Fleet Foxes, Greensky Bluegrass to Headline Mill Valley Music Festival
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","credit":"Tim Mosenfelder/Getty Images","altTag":null,"description":null,"imgSizes":{"medium":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2022/02/GettyImages-1046583758-1-800x450.jpg","width":800,"height":450,"mimeType":"image/jpeg"},"large":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2022/02/GettyImages-1046583758-1-1020x574.jpg","width":1020,"height":574,"mimeType":"image/jpeg"},"thumbnail":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2022/02/GettyImages-1046583758-1-160x90.jpg","width":160,"height":90,"mimeType":"image/jpeg"},"medium_large":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2022/02/GettyImages-1046583758-1-768x432.jpg","width":768,"height":432,"mimeType":"image/jpeg"},"post-thumbnail":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2022/02/GettyImages-1046583758-1-672x372.jpg","width":672,"height":372,"mimeType":"image/jpeg"},"kqedFullSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2022/02/GettyImages-1046583758-1.jpg","width":1024,"height":576}},"fetchFailed":false,"isLoading":false}},"audioPlayerReducer":{"postId":"stream_live"},"authorsReducer":{"byline_arts_13928718":{"type":"authors","id":"byline_arts_13928718","meta":{"override":true},"slug":"byline_arts_13928718","name":"Adrian Spinelli ","isLoading":false},"ralexandra":{"type":"authors","id":"11242","meta":{"index":"authors_1591205172","id":"11242","found":true},"name":"Rae Alexandra","firstName":"Rae","lastName":"Alexandra","slug":"ralexandra","email":"ralexandra@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Staff Writer","bio":"Rae Alexandra is Staff Writer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. 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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","blocks":[],"excerpt":"The North Bay festival also features R&B standouts Danielle Ponder, Thee Sacred Souls and more.","status":"publish","parent":0,"modified":1710185439,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":288},"headData":{"title":"Fleet Foxes, Greensky Bluegrass to Headline Mill Valley Music Festival | KQED","description":"The North Bay festival also features R&B standouts Danielle Ponder, Thee Sacred Souls and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Fleet Foxes, Greensky Bluegrass to Headline Mill Valley Music Festival","datePublished":"2024-03-11T19:30:39.000Z","dateModified":"2024-03-11T19:30:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953850/fleet-foxes-greensky-bluegrass-mill-valley-music-festival","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953850/fleet-foxes-greensky-bluegrass-mill-valley-music-festival","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_13077","arts_1022","arts_7515","arts_585"],"featImg":"arts_13805251","label":"arts_140"},"arts_13952372":{"type":"posts","id":"arts_13952372","meta":{"index":"posts_1591205157","site":"arts","id":"13952372","score":null,"sort":[1708035796000]},"guestAuthors":[],"slug":"aja-monet-poetry-interview-noise-pop-san-francisco","title":"How the Struggle for Liberation Made aja monet Into a Poet","publishDate":1708035796,"format":"standard","headTitle":"How the Struggle for Liberation Made aja monet Into a Poet | KQED","labelTerm":{"term":140,"site":"arts"},"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","blocks":[],"excerpt":"Ahead of her SF debut at Noise Pop, the organizer and Grammy-nominated poet talks politics, Palestine and process. ","status":"publish","parent":0,"modified":1708036302,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3097307146/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":2125},"headData":{"title":"How the Struggle for Liberation Made aja monet Into a Poet | KQED","description":"Ahead of her SF debut at Noise Pop, the organizer and Grammy-nominated poet talks politics, Palestine and process. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How the Struggle for Liberation Made aja monet Into a Poet","datePublished":"2024-02-15T22:23:16.000Z","dateModified":"2024-02-15T22:31:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952372/aja-monet-poetry-interview-noise-pop-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916674","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I don’t think poets create movements; I think movements create poets.’","name":"pullquote","attributes":{"named":{"citation":"aja monet","size":"large","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937865","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952372/aja-monet-poetry-interview-noise-pop-san-francisco","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835","arts_69","arts_1003"],"tags":["arts_10278","arts_1022","arts_1496","arts_585"],"featImg":"arts_13952417","label":"arts_140"},"arts_13937865":{"type":"posts","id":"arts_13937865","meta":{"index":"posts_1591205157","site":"arts","id":"13937865","score":null,"sort":[1706034658000]},"guestAuthors":[],"slug":"noise-pop-festival-2024","title":"Bone Thugs-N-Harmony Join Noise Pop 2024 Lineup","publishDate":1706034658,"format":"standard","headTitle":"Bone Thugs-N-Harmony Join Noise Pop 2024 Lineup | KQED","labelTerm":{"term":140,"site":"arts"},"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","blocks":[],"excerpt":"The homegrown music festival takes over venues across the Bay Area Feb. 22–March 3, 2024. ","status":"publish","parent":0,"modified":1706035034,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":510},"headData":{"title":"Bone Thugs-N-Harmony Join Noise Pop 2024 Lineup | KQED","description":"The homegrown music festival takes over venues across the Bay Area Feb. 22–March 3, 2024. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bone Thugs-N-Harmony Join Noise Pop 2024 Lineup","datePublished":"2024-01-23T18:30:58.000Z","dateModified":"2024-01-23T18:37:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13937865/noise-pop-festival-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937865/noise-pop-festival-2024","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_10278","arts_1022","arts_585"],"featImg":"arts_13950803","label":"arts_140"},"arts_13928718":{"type":"posts","id":"arts_13928718","meta":{"index":"posts_1591205157","site":"arts","id":"13928718","score":null,"sort":[1683312729000]},"guestAuthors":[],"slug":"fake-fruit-is-the-best-emerging-band-in-the-bay-is-the-universe-conspiring-against-them","title":"Fake Fruit Is the Best Emerging Band in the Bay. Is the Universe Conspiring Against Them?","publishDate":1683312729,"format":"standard","headTitle":"Fake Fruit Is the Best Emerging Band in the Bay. Is the Universe Conspiring Against Them? | KQED","labelTerm":{"term":140,"site":"arts"},"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","blocks":[],"excerpt":"Despite a series of unlucky breaks, the post-punk band's momentum only continues to grow. ","status":"publish","parent":0,"modified":1705005538,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3060143921/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1448},"headData":{"title":"Fake Fruit Is the Best Emerging Band in the Bay. Is the Universe Conspiring Against Them? | KQED","description":"Despite a series of unlucky breaks, the post-punk band's momentum only continues to grow. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Fake Fruit Is the Best Emerging Band in the Bay. Is the Universe Conspiring Against Them?","datePublished":"2023-05-05T18:52:09.000Z","dateModified":"2024-01-11T20:38:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Adrian Spinelli ","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13928718/fake-fruit-is-the-best-emerging-band-in-the-bay-is-the-universe-conspiring-against-them","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928586","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928718/fake-fruit-is-the-best-emerging-band-in-the-bay-is-the-universe-conspiring-against-them","authors":["byline_arts_13928718"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_21788","arts_1022","arts_905","arts_585"],"featImg":"arts_13928720","label":"arts_140"},"arts_13925590":{"type":"posts","id":"arts_13925590","meta":{"index":"posts_1591205157","site":"arts","id":"13925590","score":null,"sort":[1677526323000]},"guestAuthors":[],"slug":"noise-pop-festival-2023-review","title":"Stoni, COMMANDO and Others Serve Excellence at Noise Pop 2023","publishDate":1677526323,"format":"standard","headTitle":"Stoni, COMMANDO and Others Serve Excellence at Noise Pop 2023 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cstrong>Update, Feb. 28, 2023: \u003c/strong>According to a statement from the New Parish, the Junglepussy concert on Feb. 26 ended early because of technical difficulties. Ticketholders can redeem tickets to a future concert at the venue by emailing info@thenewparish.com.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 27, 2023:\u003c/strong>\u003c/p>\n\u003cp>Beloved music festival \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> celebrated its 30th anniversary Feb. 20–26 with headlining sets from Yo La Tengo, Boy Harsher and Duster. A wealth of performances by hip-hop artists, cumbia bands and punk outfits at venues across the Bay Area reminded show-goers that nothing can replace witnessing musical excellence live on stage. The KQED Arts & Culture team hopped around the concerts for a week, and were left with a renewed appreciation for the craft and creativity that abounds in our local live music scene. Here’s what we saw.\u003c/p>\n\u003cfigure id=\"attachment_13925545\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO at Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Queer Mosh Pit for COMMANDO\u003c/h2>\n\u003cp>Tuesday night at San Francisco’s Bottom of the Hill, \u003ca href=\"https://commandothebando.bandcamp.com/album/commando-2\">COMMANDO\u003c/a> emerged on stage like a dazzling rock ’n’ roll chimera. The supergroup brought together seven completely different veteran musicians, and their exuberant performance celebrated queerness in all its forms.\u003c/p>\n\u003cp>Juba Kalamka (formerly of the 2000s hip-hop crew Deep Dickollective) opened the show with “Meatswinga (Morello Muh Mello),” his low voice revving like an engine as the band members thrust their hips towards the audience. As nu-metal guitar by Principal Dammit and Van Jackson-Weaver and Andy Meyerson’s powerful rhythm section set the energy in the room ablaze, Honey Mahogany delivered operatic high notes, and Drew Arriola-Sands detonated screamo growls. Lynnee Breedlove (of revered early-’90s queercore band Tribe8) commanded the mic with a punk swagger, and surprised the audience with a tender spoken-word homage to Prince’s genderfluid self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13925547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO headlines Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO headlines Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>COMMANDO sets out to be the queer role models the band members never had growing up, and at Bottom of the Hill that vision came to life. Trans and gender non-conforming teens with Xs on their hands, too young to drink, moshed in the front to lyrics about punching Nazis. And after witnessing seven diverse, skilled musicians owning their personal power on stage, everyone else set off into the night carrying a little piece of COMMANDO’s boldness with them. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: ovrkast., Michael Sneed and demahjiae perform at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>ovrkast., Michael Sneed and demahjiae Transmit Love Through Soulful Raps\u003c/h2>\n\u003cp>On Wednesday evening, Oakland artists \u003ca href=\"https://itsovrkast.bandcamp.com/\">ovrkast.\u003c/a>, \u003ca href=\"https://demahjiae.bandcamp.com/\">demahjiae\u003c/a> and \u003ca href=\"https://michaelsneed.bandcamp.com/track/blame-sumer-ft-molly-arizona\">Michael Sneed\u003c/a> electrified Brick and Mortar Music Hall’s small San Francisco stage, connecting heart-to-heart with an eager crowd of hip-hop lovers. As ovrkast. performed his 2020 single “Try Again,” the audience scooted closer while he rapped about feelings of inadequacy and picking himself back up. His voice sounded raw, capturing a desperation that resonated with the crowd as voices chanted along to the hook: “You can’t win, you ain’t shit / Try again, try again / Do it all over, try again.”\u003c/p>\n\u003cfigure id=\"attachment_13925559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed, ovrkast., demahjiae and their live band backstage at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ovrkast. outside of Brick and Mortar Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each artist brought a different energy: as Sneed performed his 2019 track “Reinvent,” he mirrored a crescendo of instrumentation — yelling out as he neared the edge of the stage, playing with flow and encouraging the crowd to get loud. demahjiae slowed the pace, sauntering as he rapped songs off of his 2020 project \u003cem>And, Such is Life\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Together, the three artists were in complete sync, supporting one another with harmonies and on-the-spot improvisations. After demahjiae performed one of his latest tracks, “Hold Me Down,” the trio embraced, expressing that the show was ultimately about love and gratitude for everyone involved. “To know my brothers are behind me backing me up is the most beautiful thing I could ask for,” said demahjiae. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">demahjiae, ovrkast. and Michael Sneed perform at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-800x504.jpg\" alt=\"\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-1536x967.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ritmos Tropicosmos headlines the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ritmos Tropicosmos and Combo Tezeta’s Mystical Cumbia\u003c/h2>\n\u003cp>On a frigid Friday night, a tropical cumbia dance party kept Albany’s Ivy Room nice and toasty. Oakland six-piece \u003ca href=\"https://combotezeta.bandcamp.com/album/la-danza-del-camale-n-la-reina-nocturna\">Combo Tezeta\u003c/a> kicked off the baile with a garage-band take on ’60s and ’70s classics and originals, with distorted guitars and jangly synths layering psychedelic ooze onto timbales and güiras. The musician’s solos revealed hard-won skills, but the band members looked remarkably chill as they played together fluidly.\u003c/p>\n\u003cfigure id=\"attachment_13925585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Combo Tezeta plays at the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925582\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://ritmostropicosmos.bandcamp.com/\">Ritmos Tropicosmos\u003c/a> brought playful energy to their experimental cumbia, with vocalist Eli Reyes embodying a mystical master of ceremonies as haunted circus melodies swirled. With lyrics about mummies, ancestors and legends like La Llorona (“This one will test your Spanish,” Reyes said from the stage), the band created an otherworldly atmosphere that inspired people to dance and rejoice in community — how you might imagine a party in the underworld. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925599\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch headline Kilowatt Bar on night six of the Noise Pop Music and Art Festival in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>L.A. Witch’s Magic Transcends a Crowded Bar\u003c/h2>\n\u003cp>The popular Mission dive bar Kilowatt returned as a Noise Pop venue for the first time in 25 years. After hosting concerts between ’94 and ’98, Kilowatt long ago replaced its soundboard with dart boards.\u003c/p>\n\u003cp>Friday night’s \u003ca href=\"https://lawitches.bandcamp.com/album/one-way-or-the-highway\">L.A. Witch\u003c/a> show, the first of their two Noise Pop performances, was only the venue’s second attempt at hosting live music since new ownership took over — and you could tell. Overcrowding marred the entire evening, an issue further complicated by the fact that the Kilowatt bathrooms now live behind the stage and were impossible to access. (Folks had to resort to running across the street to use Delirium’s facilities.)\u003c/p>\n\u003cfigure id=\"attachment_13925598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch backstage at Kilowatt Bar in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But L.A. Witch made the claustrophobic conditions worth it. The charismatic trio sounds like The Jesus and Mary Chain and Mazzy Star birthed a love child back in the ’90s that’s now all grown up and inviting you on an ill-advised road trip. That reverb-drenched adventure was consistently alluring. Frontwoman Sade Sanchez was unflappably cool throughout the night, and the set itself was pure magic, making you want to drown your sorrows one moment and twist like Mia Wallace the next. If only there was enough space in Kilowatt to do so. \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch headline Kilowatt Bar on night six of the Noise Pop Music and Art Festival in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Stoni Makes Her Mark\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/callherstoni/\">Stoni\u003c/a> makes waves whenever she posts a car freestyle or hops on a track with one of her fellow Text Me Records artists. But the Oakland MC has spent years quietly training in her dojo, and still has yet to drop a debut album (although we hear it’s finally coming this year). Her masterful set Sunday night at Oakland’s New Parish, opening for Junglepussy, showed it’ll be worth the wait.\u003c/p>\n\u003cp>Stoni rapped with infectious confidence and laser-beam precision, and the audience gasped and cheered at every smack-talking bar — each one more audacious than the last. But the wildest part of the show was during a song about getting one over on a rich dude, when actors joined her on stage and enacted a full-scale performance of a robbery. Then, one of the masked “assailants” removed her mask, and it turned out to be fellow Oakland MC Fijiana, who joined Stoni for the next track.\u003c/p>\n\u003cfigure id=\"attachment_13925620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925620\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’ve never seen the audience demand an encore from the first opening act, but it happened at New Parish Sunday night. The venue cut Stoni’s mic when she tried to come back, but she returned during Tia Nomore’s also excellent performance with a live band. Unfortunately, the celebratory close to Noise Pop came to an abrupt ending — headliner Junglepussy left the stage without an explanation after three tracks. “So sorry to my fans, blame @noisepop,” she wrote on her Instagram story. KQED has reached out to Junglepussy’s team and Noise Pop for comment, and will update this story if we hear back. \u003ci>— Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13925625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore performs at The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Junglepussy headlines The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Junglepussy headlines The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Wavey performs at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925604\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-1536x964.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Guerrero headlines The Chapel in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Bottom of the Hill in San Francisco on night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Bottom of the Hill in San Francisco on night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Strfkr headlines The UC Theatre in Berkeley on night four of the Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Strfkr headlines The UC Theatre in Berkeley on night four of the Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925531\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Backup dancer crowd surfs during Strfkr’s set at The UC Theatre in Berkeley at Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AP Tobler performs at Bottom of the Hill in San Francisco on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Brick and Mortar Music Hall in San Francisco at Noise Pop Music and Art Festival on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"The festival took over venues across the Bay Area Feb. 20–26 for its 30th anniversary. ","status":"publish","parent":0,"modified":1705005801,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":2045},"headData":{"title":"Noise Pop 2023 Review: Stoni, COMMANDO and ovrkast. | KQED","description":"The festival took over venues across the Bay Area Feb. 20–26 for its 30th anniversary. ","ogTitle":"Stoni, COMMANDO and Others Serve Excellence at Noise Pop 2023","ogDescription":"","ogImgId":"arts_13925619","twTitle":"Stoni, COMMANDO and Others Serve Excellence at Noise Pop 2023","twDescription":"","twImgId":"arts_13925619","socialTitle":"Noise Pop 2023 Review: Stoni, COMMANDO and ovrkast. %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Stoni, COMMANDO and Others Serve Excellence at Noise Pop 2023","datePublished":"2023-02-27T19:32:03.000Z","dateModified":"2024-01-11T20:43:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13925590/noise-pop-festival-2023-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Feb. 28, 2023: \u003c/strong>According to a statement from the New Parish, the Junglepussy concert on Feb. 26 ended early because of technical difficulties. Ticketholders can redeem tickets to a future concert at the venue by emailing info@thenewparish.com.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 27, 2023:\u003c/strong>\u003c/p>\n\u003cp>Beloved music festival \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> celebrated its 30th anniversary Feb. 20–26 with headlining sets from Yo La Tengo, Boy Harsher and Duster. A wealth of performances by hip-hop artists, cumbia bands and punk outfits at venues across the Bay Area reminded show-goers that nothing can replace witnessing musical excellence live on stage. The KQED Arts & Culture team hopped around the concerts for a week, and were left with a renewed appreciation for the craft and creativity that abounds in our local live music scene. Here’s what we saw.\u003c/p>\n\u003cfigure id=\"attachment_13925545\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO at Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Queer Mosh Pit for COMMANDO\u003c/h2>\n\u003cp>Tuesday night at San Francisco’s Bottom of the Hill, \u003ca href=\"https://commandothebando.bandcamp.com/album/commando-2\">COMMANDO\u003c/a> emerged on stage like a dazzling rock ’n’ roll chimera. The supergroup brought together seven completely different veteran musicians, and their exuberant performance celebrated queerness in all its forms.\u003c/p>\n\u003cp>Juba Kalamka (formerly of the 2000s hip-hop crew Deep Dickollective) opened the show with “Meatswinga (Morello Muh Mello),” his low voice revving like an engine as the band members thrust their hips towards the audience. As nu-metal guitar by Principal Dammit and Van Jackson-Weaver and Andy Meyerson’s powerful rhythm section set the energy in the room ablaze, Honey Mahogany delivered operatic high notes, and Drew Arriola-Sands detonated screamo growls. Lynnee Breedlove (of revered early-’90s queercore band Tribe8) commanded the mic with a punk swagger, and surprised the audience with a tender spoken-word homage to Prince’s genderfluid self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13925547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO headlines Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO headlines Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>COMMANDO sets out to be the queer role models the band members never had growing up, and at Bottom of the Hill that vision came to life. Trans and gender non-conforming teens with Xs on their hands, too young to drink, moshed in the front to lyrics about punching Nazis. And after witnessing seven diverse, skilled musicians owning their personal power on stage, everyone else set off into the night carrying a little piece of COMMANDO’s boldness with them. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: ovrkast., Michael Sneed and demahjiae perform at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>ovrkast., Michael Sneed and demahjiae Transmit Love Through Soulful Raps\u003c/h2>\n\u003cp>On Wednesday evening, Oakland artists \u003ca href=\"https://itsovrkast.bandcamp.com/\">ovrkast.\u003c/a>, \u003ca href=\"https://demahjiae.bandcamp.com/\">demahjiae\u003c/a> and \u003ca href=\"https://michaelsneed.bandcamp.com/track/blame-sumer-ft-molly-arizona\">Michael Sneed\u003c/a> electrified Brick and Mortar Music Hall’s small San Francisco stage, connecting heart-to-heart with an eager crowd of hip-hop lovers. As ovrkast. performed his 2020 single “Try Again,” the audience scooted closer while he rapped about feelings of inadequacy and picking himself back up. His voice sounded raw, capturing a desperation that resonated with the crowd as voices chanted along to the hook: “You can’t win, you ain’t shit / Try again, try again / Do it all over, try again.”\u003c/p>\n\u003cfigure id=\"attachment_13925559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed, ovrkast., demahjiae and their live band backstage at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ovrkast. outside of Brick and Mortar Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each artist brought a different energy: as Sneed performed his 2019 track “Reinvent,” he mirrored a crescendo of instrumentation — yelling out as he neared the edge of the stage, playing with flow and encouraging the crowd to get loud. demahjiae slowed the pace, sauntering as he rapped songs off of his 2020 project \u003cem>And, Such is Life\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Together, the three artists were in complete sync, supporting one another with harmonies and on-the-spot improvisations. After demahjiae performed one of his latest tracks, “Hold Me Down,” the trio embraced, expressing that the show was ultimately about love and gratitude for everyone involved. “To know my brothers are behind me backing me up is the most beautiful thing I could ask for,” said demahjiae. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">demahjiae, ovrkast. and Michael Sneed perform at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-800x504.jpg\" alt=\"\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-1536x967.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ritmos Tropicosmos headlines the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ritmos Tropicosmos and Combo Tezeta’s Mystical Cumbia\u003c/h2>\n\u003cp>On a frigid Friday night, a tropical cumbia dance party kept Albany’s Ivy Room nice and toasty. Oakland six-piece \u003ca href=\"https://combotezeta.bandcamp.com/album/la-danza-del-camale-n-la-reina-nocturna\">Combo Tezeta\u003c/a> kicked off the baile with a garage-band take on ’60s and ’70s classics and originals, with distorted guitars and jangly synths layering psychedelic ooze onto timbales and güiras. The musician’s solos revealed hard-won skills, but the band members looked remarkably chill as they played together fluidly.\u003c/p>\n\u003cfigure id=\"attachment_13925585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Combo Tezeta plays at the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925582\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://ritmostropicosmos.bandcamp.com/\">Ritmos Tropicosmos\u003c/a> brought playful energy to their experimental cumbia, with vocalist Eli Reyes embodying a mystical master of ceremonies as haunted circus melodies swirled. With lyrics about mummies, ancestors and legends like La Llorona (“This one will test your Spanish,” Reyes said from the stage), the band created an otherworldly atmosphere that inspired people to dance and rejoice in community — how you might imagine a party in the underworld. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925599\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch headline Kilowatt Bar on night six of the Noise Pop Music and Art Festival in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>L.A. Witch’s Magic Transcends a Crowded Bar\u003c/h2>\n\u003cp>The popular Mission dive bar Kilowatt returned as a Noise Pop venue for the first time in 25 years. After hosting concerts between ’94 and ’98, Kilowatt long ago replaced its soundboard with dart boards.\u003c/p>\n\u003cp>Friday night’s \u003ca href=\"https://lawitches.bandcamp.com/album/one-way-or-the-highway\">L.A. Witch\u003c/a> show, the first of their two Noise Pop performances, was only the venue’s second attempt at hosting live music since new ownership took over — and you could tell. Overcrowding marred the entire evening, an issue further complicated by the fact that the Kilowatt bathrooms now live behind the stage and were impossible to access. (Folks had to resort to running across the street to use Delirium’s facilities.)\u003c/p>\n\u003cfigure id=\"attachment_13925598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch backstage at Kilowatt Bar in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But L.A. Witch made the claustrophobic conditions worth it. The charismatic trio sounds like The Jesus and Mary Chain and Mazzy Star birthed a love child back in the ’90s that’s now all grown up and inviting you on an ill-advised road trip. That reverb-drenched adventure was consistently alluring. Frontwoman Sade Sanchez was unflappably cool throughout the night, and the set itself was pure magic, making you want to drown your sorrows one moment and twist like Mia Wallace the next. If only there was enough space in Kilowatt to do so. \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch headline Kilowatt Bar on night six of the Noise Pop Music and Art Festival in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Stoni Makes Her Mark\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/callherstoni/\">Stoni\u003c/a> makes waves whenever she posts a car freestyle or hops on a track with one of her fellow Text Me Records artists. But the Oakland MC has spent years quietly training in her dojo, and still has yet to drop a debut album (although we hear it’s finally coming this year). Her masterful set Sunday night at Oakland’s New Parish, opening for Junglepussy, showed it’ll be worth the wait.\u003c/p>\n\u003cp>Stoni rapped with infectious confidence and laser-beam precision, and the audience gasped and cheered at every smack-talking bar — each one more audacious than the last. But the wildest part of the show was during a song about getting one over on a rich dude, when actors joined her on stage and enacted a full-scale performance of a robbery. Then, one of the masked “assailants” removed her mask, and it turned out to be fellow Oakland MC Fijiana, who joined Stoni for the next track.\u003c/p>\n\u003cfigure id=\"attachment_13925620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925620\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve never seen the audience demand an encore from the first opening act, but it happened at New Parish Sunday night. The venue cut Stoni’s mic when she tried to come back, but she returned during Tia Nomore’s also excellent performance with a live band. Unfortunately, the celebratory close to Noise Pop came to an abrupt ending — headliner Junglepussy left the stage without an explanation after three tracks. “So sorry to my fans, blame @noisepop,” she wrote on her Instagram story. KQED has reached out to Junglepussy’s team and Noise Pop for comment, and will update this story if we hear back. \u003ci>— Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13925625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore performs at The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Junglepussy headlines The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Junglepussy headlines The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Wavey performs at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925604\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-1536x964.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Guerrero headlines The Chapel in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Bottom of the Hill in San Francisco on night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Bottom of the Hill in San Francisco on night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Strfkr headlines The UC Theatre in Berkeley on night four of the Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Strfkr headlines The UC Theatre in Berkeley on night four of the Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925531\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Backup dancer crowd surfs during Strfkr’s set at The UC Theatre in Berkeley at Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AP Tobler performs at Bottom of the Hill in San Francisco on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Brick and Mortar Music Hall in San Francisco at Noise Pop Music and Art Festival on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13925590/noise-pop-festival-2023-review","authors":["11387","11813","11242"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_831","arts_6387","arts_1022","arts_19862"],"featImg":"arts_13925619","label":"arts"},"arts_13925249":{"type":"posts","id":"arts_13925249","meta":{"index":"posts_1591205157","site":"arts","id":"13925249","score":null,"sort":[1676649606000]},"guestAuthors":[],"slug":"noise-pop-2023-guide-5-must-see-bay-area-artists","title":"5 Must-See Bay Area Artists at Noise Pop’s 30th Anniversary","publishDate":1676649606,"format":"standard","headTitle":"5 Must-See Bay Area Artists at Noise Pop’s 30th Anniversary | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Since its first show at San Francisco’s Kennel Club (now The Independent) in 1993, \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> has grown into a gem of a festival that spans genres and generations.\u003c/p>\n\u003cp>In its nascent years, it hosted early-career shows by bands like Modest Mouse, and made space for wacky experiments \u003cspan style=\"font-weight: 400\">—\u003c/span> like the time the Flaming Lips conducted an \u003ca href=\"https://www.mtv.com/news/nudm9q/flaming-lips-bizarre-boombox-experiment\" target=\"_blank\" rel=\"noopener\">orchestra of 40 boomboxes\u003c/a> in 1998. In more recent years, Noise Pop has expanded into hip-hop shows, jazz concerts and club nights that tap into the Bay Area’s many musical subcultures.\u003c/p>\n\u003cp>Since Noise Pop’s emergence, music festivals have exploded into an enormous industry. But instead of assuming that bigger is better, the homegrown event stays true to its roots by putting on a constellation of smaller shows at concert halls, high-fidelity theaters and dive bars alike. “We’re certainly the outsider in the landscape of festivals,” says founder Kevin Arnold. “We really think we have a lot more opportunity to be experimental, try new things and super-serve the small audiences.”\u003c/p>\n\u003cp>Though inflation and the after-effects of the pandemic have made times tough for the live music industry, Noise Pop remains a crucial platform for local and independent artists. “It’s nice every year to support new bands coming up and then have the opportunity to pay tribute to some of our heroes,” Arnold says.\u003c/p>\n\u003cp>As this year’s Noise Pop gets underway Feb. 20-26, fans will have the opportunity to catch veteran acts like Yo La Tengo, Duster and Bob Mould; newer artists with cult followings, including Boy Harsher and UNIIQU3; and comedy nights and film screenings.\u003c/p>\n\u003cp>\u003ca href=\"http://schedule.noisepopfest.com/\">The lineup is vast\u003c/a>, with over 140 artists performing at 25 venues on both sides of the Bay Bridge. So to help you navigate your Noise Pop week, here are five must-see local acts to get on your radar.\u003c/p>\n\u003cfigure id=\"attachment_13925253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925253\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/covet-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Covet. \u003ccite>(Covet/Bandcamp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/22/covet-tickets\">Covet\u003c/a>\u003c/h2>\n\u003cp>\u003cb>with Soft Blue Shimmer and Grumpster\u003cbr>\nThe New Parish, Oakland\u003cbr>\nWednesday, Feb. 22, 8 p.m.\u003cbr>\nAll ages, $27.50\u003c/b>\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=508035794/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>Anchored around the nimble playing of guitarist Yvette Young, Covet has been described as math rock. But that might imply that their music is cerebral and hard to parse, when in fact they invite you to groove along to the kaleidoscopic melodies of their entirely instrumental tracks.\u003c/p>\n\u003cfigure id=\"attachment_13925251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/mae-powell-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mae Powell. \u003ccite>(Mae Powell/Bandcamp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/22/mae-powell-tickets\">Mae Powell\u003c/a>\u003c/h2>\n\u003cp>\u003cb>with Analog Dog and Marika Christine\u003cbr>\nBottom of the Hill, San Francisco\u003cbr>\nWednesday, Feb. 22, 8 p.m.\u003cbr>\nAll ages, $13-$15\u003c/b>\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=1381233936/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>With warm, inviting vocals and playful lyrics, Mae Powell makes indie folk with the cozy feel of curling up on a shag rug next to the record player. Slide guitars reminiscent of old-school country and 1960s-style psychedelic organs nod towards the Bay Area’s Summer of Love past while reaching towards a hopeful future.\u003c/p>\n\u003cfigure id=\"attachment_13852015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1343-800x533.jpg\" alt=\"Spiritual Cramp takes a post soundcheck break outside of Oakland's Starline Social Club on day four of the 2019 Noise Pop Music and Arts Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_1343.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_1343-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_1343-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spiritual Cramp took a post-soundcheck break outside of Oakland’s Starline Social Club on day four of the 2019 Noise Pop Music and Arts Festival on February 28, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/23/rxk-nephew-tickets\">Spiritual Cramp\u003c/a>\u003c/h2>\n\u003cp>\u003cb>Opening for RXK Nephew\u003cbr>\nBrick & Mortar Music Hall, San Francisco\u003cbr>\nThursday, Feb. 23, 7:30 p.m.\u003cbr>\nAll ages, $18\u003c/b>\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=2391272712/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>Feeling some pent-up frustrations? San Francisco band Spiritual Cramp delivers unruly, high-energy post-punk with anti-establishment lyrics. It’s perfect for moshing and leaving it all on the dance floor.\u003c/p>\n\u003cfigure id=\"attachment_13899326\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899326\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-800x530.jpeg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-800x530.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-1020x676.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-768x509.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-1536x1018.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling. \u003ccite>(Adora Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/26/spellling-tickets\">Spellling\u003c/a>\u003c/h2>\n\u003cp>\u003cb>with Pride Month Barbie and Mahawam\u003cbr>\nGreat American Music Hall, San Francisco\u003cbr>\nSunday, Feb. 26, 7 p.m.\u003cbr>\nAll ages, $25\u003c/b>\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=1878270680/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>A Spellling concert feels like a mystical ritual. Oakland singer and bandleader Tia Cabral captivates her audiences with arresting vocals and enigmatic lyrics, evoking mythology, tarot and the occult. With a mega-talented band that draws from influences as varied as prog rock and soul, Spellling’s theatrical live shows leave fans with a renewed appreciation of the magic of everyday life.\u003c/p>\n\u003cfigure id=\"attachment_13925263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925263\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1458601343-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore visits The IMDb Portrait Studio at Acura Festival Village on Location at Sundance 2023 on January 22, 2023 in Park City, Utah. \u003ccite>(Corey Nickols/Getty Images for IMDb)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/26/junglepussy-tickets\">Tia Nomore\u003c/a>\u003c/h2>\n\u003cp>\u003cb>Opening for JUNGLEPUSSY, with Stoni and DJ Mousetwat\u003cbr>\nThe New Parish, Oakland\u003cbr>\nSunday, Feb. 26, 7 p.m.\u003cbr>\nAll ages $25-$30\u003c/b>\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=1533452991/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>Tia Nomore has been grinding it out for years in the Bay Area music scene, and the Text Me Records artist recently got a big break with her starring role in \u003ci>Earth Mama\u003c/i>, a forthcoming coming-of-age film that debuted at Sundance to rave reviews. The rest of the country will soon get to fawn over her acting chops, but local fans know that Nomore is a gifted MC with a whole lot of slaps in her catalog.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The multi-venue festival features beloved local acts like Spellling, Spiritual Cramp and Tia Nomore. ","status":"publish","parent":0,"modified":1705005832,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=508035794/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1381233936/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=2391272712/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1878270680/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1533452991/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":795},"headData":{"title":"5 Must-See Bay Area Artists at Noise Pop’s 30th Anniversary | KQED","description":"The multi-venue festival features beloved local acts like Spellling, Spiritual Cramp and Tia Nomore. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"5 Must-See Bay Area Artists at Noise Pop’s 30th Anniversary","datePublished":"2023-02-17T16:00:06.000Z","dateModified":"2024-01-11T20:43:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13925249/noise-pop-2023-guide-5-must-see-bay-area-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since its first show at San Francisco’s Kennel Club (now The Independent) in 1993, \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> has grown into a gem of a festival that spans genres and generations.\u003c/p>\n\u003cp>In its nascent years, it hosted early-career shows by bands like Modest Mouse, and made space for wacky experiments \u003cspan style=\"font-weight: 400\">—\u003c/span> like the time the Flaming Lips conducted an \u003ca href=\"https://www.mtv.com/news/nudm9q/flaming-lips-bizarre-boombox-experiment\" target=\"_blank\" rel=\"noopener\">orchestra of 40 boomboxes\u003c/a> in 1998. In more recent years, Noise Pop has expanded into hip-hop shows, jazz concerts and club nights that tap into the Bay Area’s many musical subcultures.\u003c/p>\n\u003cp>Since Noise Pop’s emergence, music festivals have exploded into an enormous industry. But instead of assuming that bigger is better, the homegrown event stays true to its roots by putting on a constellation of smaller shows at concert halls, high-fidelity theaters and dive bars alike. “We’re certainly the outsider in the landscape of festivals,” says founder Kevin Arnold. “We really think we have a lot more opportunity to be experimental, try new things and super-serve the small audiences.”\u003c/p>\n\u003cp>Though inflation and the after-effects of the pandemic have made times tough for the live music industry, Noise Pop remains a crucial platform for local and independent artists. “It’s nice every year to support new bands coming up and then have the opportunity to pay tribute to some of our heroes,” Arnold says.\u003c/p>\n\u003cp>As this year’s Noise Pop gets underway Feb. 20-26, fans will have the opportunity to catch veteran acts like Yo La Tengo, Duster and Bob Mould; newer artists with cult followings, including Boy Harsher and UNIIQU3; and comedy nights and film screenings.\u003c/p>\n\u003cp>\u003ca href=\"http://schedule.noisepopfest.com/\">The lineup is vast\u003c/a>, with over 140 artists performing at 25 venues on both sides of the Bay Bridge. So to help you navigate your Noise Pop week, here are five must-see local acts to get on your radar.\u003c/p>\n\u003cfigure id=\"attachment_13925253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925253\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/covet-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Covet. \u003ccite>(Covet/Bandcamp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/22/covet-tickets\">Covet\u003c/a>\u003c/h2>\n\u003cp>\u003cb>with Soft Blue Shimmer and Grumpster\u003cbr>\nThe New Parish, Oakland\u003cbr>\nWednesday, Feb. 22, 8 p.m.\u003cbr>\nAll ages, $27.50\u003c/b>\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=508035794/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>Anchored around the nimble playing of guitarist Yvette Young, Covet has been described as math rock. But that might imply that their music is cerebral and hard to parse, when in fact they invite you to groove along to the kaleidoscopic melodies of their entirely instrumental tracks.\u003c/p>\n\u003cfigure id=\"attachment_13925251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/mae-powell-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mae Powell. \u003ccite>(Mae Powell/Bandcamp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/22/mae-powell-tickets\">Mae Powell\u003c/a>\u003c/h2>\n\u003cp>\u003cb>with Analog Dog and Marika Christine\u003cbr>\nBottom of the Hill, San Francisco\u003cbr>\nWednesday, Feb. 22, 8 p.m.\u003cbr>\nAll ages, $13-$15\u003c/b>\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=1381233936/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>With warm, inviting vocals and playful lyrics, Mae Powell makes indie folk with the cozy feel of curling up on a shag rug next to the record player. Slide guitars reminiscent of old-school country and 1960s-style psychedelic organs nod towards the Bay Area’s Summer of Love past while reaching towards a hopeful future.\u003c/p>\n\u003cfigure id=\"attachment_13852015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1343-800x533.jpg\" alt=\"Spiritual Cramp takes a post soundcheck break outside of Oakland's Starline Social Club on day four of the 2019 Noise Pop Music and Arts Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_1343.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_1343-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_1343-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spiritual Cramp took a post-soundcheck break outside of Oakland’s Starline Social Club on day four of the 2019 Noise Pop Music and Arts Festival on February 28, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/23/rxk-nephew-tickets\">Spiritual Cramp\u003c/a>\u003c/h2>\n\u003cp>\u003cb>Opening for RXK Nephew\u003cbr>\nBrick & Mortar Music Hall, San Francisco\u003cbr>\nThursday, Feb. 23, 7:30 p.m.\u003cbr>\nAll ages, $18\u003c/b>\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=2391272712/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>Feeling some pent-up frustrations? San Francisco band Spiritual Cramp delivers unruly, high-energy post-punk with anti-establishment lyrics. It’s perfect for moshing and leaving it all on the dance floor.\u003c/p>\n\u003cfigure id=\"attachment_13899326\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899326\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-800x530.jpeg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-800x530.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-1020x676.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-768x509.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-1536x1018.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling. \u003ccite>(Adora Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/26/spellling-tickets\">Spellling\u003c/a>\u003c/h2>\n\u003cp>\u003cb>with Pride Month Barbie and Mahawam\u003cbr>\nGreat American Music Hall, San Francisco\u003cbr>\nSunday, Feb. 26, 7 p.m.\u003cbr>\nAll ages, $25\u003c/b>\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=1878270680/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>A Spellling concert feels like a mystical ritual. Oakland singer and bandleader Tia Cabral captivates her audiences with arresting vocals and enigmatic lyrics, evoking mythology, tarot and the occult. With a mega-talented band that draws from influences as varied as prog rock and soul, Spellling’s theatrical live shows leave fans with a renewed appreciation of the magic of everyday life.\u003c/p>\n\u003cfigure id=\"attachment_13925263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925263\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1458601343-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore visits The IMDb Portrait Studio at Acura Festival Village on Location at Sundance 2023 on January 22, 2023 in Park City, Utah. \u003ccite>(Corey Nickols/Getty Images for IMDb)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/26/junglepussy-tickets\">Tia Nomore\u003c/a>\u003c/h2>\n\u003cp>\u003cb>Opening for JUNGLEPUSSY, with Stoni and DJ Mousetwat\u003cbr>\nThe New Parish, Oakland\u003cbr>\nSunday, Feb. 26, 7 p.m.\u003cbr>\nAll ages $25-$30\u003c/b>\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=1533452991/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>Tia Nomore has been grinding it out for years in the Bay Area music scene, and the Text Me Records artist recently got a big break with her starring role in \u003ci>Earth Mama\u003c/i>, a forthcoming coming-of-age film that debuted at Sundance to rave reviews. The rest of the country will soon get to fawn over her acting chops, but local fans know that Nomore is a gifted MC with a whole lot of slaps in her catalog.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13925249/noise-pop-2023-guide-5-must-see-bay-area-artists","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_1006","arts_831","arts_1022","arts_2021","arts_585"],"featImg":"arts_13919324","label":"arts_140"},"arts_13921686":{"type":"posts","id":"arts_13921686","meta":{"index":"posts_1591205157","site":"arts","id":"13921686","score":null,"sort":[1668639765000]},"guestAuthors":[],"slug":"noise-pop-2023-lineup-30th-anniversary","title":"Yo La Tengo, Boy Harsher Headline Noise Pop’s 30th Anniversary","publishDate":1668639765,"format":"standard","headTitle":"Yo La Tengo, Boy Harsher Headline Noise Pop’s 30th Anniversary | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> began in 1993 as a one-night indie rock show at The Kennel Club (now The Independent). In the 30 years since, it’s grown into a multi-day festival, encompassing so many different genres and venues in San Francisco, Oakland, Berkeley and even Sacramento. But even though big-name artists like Azealia Banks, Wilco’s Jeff Tweedy and Ty Dolla Sign have graced its stages, Noise Pop still maintains its intimate feel. Rather than dropping music fans in the middle of an empty field, the festival invites fans to adventure about the Bay Area live music scene, discovering local acts at small clubs and witnessing storied reunions and cult pop stars at bigger venues.\u003c/p>\n\u003cp>With Noise Pop’s 30th anniversary festival approaching Feb. 20-26, 2023, organizers announced the first phase of its lineup. Veteran indie rockers \u003ca href=\"https://yolatengo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yo La Tengo\u003c/a> are slated to headline, joined by synth-goth duo \u003ca href=\"https://boyharsher.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Boy Harsher\u003c/a>, political punk \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Mould\u003c/a> and Jersey club producer \u003ca href=\"https://soundcloud.com/uniiqu3\" target=\"_blank\" rel=\"noopener noreferrer\">UNIIQU3\u003c/a>. The rest of the 100-act lineup will be announced in the coming months.\u003c/p>\n\u003cp>\u003cstrong>Lineup: \u003c/strong>\u003c/p>\n\u003cp>Yo La Tengo\u003cbr>\nBoy Harsher\u003cbr>\nDuster\u003cbr>\nSTRFKR\u003cbr>\nFIDLAR\u003cbr>\nBob Mould (solo electric set)\u003cbr>\nCovet\u003cbr>\nTourist\u003cbr>\nUNIIQU3\u003cbr>\nChippy Nonstop\u003cbr>\nChristian Kuria\u003cbr>\nMareux\u003cbr>\nNo Vacation\u003cbr>\nChisel\u003cbr>\nChloé Robinson b2b DJ ADHD\u003cbr>\nWhite Reaper\u003cbr>\nFake Fruit\u003cbr>\nRozzi\u003cbr>\nCurtis Waters\u003cbr>\nFlasher\u003cbr>\nThe Messthetics\u003cbr>\nKristine Leschper (fka Mothers)\u003cbr>\nSobs\u003cbr>\nNGHTCRWLR\u003cbr>\nJDM Global\u003cbr>\nJames Brandon Lewis\u003cbr>\nNate Mercereau\u003cbr>\nSatya\u003cbr>\nMalia\u003cbr>\nEveryone Asked About You\u003cbr>\nMesmé\u003cbr>\nNarrow Head\u003cbr>\nLiily\u003cbr>\n20 Minute Loop\u003cbr>\nDash George\u003cbr>\nSoft Blue Shimmer\u003cbr>\nWabie\u003cbr>\nDas Kope\u003cbr>\nTaipei Houston\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The beloved festival returns in February with a week of shows across the Bay Area.","status":"publish","parent":0,"modified":1705006150,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":260},"headData":{"title":"Yo La Tengo, Boy Harsher Headline Noise Pop’s 30th Anniversary | KQED","description":"The beloved festival returns in February with a week of shows across the Bay Area.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Yo La Tengo, Boy Harsher Headline Noise Pop’s 30th Anniversary","datePublished":"2022-11-16T23:02:45.000Z","dateModified":"2024-01-11T20:49:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13921686/noise-pop-2023-lineup-30th-anniversary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> began in 1993 as a one-night indie rock show at The Kennel Club (now The Independent). In the 30 years since, it’s grown into a multi-day festival, encompassing so many different genres and venues in San Francisco, Oakland, Berkeley and even Sacramento. But even though big-name artists like Azealia Banks, Wilco’s Jeff Tweedy and Ty Dolla Sign have graced its stages, Noise Pop still maintains its intimate feel. Rather than dropping music fans in the middle of an empty field, the festival invites fans to adventure about the Bay Area live music scene, discovering local acts at small clubs and witnessing storied reunions and cult pop stars at bigger venues.\u003c/p>\n\u003cp>With Noise Pop’s 30th anniversary festival approaching Feb. 20-26, 2023, organizers announced the first phase of its lineup. Veteran indie rockers \u003ca href=\"https://yolatengo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yo La Tengo\u003c/a> are slated to headline, joined by synth-goth duo \u003ca href=\"https://boyharsher.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Boy Harsher\u003c/a>, political punk \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Mould\u003c/a> and Jersey club producer \u003ca href=\"https://soundcloud.com/uniiqu3\" target=\"_blank\" rel=\"noopener noreferrer\">UNIIQU3\u003c/a>. The rest of the 100-act lineup will be announced in the coming months.\u003c/p>\n\u003cp>\u003cstrong>Lineup: \u003c/strong>\u003c/p>\n\u003cp>Yo La Tengo\u003cbr>\nBoy Harsher\u003cbr>\nDuster\u003cbr>\nSTRFKR\u003cbr>\nFIDLAR\u003cbr>\nBob Mould (solo electric set)\u003cbr>\nCovet\u003cbr>\nTourist\u003cbr>\nUNIIQU3\u003cbr>\nChippy Nonstop\u003cbr>\nChristian Kuria\u003cbr>\nMareux\u003cbr>\nNo Vacation\u003cbr>\nChisel\u003cbr>\nChloé Robinson b2b DJ ADHD\u003cbr>\nWhite Reaper\u003cbr>\nFake Fruit\u003cbr>\nRozzi\u003cbr>\nCurtis Waters\u003cbr>\nFlasher\u003cbr>\nThe Messthetics\u003cbr>\nKristine Leschper (fka Mothers)\u003cbr>\nSobs\u003cbr>\nNGHTCRWLR\u003cbr>\nJDM Global\u003cbr>\nJames Brandon Lewis\u003cbr>\nNate Mercereau\u003cbr>\nSatya\u003cbr>\nMalia\u003cbr>\nEveryone Asked About You\u003cbr>\nMesmé\u003cbr>\nNarrow Head\u003cbr>\nLiily\u003cbr>\n20 Minute Loop\u003cbr>\nDash George\u003cbr>\nSoft Blue Shimmer\u003cbr>\nWabie\u003cbr>\nDas Kope\u003cbr>\nTaipei Houston\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13921686/noise-pop-2023-lineup-30th-anniversary","authors":["11387"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_10278","arts_21788","arts_1694","arts_1022","arts_585"],"featImg":"arts_13921689","label":"arts_140"},"arts_13909846":{"type":"posts","id":"arts_13909846","meta":{"index":"posts_1591205157","site":"arts","id":"13909846","score":null,"sort":[1646082297000]},"guestAuthors":[],"slug":"noise-pop-2022-photos-azealia-banks-arooj-aftab","title":"Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More","publishDate":1646082297,"format":"standard","headTitle":"Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Last week, Feb. 21–27, \u003ca href=\"https://noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> returned from its pandemic hiatus, and audiences showed up hungry, with an omnivorous appetite for new sounds. They filled up major concert halls like The Warfield, and packed out small clubs like Bottom of the Hill and the New Parish. Throughout the week, there was an eagerness to take in what the artists had to offer, whether they were big-name headliners like Jeff Tweedy, Dorian Electra, King Woman and Azealia Banks or the dozens of up-and-coming acts that dotted the bill. Here are the moments that stood out.\u003c/p>\n\u003cfigure id=\"attachment_13909695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9551.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab headlines Gray Area for Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Arooj Aftab\u003c/h2>\n\u003cp>\u003cb>Gray Area, San Francisco\u003cbr>\nFeb. 22\u003c/b>\u003cbr>\nYou didn’t have to speak Urdu to have a profound experience at \u003ca href=\"https://www.aroojaftabmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>’s set at Gray Area—her voice is that transcendent. For a brief, drizzly evening, the Brooklyn-based Pakistani singer brought us together on a spiritual frequency in the nearly pitch-dark Mission district theater.\u003c/p>\n\u003cp>Aftab took the stage under dim, red lights with a harpist and a nylon-string guitarist. When she unleashed her crystal-clear voice, she transported the audience into the depths of sorrow and buoyed us back up again with hope. And with her unexpectedly dry humor between songs, she also cracked us up.\u003c/p>\n\u003cfigure id=\"attachment_13909689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9479.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab backstage at Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s sad, but it’s supposed to be sexy-sad, you know,” she remarked after one particularly powerful track, sipping from a coffee mug of red wine. Commenting on her Grammy nominations for best new artist and best global music performance, Aftab joked about the award show being postponed to April: “They gave me more time to stay a nominee instead of a loser, which is why I’m telling you guys.” Self-deprecation aside, though, if she does get the accolade, her impeccable Noise Pop set proved it’ll be well deserved.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9639.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639-768x495.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes performs at The New Parish during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tyler Holmes, Irreversible Entanglements and Moor Mother\u003c/h2>\n\u003cp>\u003cb>The New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003cbr>\nThose present at The New Parish on Feb. 23 went on a couple sonic journeys. The first was led by Oakland-based opener \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a>, whose dynamic set included an unexpected, masterful cover of “We Belong Together” by Mariah Carey. Holmes turned it into a haunting yet danceable soundscape, reminiscent of what one might hear at a nightclub for monsters. The set took the audience on a trip through the vulnerability and complications of love without shying away from the weirdness of it all, too.\u003c/p>\n\u003cfigure id=\"attachment_13909732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9699.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moor Mother headlines The New Parish during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Afrofuturist experimental jazz band \u003ca href=\"https://www.irreversibleentanglements.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Irreversible Entanglement\u003c/a>’s hour-long, nonstop marathon of a performance. Frontwoman \u003ca href=\"https://www.moormother.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Moor Mother\u003c/a>’s spoken-word lyrics took listeners on an adventure through space-time: “Who will survive the cosmos? Will I see you tomorrow?” With its unpredictable, shifting tempos, the sound was both primordial and post-apocalyptic.\u003cem>—Julian Sorapuru\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909814\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9808.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hand Habits singer-songwriter Meg Duffy backstage at The Chapel at Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hand Habits\u003c/h2>\n\u003cp>\u003cb>The Chapel, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003cbr>\nThe Chapel was blessed by Meg Duffy’s guitar playing as \u003ca href=\"https://www.handhabits.band/\" target=\"_blank\" rel=\"noopener noreferrer\">Hand Habits\u003c/a> commanded the space, bouncing well-constructed melodies off The Chapel’s tall ceiling. The Los Angeles-based band had the kind of performance you could get lost in. It was as if each member of Hand Habits was physically connected to their instrument of choice, putting their bodies into every note they played. Duffy indulged the audience with a full range of their skill. Their fingers danced vigorously on the strings of multiple guitars throughout the night, like a master painter switching between thick and thin brushes. Accentuated by controlled percussion and an assured bass guitar, Hand Habits tapped into an intersection between sensitivity and string-shredding that engrossed their audience.\u003cem>—J.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0208.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hand Habits headlines The Chapel at Noise Pop Music and Art Festival on Friday Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0335.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Papercuts headlines Bottom of the Hill during night six of the Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Papercuts\u003c/h2>\n\u003cp>\u003cb>Bottom of the Hill, San Francisco\u003cbr>\nFeb. 26\u003c/b>\u003cbr>\nAt a venue still decorated with hearts and roses for Valentine’s Day, \u003ca href=\"https://www.papercutsmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Papercuts\u003c/a> played soft guitar pop that evoked the wonder of love. The San Francisco outfit’s music has a dreamlike quality, with stripped-down percussion and wistful vocals imbued with nostalgia. Their performance sounded like what taking an end-of-summer road trip to the beach feels like. After each song in their set, almost before the audience could get their applause out, frontman Jason Robert Quever uttered a very soft and humble “thank you” to the Noise Pop attendees. The crowd had such an appreciation for the hometown band that shouts of “Encore!” rang out at the end of the night. Quever obliged with a solo performance of his moody track, “You Can Have What You Want.”\u003cem>—J.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0414.jpg\" alt=\"Man in denim shirt and baseball cap plays guitar on stage\" width=\"800\" height=\"533\" class=\"size-full wp-image-13909831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Guerrero headlines Bottom of the Hill during night seven of the Noise Pop Music and Art Festival on Sunday Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tommy Guerrero\u003c/h2>\n\u003cp>\u003cb>Bottom of the Hill, San Francisco\u003cbr>\nFeb. 27\u003c/b>\u003cbr>\n\u003ca href=\"http://www.tommyguerrero.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> looked completely zen on stage at Bottom of the Hill on Sunday even though he was playing some pretty complicated riffs on his guitar—often with his eyes closed. His meditative demeanor wasn’t too dissimilar from the relaxed approach to skateboarding that made him famous in the ’80s. His entirely instrumental set brought the perfect sunny mood on the closing day of Noise Pop. Accompanied by the steady grooves of Matt Rodriguez on congas and percussion, Josh Lippi on bass and Louie Senor on drums, Guerrero played surf rock licks with a Latin jazz backbeat. “You never know what’s gonna happen,” he told his packed hometown crowd, which included his teenage son and lots of other rocker dads and their offspring. “It’s like how I grew up skateboarding in the streets of the city, almost getting run over by everything possible—but just fucking pulling it, barely. That’s how I tend to play music. That’s why you gotta have a badass band.”\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909837\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0561.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bali Baby performs at The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bali Baby and Azealia Banks\u003c/h2>\n\u003cp>\u003cb>The Warfield\u003cbr>\nFeb. 27\u003c/b>\u003cbr>\nAlthough most of the audience was there to see headliner Azealia Banks, opener \u003ca href=\"https://www.instagram.com/balionabeat/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Bali Baby\u003c/a> deserves more than an honorable mention. In her fuchsia wig and teeny-tiny mini skirt (think real-life Bratz doll), Bali brought an instantly fun mood when she and her squad started bouncing all over the stage. Ladies and gentlethems were twerking; someone was wearing a bunny mascot head; hype men were working the crowd in neon balaclavas. Bali was leading the whole procession like a trap Alice in Wonderland from Atlanta. She was an absolute delight, and probably ended the night with a few hundred new fans.\u003c/p>\n\u003cfigure id=\"attachment_13909842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909842\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0788.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azealia Banks headlines The Warfield at Noise Pop Music and Art Festival on Sunday Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/azealiabanks/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a> emerged looking ethereal and regal in a pink velvet leotard and matching gloves, with visuals of a moon reflected in water lighting her path. In another life, Banks might have been a Broadway star. She has a flare for \u003cem>drama\u003c/em> in all its forms—both in the way she lives in the public eye, and the way she performs. She belted, she freestyled, she sang and rapped in Spanish. And with a live drummer and three-piece brass section, she turned the party up.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909844\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0895.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azealia Banks headlines The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0667.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0273.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Steinbrink performs at Bottom of the Hill at Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909825\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0327.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chime School performs at Bottom of the Hill at Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0295.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">April Magazine performs at Bottom of the Hill during Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0119.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dorian Electra performs at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909810\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909810\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0072.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9791.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irreversible Entanglements and Moor Mother perform at The New Parish during Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9684.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irreversible Entanglements perform at The New Parish during Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9605.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab headlines Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9502.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ouri performs at Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909815\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9812.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Tour performs at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Music lovers showed up to concert halls across the Bay Area with an omnivorous appetite for new sounds.","status":"publish","parent":0,"modified":1705007151,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":1631},"headData":{"title":"Noise Pop 2022 in Photos: Azaelia Banks, Arooj Aftab and More | KQED","description":"Music lovers showed up to concert halls across the Bay Area with an omnivorous appetite for new sounds.","ogTitle":"Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More","ogDescription":"","ogImgId":"","twTitle":"Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More","twDescription":"","twImgId":"","socialTitle":"Noise Pop 2022 in Photos: Azaelia Banks, Arooj Aftab and More %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More","datePublished":"2022-02-28T21:04:57.000Z","dateModified":"2024-01-11T21:05:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13909846/noise-pop-2022-photos-azealia-banks-arooj-aftab","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, Feb. 21–27, \u003ca href=\"https://noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> returned from its pandemic hiatus, and audiences showed up hungry, with an omnivorous appetite for new sounds. They filled up major concert halls like The Warfield, and packed out small clubs like Bottom of the Hill and the New Parish. Throughout the week, there was an eagerness to take in what the artists had to offer, whether they were big-name headliners like Jeff Tweedy, Dorian Electra, King Woman and Azealia Banks or the dozens of up-and-coming acts that dotted the bill. Here are the moments that stood out.\u003c/p>\n\u003cfigure id=\"attachment_13909695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9551.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab headlines Gray Area for Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Arooj Aftab\u003c/h2>\n\u003cp>\u003cb>Gray Area, San Francisco\u003cbr>\nFeb. 22\u003c/b>\u003cbr>\nYou didn’t have to speak Urdu to have a profound experience at \u003ca href=\"https://www.aroojaftabmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>’s set at Gray Area—her voice is that transcendent. For a brief, drizzly evening, the Brooklyn-based Pakistani singer brought us together on a spiritual frequency in the nearly pitch-dark Mission district theater.\u003c/p>\n\u003cp>Aftab took the stage under dim, red lights with a harpist and a nylon-string guitarist. When she unleashed her crystal-clear voice, she transported the audience into the depths of sorrow and buoyed us back up again with hope. And with her unexpectedly dry humor between songs, she also cracked us up.\u003c/p>\n\u003cfigure id=\"attachment_13909689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9479.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab backstage at Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s sad, but it’s supposed to be sexy-sad, you know,” she remarked after one particularly powerful track, sipping from a coffee mug of red wine. Commenting on her Grammy nominations for best new artist and best global music performance, Aftab joked about the award show being postponed to April: “They gave me more time to stay a nominee instead of a loser, which is why I’m telling you guys.” Self-deprecation aside, though, if she does get the accolade, her impeccable Noise Pop set proved it’ll be well deserved.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9639.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639-768x495.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes performs at The New Parish during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tyler Holmes, Irreversible Entanglements and Moor Mother\u003c/h2>\n\u003cp>\u003cb>The New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003cbr>\nThose present at The New Parish on Feb. 23 went on a couple sonic journeys. The first was led by Oakland-based opener \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a>, whose dynamic set included an unexpected, masterful cover of “We Belong Together” by Mariah Carey. Holmes turned it into a haunting yet danceable soundscape, reminiscent of what one might hear at a nightclub for monsters. The set took the audience on a trip through the vulnerability and complications of love without shying away from the weirdness of it all, too.\u003c/p>\n\u003cfigure id=\"attachment_13909732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9699.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moor Mother headlines The New Parish during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Afrofuturist experimental jazz band \u003ca href=\"https://www.irreversibleentanglements.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Irreversible Entanglement\u003c/a>’s hour-long, nonstop marathon of a performance. Frontwoman \u003ca href=\"https://www.moormother.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Moor Mother\u003c/a>’s spoken-word lyrics took listeners on an adventure through space-time: “Who will survive the cosmos? Will I see you tomorrow?” With its unpredictable, shifting tempos, the sound was both primordial and post-apocalyptic.\u003cem>—Julian Sorapuru\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909814\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9808.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hand Habits singer-songwriter Meg Duffy backstage at The Chapel at Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hand Habits\u003c/h2>\n\u003cp>\u003cb>The Chapel, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003cbr>\nThe Chapel was blessed by Meg Duffy’s guitar playing as \u003ca href=\"https://www.handhabits.band/\" target=\"_blank\" rel=\"noopener noreferrer\">Hand Habits\u003c/a> commanded the space, bouncing well-constructed melodies off The Chapel’s tall ceiling. The Los Angeles-based band had the kind of performance you could get lost in. It was as if each member of Hand Habits was physically connected to their instrument of choice, putting their bodies into every note they played. Duffy indulged the audience with a full range of their skill. Their fingers danced vigorously on the strings of multiple guitars throughout the night, like a master painter switching between thick and thin brushes. Accentuated by controlled percussion and an assured bass guitar, Hand Habits tapped into an intersection between sensitivity and string-shredding that engrossed their audience.\u003cem>—J.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0208.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hand Habits headlines The Chapel at Noise Pop Music and Art Festival on Friday Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0335.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Papercuts headlines Bottom of the Hill during night six of the Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Papercuts\u003c/h2>\n\u003cp>\u003cb>Bottom of the Hill, San Francisco\u003cbr>\nFeb. 26\u003c/b>\u003cbr>\nAt a venue still decorated with hearts and roses for Valentine’s Day, \u003ca href=\"https://www.papercutsmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Papercuts\u003c/a> played soft guitar pop that evoked the wonder of love. The San Francisco outfit’s music has a dreamlike quality, with stripped-down percussion and wistful vocals imbued with nostalgia. Their performance sounded like what taking an end-of-summer road trip to the beach feels like. After each song in their set, almost before the audience could get their applause out, frontman Jason Robert Quever uttered a very soft and humble “thank you” to the Noise Pop attendees. The crowd had such an appreciation for the hometown band that shouts of “Encore!” rang out at the end of the night. Quever obliged with a solo performance of his moody track, “You Can Have What You Want.”\u003cem>—J.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0414.jpg\" alt=\"Man in denim shirt and baseball cap plays guitar on stage\" width=\"800\" height=\"533\" class=\"size-full wp-image-13909831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Guerrero headlines Bottom of the Hill during night seven of the Noise Pop Music and Art Festival on Sunday Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tommy Guerrero\u003c/h2>\n\u003cp>\u003cb>Bottom of the Hill, San Francisco\u003cbr>\nFeb. 27\u003c/b>\u003cbr>\n\u003ca href=\"http://www.tommyguerrero.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> looked completely zen on stage at Bottom of the Hill on Sunday even though he was playing some pretty complicated riffs on his guitar—often with his eyes closed. His meditative demeanor wasn’t too dissimilar from the relaxed approach to skateboarding that made him famous in the ’80s. His entirely instrumental set brought the perfect sunny mood on the closing day of Noise Pop. Accompanied by the steady grooves of Matt Rodriguez on congas and percussion, Josh Lippi on bass and Louie Senor on drums, Guerrero played surf rock licks with a Latin jazz backbeat. “You never know what’s gonna happen,” he told his packed hometown crowd, which included his teenage son and lots of other rocker dads and their offspring. “It’s like how I grew up skateboarding in the streets of the city, almost getting run over by everything possible—but just fucking pulling it, barely. That’s how I tend to play music. That’s why you gotta have a badass band.”\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909837\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0561.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bali Baby performs at The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bali Baby and Azealia Banks\u003c/h2>\n\u003cp>\u003cb>The Warfield\u003cbr>\nFeb. 27\u003c/b>\u003cbr>\nAlthough most of the audience was there to see headliner Azealia Banks, opener \u003ca href=\"https://www.instagram.com/balionabeat/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Bali Baby\u003c/a> deserves more than an honorable mention. In her fuchsia wig and teeny-tiny mini skirt (think real-life Bratz doll), Bali brought an instantly fun mood when she and her squad started bouncing all over the stage. Ladies and gentlethems were twerking; someone was wearing a bunny mascot head; hype men were working the crowd in neon balaclavas. Bali was leading the whole procession like a trap Alice in Wonderland from Atlanta. She was an absolute delight, and probably ended the night with a few hundred new fans.\u003c/p>\n\u003cfigure id=\"attachment_13909842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909842\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0788.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azealia Banks headlines The Warfield at Noise Pop Music and Art Festival on Sunday Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/azealiabanks/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a> emerged looking ethereal and regal in a pink velvet leotard and matching gloves, with visuals of a moon reflected in water lighting her path. In another life, Banks might have been a Broadway star. She has a flare for \u003cem>drama\u003c/em> in all its forms—both in the way she lives in the public eye, and the way she performs. She belted, she freestyled, she sang and rapped in Spanish. And with a live drummer and three-piece brass section, she turned the party up.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909844\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0895.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azealia Banks headlines The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0667.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0273.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Steinbrink performs at Bottom of the Hill at Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909825\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0327.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chime School performs at Bottom of the Hill at Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0295.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">April Magazine performs at Bottom of the Hill during Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0119.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dorian Electra performs at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909810\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909810\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0072.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9791.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irreversible Entanglements and Moor Mother perform at The New Parish during Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9684.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irreversible Entanglements perform at The New Parish during Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9605.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab headlines Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9502.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ouri performs at Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909815\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9812.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Tour performs at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909846/noise-pop-2022-photos-azealia-banks-arooj-aftab","authors":["11387","11792"],"categories":["arts_1"],"tags":["arts_10278","arts_1694","arts_1022","arts_3139"],"featImg":"arts_13909845","label":"arts"},"arts_13909587":{"type":"posts","id":"arts_13909587","meta":{"index":"posts_1591205157","site":"arts","id":"13909587","score":null,"sort":[1645213583000]},"guestAuthors":[],"slug":"noise-pop-2022-preview-guide","title":"6 Artists You Shouldn't Miss At Noise Pop 2022","publishDate":1645213583,"format":"standard","headTitle":"6 Artists You Shouldn’t Miss At Noise Pop 2022 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>At Thursday’s \u003ca href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> kickoff party at the California Academy of Sciences, an eager, standing-room crowd gathered around \u003ca href=\"https://kamaalwilliams.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaal Williams\u003c/a> as he jammed out on his vintage Rhodes piano with his quartet. This wasn’t the sort of jazz you normally see in a theater—it felt raw and alive. West Oakland battle rapper \u003ca href=\"https://www.instagram.com/nanfiero/\" target=\"_blank\" rel=\"noopener noreferrer\">Nan Fiero\u003c/a> joined them for a song, freestyling on stage with his eyes closed (he said he’d only found out about the gig at 1am the night before).\u003c/p>\n\u003cp>If the upbeat energy was indicative of anything, it’s that Bay Area music lovers have a lot to look forward to at the week-long Noise Pop festival, which gets underway Feb. 21–27 at a variety of venues both large and small in San Francisco and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13909601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9361.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaal Williams performs at the NightLife pre-party for the Noise Pop Music and Arts Festival on Tuesday, Feb. 17, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noise Pop, which started off as an indie rock festival in 1993, has in recent years steadily expanded its purview to include hip-hop and electronic music. This year, the lineup is even more eclectic: some of the big names include Wilco frontman \u003ca href=\"https://concerts.livenation.com/jeff-tweedy-san-francisco-california-01-06-2022/event/1C005B512D797BCF?irgwc=1&clickid=Q-7Q9Ey8PxyIUPkzIH1IWSTvUkGRi5SNuXMFRQ0&camefrom=CFC_BUYAT_253185&impradid=253185&REFERRAL_ID=tmfeedbuyat253185&wt.mc_id=aff_BUYAT_253185&utm_source=253185-DoStuff%20Media&impradname=DoStuff%20Media&utm_medium=affiliate\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Tweedy\u003c/a>, skateboarding icon-turned-psychedelic guitarist \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10360\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> and ever-controversial rapper \u003ca href=\"https://www.eventbrite.com/e/azealia-banks-tickets-240696629097\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a>. There are international acts like classical Sufi singer \u003ca href=\"https://grayarea.org/event/noise-pop-presents-arooj-aftab/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>; a first-time partnership with SFJAZZ; and a lot more queer-centric events, like the \u003ca href=\"http://events.noisepop.com/events/2022/2/26/vtss-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">HE.SHE.THEY dance party\u003c/a> with DJs VTSS, LSDXOXO, Club Chai’s Lara Sarkissian and more.\u003c/p>\n\u003cp>Noise Pop always brings an opportunity to fall in love with new music. Below you’ll find our recommendations of artists not to miss.\u003c/p>\n\u003cp>https://youtu.be/TgGWi6xXVm8\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/22/topaz-jones-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Swish and Ozer\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 22\u003c/b>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.topazjones.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a> is more than a talented hip-hop artist—he’s well on his way to becoming an auteur. Along with his 2021 album \u003ci>Don’t Go Tellin’ Your Momma\u003c/i>, he co-directed a short film of the same name which won a Sundance Award and got a wide release via \u003ci>The New York Times\u003c/i>. Inspired by the \u003ca href=\"https://abc7chicago.com/gallery-black-abcs-50th-anniversary-abc-s-is-for-soul-sister/5895869/\" target=\"_blank\" rel=\"noopener noreferrer\">Black ABCs flashcards\u003c/a> two teachers developed in Chicago in the ’70s, the film uses the alphabet as a storytelling device that stitches together vignettes about Black family life, educational pursuits, activism, artistry and friendships. In Topaz Jones’ world, C is for code switching and V is for valuable. It’s perfect for the modern-day, TikTok-addled attention span, but that doesn’t mean it lacks substance or soul. If anything, it proves that Jones’ ingenuity deserves a lot more recognition.\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=3194111502/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\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/23/moor-mother-irreversible-entanglements-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Homes\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>Opening for Moor Mother and Irreversible Entanglements\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003c/em>\u003c/p>\n\u003cp>Before the term “hyperpop” entered mainstream vocabulary, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a> was singing and rapping over their self-produced chaotic, glitchy beats and industrial noise. But over the past couple of years, the artist has leaned into their singer-songwriter side. Their 2021 album, \u003ci>Nightmare in Paradise\u003c/i>, gives space for processing trauma with stripped-down tracks that combine gorgeous acoustic guitars, cellos and woodwinds, delicate singing and experimental electronics. Holmes wrote it in the aftermath of caring for a friend who was shot and survived a random attack while they were together on tour in Puerto Rico. Ever the one to make beauty from tragedy, Holmes makes space for our collective grief.\u003c/p>\n\u003cp>https://youtu.be/ckQsqGYfTYc\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/king-woman-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Spiritual Cramp and Provoker\u003cbr>\nDNA Lounge, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003c/em>\u003c/p>\n\u003cp>There’s something special about the way Kris Esfandiari’s droning voice can lull you into a peaceful daydream one minute and break you open with rage and catharsis the next. The frontwoman of the Oakland doom metal outfit \u003ca href=\"https://kingwoman.bandcamp.com/album/celestial-blues\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a> is one of the most compelling artists of her genre. Her earlier work was rooted in processing a religious upbringing she’s described as “cult”-like, and on King Woman’s 2021 album, \u003ci>Celestial Blues\u003c/i>, she leans on Biblical archetypes to create a gothic drama of her own design. Esfandiari’s involvement with scenes and creative communities outside of metal means that her work isn’t just relegated to one niche. She last performed at Bottom of the Hill at Noise Pop 2019 with her other project, Miserable, and with King Woman, she’s taking the helm of a much larger stage at DNA Lounge.\u003c/p>\n\u003cp>https://youtu.be/IFR6kGytCsI\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/makaya-mccraven-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Makaya McCraven\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Cheflee\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>In some circles, jazz and hip-hop are in constant dialogue, and Chicago drummer, producer and “beat scientist” Makaya McCraven is one of the conduits of that creative conversation. McCraven looks into the past and future to create new possibilities: just look at his last album, \u003ci>Deciphering the Message\u003c/i>, where—like a true crate digger in the tradition of J Dilla—he mines the legendary Blue Note Records catalog for interesting sounds that came out before the 1960s, blending them with modern recordings by top-tier instrumentalists in his band and blurring the lines of time and space in the process.\u003c/p>\n\u003cp>https://youtu.be/N2HzhXNi4mc\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/valerie-troutt-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Valerie Troutt\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Joe Henderson Lab at SFJAZZ Center, San Francisco\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Valerie Troutt’s big, gorgeous voice and high-energy house beats come together with divine synergy: together they can move your body and your mind towards a brief moment of spiritual enlightenment on the dance floor. The Oakland singer brings gospel-trained skill to the microphone, and she uses her voice with powerful intention. In addition to self-producing and writing her music, she’s a longtime community activist who uses music a source of healing and strength, particularly for Black women.\u003c/p>\n\u003cp>https://youtu.be/BDb1oTfcmCI\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/dorian-electra-my-agenda-world-tour-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Dorian Electra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Lil Mariko and Death Tour\u003cbr>\nAugust Hall\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Dorian Electra won me over with the music video for “Flamboyant,” a personal manifesto of living life with panache. Instead of playing it cool, Electra commits to every experiment and every over-the-top fashion look. That willingness to be weird and sense of humor have earned the genderfluid artist a growing acclaim. On their debut album, \u003cem>My Agenda\u003c/em>, they poke fun at different types of masculine roles and tropes. It’s entertaining, it’s sexual—the opposite of subtle, which is why Electra’s listeners come back for more.\u003c/p>\n\n","blocks":[],"excerpt":"With headliners Jeff Tweedy and Azealia Banks, this year's festival features a stacked, eclectic lineup.","status":"publish","parent":0,"modified":1705007172,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3194111502/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1087},"headData":{"title":"6 Artists You Shouldn't Miss At Noise Pop 2022 | KQED","description":"With headliners Jeff Tweedy and Azealia Banks, this year's festival features a stacked, eclectic lineup.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"6 Artists You Shouldn't Miss At Noise Pop 2022","datePublished":"2022-02-18T19:46:23.000Z","dateModified":"2024-01-11T21:06:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13909587/noise-pop-2022-preview-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Thursday’s \u003ca href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> kickoff party at the California Academy of Sciences, an eager, standing-room crowd gathered around \u003ca href=\"https://kamaalwilliams.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaal Williams\u003c/a> as he jammed out on his vintage Rhodes piano with his quartet. This wasn’t the sort of jazz you normally see in a theater—it felt raw and alive. West Oakland battle rapper \u003ca href=\"https://www.instagram.com/nanfiero/\" target=\"_blank\" rel=\"noopener noreferrer\">Nan Fiero\u003c/a> joined them for a song, freestyling on stage with his eyes closed (he said he’d only found out about the gig at 1am the night before).\u003c/p>\n\u003cp>If the upbeat energy was indicative of anything, it’s that Bay Area music lovers have a lot to look forward to at the week-long Noise Pop festival, which gets underway Feb. 21–27 at a variety of venues both large and small in San Francisco and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13909601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9361.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaal Williams performs at the NightLife pre-party for the Noise Pop Music and Arts Festival on Tuesday, Feb. 17, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noise Pop, which started off as an indie rock festival in 1993, has in recent years steadily expanded its purview to include hip-hop and electronic music. This year, the lineup is even more eclectic: some of the big names include Wilco frontman \u003ca href=\"https://concerts.livenation.com/jeff-tweedy-san-francisco-california-01-06-2022/event/1C005B512D797BCF?irgwc=1&clickid=Q-7Q9Ey8PxyIUPkzIH1IWSTvUkGRi5SNuXMFRQ0&camefrom=CFC_BUYAT_253185&impradid=253185&REFERRAL_ID=tmfeedbuyat253185&wt.mc_id=aff_BUYAT_253185&utm_source=253185-DoStuff%20Media&impradname=DoStuff%20Media&utm_medium=affiliate\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Tweedy\u003c/a>, skateboarding icon-turned-psychedelic guitarist \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10360\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> and ever-controversial rapper \u003ca href=\"https://www.eventbrite.com/e/azealia-banks-tickets-240696629097\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a>. There are international acts like classical Sufi singer \u003ca href=\"https://grayarea.org/event/noise-pop-presents-arooj-aftab/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>; a first-time partnership with SFJAZZ; and a lot more queer-centric events, like the \u003ca href=\"http://events.noisepop.com/events/2022/2/26/vtss-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">HE.SHE.THEY dance party\u003c/a> with DJs VTSS, LSDXOXO, Club Chai’s Lara Sarkissian and more.\u003c/p>\n\u003cp>Noise Pop always brings an opportunity to fall in love with new music. Below you’ll find our recommendations of artists not to miss.\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/TgGWi6xXVm8'\n title='//www.youtube.com/embed/TgGWi6xXVm8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/22/topaz-jones-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Swish and Ozer\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 22\u003c/b>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.topazjones.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a> is more than a talented hip-hop artist—he’s well on his way to becoming an auteur. Along with his 2021 album \u003ci>Don’t Go Tellin’ Your Momma\u003c/i>, he co-directed a short film of the same name which won a Sundance Award and got a wide release via \u003ci>The New York Times\u003c/i>. Inspired by the \u003ca href=\"https://abc7chicago.com/gallery-black-abcs-50th-anniversary-abc-s-is-for-soul-sister/5895869/\" target=\"_blank\" rel=\"noopener noreferrer\">Black ABCs flashcards\u003c/a> two teachers developed in Chicago in the ’70s, the film uses the alphabet as a storytelling device that stitches together vignettes about Black family life, educational pursuits, activism, artistry and friendships. In Topaz Jones’ world, C is for code switching and V is for valuable. It’s perfect for the modern-day, TikTok-addled attention span, but that doesn’t mean it lacks substance or soul. If anything, it proves that Jones’ ingenuity deserves a lot more recognition.\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=3194111502/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\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/23/moor-mother-irreversible-entanglements-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Homes\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>Opening for Moor Mother and Irreversible Entanglements\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003c/em>\u003c/p>\n\u003cp>Before the term “hyperpop” entered mainstream vocabulary, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a> was singing and rapping over their self-produced chaotic, glitchy beats and industrial noise. But over the past couple of years, the artist has leaned into their singer-songwriter side. Their 2021 album, \u003ci>Nightmare in Paradise\u003c/i>, gives space for processing trauma with stripped-down tracks that combine gorgeous acoustic guitars, cellos and woodwinds, delicate singing and experimental electronics. Holmes wrote it in the aftermath of caring for a friend who was shot and survived a random attack while they were together on tour in Puerto Rico. Ever the one to make beauty from tragedy, Holmes makes space for our collective grief.\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/ckQsqGYfTYc'\n title='//www.youtube.com/embed/ckQsqGYfTYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/king-woman-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Spiritual Cramp and Provoker\u003cbr>\nDNA Lounge, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003c/em>\u003c/p>\n\u003cp>There’s something special about the way Kris Esfandiari’s droning voice can lull you into a peaceful daydream one minute and break you open with rage and catharsis the next. The frontwoman of the Oakland doom metal outfit \u003ca href=\"https://kingwoman.bandcamp.com/album/celestial-blues\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a> is one of the most compelling artists of her genre. Her earlier work was rooted in processing a religious upbringing she’s described as “cult”-like, and on King Woman’s 2021 album, \u003ci>Celestial Blues\u003c/i>, she leans on Biblical archetypes to create a gothic drama of her own design. Esfandiari’s involvement with scenes and creative communities outside of metal means that her work isn’t just relegated to one niche. She last performed at Bottom of the Hill at Noise Pop 2019 with her other project, Miserable, and with King Woman, she’s taking the helm of a much larger stage at DNA Lounge.\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/IFR6kGytCsI'\n title='//www.youtube.com/embed/IFR6kGytCsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/makaya-mccraven-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Makaya McCraven\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Cheflee\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>In some circles, jazz and hip-hop are in constant dialogue, and Chicago drummer, producer and “beat scientist” Makaya McCraven is one of the conduits of that creative conversation. McCraven looks into the past and future to create new possibilities: just look at his last album, \u003ci>Deciphering the Message\u003c/i>, where—like a true crate digger in the tradition of J Dilla—he mines the legendary Blue Note Records catalog for interesting sounds that came out before the 1960s, blending them with modern recordings by top-tier instrumentalists in his band and blurring the lines of time and space in the process.\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/N2HzhXNi4mc'\n title='//www.youtube.com/embed/N2HzhXNi4mc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/valerie-troutt-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Valerie Troutt\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Joe Henderson Lab at SFJAZZ Center, San Francisco\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Valerie Troutt’s big, gorgeous voice and high-energy house beats come together with divine synergy: together they can move your body and your mind towards a brief moment of spiritual enlightenment on the dance floor. The Oakland singer brings gospel-trained skill to the microphone, and she uses her voice with powerful intention. In addition to self-producing and writing her music, she’s a longtime community activist who uses music a source of healing and strength, particularly for Black women.\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/BDb1oTfcmCI'\n title='//www.youtube.com/embed/BDb1oTfcmCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/dorian-electra-my-agenda-world-tour-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Dorian Electra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Lil Mariko and Death Tour\u003cbr>\nAugust Hall\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dorian Electra won me over with the music video for “Flamboyant,” a personal manifesto of living life with panache. Instead of playing it cool, Electra commits to every experiment and every over-the-top fashion look. That willingness to be weird and sense of humor have earned the genderfluid artist a growing acclaim. On their debut album, \u003cem>My Agenda\u003c/em>, they poke fun at different types of masculine roles and tropes. It’s entertaining, it’s sexual—the opposite of subtle, which is why Electra’s listeners come back for more.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909587/noise-pop-2022-preview-guide","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_1420","arts_1694","arts_1022","arts_585","arts_3139"],"featImg":"arts_13909624","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","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.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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