer Zahn’s show after seeing Cymande, it felt like walking in on strangers falling in love. I don’t mean the two musicians, but Richard and the audience. Everyone in the seated, 100-ish-person crowd at the Independent was beaming, absolutely enamored with the singer. Richard exuded warmth and poise as she joked, told stories and serenaded the audience as Zahn provided dreamy, sparse keys and guitar.\u003c/p>\n\u003cp>While some may know Richard from the 2000s R&B act Danity Kane, Wednesday’s performance caught up those not paying attention on her creative flourishment since her beginnings in a manufactured girl group. She and Zahn performed the ethereal, confessional songs from their two collaborative albums, \u003ci>Pigments\u003c/i> and \u003ci>Quiet in a World Full of Noise\u003c/i>, which both lean into contemporary classical music and downtempo art pop. At one point, a fan went up to the front and asked Richard for a selfie mid-show. “I wanna have your kind of energy,” she joked, applauding their confidence.\u003c/p>\n\u003cfigure id=\"attachment_13972480\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-20-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Shannan Gibson, Neokoni Pagala and Ke-Ke Gatewood clap as Dawn Richard and Spencer Zahn perform at the Independent, as part of the Noise Pop festival, in San Francisco on Feb. 26, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time their song “Traditions” arrived, about the simple joys of family in Richard’s hometown of New Orleans, fans filled in the call-and-response of her heartfelt lyrics: “You call it superstitions / I call it traditions / You call it lucky / I call it blessings.” When the lights came up, there was a new openness in the room. Strangers chatted together excitedly. Richard and Zahn posted up at the merch table and talked at length with each fan, with smiles and intentional eye contact. We were all in it together, transformed by the beauty of the experience. It felt healing.\u003c/p>\n\u003cfigure id=\"attachment_13972500\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_00624-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dani Offline performs at SFJAZZ for Noise Pop in San Francisco, Calif., Thursday, Feb. 27, 2025. \u003ccite>(David Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dani Offline won over new fans\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SFJAZZ books mostly touring acts, but Dani Offline’s two sold-out back-to-back sets on Thursday night made a compelling case for why the state-of-the-art venue should invest more in the local scene. With her honeyed soprano voice, Offline expanded songs she produced on her laptop in her bedroom with the help of a talented band (that included David Exume of the KQED-produced podcast Snap Judgment on bass). If there’s one lane Offline excels in, it’s sweetly earnest love songs, which got the audience not just singing along but accompanying her in two-part harmony. Even people off the street couldn’t help but smile as they peeked into the performance through the window of the Joe Henderson Lab. Towards the end, Offline performed a soon-to-be-released track that she and her band recorded completely analog, in one take. If the warm response in the room was any indication, hers is a name we’ll be hearing more in the Bay Area music scene soon.\u003c/p>\n\u003ch2>More photos from Noise Pop\u003c/h2>\n\u003cfigure id=\"attachment_13972502\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250227_Noise-Pop_DMB_02545-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Danny Brown performs at SFJAZZ for Noise Pop in San Francisco, Calif., Thursday, Feb. 27, 2025.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972509\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-18-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soccer Mommy performs at the Fillmore, as part of the Noise Pop music festival, in San Francisco on Feb. 28, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2044-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers pack into 1015 Folsom for the Noise Pop music event in San Francisco, Calif., on Friday, February 28, 2025. \u003ccite>(David Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972466\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972466\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250222-NoisePopFlaminGroovies-13-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Founding member of the Flamin’ Groovies, Cyril Jordan, plays with the group at the 4 Star Theatre in San Francisco’s Richmond District on Feb. 22, 2025, during the Noise Pop Festival. The Flamin’ Groovies are a rock and roll band formed in San Francisco in 1965. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972486\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250223_Noise-Pop_DMB_01661-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The band Uncle Chris performs as part of the Noise Pop Festival at Kilowatt Bar, in San Francisco on Sunday, Feb 23, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972461\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972461\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-07-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch as Geographer performs at August Hall in San Francisco as part of Noise Pop on Feb. 21, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972496\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972496\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250301_Noise-Pop_2685-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Cole Terrazas spins at 1015 Folsom for the Noise Pop music event in San Francisco, Calif., on Saturday, March 1, 2025. \u003ccite>(David Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972494\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972494\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_Noise-Pop_2216-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A couple focuses on eachother above a packed dance floor at 1015 Folsom for the Noise Pop music event in San Francisco, Calif., on Friday, February 28, 2025. \u003ccite>(David Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972510\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250228_SoccerMommy_GC-20-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soccer Mommy performs at the Fillmore, as part of the Noise Pop music festival, in San Francisco on Feb. 28, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13972479\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/20250226_DawnRichard_GC-6-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard and Spencer Zahn perform at the Independent, as part of the Noise Pop festival, in San Francisco on Feb. 26, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "MeloDious Reps a New Generation of Bay Area Jazz at Noise Pop",
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"content": "\u003cp>On a sunny Monday afternoon at the Dempseys’ home in East Oakland, the two eldest daughters, Micaiah, 21, and Memphis, 17, positioned themselves at their instruments, finalizing their setlist for their upcoming SFJAZZ show for the annual \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a> festival.\u003c/p>\n\u003cp>“We play music at all hours of the day,” Micaiah said. “If we’re feeling it at 4 in the morning, we’re up at 4 in the morning, playing.”\u003c/p>\n\u003cp>Micaiah, Memphis and their brother, Matthias, make up the jazz-fusion trio \u003ca href=\"https://4melodious.com/\">MeloDious\u003c/a>. The siblings first began learning their instruments in early childhood, with Micaiah on piano, Matthias on bass and Memphis on drums. Nearly nine years ago, they decided they wanted to reach more listeners than just their parents, youngest sister and music therapy cat, Olivia. So MeloDious was born. After years of writing, recording and finalizing their music, the family band made it official in 2023 with their debut album, \u003cem>Is It the Way: Volume I\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972362\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972362\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3.jpeg\" alt=\"\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1536x1026.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1920x1283.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Memphis and Micaiah Dempsey will perform as a duo for MeloDious’ Noise Pop set. \u003ccite>(Molly McCloskey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Micaiah recently returned from touring in New York and Los Angeles with Oakland-raised R&B singer \u003ca href=\"https://www.kqed.org/arts/13908331/elujays-bright-rb-emerges-from-two-of-the-hardest-years-of-his-life\">Elujay\u003c/a>. Shortly after, she and Memphis began rehearsals for their March 2 Noise Pop show with guitarist Tyler Murphy and bassist Jonathan Herrera. (Matthias is currently on a break from music and focusing on his internship with the Department of Health and Human Services in Washington D.C.) [aside postid='arts_13972213']\u003c/p>\n\u003cp>“It’s nice to be recognized and respected as musicians, at this point. To be like ‘Hey, we want you guys to come play and close out Noise Pop for us,’” Michiah said. “We had the music, we were stoked.” \u003c/p>\n\u003cp>Like many people, the Dempsey siblings found their way to music through church, where the approach differed from the structure required to master jazz. “In church music, you never have to count,” Memphis said. “You always know where you are in some way because there’s lyrics. And it’s playing instrumental music for the first time, I was like, ‘Oh my goodness, I actually have to count and know where I am.’”\u003c/p>\n\u003cp>https://youtu.be/ZhfJl6mLPFw?si=5uYsS_IjPTZyC8_l\u003c/p>\n\u003cp>Micaiah, Memphis and Matthias come from a musical family. Their grandfather was Tony Newsom, a member of the soul group \u003ca href=\"https://youtu.be/sDllH9Eqd6E?si=dxfQluyYGz_WXC8C\">Ebony Jam Band\u003c/a>; he was an early influence of the siblings, along with greats like Stevie Wonder, Natalie Cole and Michael and Janet Jackson. Jazz came into their lives through the Oaktown Jazz Workshops, a nonprofit that’s been nurturing young instrumentalists for three decades.\u003c/p>\n\u003cp>“MeloDious is extremely young and up-and-coming,” said Justin Esposito, the content, social media and marketing strategist of SFJAZZ. “This is one of our earliest efforts to bring and help cultivate new artists within our SFJAZZ audiences.” [ad fullwidth]\u003c/p>\n\u003cp>MeloDious first gained traction with \u003ca href=\"https://www.instagram.com/tv/CdFslF-Fmb5/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA%3D%3D\">covers of songs like Anita Baker’s “Love Rapture”\u003c/a> on Instagram in 2021. The band’s debut album, \u003cem>Is It the Way: Volume I\u003c/em>, was their first time recording original music. Across its eight uplifting tracks, they sing about love and the newfound independence of young adulthood. Since its release, the album has reached over 43,000 people worldwide and opened doors for the group. Last year, they headlined the storied Oakland jazz club Yoshi’s — a big feat for a band with only one member old enough to drink.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0eRwXzEC6D14SLXu7zFuyp?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Working with siblings can be a joyous experience, but there are also challenges. To become MeloDious, Micaiah, Memphis and Matthias had to turn their family bond into a working relationship. They consider themselves independent artists who just happen to comprise a group.\u003c/p>\n\u003cp>When choosing where they would land as a band, they looked at the instruments they played in their childhood. Memphis was initially interested in the piano, but when Micaiah declared it hers, she turned her eyes to the drums and other instruments like the bass, guitar, piano and a little flute. At a rehearsal for their Noise Pop show, Memphis played the bass (typically her brother’s instrument) to help her sister hear all the elements of the music with one band member missing.\u003c/p>\n\u003cfigure id=\"attachment_13972363\" class=\"wp-caption aligncenter\" style=\"max-width: 1875px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972363\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-scaled.jpeg\" alt=\"\" width=\"1875\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-scaled.jpeg 1875w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-800x1092.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1020x1393.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-160x218.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-768x1049.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1125x1536.jpeg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1500x2048.jpeg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1920x2622.jpeg 1920w\" sizes=\"auto, (max-width: 1875px) 100vw, 1875px\">\u003cfigcaption class=\"wp-caption-text\">Micaiah, Memphis and Matthias Dempsey of MeloDious. \u003ccite>(Drake Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preparing for their March 2 performance, they practiced a medley of funky covers of familiar songs, such as “Fantasy” by Earth, Wind & Fire and “The Way” by Jill Scott, mixed in with their original music.\u003c/p>\n\u003cp>“We are excited to play our first larger set of the year, and explore new, intimate and advanced repertoire for the first time to jazz lovers,” Micaiah said. “And of course, we are beyond elated to interact with new and existing members of our ever-growing MeloDious family.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>MeloDious performs at SFJAZZ on March 2 for Noise Pop. \u003ca href=\"http://events.noisepop.com/events/2025/3/2/melodious-tickets\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a sunny Monday afternoon at the Dempseys’ home in East Oakland, the two eldest daughters, Micaiah, 21, and Memphis, 17, positioned themselves at their instruments, finalizing their setlist for their upcoming SFJAZZ show for the annual \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a> festival.\u003c/p>\n\u003cp>“We play music at all hours of the day,” Micaiah said. “If we’re feeling it at 4 in the morning, we’re up at 4 in the morning, playing.”\u003c/p>\n\u003cp>Micaiah, Memphis and their brother, Matthias, make up the jazz-fusion trio \u003ca href=\"https://4melodious.com/\">MeloDious\u003c/a>. The siblings first began learning their instruments in early childhood, with Micaiah on piano, Matthias on bass and Memphis on drums. Nearly nine years ago, they decided they wanted to reach more listeners than just their parents, youngest sister and music therapy cat, Olivia. So MeloDious was born. After years of writing, recording and finalizing their music, the family band made it official in 2023 with their debut album, \u003cem>Is It the Way: Volume I\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972362\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972362\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3.jpeg\" alt=\"\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1536x1026.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1920x1283.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Memphis and Micaiah Dempsey will perform as a duo for MeloDious’ Noise Pop set. \u003ccite>(Molly McCloskey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Micaiah recently returned from touring in New York and Los Angeles with Oakland-raised R&B singer \u003ca href=\"https://www.kqed.org/arts/13908331/elujays-bright-rb-emerges-from-two-of-the-hardest-years-of-his-life\">Elujay\u003c/a>. Shortly after, she and Memphis began rehearsals for their March 2 Noise Pop show with guitarist Tyler Murphy and bassist Jonathan Herrera. (Matthias is currently on a break from music and focusing on his internship with the Department of Health and Human Services in Washington D.C.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s nice to be recognized and respected as musicians, at this point. To be like ‘Hey, we want you guys to come play and close out Noise Pop for us,’” Michiah said. “We had the music, we were stoked.” \u003c/p>\n\u003cp>Like many people, the Dempsey siblings found their way to music through church, where the approach differed from the structure required to master jazz. “In church music, you never have to count,” Memphis said. “You always know where you are in some way because there’s lyrics. And it’s playing instrumental music for the first time, I was like, ‘Oh my goodness, I actually have to count and know where I am.’”\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/ZhfJl6mLPFw'\n title='//www.youtube.com/embed/ZhfJl6mLPFw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Micaiah, Memphis and Matthias come from a musical family. Their grandfather was Tony Newsom, a member of the soul group \u003ca href=\"https://youtu.be/sDllH9Eqd6E?si=dxfQluyYGz_WXC8C\">Ebony Jam Band\u003c/a>; he was an early influence of the siblings, along with greats like Stevie Wonder, Natalie Cole and Michael and Janet Jackson. Jazz came into their lives through the Oaktown Jazz Workshops, a nonprofit that’s been nurturing young instrumentalists for three decades.\u003c/p>\n\u003cp>“MeloDious is extremely young and up-and-coming,” said Justin Esposito, the content, social media and marketing strategist of SFJAZZ. “This is one of our earliest efforts to bring and help cultivate new artists within our SFJAZZ audiences.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MeloDious first gained traction with \u003ca href=\"https://www.instagram.com/tv/CdFslF-Fmb5/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA%3D%3D\">covers of songs like Anita Baker’s “Love Rapture”\u003c/a> on Instagram in 2021. The band’s debut album, \u003cem>Is It the Way: Volume I\u003c/em>, was their first time recording original music. Across its eight uplifting tracks, they sing about love and the newfound independence of young adulthood. Since its release, the album has reached over 43,000 people worldwide and opened doors for the group. Last year, they headlined the storied Oakland jazz club Yoshi’s — a big feat for a band with only one member old enough to drink.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0eRwXzEC6D14SLXu7zFuyp?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Working with siblings can be a joyous experience, but there are also challenges. To become MeloDious, Micaiah, Memphis and Matthias had to turn their family bond into a working relationship. They consider themselves independent artists who just happen to comprise a group.\u003c/p>\n\u003cp>When choosing where they would land as a band, they looked at the instruments they played in their childhood. Memphis was initially interested in the piano, but when Micaiah declared it hers, she turned her eyes to the drums and other instruments like the bass, guitar, piano and a little flute. At a rehearsal for their Noise Pop show, Memphis played the bass (typically her brother’s instrument) to help her sister hear all the elements of the music with one band member missing.\u003c/p>\n\u003cfigure id=\"attachment_13972363\" class=\"wp-caption aligncenter\" style=\"max-width: 1875px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972363\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-scaled.jpeg\" alt=\"\" width=\"1875\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-scaled.jpeg 1875w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-800x1092.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1020x1393.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-160x218.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-768x1049.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1125x1536.jpeg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1500x2048.jpeg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1920x2622.jpeg 1920w\" sizes=\"auto, (max-width: 1875px) 100vw, 1875px\">\u003cfigcaption class=\"wp-caption-text\">Micaiah, Memphis and Matthias Dempsey of MeloDious. \u003ccite>(Drake Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preparing for their March 2 performance, they practiced a medley of funky covers of familiar songs, such as “Fantasy” by Earth, Wind & Fire and “The Way” by Jill Scott, mixed in with their original music.\u003c/p>\n\u003cp>“We are excited to play our first larger set of the year, and explore new, intimate and advanced repertoire for the first time to jazz lovers,” Micaiah said. “And of course, we are beyond elated to interact with new and existing members of our ever-growing MeloDious family.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>MeloDious performs at SFJAZZ on March 2 for Noise Pop. \u003ca href=\"http://events.noisepop.com/events/2025/3/2/melodious-tickets\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\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>\u003cstrong>Update, Jan. 24, 2025:\u003c/strong>\u003c/p>\n\u003cp>Noise Pop announced new additions to its lineup, including an intimate Feb. 23 performance at Grace Cathedral from indie singer-songwriter \u003ca href=\"https://www.tixr.com/groups/noisepop/events/st-vincent-an-intimate-performance-130140\">St. Vincent\u003c/a>, which instantly sold out. But fans looking to experience live music at the historic venue still have the chance to catch \u003ca href=\"https://www.tixr.com/groups/noisepop/events/benjamin-gibbard-130141\">Death Cab for Cutie’s Benjamin Gibbard\u003c/a>, who takes the stage at Grace on Feb. 25.\u003c/p>\n\u003cp>\u003ca href=\"https://www.tixr.com/groups/noisepop/events/earl-sweatshirt-129997\">Earl Sweatshirt\u003c/a>, the L.A. MC who came up in Odd Future with Tyler, the Creator, will headline the Great American Music Hall two nights in a row on Feb. 25–26. Noise Pop gets underway Feb. 20–Mar. 2,\u003ca href=\"https://www.noisepopfest.com/lineup?mc_cid=07a713715b&mc_eid=6c5b7773cc\"> and the festival’s full lineup can be found here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original story, Nov. 13, 2024:\u003c/strong>\u003c/p>\n\u003cp>Homegrown San Francisco promoter \u003ca href=\"https://www.noisepop.com/\">Noise Pop\u003c/a> returns with its \u003ca href=\"https://www.noisepopfest.com/\">32nd annual festival\u003c/a> in February, and it announced the first round of its lineup Tuesday. Headlining the festival is Nashville singer-songwriter \u003cstrong>Soccer Mommy\u003c/strong>; influential Midwestern emo band \u003cstrong>American Football\u003c/strong>, who are celebrating the 25th anniversary of their 1999 debut, \u003ci>LP1\u003c/i>; and Irish folk band \u003cstrong>Lankum\u003c/strong>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Noise Pop takes over Bay Area clubs Feb. 20–Mar. 2. Instead of your typical jam-packed festival schedule and high ticket price, this approachable concert series offers fans the opportunity to choose from a variety of shows in sticky-floored dives, state-of-the-art experimental music hubs and large concert halls alike.\u003c/p>\n\u003cp>So far, the initial lineup also includes a performance by \u003cstrong>Dawn Richard & Spencer Zahn\u003c/strong>, the experimental R&B vocalist and contemporary classical composer who recently teamed up for a gorgeous album, \u003ci>Quiet in a World Full of Noise\u003c/i>. San Francisco indie pop band \u003cstrong>Geographer\u003c/strong> will perform their synth-forward 2010 album \u003ci>Animal Shapes\u003c/i>. British ’70s psychedelic funk \u003cstrong>Cymande\u003c/strong>, which is plotting a comeback with a new album slated for January, promises to draw rare groove heads and hip-hop sample excavators.\u003c/p>\n\u003cp>The rest of the lineup so far also features \u003cstrong>Nick Lowe & Los Straightjackets, Mercury Rev, Chat Pile, Mezerg, Les Savy Fav, Warmduscher, Gilxen, Parra for Cuva, Wajatta, Oddly Satisfying, Byron Westbrook & Thomas Dimuzio, Cameron Picton, Nightosphere, She’s Green, After\u003c/strong> and \u003cstrong>Video Age\u003c/strong>. \u003ca href=\"https://open.spotify.com/playlist/7sgB3YGxoB3i4JzqE7raQ9?si=5ycuPfY7Sv6PP17eTxN2gQ&mc_cid=732d3bf260&mc_eid=6c5b7773cc&nd=1&dlsi=7a254338d6664ab4\">Noise Pop has a Spotify playlist\u003c/a> going to help show-goers familiarize themselves with all the acts.\u003c/p>\n\u003cp>Venues include August Hall, Bottom of the Hill, Gray Area, Great American Music Hall, Rickshaw Stop, Space 550, The Lab, The Fillmore, The Independent and 1015 Folsom. More programming will be announced in the coming weeks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Noise Pop takes over Bay Area venues Feb. 20–Mar. 2. General admission passes to the entire festival are available for $222; individual show tickets start at $15. \u003ca href=\"https://www.noisepopfest.com/\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Jan. 24, 2025:\u003c/strong>\u003c/p>\n\u003cp>Noise Pop announced new additions to its lineup, including an intimate Feb. 23 performance at Grace Cathedral from indie singer-songwriter \u003ca href=\"https://www.tixr.com/groups/noisepop/events/st-vincent-an-intimate-performance-130140\">St. Vincent\u003c/a>, which instantly sold out. But fans looking to experience live music at the historic venue still have the chance to catch \u003ca href=\"https://www.tixr.com/groups/noisepop/events/benjamin-gibbard-130141\">Death Cab for Cutie’s Benjamin Gibbard\u003c/a>, who takes the stage at Grace on Feb. 25.\u003c/p>\n\u003cp>\u003ca href=\"https://www.tixr.com/groups/noisepop/events/earl-sweatshirt-129997\">Earl Sweatshirt\u003c/a>, the L.A. MC who came up in Odd Future with Tyler, the Creator, will headline the Great American Music Hall two nights in a row on Feb. 25–26. Noise Pop gets underway Feb. 20–Mar. 2,\u003ca href=\"https://www.noisepopfest.com/lineup?mc_cid=07a713715b&mc_eid=6c5b7773cc\"> and the festival’s full lineup can be found here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original story, Nov. 13, 2024:\u003c/strong>\u003c/p>\n\u003cp>Homegrown San Francisco promoter \u003ca href=\"https://www.noisepop.com/\">Noise Pop\u003c/a> returns with its \u003ca href=\"https://www.noisepopfest.com/\">32nd annual festival\u003c/a> in February, and it announced the first round of its lineup Tuesday. Headlining the festival is Nashville singer-songwriter \u003cstrong>Soccer Mommy\u003c/strong>; influential Midwestern emo band \u003cstrong>American Football\u003c/strong>, who are celebrating the 25th anniversary of their 1999 debut, \u003ci>LP1\u003c/i>; and Irish folk band \u003cstrong>Lankum\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Noise Pop takes over Bay Area clubs Feb. 20–Mar. 2. Instead of your typical jam-packed festival schedule and high ticket price, this approachable concert series offers fans the opportunity to choose from a variety of shows in sticky-floored dives, state-of-the-art experimental music hubs and large concert halls alike.\u003c/p>\n\u003cp>So far, the initial lineup also includes a performance by \u003cstrong>Dawn Richard & Spencer Zahn\u003c/strong>, the experimental R&B vocalist and contemporary classical composer who recently teamed up for a gorgeous album, \u003ci>Quiet in a World Full of Noise\u003c/i>. San Francisco indie pop band \u003cstrong>Geographer\u003c/strong> will perform their synth-forward 2010 album \u003ci>Animal Shapes\u003c/i>. British ’70s psychedelic funk \u003cstrong>Cymande\u003c/strong>, which is plotting a comeback with a new album slated for January, promises to draw rare groove heads and hip-hop sample excavators.\u003c/p>\n\u003cp>The rest of the lineup so far also features \u003cstrong>Nick Lowe & Los Straightjackets, Mercury Rev, Chat Pile, Mezerg, Les Savy Fav, Warmduscher, Gilxen, Parra for Cuva, Wajatta, Oddly Satisfying, Byron Westbrook & Thomas Dimuzio, Cameron Picton, Nightosphere, She’s Green, After\u003c/strong> and \u003cstrong>Video Age\u003c/strong>. \u003ca href=\"https://open.spotify.com/playlist/7sgB3YGxoB3i4JzqE7raQ9?si=5ycuPfY7Sv6PP17eTxN2gQ&mc_cid=732d3bf260&mc_eid=6c5b7773cc&nd=1&dlsi=7a254338d6664ab4\">Noise Pop has a Spotify playlist\u003c/a> going to help show-goers familiarize themselves with all the acts.\u003c/p>\n\u003cp>Venues include August Hall, Bottom of the Hill, Gray Area, Great American Music Hall, Rickshaw Stop, Space 550, The Lab, The Fillmore, The Independent and 1015 Folsom. More programming will be announced in the coming weeks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Noise Pop takes over Bay Area venues Feb. 20–Mar. 2. General admission passes to the entire festival are available for $222; individual show tickets start at $15. \u003ca href=\"https://www.noisepopfest.com/\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fleet Foxes, Greensky Bluegrass to Headline Mill Valley Music Festival",
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"content": "\u003cp>Fans of folk, bluegrass, soul \u003cspan style=\"font-weight: 400\">— \u003c/span>and live musical excellence in general \u003cspan style=\"font-weight: 400\">—\u003c/span> have plenty to look forward to at the \u003ca href=\"https://www.millvalleymusicfest.com/\">Mill Valley Music Festival\u003c/a>, just 20 minutes north of the Golden Gate Bridge.\u003c/p>\n\u003cp>Now in its third year, the festival running May 11 and 12 at Friends Field features Fleet Foxes as Saturday’s headliner. The Seattle indie folk band, going strong since the late 2000s, most recently earned acclaim with their 2020 album \u003cem>Shore\u003c/em>, which perfects the group’s signature vocal harmonies and spiritually uplifting lyrical approach. Sunday’s headliner, Greensky Bluegrass, bring high-energy, foot-stomping Americana from Michigan. (The band’s live sets are also known for their epic light show.)\u003c/p>\n\u003cp>Another lineup highlight is Danielle Ponder, whose chill-inducing vocals soar over propulsive, R&B-meets-indie-rock instrumentals. Several acts offer modern takes on classic soul music, including Thee Sacred Souls, St. Paul and the Broken Bones, Eric Lindell and Elliott Peck (the latter two of whom are Bay Area locals). Other lineup additions include country singer-songwriter Margo Price, indie-folk band Fruit Bats and the Rebirth Brass Band, which has been holding down the New Orleans scene since 1983.\u003c/p>\n\u003cp>The two-day event, jointly produced by the Mill Valley Chamber of Commerce and Noise Pop, takes place in its namesake town of Mill Valley at the foot of glorious Mt. Tamalpais. The festival includes food, artist vendors and a local music stage curated by the Sweetwater Music Hall. Shuttles from San Francisco and Oakland are available.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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 fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mill Valley Music Festival takes place May 11 and 12. General admission single-day tickets are $135, with discounts for teens and seniors. \u003ca href=\"https://www.millvalleymusicfest.com/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans of folk, bluegrass, soul \u003cspan style=\"font-weight: 400\">— \u003c/span>and live musical excellence in general \u003cspan style=\"font-weight: 400\">—\u003c/span> have plenty to look forward to at the \u003ca href=\"https://www.millvalleymusicfest.com/\">Mill Valley Music Festival\u003c/a>, just 20 minutes north of the Golden Gate Bridge.\u003c/p>\n\u003cp>Now in its third year, the festival running May 11 and 12 at Friends Field features Fleet Foxes as Saturday’s headliner. The Seattle indie folk band, going strong since the late 2000s, most recently earned acclaim with their 2020 album \u003cem>Shore\u003c/em>, which perfects the group’s signature vocal harmonies and spiritually uplifting lyrical approach. Sunday’s headliner, Greensky Bluegrass, bring high-energy, foot-stomping Americana from Michigan. (The band’s live sets are also known for their epic light show.)\u003c/p>\n\u003cp>Another lineup highlight is Danielle Ponder, whose chill-inducing vocals soar over propulsive, R&B-meets-indie-rock instrumentals. Several acts offer modern takes on classic soul music, including Thee Sacred Souls, St. Paul and the Broken Bones, Eric Lindell and Elliott Peck (the latter two of whom are Bay Area locals). Other lineup additions include country singer-songwriter Margo Price, indie-folk band Fruit Bats and the Rebirth Brass Band, which has been holding down the New Orleans scene since 1983.\u003c/p>\n\u003cp>The two-day event, jointly produced by the Mill Valley Chamber of Commerce and Noise Pop, takes place in its namesake town of Mill Valley at the foot of glorious Mt. Tamalpais. The festival includes food, artist vendors and a local music stage curated by the Sweetwater Music Hall. Shuttles from San Francisco and Oakland are available.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003c/p>\n\u003cp>\u003cem>The Mill Valley Music Festival takes place May 11 and 12. General admission single-day tickets are $135, with discounts for teens and seniors. \u003ca href=\"https://www.millvalleymusicfest.com/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How the Struggle for Liberation Made aja monet Into a Poet",
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"headTitle": "How the Struggle for Liberation Made aja monet Into a Poet | KQED",
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"content": "\u003cp>In an age of information overload and doom scrolling, poetry is essential. A good poem can cut to the core of an issue more immediately than an entire tome of research. It can jolt you awake, stir you to action or whisk you into a dream space in which you completely reimagine your life and its possibilities.\u003c/p>\n\u003cp>In her work, \u003ca href=\"https://ajamonet.com/\">aja monet\u003c/a> accomplishes all of the above. The New York-raised, L.A.-based writer and performer calls herself a “surrealist blues poet.” Her Grammy-nominated 2023 album \u003ci>when the poems do what they do\u003c/i> pairs her words — alternately searing, comforting, grief-stricken or romantic — with jazz grounded in Afro-Caribbean rhythms. (Keyboard and flute stylings by Berkeley-raised siblings \u003ca href=\"https://www.kqed.org/arts/13911226/samora-pinderhughes-ybca-the-healing-project\">Samora\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931138/liner-notes-flutist-and-vocalist-elena-pinderhughes-is-limitless\">Elena Pinderhughes\u003c/a> add to the record’s dynamic emotional landscape.)\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=3097307146/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>monet’s years of community organizing inform her heart-swelling invocations of love and gut-wrenching reflections on violence inflicted upon Black Americans. She spent years in Florida working with \u003ca href=\"https://www.dreamdefenders.org/\">Dream Defenders\u003c/a>, a prison abolitionist organization formed after the killing of Trayvon Martin, and the \u003ca href=\"https://communityjusticeproject.com/\">Community Justice Project\u003c/a>, which offers free legal aid in Miami. When her star as a poet began to rise after winning the Nuyorican Poets Cafe Grand Slam competition in 2007, monet had already spent years immersed in work instead of chasing accolades. Her numerous poetry books and debut album alike blossomed out of the movement.\u003c/p>\n\u003cp>In addition to fighting for racial justice, monet has long been an advocate for Palestinian liberation, using her words to draw throughlines between human rights struggles around the globe. Most recently, she authored the foreword to \u003ca href=\"https://www.haymarketbooks.org/books/1744-rifqa\">\u003ci>Rifqa\u003c/i>\u003c/a>, the debut poetry collection by Palestinian writer, activist and \u003ca href=\"https://www.thenation.com/authors/mohammed-el-kurd/\">\u003ci>The Nation\u003c/i>\u003c/a> correspondent \u003ca href=\"https://www.mohammedelkurd.com/\">Muhammed El-Kurd\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After sharing potent renditions of her poems on NPR’s Tiny Desk Concert last year, monet and her band make their San Francisco debut at the \u003ca href=\"http://events.noisepop.com/events/2024/2/29/aja-monet-tickets\">Swedish American Hall as part of Noise Pop\u003c/a> on Feb. 29. Ahead of the show, I spoke with her about writing for liberation, her growing platform and how her work resonates with the Bay’s deep legacy of revolutionary organizing.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13952375\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952375\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974.jpg\" alt=\"A poet recites on stage with a keyboard player in the background.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">aja monet performs during 2022 BRIC celebrate Brooklyn at Lena Horne Bandshell at Prospect Park on July 08, 2022 in New York City. \u003ccite>(Jason Mendez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Nastia Voynovskaya: \u003c/b>I’m excited that Noise Pop will be your first time performing in San Francisco. You’ve cited [Black Arts Movement co-founder and former San Francisco State University professor] Amiri Baraka and [\u003ci>for colored girls who have considered suicide\u003c/i> playwright] Ntozake Shange as influences, both of whom had a huge impact here in the Bay Area. What excites you about performing in the Bay Area in particular?\u003c/p>\n\u003cp>\u003cb>aja monet:\u003c/b> I think about the cultural legacy of what the Bay Area has created, in terms of people who have made an incredible impact, in this country and in the world. There’s the cultural work, but then there’s the organizing work that has made a huge impact on our movement and the ways that we approach ideas about social justice and freedom.\u003c/p>\n\u003cp>The Bay has a lot of significance to me. It was one of the first places I traveled on my own for a poetry competition when I was about 17 for Brave New Voices, which was hosted by Youth Speaks. Some of my best friends that I adore are from the Bay, and some of my favorite poets are from the Bay.\u003c/p>\n\u003cp>\u003cb>When you mention your favorite poets from the Bay, who comes to mind? \u003c/b>[aside postid='arts_13916674']\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/tongo-eisen-martin\">Tongo Eisen-Martin\u003c/a>, \u003ca href=\"https://www.instagram.com/chinakahodge/\">Chinaka Hodge\u003c/a>. \u003ca href=\"https://mobrowne.com/index.html\">Mahogany Browne\u003c/a> is originally from the Bay. June Jordan isn’t from the Bay, but she spent some time at Berkeley, and one of the most influential programs that she implemented has been a guiding light and force for me as an educator, as an organizer and a facilitator. So thinking about the revolutionary blueprint of \u003ca href=\"https://africam.berkeley.edu/poetry-for-the-people/\">Poetry for the People\u003c/a> and what she was able to implement at UC Berkeley.\u003c/p>\n\u003cp>\u003cb>You’ve been an organizer for years. Whether it’s Black liberation or Palestinian liberation, these are long, multi-generational fights. How does poetry help fuel and sustain these movements for the long haul?\u003c/b>\u003c/p>\n\u003cp>I don’t want to make blanket statements about poetry because not all poets are effective in this way. Certain poets have reflected establishment values and have been very focused on an objective that is rooted in accolades and awards.\u003c/p>\n\u003cp>Then there are poets who understand poetry as the function of the people’s heart and spirit and truth. Poetry, to me, is more of an approach. It’s a way of being in the world. When I think about that, I think about poetry as the measure of one’s true devotion to their craft. And so when I say someone dances like a poet, or someone sings like a poet, or someone plays an instrument like a poet, what I’m saying is they have a very different sort of profound orientation toward their gift. It’s taking it to an elevated dimension, and it’s bringing it new meaning and depth. And so I think poetry is really like a possessive, obsessive sort of devotion that transcends into a deeper sort of core truth that is really resonant to the spirit. [pullquote citation='aja monet' size='large']‘I don’t think poets create movements; I think movements create poets.’[/pullquote]\u003c/p>\n\u003cp>It’s no longer just a surface-level approach to an idea or a deep emotion that we all struggle with as humans, whether that be love or anger or war, frustration or death. It’s really delving into why, how, who, what’s the meaning behind that happening. And I think that when you can harness that sort of depth, it automatically elevates the consciousness of the people and the value system and the North Star — the thing that one ends up working towards.\u003c/p>\n\u003cp>So movements are incredibly powerful for the poets that are created through them. I don’t think poets create movements; I think movements create poets. When one is really accessing that real, urgent depth, then I think that all of us are transformed by that pursuit. It’s delving into the interior landscape, which is what we usually say is ultimately the final frontier of our freedom movements.\u003c/p>\n\u003cp>https://youtu.be/_Y-X9CpSiQ0?si=R1gqf8oBAoH8GSps\u003c/p>\n\u003cp>\u003cb>Live music is a big component of your work. Why is that important to you, and how does it change how the audience might receive your words?\u003c/b>\u003c/p>\n\u003cp>I’ve always seen myself as a sort of word musician. Finding musicians who hope to elevate what you’re doing, to be in conversation with you — I mean, that’s ultimately the dream, because being a poet on a stage by yourself is pretty lonely. The co-creative part of being with the band is what excites me, and it allows me to be less in my head and more playful. You feel more protected. You’re on a battlefield with others, with fellow soldiers that are trying to struggle with ideas and cultural norms and push against structures that have kept us from really expressing ourselves with authenticity.\u003c/p>\n\u003cp>Ultimately on the stage, it’s one of the few places where Black people are able to express the full range of one’s emotions without the threat of death. One can be utterly angry, upset, crazed, even ecstatic, enthused, joyful. The range of our full humanity is safe when it’s seen as a performance. But what we do is — we ultimately know we’re doing ceremony. We’re doing spirit work. And I think somehow the stage protects that work. What the West has made into a consumer capitalist venture, it ultimately is really just ceremony, displaced.\u003c/p>\n\u003cfigure id=\"attachment_13952374\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952374\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565.jpg\" alt=\"A woman poses on the red carpet.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">aja monet attends the 66th GRAMMY Awards at Crypto.com Arena on February 04, 2024 in Los Angeles, California. \u003ccite>(Jeff Kravitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb> Powerfully said. With your recent Grammy nomination, you’re getting recognized on a much larger platform. How does it feel getting validation from the entertainment industry?\u003c/b>\u003c/p>\n\u003cp>I don’t know if I’ve necessarily been acknowledged by the establishment quite yet. For me, the most meaningful thing about the nomination was people being excited about the work. Ultimately it takes people to say, “Nah, yo, whether they give this record an award or not … I’m going to support it because I know that it’s actually a quality thing done with intention, done with skill, with artistry, with creativity, with innovation, with spirit, with soul, with Black people in mind” — whatever it is that your metrics are.\u003c/p>\n\u003cp>We have to have some sort of, what are we measuring our worth towards? Who determines our value? And to me, it’ll always be the people. So that’s why I keep trying to remind folks, you know, when you like something, when you love something, when something really resonates with you, support it in every way, shape or form. We usually wait until we’re dead and gone to get our flowers. That’s kind of the expectation of poets, at least. Any opportunity as a living poet to be able to be appreciated and valued, I will never take for granted, ever.\u003c/p>\n\u003cp>If I could give awards to Sekou Sindiata, Amiri Baraka, June Jordan, I would give them all the awards they deserved and never got. As Black folks, as people of this time who care about the heart, the spirit, the soul, integrity, we have to not wait until people are dead and gone to acknowledge the impact of the work, and we must find ways to celebrate the things we love that don’t have us searching outside of ourselves for validation.\u003c/p>\n\u003cp>\u003cb>Well said. Now that you have more people’s attention, how do you want to use this moment?\u003c/b>\u003c/p>\n\u003cp>There are myriad issues that we are facing as humans in this time, in this life. And if I’m obedient to the gifts, if I’m obedient to the calling, then the work will do what it needs to do for this time.\u003c/p>\n\u003cp>That’s the way I have been orienting myself. Before, I used to think, “Well, I gotta speak to this. I gotta touch on this.” I think poetry in and of itself and how one moves, how one thinks and how one loves and how one relates — that’s how you show your values, and that’s how you show the concerns of the time. [aside postid='arts_13937865']\u003c/p>\n\u003cp>And so I’m not concerned with Palestine because it’s popular and everybody’s talking about it right now, and now people see, “Oh wow, it’s a genocide.” I’m concerned with Palestine because I have relationships with people who are Palestinian, who have changed my life. I’m concerned with Palestine because it affects my day-to-day life. You know what I mean? I’m concerned with the Congo because I have relationships with people that have impacted my life, and I know how this impacts the day-to-day of their lives.\u003c/p>\n\u003cp>So it’s not so much of like, “OK, well now I have attention. So let me bring everybody to this thing.” It’s just, how do you remain steadfast, consistent and of service to one’s calling and gift and be truthful to that and sincere to that? And hopefully, the truth will rise. The meat of it, the heart of it, the spirit and the musicality of it will reflect the best of who you are and what you’re trying to struggle with and the ideas you’re working through.\u003c/p>\n\u003cp>So I think it’ll change. I think I just want to continue to be able to create and to be provided the resources, the access, the ability to reach the people that I care about. So long as I’m here, let me just continue. I want to continue to do what I’m here to do.\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>aja monet performs Thursday, Feb. 29, at the Swedish American Hall in San Francisco as part of Noise Pop. \u003ca href=\"http://events.noisepop.com/events/2024/2/29/aja-monet-tickets\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an age of information overload and doom scrolling, poetry is essential. A good poem can cut to the core of an issue more immediately than an entire tome of research. It can jolt you awake, stir you to action or whisk you into a dream space in which you completely reimagine your life and its possibilities.\u003c/p>\n\u003cp>In her work, \u003ca href=\"https://ajamonet.com/\">aja monet\u003c/a> accomplishes all of the above. The New York-raised, L.A.-based writer and performer calls herself a “surrealist blues poet.” Her Grammy-nominated 2023 album \u003ci>when the poems do what they do\u003c/i> pairs her words — alternately searing, comforting, grief-stricken or romantic — with jazz grounded in Afro-Caribbean rhythms. (Keyboard and flute stylings by Berkeley-raised siblings \u003ca href=\"https://www.kqed.org/arts/13911226/samora-pinderhughes-ybca-the-healing-project\">Samora\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931138/liner-notes-flutist-and-vocalist-elena-pinderhughes-is-limitless\">Elena Pinderhughes\u003c/a> add to the record’s dynamic emotional landscape.)\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=3097307146/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>monet’s years of community organizing inform her heart-swelling invocations of love and gut-wrenching reflections on violence inflicted upon Black Americans. She spent years in Florida working with \u003ca href=\"https://www.dreamdefenders.org/\">Dream Defenders\u003c/a>, a prison abolitionist organization formed after the killing of Trayvon Martin, and the \u003ca href=\"https://communityjusticeproject.com/\">Community Justice Project\u003c/a>, which offers free legal aid in Miami. When her star as a poet began to rise after winning the Nuyorican Poets Cafe Grand Slam competition in 2007, monet had already spent years immersed in work instead of chasing accolades. Her numerous poetry books and debut album alike blossomed out of the movement.\u003c/p>\n\u003cp>In addition to fighting for racial justice, monet has long been an advocate for Palestinian liberation, using her words to draw throughlines between human rights struggles around the globe. Most recently, she authored the foreword to \u003ca href=\"https://www.haymarketbooks.org/books/1744-rifqa\">\u003ci>Rifqa\u003c/i>\u003c/a>, the debut poetry collection by Palestinian writer, activist and \u003ca href=\"https://www.thenation.com/authors/mohammed-el-kurd/\">\u003ci>The Nation\u003c/i>\u003c/a> correspondent \u003ca href=\"https://www.mohammedelkurd.com/\">Muhammed El-Kurd\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After sharing potent renditions of her poems on NPR’s Tiny Desk Concert last year, monet and her band make their San Francisco debut at the \u003ca href=\"http://events.noisepop.com/events/2024/2/29/aja-monet-tickets\">Swedish American Hall as part of Noise Pop\u003c/a> on Feb. 29. Ahead of the show, I spoke with her about writing for liberation, her growing platform and how her work resonates with the Bay’s deep legacy of revolutionary organizing.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13952375\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952375\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974.jpg\" alt=\"A poet recites on stage with a keyboard player in the background.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1407618974-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">aja monet performs during 2022 BRIC celebrate Brooklyn at Lena Horne Bandshell at Prospect Park on July 08, 2022 in New York City. \u003ccite>(Jason Mendez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Nastia Voynovskaya: \u003c/b>I’m excited that Noise Pop will be your first time performing in San Francisco. You’ve cited [Black Arts Movement co-founder and former San Francisco State University professor] Amiri Baraka and [\u003ci>for colored girls who have considered suicide\u003c/i> playwright] Ntozake Shange as influences, both of whom had a huge impact here in the Bay Area. What excites you about performing in the Bay Area in particular?\u003c/p>\n\u003cp>\u003cb>aja monet:\u003c/b> I think about the cultural legacy of what the Bay Area has created, in terms of people who have made an incredible impact, in this country and in the world. There’s the cultural work, but then there’s the organizing work that has made a huge impact on our movement and the ways that we approach ideas about social justice and freedom.\u003c/p>\n\u003cp>The Bay has a lot of significance to me. It was one of the first places I traveled on my own for a poetry competition when I was about 17 for Brave New Voices, which was hosted by Youth Speaks. Some of my best friends that I adore are from the Bay, and some of my favorite poets are from the Bay.\u003c/p>\n\u003cp>\u003cb>When you mention your favorite poets from the Bay, who comes to mind? \u003c/b>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/tongo-eisen-martin\">Tongo Eisen-Martin\u003c/a>, \u003ca href=\"https://www.instagram.com/chinakahodge/\">Chinaka Hodge\u003c/a>. \u003ca href=\"https://mobrowne.com/index.html\">Mahogany Browne\u003c/a> is originally from the Bay. June Jordan isn’t from the Bay, but she spent some time at Berkeley, and one of the most influential programs that she implemented has been a guiding light and force for me as an educator, as an organizer and a facilitator. So thinking about the revolutionary blueprint of \u003ca href=\"https://africam.berkeley.edu/poetry-for-the-people/\">Poetry for the People\u003c/a> and what she was able to implement at UC Berkeley.\u003c/p>\n\u003cp>\u003cb>You’ve been an organizer for years. Whether it’s Black liberation or Palestinian liberation, these are long, multi-generational fights. How does poetry help fuel and sustain these movements for the long haul?\u003c/b>\u003c/p>\n\u003cp>I don’t want to make blanket statements about poetry because not all poets are effective in this way. Certain poets have reflected establishment values and have been very focused on an objective that is rooted in accolades and awards.\u003c/p>\n\u003cp>Then there are poets who understand poetry as the function of the people’s heart and spirit and truth. Poetry, to me, is more of an approach. It’s a way of being in the world. When I think about that, I think about poetry as the measure of one’s true devotion to their craft. And so when I say someone dances like a poet, or someone sings like a poet, or someone plays an instrument like a poet, what I’m saying is they have a very different sort of profound orientation toward their gift. It’s taking it to an elevated dimension, and it’s bringing it new meaning and depth. And so I think poetry is really like a possessive, obsessive sort of devotion that transcends into a deeper sort of core truth that is really resonant to the spirit. \u003c/p>\u003c/div>",
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"content": "‘I don’t think poets create movements; I think movements create poets.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s no longer just a surface-level approach to an idea or a deep emotion that we all struggle with as humans, whether that be love or anger or war, frustration or death. It’s really delving into why, how, who, what’s the meaning behind that happening. And I think that when you can harness that sort of depth, it automatically elevates the consciousness of the people and the value system and the North Star — the thing that one ends up working towards.\u003c/p>\n\u003cp>So movements are incredibly powerful for the poets that are created through them. I don’t think poets create movements; I think movements create poets. When one is really accessing that real, urgent depth, then I think that all of us are transformed by that pursuit. It’s delving into the interior landscape, which is what we usually say is ultimately the final frontier of our freedom movements.\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/_Y-X9CpSiQ0'\n title='//www.youtube.com/embed/_Y-X9CpSiQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Live music is a big component of your work. Why is that important to you, and how does it change how the audience might receive your words?\u003c/b>\u003c/p>\n\u003cp>I’ve always seen myself as a sort of word musician. Finding musicians who hope to elevate what you’re doing, to be in conversation with you — I mean, that’s ultimately the dream, because being a poet on a stage by yourself is pretty lonely. The co-creative part of being with the band is what excites me, and it allows me to be less in my head and more playful. You feel more protected. You’re on a battlefield with others, with fellow soldiers that are trying to struggle with ideas and cultural norms and push against structures that have kept us from really expressing ourselves with authenticity.\u003c/p>\n\u003cp>Ultimately on the stage, it’s one of the few places where Black people are able to express the full range of one’s emotions without the threat of death. One can be utterly angry, upset, crazed, even ecstatic, enthused, joyful. The range of our full humanity is safe when it’s seen as a performance. But what we do is — we ultimately know we’re doing ceremony. We’re doing spirit work. And I think somehow the stage protects that work. What the West has made into a consumer capitalist venture, it ultimately is really just ceremony, displaced.\u003c/p>\n\u003cfigure id=\"attachment_13952374\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952374\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565.jpg\" alt=\"A woman poses on the red carpet.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1988922565-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">aja monet attends the 66th GRAMMY Awards at Crypto.com Arena on February 04, 2024 in Los Angeles, California. \u003ccite>(Jeff Kravitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb> Powerfully said. With your recent Grammy nomination, you’re getting recognized on a much larger platform. How does it feel getting validation from the entertainment industry?\u003c/b>\u003c/p>\n\u003cp>I don’t know if I’ve necessarily been acknowledged by the establishment quite yet. For me, the most meaningful thing about the nomination was people being excited about the work. Ultimately it takes people to say, “Nah, yo, whether they give this record an award or not … I’m going to support it because I know that it’s actually a quality thing done with intention, done with skill, with artistry, with creativity, with innovation, with spirit, with soul, with Black people in mind” — whatever it is that your metrics are.\u003c/p>\n\u003cp>We have to have some sort of, what are we measuring our worth towards? Who determines our value? And to me, it’ll always be the people. So that’s why I keep trying to remind folks, you know, when you like something, when you love something, when something really resonates with you, support it in every way, shape or form. We usually wait until we’re dead and gone to get our flowers. That’s kind of the expectation of poets, at least. Any opportunity as a living poet to be able to be appreciated and valued, I will never take for granted, ever.\u003c/p>\n\u003cp>If I could give awards to Sekou Sindiata, Amiri Baraka, June Jordan, I would give them all the awards they deserved and never got. As Black folks, as people of this time who care about the heart, the spirit, the soul, integrity, we have to not wait until people are dead and gone to acknowledge the impact of the work, and we must find ways to celebrate the things we love that don’t have us searching outside of ourselves for validation.\u003c/p>\n\u003cp>\u003cb>Well said. Now that you have more people’s attention, how do you want to use this moment?\u003c/b>\u003c/p>\n\u003cp>There are myriad issues that we are facing as humans in this time, in this life. And if I’m obedient to the gifts, if I’m obedient to the calling, then the work will do what it needs to do for this time.\u003c/p>\n\u003cp>That’s the way I have been orienting myself. Before, I used to think, “Well, I gotta speak to this. I gotta touch on this.” I think poetry in and of itself and how one moves, how one thinks and how one loves and how one relates — that’s how you show your values, and that’s how you show the concerns of the time. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And so I’m not concerned with Palestine because it’s popular and everybody’s talking about it right now, and now people see, “Oh wow, it’s a genocide.” I’m concerned with Palestine because I have relationships with people who are Palestinian, who have changed my life. I’m concerned with Palestine because it affects my day-to-day life. You know what I mean? I’m concerned with the Congo because I have relationships with people that have impacted my life, and I know how this impacts the day-to-day of their lives.\u003c/p>\n\u003cp>So it’s not so much of like, “OK, well now I have attention. So let me bring everybody to this thing.” It’s just, how do you remain steadfast, consistent and of service to one’s calling and gift and be truthful to that and sincere to that? And hopefully, the truth will rise. The meat of it, the heart of it, the spirit and the musicality of it will reflect the best of who you are and what you’re trying to struggle with and the ideas you’re working through.\u003c/p>\n\u003cp>So I think it’ll change. I think I just want to continue to be able to create and to be provided the resources, the access, the ability to reach the people that I care about. So long as I’m here, let me just continue. I want to continue to do what I’m here to do.\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>aja monet performs Thursday, Feb. 29, at the Swedish American Hall in San Francisco as part of Noise Pop. \u003ca href=\"http://events.noisepop.com/events/2024/2/29/aja-monet-tickets\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Update, Jan. 23, 2024:\u003c/strong>\u003c/p>\n\u003cp>For the third and final phase of its lineup, \u003ca href=\"https://noisepopfest.com/\">Noise Pop\u003c/a> announced that Bone Thugs-N-Harmony will headline the festival on March 1 at the Curran Theatre. Typically a venue for Broadway plays, it offers a lavish setting for a concert celebrating the legendary hip-hop group’s 30th anniversary. Other lineup additions include Italian electronic musician DJ Tennis, The Knife’s Olof Dreijer and more, bringing the grand total of performances to over 100 acts at 15 venues across the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Update, Dec. 12, 2023:\u003c/strong>\u003c/p>\n\u003cp>Noise Pop announced the second phase of its lineup today. On Feb. 24, Suzanne Ciani, a barrier-breaking, veteran electronic musician, performs at Grace Cathedral. Another prominent composer, Emile Mosseri — who scored lauded films such as \u003cem>The \u003c/em>\u003cem>Last Black Man of San Francisco\u003c/em> and \u003cem>Minari\u003c/em> — performs Feb. 28 at Swedish American Hall. On Feb. 29, the same venue hosts poet and community organizer Aja Monet, whose stirring, liberation-oriented writing is a balm for a world on fire. (Noise Pop will be her San Francisco debut.)\u003c/p>\n\u003cp>Jazz singer Louis Cole takes the stage at August Hall on Feb. 28, rising, high-energy pop-rock trio Dehd perform at Great American Music Hall on Feb. 29, and Jacques Greene goes b2b (back to back) with Nosaj Thing at a Gray Area dance party on March 2. The \u003ca href=\"https://noisepopfest.com/lineup\">full lineup can be found here\u003c/a>, and more acts will be announced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Original story, Nov. 9, 2023:\u003c/strong>\u003c/p>\n\u003cp>Long-running, homegrown music festival \u003ca href=\"https://noisepopfest.com/lineup?mc_cid=10555601e8&mc_eid=6c5b7773cc\">Noise Pop\u003c/a> just announced the first phase of its 2024 lineup, with downcast indie singer-songwriter \u003ca href=\"https://youtu.be/CrLQFLd3To0?si=bztD6ZgUlHM64hNy\">Snail Mail\u003c/a>, high-energy post-punks \u003ca href=\"https://youtu.be/NLNUR0NGi4Y?si=wZmyrdoJwl5VABUX\">Cherry Glazerr\u003c/a> and John Darnielle of OG indie folk band \u003ca href=\"https://youtu.be/a79C3jWUiYE?si=zLCswZ7Y0JXbY8Lz\">the Mountain Goats\u003c/a> topping the bill.\u003c/p>\n\u003cp>The festival takes place Feb. 22–March 3, 2024 in venues across the Bay Area, including San Francisco’s picturesque Grace Cathedral (where the Mountain Goats will perform on March 1), Great American Music Hall (where Snail Mail takes the stage on March 1 and 2) and August Hall (where Cherry Glazerr play on Feb. 29).\u003c/p>\n\u003cp>Other lineup highlights include Francophone indie R&B singer \u003ca href=\"https://youtu.be/8ETohLB6bm8?si=gLXQyBodDheNFJ0r\">Shay Lia\u003c/a> at Rickshaw Stop on March 1, powerhouse soul vocalist \u003ca href=\"https://youtu.be/U_T9sHVKDxk?si=Olpa1w-4cH07Dnca\">Kendra Morris\u003c/a> at Bottom of the Hill on March 2, jazz-funk Ethiopian accordionist and keyboard player \u003ca href=\"https://youtu.be/ifFzTcDDV88?si=Rxt_vQ7D8s69sLaZ\">Hailu Mergia\u003c/a> on March 3 at Great American Music Hall and rising Berlin-based dance music producer \u003ca href=\"https://youtu.be/qPsw7eHvg0M?si=bketlVvFAKYRnbMg\">Sofia Kourtesis\u003c/a> at 1015 Folsom on Feb. 29.\u003c/p>\n\u003cp>As always, the beauty of Noise Pop is that show-goers can hop around to multiple shows in a night, and pick and choose their own schedules. And with concerts taking place in various San Francisco neighborhoods, as well as across the bridge in Oakland and Berkeley, it’s an opportunity to celebrate so much of what Bay Area culture has to offer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\n\u003cp>\u003cem>Noise Pop festival badges are on sale now and tickets to individual shows will be available starting Nov. 10. For the complete lineup and schedule, visit \u003ca href=\"https://noisepopfest.com/lineup?mc_cid=10555601e8&mc_eid=6c5b7773cc\">Noise Pop’s website\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Jan. 23, 2024:\u003c/strong>\u003c/p>\n\u003cp>For the third and final phase of its lineup, \u003ca href=\"https://noisepopfest.com/\">Noise Pop\u003c/a> announced that Bone Thugs-N-Harmony will headline the festival on March 1 at the Curran Theatre. Typically a venue for Broadway plays, it offers a lavish setting for a concert celebrating the legendary hip-hop group’s 30th anniversary. Other lineup additions include Italian electronic musician DJ Tennis, The Knife’s Olof Dreijer and more, bringing the grand total of performances to over 100 acts at 15 venues across the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Update, Dec. 12, 2023:\u003c/strong>\u003c/p>\n\u003cp>Noise Pop announced the second phase of its lineup today. On Feb. 24, Suzanne Ciani, a barrier-breaking, veteran electronic musician, performs at Grace Cathedral. Another prominent composer, Emile Mosseri — who scored lauded films such as \u003cem>The \u003c/em>\u003cem>Last Black Man of San Francisco\u003c/em> and \u003cem>Minari\u003c/em> — performs Feb. 28 at Swedish American Hall. On Feb. 29, the same venue hosts poet and community organizer Aja Monet, whose stirring, liberation-oriented writing is a balm for a world on fire. (Noise Pop will be her San Francisco debut.)\u003c/p>\n\u003cp>Jazz singer Louis Cole takes the stage at August Hall on Feb. 28, rising, high-energy pop-rock trio Dehd perform at Great American Music Hall on Feb. 29, and Jacques Greene goes b2b (back to back) with Nosaj Thing at a Gray Area dance party on March 2. The \u003ca href=\"https://noisepopfest.com/lineup\">full lineup can be found here\u003c/a>, and more acts will be announced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Original story, Nov. 9, 2023:\u003c/strong>\u003c/p>\n\u003cp>Long-running, homegrown music festival \u003ca href=\"https://noisepopfest.com/lineup?mc_cid=10555601e8&mc_eid=6c5b7773cc\">Noise Pop\u003c/a> just announced the first phase of its 2024 lineup, with downcast indie singer-songwriter \u003ca href=\"https://youtu.be/CrLQFLd3To0?si=bztD6ZgUlHM64hNy\">Snail Mail\u003c/a>, high-energy post-punks \u003ca href=\"https://youtu.be/NLNUR0NGi4Y?si=wZmyrdoJwl5VABUX\">Cherry Glazerr\u003c/a> and John Darnielle of OG indie folk band \u003ca href=\"https://youtu.be/a79C3jWUiYE?si=zLCswZ7Y0JXbY8Lz\">the Mountain Goats\u003c/a> topping the bill.\u003c/p>\n\u003cp>The festival takes place Feb. 22–March 3, 2024 in venues across the Bay Area, including San Francisco’s picturesque Grace Cathedral (where the Mountain Goats will perform on March 1), Great American Music Hall (where Snail Mail takes the stage on March 1 and 2) and August Hall (where Cherry Glazerr play on Feb. 29).\u003c/p>\n\u003cp>Other lineup highlights include Francophone indie R&B singer \u003ca href=\"https://youtu.be/8ETohLB6bm8?si=gLXQyBodDheNFJ0r\">Shay Lia\u003c/a> at Rickshaw Stop on March 1, powerhouse soul vocalist \u003ca href=\"https://youtu.be/U_T9sHVKDxk?si=Olpa1w-4cH07Dnca\">Kendra Morris\u003c/a> at Bottom of the Hill on March 2, jazz-funk Ethiopian accordionist and keyboard player \u003ca href=\"https://youtu.be/ifFzTcDDV88?si=Rxt_vQ7D8s69sLaZ\">Hailu Mergia\u003c/a> on March 3 at Great American Music Hall and rising Berlin-based dance music producer \u003ca href=\"https://youtu.be/qPsw7eHvg0M?si=bketlVvFAKYRnbMg\">Sofia Kourtesis\u003c/a> at 1015 Folsom on Feb. 29.\u003c/p>\n\u003cp>As always, the beauty of Noise Pop is that show-goers can hop around to multiple shows in a night, and pick and choose their own schedules. And with concerts taking place in various San Francisco neighborhoods, as well as across the bridge in Oakland and Berkeley, it’s an opportunity to celebrate so much of what Bay Area culture has to offer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\n\u003cp>\u003cem>Noise Pop festival badges are on sale now and tickets to individual shows will be available starting Nov. 10. For the complete lineup and schedule, visit \u003ca href=\"https://noisepopfest.com/lineup?mc_cid=10555601e8&mc_eid=6c5b7773cc\">Noise Pop’s website\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Light drizzle shakes through sun-pierced gray skies at West Oakland’s Ghost Town Brewing on a Tuesday evening. The Warriors/Lakers playoff game buzzes inside and a taco truck hums as \u003ca href=\"https://fakefruitmusic.bandcamp.com/\">Fake Fruit\u003c/a> bandleader Hannah D’Amato saddles up in an outdoor booth. She and the band’s new bassist, Bee Wright, are grabbing a drink before one final practice session ahead of their West Coast tour with Deerhoof.\u003c/p>\n\u003cp>Judging by D’Amato’s serene yet sprightly disposition, you wouldn’t guess how much the singer of the Bay Area’s best emerging band has been through since arriving here in 2018. Yet her time in the Bay almost ended as soon as it began.\u003c/p>\n\u003cp>“I got to the Bay pissed off,” she says.\u003c/p>\n\u003cp>Originally from Southern California, D’Amato is a Chicana — mostly Mexican and part Sicilian — who came to the Bay Area to live with her sister in early 2018. Her plans were quickly thwarted when her sister’s partner moved in instead, leaving D’Amato looking for a place. Before that, she had a stint on the East Coast that culminated in an audition for the prestigious Berklee College of Music, where one of the all-white male panelists took it upon himself to turn down the volume on her guitar amp — a metaphor for the plight of women in the music industry if there ever was one. D’Amato still got accepted, but she wasn’t feeling it (can you blame her?) and soon made her way West. [aside postid='arts_13928586']\u003c/p>\n\u003cp>It was in Oakland that she met guitarist Alex Post (a Massachusetts transplant) and drummer Miles MacDiarmid (a Santa Rosa native) and formed Fake Fruit. Their debut self-titled album came out in 2021 on Sonny Smith’s \u003ca href=\"https://rockshead.bandcamp.com/\">Rocks In Your Head Records\u003c/a>, offering a much-needed glimmer of polished post-punk pizazz. The arresting collection of pointed, abrasive tracks floated on Post’s jangly guitars. D’Amato’s lyrics were full of sharp, biting wit — think a young Karen O singing over a Preoccupations tune. Songs about fractured relationships, scene anxiety and people flat out not holding up their end of the bargain were the outlet for the whirlwind of life events that had brought D’Amato to the Bay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I felt like I had to scream and be loud and take up this space… in my world where dudes are typically occupying it,” D’Amato says as Post and MacDiarmid join us at the table. “If I had a dollar for every time I walked into Guitar Center and they were like, ‘The mics are that way.’”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=09XNN3nfNlk\u003c/p>\n\u003cp>It’s this controlled release of daily frustrations that caught the ear of Smith, the local music scene veteran who continues to deliver with his eponymous Sonny & The Sunsets band while running his workhorse label. “I thought it was refreshing to really hear someone belt out vocals again, because at that time we were sort of hearing a lot of whispery My Bloody Valentine-type music,” Smith says via email.\u003c/p>\n\u003cp>D’Amato met Smith when she was DJing a show at SF’s Balboa Theater. Through their friendship, Smith offered to release their music, but D’Amato wanted to hold out for an indie label that had more reach. “Understandable by me,” Smith says, who then told the band that he’d leverage his industry contacts to help them try to get a deal. They were seemingly at the finish line with a notable imprint, but then the pandemic hit, and the label said they were pausing on signing new acts. “This [too] was understandable,” Smith adds. “This was when the whole world was kind of paralyzed.”\u003c/p>\n\u003cp>They were stuck. But when Smith got his first unemployment check, he decided to put out Fake Fruit’s debut. “I just said ‘fuck it,’ let’s do interesting things even if we have to be in our bedrooms.”\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=3060143921/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>And it wasn’t just Smith who was struck by the sound of the band. The records started selling out. First the initial 250 vinyl pressing, then another 250, then another 500, and then another run of 1,000. “I was able to actually give an artist a decent royalty check, which was very rewarding for me personally,” Smith adds.\u003c/p>\n\u003cp>From there, Fake Fruit probably played more high-profile gigs than any other local band on the rise. They toured with recent Grammy winners Wet Leg, headlined a Noise Pop show at Rickshaw Stop, opened for Canadian jangle pop outfit Alvvays, British post-punk band Dry Cleaning and Brooklyn trio Sunflower Bean, among others. They graced the stage at Mosswood Meltdown, are booked for this August’s Outside Lands Festival, and are currently on a \u003ca href=\"https://wl.seetickets.us/event/Deerhoof/528089?afflky=GreatAmericanMusicHall\">West Coast tour swing with Deerhoof\u003c/a> that comes to San Francisco Monday, May 8, Great American Music Hall.\u003c/p>\n\u003cp>You see, there’s something about Fake Fruit that sticks with you like butter on bread. At that Rickshaw Stop show, there was a moment where D’Amato sang one of the band’s new songs while solving a Rubik’s Cube. Sure, it was a gimmick, but she charmed the crowd by owning up to it and going for it. Then came an undeniable confluence of thunderous drums, transcendent guitar, raucous sax and a newfound melodious delivery from D’Amato, filled with “oohs.” She proclaimed “you’re gonna love me!” on the hook while holding up the solved cube in triumph. It was flat out fascinating, jaw-dropping and so punk. I couldn’t get the song out of my head for months.\u003c/p>\n\u003cfigure id=\"attachment_13928721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928721\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IMG_6943-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_6943-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_6943-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_6943-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_6943-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_6943-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_6943.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fake Fruit rehearses at their practice space. \u003ccite>(Adrian Spinelli )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re exercising the more melodic muscles that we were shy about in the first record,” D’Amato says of a new album they’ve just about finished with producer Jack Shirley (Deafheaven, King Woman) at Oakland’s Atomic Garden Studio.\u003c/p>\n\u003cp>But whenever the new album comes out, their managers won’t hear it until we all do. That’s because at the beginning of the year, Fake Fruit’s managers cut ties with the band when they embarked on a new business venture. For a band called Fake Fruit, life sure keeps throwing a lot of lemons their way. Perhaps it’s why the new album will be called \u003cem>Mucho Mistrust\u003c/em>.\u003c/p>\n\u003cp>“We had to take a long look in the mirror and be like, ‘We don’t trust like that anymore,’” D’Amato says. “We got burned.”\u003c/p>\n\u003cfigure id=\"attachment_13928722\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928722\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IMG_1095-800x614.jpg\" alt=\"A blurry photo of a four-piece band, a young woman and three men, in the hallway of an Oakland practice space.\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_1095-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_1095-1020x783.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_1095-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_1095-768x590.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_1095-1536x1179.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_1095.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fake Fruit prepares to open for Deerhoof at Great American Music Hall on May 8. \u003ccite>(Adrian Spinelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the evening at the band’s lofted practice space that they share with two other groups, I finally hear them play the song from the Rickshaw Stop show again. It’s magical. D’Amato is in top form with the Rubik’s Cube in hand — even at practice. Except this time, she can’t solve it. She says it’s the first time that’s ever happened and later texts to explain that, “There was one piece that was physically rotated, making it literally impossible to solve.”\u003c/p>\n\u003cp>It’s as if that faulty Cube is where Fake Fruit finds themselves right now, trying to solve this puzzle. Even the best emerging band in the Bay Area hasn’t gotten snatched up by a notable indie label looking to vault the next breakout act, while a series of mechanisms around them continue to push against that realization. Can a Bay Area band even get signed by a significant label anymore these days? Fortunately, Fake Fruit is nowhere close to giving up — quite the opposite, in fact.\u003c/p>\n\u003cp>“It’s the best version of this brutal anticipation,” Post remarks, before D’Amato chimes in. “It’s been a couple years of holding our breaths while experiencing this growth and feeling the momentum. We just want to be touring more months on than off and quit these day jobs.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13849223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/Guitar.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://wl.seetickets.us/event/Deerhoof/528089?afflky=GreatAmericanMusicHall\">Fake Fruit performs at Great American Music Hall\u003c/a> in San Francisco on May 8.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Light drizzle shakes through sun-pierced gray skies at West Oakland’s Ghost Town Brewing on a Tuesday evening. The Warriors/Lakers playoff game buzzes inside and a taco truck hums as \u003ca href=\"https://fakefruitmusic.bandcamp.com/\">Fake Fruit\u003c/a> bandleader Hannah D’Amato saddles up in an outdoor booth. She and the band’s new bassist, Bee Wright, are grabbing a drink before one final practice session ahead of their West Coast tour with Deerhoof.\u003c/p>\n\u003cp>Judging by D’Amato’s serene yet sprightly disposition, you wouldn’t guess how much the singer of the Bay Area’s best emerging band has been through since arriving here in 2018. Yet her time in the Bay almost ended as soon as it began.\u003c/p>\n\u003cp>“I got to the Bay pissed off,” she says.\u003c/p>\n\u003cp>Originally from Southern California, D’Amato is a Chicana — mostly Mexican and part Sicilian — who came to the Bay Area to live with her sister in early 2018. Her plans were quickly thwarted when her sister’s partner moved in instead, leaving D’Amato looking for a place. Before that, she had a stint on the East Coast that culminated in an audition for the prestigious Berklee College of Music, where one of the all-white male panelists took it upon himself to turn down the volume on her guitar amp — a metaphor for the plight of women in the music industry if there ever was one. D’Amato still got accepted, but she wasn’t feeling it (can you blame her?) and soon made her way West. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was in Oakland that she met guitarist Alex Post (a Massachusetts transplant) and drummer Miles MacDiarmid (a Santa Rosa native) and formed Fake Fruit. Their debut self-titled album came out in 2021 on Sonny Smith’s \u003ca href=\"https://rockshead.bandcamp.com/\">Rocks In Your Head Records\u003c/a>, offering a much-needed glimmer of polished post-punk pizazz. The arresting collection of pointed, abrasive tracks floated on Post’s jangly guitars. D’Amato’s lyrics were full of sharp, biting wit — think a young Karen O singing over a Preoccupations tune. Songs about fractured relationships, scene anxiety and people flat out not holding up their end of the bargain were the outlet for the whirlwind of life events that had brought D’Amato to the Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I felt like I had to scream and be loud and take up this space… in my world where dudes are typically occupying it,” D’Amato says as Post and MacDiarmid join us at the table. “If I had a dollar for every time I walked into Guitar Center and they were like, ‘The mics are that way.’”\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/09XNN3nfNlk'\n title='//www.youtube.com/embed/09XNN3nfNlk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s this controlled release of daily frustrations that caught the ear of Smith, the local music scene veteran who continues to deliver with his eponymous Sonny & The Sunsets band while running his workhorse label. “I thought it was refreshing to really hear someone belt out vocals again, because at that time we were sort of hearing a lot of whispery My Bloody Valentine-type music,” Smith says via email.\u003c/p>\n\u003cp>D’Amato met Smith when she was DJing a show at SF’s Balboa Theater. Through their friendship, Smith offered to release their music, but D’Amato wanted to hold out for an indie label that had more reach. “Understandable by me,” Smith says, who then told the band that he’d leverage his industry contacts to help them try to get a deal. They were seemingly at the finish line with a notable imprint, but then the pandemic hit, and the label said they were pausing on signing new acts. “This [too] was understandable,” Smith adds. “This was when the whole world was kind of paralyzed.”\u003c/p>\n\u003cp>They were stuck. But when Smith got his first unemployment check, he decided to put out Fake Fruit’s debut. “I just said ‘fuck it,’ let’s do interesting things even if we have to be in our bedrooms.”\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=3060143921/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>And it wasn’t just Smith who was struck by the sound of the band. The records started selling out. First the initial 250 vinyl pressing, then another 250, then another 500, and then another run of 1,000. “I was able to actually give an artist a decent royalty check, which was very rewarding for me personally,” Smith adds.\u003c/p>\n\u003cp>From there, Fake Fruit probably played more high-profile gigs than any other local band on the rise. They toured with recent Grammy winners Wet Leg, headlined a Noise Pop show at Rickshaw Stop, opened for Canadian jangle pop outfit Alvvays, British post-punk band Dry Cleaning and Brooklyn trio Sunflower Bean, among others. They graced the stage at Mosswood Meltdown, are booked for this August’s Outside Lands Festival, and are currently on a \u003ca href=\"https://wl.seetickets.us/event/Deerhoof/528089?afflky=GreatAmericanMusicHall\">West Coast tour swing with Deerhoof\u003c/a> that comes to San Francisco Monday, May 8, Great American Music Hall.\u003c/p>\n\u003cp>You see, there’s something about Fake Fruit that sticks with you like butter on bread. At that Rickshaw Stop show, there was a moment where D’Amato sang one of the band’s new songs while solving a Rubik’s Cube. Sure, it was a gimmick, but she charmed the crowd by owning up to it and going for it. Then came an undeniable confluence of thunderous drums, transcendent guitar, raucous sax and a newfound melodious delivery from D’Amato, filled with “oohs.” She proclaimed “you’re gonna love me!” on the hook while holding up the solved cube in triumph. It was flat out fascinating, jaw-dropping and so punk. I couldn’t get the song out of my head for months.\u003c/p>\n\u003cfigure id=\"attachment_13928721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928721\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IMG_6943-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_6943-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_6943-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_6943-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_6943-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_6943-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_6943.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fake Fruit rehearses at their practice space. \u003ccite>(Adrian Spinelli )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re exercising the more melodic muscles that we were shy about in the first record,” D’Amato says of a new album they’ve just about finished with producer Jack Shirley (Deafheaven, King Woman) at Oakland’s Atomic Garden Studio.\u003c/p>\n\u003cp>But whenever the new album comes out, their managers won’t hear it until we all do. That’s because at the beginning of the year, Fake Fruit’s managers cut ties with the band when they embarked on a new business venture. For a band called Fake Fruit, life sure keeps throwing a lot of lemons their way. Perhaps it’s why the new album will be called \u003cem>Mucho Mistrust\u003c/em>.\u003c/p>\n\u003cp>“We had to take a long look in the mirror and be like, ‘We don’t trust like that anymore,’” D’Amato says. “We got burned.”\u003c/p>\n\u003cfigure id=\"attachment_13928722\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928722\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IMG_1095-800x614.jpg\" alt=\"A blurry photo of a four-piece band, a young woman and three men, in the hallway of an Oakland practice space.\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_1095-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_1095-1020x783.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_1095-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_1095-768x590.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_1095-1536x1179.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IMG_1095.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fake Fruit prepares to open for Deerhoof at Great American Music Hall on May 8. \u003ccite>(Adrian Spinelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the evening at the band’s lofted practice space that they share with two other groups, I finally hear them play the song from the Rickshaw Stop show again. It’s magical. D’Amato is in top form with the Rubik’s Cube in hand — even at practice. Except this time, she can’t solve it. She says it’s the first time that’s ever happened and later texts to explain that, “There was one piece that was physically rotated, making it literally impossible to solve.”\u003c/p>\n\u003cp>It’s as if that faulty Cube is where Fake Fruit finds themselves right now, trying to solve this puzzle. Even the best emerging band in the Bay Area hasn’t gotten snatched up by a notable indie label looking to vault the next breakout act, while a series of mechanisms around them continue to push against that realization. Can a Bay Area band even get signed by a significant label anymore these days? Fortunately, Fake Fruit is nowhere close to giving up — quite the opposite, in fact.\u003c/p>\n\u003cp>“It’s the best version of this brutal anticipation,” Post remarks, before D’Amato chimes in. “It’s been a couple years of holding our breaths while experiencing this growth and feeling the momentum. We just want to be touring more months on than off and quit these day jobs.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13849223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/Guitar.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.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>\u003ca href=\"https://wl.seetickets.us/event/Deerhoof/528089?afflky=GreatAmericanMusicHall\">Fake Fruit performs at Great American Music Hall\u003c/a> in San Francisco on May 8.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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