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"title": "5 Must-See Bay Area Artists at Noise Pop’s 30th Anniversary",
"headTitle": "5 Must-See Bay Area Artists at Noise Pop’s 30th Anniversary | KQED",
"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",
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"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>",
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"title": "Yo La Tengo, Boy Harsher Headline Noise Pop’s 30th Anniversary",
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"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",
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"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>",
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1646082297000
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"title": "Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More",
"headTitle": "Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More | KQED",
"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",
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"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>",
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"title": "6 Artists You Shouldn't Miss At Noise Pop 2022",
"headTitle": "6 Artists You Shouldn’t Miss At Noise Pop 2022 | KQED",
"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",
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"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>",
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"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>",
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"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>",
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"title": "Dorian Electra, King Woman, Guapdad Headline Noise Pop’s Return",
"headTitle": "Dorian Electra, King Woman, Guapdad Headline Noise Pop’s Return | KQED",
"content": "\u003cp>The Bay Area just finished up a successful fall festival run, with \u003ca href=\"https://www.kqed.org/arts/13902615/photos-bottlerock-returns-with-its-most-eclectic-lineup-yet\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Lights On\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13905586/photos-kehlani-tame-impala-bring-a-festive-close-to-outside-lands\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> bringing chart-topping stars and up-and-coming acts before tens of thousands of fans. So, with vaccination rates rising and COVID cases on the decline, it only makes sense that \u003ca href=\"https://noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> also makes its return after the shutdowns of this year and last. [aside postid='arts_13905536']\u003c/p>\n\u003cp>The homegrown music and arts festival will take place Feb. 21–27, 2022. And unlike the previously mentioned mega-fests, Noise Pop offers a chance to check out a variety of artists at a chiller pace, without the intense sensory overload of big stages and even bigger crowds. The festival is distributed among a variety of smaller clubs in San Francisco and the East Bay, including Rickshaw Stop, Gray Area and Cornerstone. Superfans can buy festival badges and party hop all week, but you’re also free to drop into individual shows as you like without making a big commitment. [aside postid='arts_13905208']\u003c/p>\n\u003cp>Today, Noise Pop announced the first phase of its lineup, with Oakland hip-hop star \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\" target=\"_blank\" rel=\"noopener noreferrer\">Guapdad 4000\u003c/a>, doom metal band \u003ca href=\"https://kingwoman.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a>, jazz drummer and hip-hop collaborator \u003ca href=\"https://www.makayamccraven.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Makaya McCraven\u003c/a> and gender- and genre-bending experimentalist \u003ca href=\"https://www.dorianelectra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorian Electra\u003c/a>. Festival badges are on sale now, and individual tickets will be released on Friday, Nov. 5, at 10am. More artists will be announced in the coming weeks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area just finished up a successful fall festival run, with \u003ca href=\"https://www.kqed.org/arts/13902615/photos-bottlerock-returns-with-its-most-eclectic-lineup-yet\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Lights On\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13905586/photos-kehlani-tame-impala-bring-a-festive-close-to-outside-lands\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> bringing chart-topping stars and up-and-coming acts before tens of thousands of fans. So, with vaccination rates rising and COVID cases on the decline, it only makes sense that \u003ca href=\"https://noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> also makes its return after the shutdowns of this year and last. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The homegrown music and arts festival will take place Feb. 21–27, 2022. And unlike the previously mentioned mega-fests, Noise Pop offers a chance to check out a variety of artists at a chiller pace, without the intense sensory overload of big stages and even bigger crowds. The festival is distributed among a variety of smaller clubs in San Francisco and the East Bay, including Rickshaw Stop, Gray Area and Cornerstone. Superfans can buy festival badges and party hop all week, but you’re also free to drop into individual shows as you like without making a big commitment. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, Noise Pop announced the first phase of its lineup, with Oakland hip-hop star \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\" target=\"_blank\" rel=\"noopener noreferrer\">Guapdad 4000\u003c/a>, doom metal band \u003ca href=\"https://kingwoman.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a>, jazz drummer and hip-hop collaborator \u003ca href=\"https://www.makayamccraven.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Makaya McCraven\u003c/a> and gender- and genre-bending experimentalist \u003ca href=\"https://www.dorianelectra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorian Electra\u003c/a>. Festival badges are on sale now, and individual tickets will be released on Friday, Nov. 5, at 10am. More artists will be announced in the coming weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Noise Pop’s spinoff block party returns this Saturday, Oct. 16, from a 2020 hiatus to its usual spot in the Mission, a quiet, residential stretch of blocks between Harrison and Bryant on 20th Street. As in previous incarnations of the street festival, it features a local lineup and low-key scope that distinguishes it from the Noise Pop festival proper.\u003c/p>\n\u003cp>This year’s musical acts includes longtime San Francisco live music favorites \u003ca href=\"https://www.kqed.org/arts/13901935/con-brios-ziek-mccarter-and-his-family-create-a-healing-garden-for-grief\" target=\"_blank\" rel=\"noopener noreferrer\">Con Brio\u003c/a>, known for their soul revivalism and high-energy performances, and Louda y Los Bad Hombres, a punky roots act with song titles like “Dejanos en paz, capitalistas.” The rest of the roster is rounded out by indie bands from the Bay Area (French Cassettes, \u003ca href=\"https://www.kqed.org/arts/13869819/bay-area-indie-rock-isnt-what-it-used-to-be-and-thats-a-good-thing\" target=\"_blank\" rel=\"noopener noreferrer\">Same Girls\u003c/a>, Strange Cities) and on the West Coast (SoCal’s L.A. Witch, Portland’s Y La Bamba). [aside postid='arts_13904220']\u003c/p>\n\u003cp>It wouldn’t be the 20th Street Block Party without a well-chosen line up of buzzy food pop-ups, and this year’s selection is curated by women of color-focused food business incubator \u003ca href=\"https://www.kqed.org/arts/13895067/la-cocina-municipal-marketplace-food-hall-opening-tenderloin\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina\u003c/a>. Beloved momo stand Bini’s Kitchen, Jamaican pastry vendor Peaches Patties and Oaxacan cuisine outpost Origen are all slated to set up shop.\u003c/p>\n\u003cp>While the festival is free, attendees are encouraged to make a donation at the gate to benefit children’s education nonprofit 826 Valencia.\u003c/p>\n\u003cp>In a concession to the pandemic, visitors are required to make a reservation online before attending. Noise Pop, in a statement, says that they will follow the San Francisco Department of Public Health’s guidelines, which currently do not require masking or the verification of vaccination cards for outdoor events.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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\">\u003cbr>\n\u003cem>The 20th St Block Party pops off on Saturday, Oct. 16. \u003ca href=\"https://www.eventbrite.com/e/noise-pops-20th-street-block-party-free-tickets-157093694469\">Reserve your spot here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Noise Pop’s spinoff block party returns this Saturday, Oct. 16, from a 2020 hiatus to its usual spot in the Mission, a quiet, residential stretch of blocks between Harrison and Bryant on 20th Street. As in previous incarnations of the street festival, it features a local lineup and low-key scope that distinguishes it from the Noise Pop festival proper.\u003c/p>\n\u003cp>This year’s musical acts includes longtime San Francisco live music favorites \u003ca href=\"https://www.kqed.org/arts/13901935/con-brios-ziek-mccarter-and-his-family-create-a-healing-garden-for-grief\" target=\"_blank\" rel=\"noopener noreferrer\">Con Brio\u003c/a>, known for their soul revivalism and high-energy performances, and Louda y Los Bad Hombres, a punky roots act with song titles like “Dejanos en paz, capitalistas.” The rest of the roster is rounded out by indie bands from the Bay Area (French Cassettes, \u003ca href=\"https://www.kqed.org/arts/13869819/bay-area-indie-rock-isnt-what-it-used-to-be-and-thats-a-good-thing\" target=\"_blank\" rel=\"noopener noreferrer\">Same Girls\u003c/a>, Strange Cities) and on the West Coast (SoCal’s L.A. Witch, Portland’s Y La Bamba). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wouldn’t be the 20th Street Block Party without a well-chosen line up of buzzy food pop-ups, and this year’s selection is curated by women of color-focused food business incubator \u003ca href=\"https://www.kqed.org/arts/13895067/la-cocina-municipal-marketplace-food-hall-opening-tenderloin\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina\u003c/a>. Beloved momo stand Bini’s Kitchen, Jamaican pastry vendor Peaches Patties and Oaxacan cuisine outpost Origen are all slated to set up shop.\u003c/p>\n\u003cp>While the festival is free, attendees are encouraged to make a donation at the gate to benefit children’s education nonprofit 826 Valencia.\u003c/p>\n\u003cp>In a concession to the pandemic, visitors are required to make a reservation online before attending. Noise Pop, in a statement, says that they will follow the San Francisco Department of Public Health’s guidelines, which currently do not require masking or the verification of vaccination cards for outdoor events.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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\">\u003cbr>\n\u003cem>The 20th St Block Party pops off on Saturday, Oct. 16. \u003ca href=\"https://www.eventbrite.com/e/noise-pops-20th-street-block-party-free-tickets-157093694469\">Reserve your spot here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Five Concerts Not to Miss at Noise Pop 2020",
"headTitle": "Five Concerts Not to Miss at Noise Pop 2020 | KQED",
"content": "\u003cp>The club scene lights up in San Francisco every year for \u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, a week of constant concerts, screenings and other events on both sides of the Bay and, now, in Sacramento and Santa Cruz. Founded as a $5 indie rock fest in 1993, the event has expanded to feature the best of independent artists working in wide variety of genres (including \u003ca href=\"https://twitter.com/noisepop/status/1220423464970047490\" target=\"_blank\" rel=\"noopener noreferrer\">over 70\u003c/a> Bay Area acts).\u003c/p>\n\u003cp>With multiple shows happening every night Feb. 24–March 1, music lovers have the option of venue-hopping to get a sampling of everything, or just picking out one, two or a handful of favorites to catch at their leisure. This year’s headliners include Benjamin Gibbard from Death Cab for Cutie (whose Feb. 28 August Hall show is already sold out), Oakland R&B mover-and-shaker Raphael Saadiq and U.K. techno producer Maya Jane Coles. Below are our recommendations of five concerts not to miss.\u003c/p>\n\u003cp>https://youtu.be/Zgjrt12QTVQ\u003c/p>\n\u003ch2>Sudan Archives\u003c/h2>\n\u003cp>\u003cem>Feb. 24, \u003ca href=\"http://events.noisepop.com/events/2020/2/24/sudan-archives-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Swedish American Hall\u003c/a> in San Francisco with Velvet Negroni and 8ulentina\u003c/em>\u003cbr>\n\u003cem>Feb. 25, \u003ca href=\"http://events.noisepop.com/events/2020/2/25/sudan-archives-ssc\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> in Oakland with Velvet Negroni and Sandu Ndu\u003c/em>\u003c/p>\n\u003cp>Los Angeles singer-producer \u003ca href=\"https://sudanarchives.bandcamp.com/album/athena\" target=\"_blank\" rel=\"noopener noreferrer\">Sudan Archives\u003c/a>‘ energetic, R&B-inflected pop pairs airy vocals with dark, lurching synths and hip-winding grooves, but her secret weapon is her violin. Originally an avant-garde string player, she incorporates tense chord progressions and light plucking to give her beats dimension and drama. Some of her arrangements are inspired by her research into string instruments in places like Sudan and Ghana, but her sound is all her own on \u003cem>Athena\u003c/em>, her 2019 debut album on Stones Throw Records.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/RVfIJ2jZFcM\u003c/p>\n\u003ch2>Combo Chimbita\u003c/h2>\n\u003cp>\u003cem>Feb. 26, \u003ca href=\"http://events.noisepop.com/events/2020/2/26/combo-chimbita-y-la-bamba-1571711368\" rel=\"noopener noreferrer\" target=\"_blank\">Harlows\u003c/a> in Sacramento with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 27, \u003ca href=\"http://events.noisepop.com/events/2020/2/27/combo-chimbita-y-la-bamba-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Catalyst\u003c/a> in Santa Cruz with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/combo-chimbita-y-la-bamba-1571426637\" rel=\"noopener noreferrer\" target=\"_blank\">Slim’s\u003c/a> in San Francisco with Y La Bamba\u003c/em>\u003c/p>\n\u003cp>New York’s \u003ca href=\"https://combochimbita.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Combo Chimbita\u003c/a> play loud and heavy, with crashing drums and commanding guitar riffs that recall post-punk and shoegaze. Mixing in eerie cumbia melodies, the band’s powerful lead singer, Carolina Oliveros, belts Spanish-language lyrics that incorporate spiritual and folkloric themes from Colombia, from which the four band members’ families hail. The band performs with Portland’s Y La Bamba for two Noise Pop shows, and Y La Bamba’s lighter, more pop-oriented sound works within a similar framework of culling personal narratives from one’s ancestry and cultural history.\u003c/p>\n\u003cp>https://youtu.be/OcK5JLyPLM0\u003c/p>\n\u003ch2>Raphael Saadiq\u003c/h2>\n\u003cp>\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/raphael-saadiq-oakland-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater\u003c/a> in Oakland with Jamila Woods and DJ Duggz\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> is an Oakland legend. His group Tony! Toni! Toné! was a Platinum-selling R&B sensation in the ’80s and ’90s, and Saadiq went on to become a powerful figure within the world of neo-soul, R&B and indie, producing for chart-toppers like Solange and D’Angelo, and presiding over the much-lauded soundtrack of the hit HBO series \u003cem>Insecure\u003c/em>. On his 2019 album, \u003cem>Jimmy Lee\u003c/em>, Saadiq strips his pop veneer and unwraps old wounds, delving into his family’s painful past with addiction. The pensive project takes its name from his brother who died of a heroin overdose, and other tracks on the project delve into the detrimental impacts of the war on drugs and mass incarceration.\u003c/p>\n\u003cp>https://youtu.be/6XDJ7exN12U\u003c/p>\n\u003ch2>Imperial Teen\u003c/h2>\n\u003cp>\u003cem>Feb. 29, \u003ca href=\"http://events.noisepop.com/events/2020/2/29/imperial-teen-torres-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Chapel\u003c/a> in San Francisco with Torres and Seablite\u003c/em>\u003c/p>\n\u003cp>Imperial Teen came out of San Francisco’s mid-’90s alt-rock scene, and quickly made a name for themselves with their charming harmonies and lyrics about queer love and heartbreak. The indie pop band went on to tour with Hole and had a song featured in the iconic dark comedy \u003cem>Jawbreaker\u003c/em>. The band’s 2019 album \u003ca href=\"https://imperialteen.bandcamp.com/album/now-we-are-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Now We Are Timeless\u003c/em>\u003c/a> (an ironic title considering the cover art features a melting glacier) finds the quartet’s instrumentation as tight and sprightly as ever, with lyrical subject matter that includes questions about mortality, loneliness and painful goodbyes.\u003c/p>\n\u003cp>https://youtu.be/Kl7VlI3eUs4\u003c/p>\n\u003ch2>Salami Rose Joe Louis\u003c/h2>\n\u003cp>\u003cem>March 1, \u003ca href=\"http://events.noisepop.com/events/2020/3/1/salami-rose-joe-louis-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ Center: Joe Henderson Lab\u003c/a> in San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fans of sci-fi luminaries like Octavia Butler will appreciate \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>‘ storytelling style of jazzy pop. The East Bay singer and multi-instrumentalist’s latest album strikes a chord with today’s ever-present climate and economic anxiety. Titled \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/album/zdenka-2080\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zdenka 2080\u003c/em>\u003c/a>, it tells the tale of what happens on Earth once the wealthy and elite fly a megalopolis to another planet—ostensibly to escape global warming and pollution—and end up zapping the sun. In addition to this lyrical inventiveness, Salami Rose Joe Louis consistently wows with her nimble keyboard work and her band’s loose yet dexterous playing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The club scene lights up in San Francisco every year for \u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, a week of constant concerts, screenings and other events on both sides of the Bay and, now, in Sacramento and Santa Cruz. Founded as a $5 indie rock fest in 1993, the event has expanded to feature the best of independent artists working in wide variety of genres (including \u003ca href=\"https://twitter.com/noisepop/status/1220423464970047490\" target=\"_blank\" rel=\"noopener noreferrer\">over 70\u003c/a> Bay Area acts).\u003c/p>\n\u003cp>With multiple shows happening every night Feb. 24–March 1, music lovers have the option of venue-hopping to get a sampling of everything, or just picking out one, two or a handful of favorites to catch at their leisure. This year’s headliners include Benjamin Gibbard from Death Cab for Cutie (whose Feb. 28 August Hall show is already sold out), Oakland R&B mover-and-shaker Raphael Saadiq and U.K. techno producer Maya Jane Coles. Below are our recommendations of five concerts 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/Zgjrt12QTVQ'\n title='//www.youtube.com/embed/Zgjrt12QTVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Sudan Archives\u003c/h2>\n\u003cp>\u003cem>Feb. 24, \u003ca href=\"http://events.noisepop.com/events/2020/2/24/sudan-archives-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Swedish American Hall\u003c/a> in San Francisco with Velvet Negroni and 8ulentina\u003c/em>\u003cbr>\n\u003cem>Feb. 25, \u003ca href=\"http://events.noisepop.com/events/2020/2/25/sudan-archives-ssc\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> in Oakland with Velvet Negroni and Sandu Ndu\u003c/em>\u003c/p>\n\u003cp>Los Angeles singer-producer \u003ca href=\"https://sudanarchives.bandcamp.com/album/athena\" target=\"_blank\" rel=\"noopener noreferrer\">Sudan Archives\u003c/a>‘ energetic, R&B-inflected pop pairs airy vocals with dark, lurching synths and hip-winding grooves, but her secret weapon is her violin. Originally an avant-garde string player, she incorporates tense chord progressions and light plucking to give her beats dimension and drama. Some of her arrangements are inspired by her research into string instruments in places like Sudan and Ghana, but her sound is all her own on \u003cem>Athena\u003c/em>, her 2019 debut album on Stones Throw Records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/RVfIJ2jZFcM'\n title='//www.youtube.com/embed/RVfIJ2jZFcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Combo Chimbita\u003c/h2>\n\u003cp>\u003cem>Feb. 26, \u003ca href=\"http://events.noisepop.com/events/2020/2/26/combo-chimbita-y-la-bamba-1571711368\" rel=\"noopener noreferrer\" target=\"_blank\">Harlows\u003c/a> in Sacramento with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 27, \u003ca href=\"http://events.noisepop.com/events/2020/2/27/combo-chimbita-y-la-bamba-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Catalyst\u003c/a> in Santa Cruz with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/combo-chimbita-y-la-bamba-1571426637\" rel=\"noopener noreferrer\" target=\"_blank\">Slim’s\u003c/a> in San Francisco with Y La Bamba\u003c/em>\u003c/p>\n\u003cp>New York’s \u003ca href=\"https://combochimbita.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Combo Chimbita\u003c/a> play loud and heavy, with crashing drums and commanding guitar riffs that recall post-punk and shoegaze. Mixing in eerie cumbia melodies, the band’s powerful lead singer, Carolina Oliveros, belts Spanish-language lyrics that incorporate spiritual and folkloric themes from Colombia, from which the four band members’ families hail. The band performs with Portland’s Y La Bamba for two Noise Pop shows, and Y La Bamba’s lighter, more pop-oriented sound works within a similar framework of culling personal narratives from one’s ancestry and cultural history.\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/OcK5JLyPLM0'\n title='//www.youtube.com/embed/OcK5JLyPLM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Raphael Saadiq\u003c/h2>\n\u003cp>\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/raphael-saadiq-oakland-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater\u003c/a> in Oakland with Jamila Woods and DJ Duggz\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> is an Oakland legend. His group Tony! Toni! Toné! was a Platinum-selling R&B sensation in the ’80s and ’90s, and Saadiq went on to become a powerful figure within the world of neo-soul, R&B and indie, producing for chart-toppers like Solange and D’Angelo, and presiding over the much-lauded soundtrack of the hit HBO series \u003cem>Insecure\u003c/em>. On his 2019 album, \u003cem>Jimmy Lee\u003c/em>, Saadiq strips his pop veneer and unwraps old wounds, delving into his family’s painful past with addiction. The pensive project takes its name from his brother who died of a heroin overdose, and other tracks on the project delve into the detrimental impacts of the war on drugs and mass incarceration.\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/6XDJ7exN12U'\n title='//www.youtube.com/embed/6XDJ7exN12U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Imperial Teen\u003c/h2>\n\u003cp>\u003cem>Feb. 29, \u003ca href=\"http://events.noisepop.com/events/2020/2/29/imperial-teen-torres-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Chapel\u003c/a> in San Francisco with Torres and Seablite\u003c/em>\u003c/p>\n\u003cp>Imperial Teen came out of San Francisco’s mid-’90s alt-rock scene, and quickly made a name for themselves with their charming harmonies and lyrics about queer love and heartbreak. The indie pop band went on to tour with Hole and had a song featured in the iconic dark comedy \u003cem>Jawbreaker\u003c/em>. The band’s 2019 album \u003ca href=\"https://imperialteen.bandcamp.com/album/now-we-are-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Now We Are Timeless\u003c/em>\u003c/a> (an ironic title considering the cover art features a melting glacier) finds the quartet’s instrumentation as tight and sprightly as ever, with lyrical subject matter that includes questions about mortality, loneliness and painful goodbyes.\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/Kl7VlI3eUs4'\n title='//www.youtube.com/embed/Kl7VlI3eUs4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Salami Rose Joe Louis\u003c/h2>\n\u003cp>\u003cem>March 1, \u003ca href=\"http://events.noisepop.com/events/2020/3/1/salami-rose-joe-louis-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ Center: Joe Henderson Lab\u003c/a> in San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fans of sci-fi luminaries like Octavia Butler will appreciate \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>‘ storytelling style of jazzy pop. The East Bay singer and multi-instrumentalist’s latest album strikes a chord with today’s ever-present climate and economic anxiety. Titled \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/album/zdenka-2080\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zdenka 2080\u003c/em>\u003c/a>, it tells the tale of what happens on Earth once the wealthy and elite fly a megalopolis to another planet—ostensibly to escape global warming and pollution—and end up zapping the sun. In addition to this lyrical inventiveness, Salami Rose Joe Louis consistently wows with her nimble keyboard work and her band’s loose yet dexterous playing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Nastia Voynovskaya\u003c/strong>\u003c/p>\n\u003cp>Noise Pop’s \u003ca href=\"http://www.20thstreetblockparty.com\" target=\"_blank\" rel=\"noopener\">20th Street Block Party\u003c/a> is a celebration of the local event producer’s neighborhood around the intersection of 20th and Bryant Streets, with bands, food, drinks and more.\u003c/p>\n\u003cp>With Noise Pop’s biggest annual event, Treasure Island Music Festival, \u003ca href=\"https://www.kqed.org/arts/13863023/treasure-island-music-festival-on-indefinite-hiatus\" target=\"_blank\" rel=\"noopener\">no longer happening this year\u003c/a>, the 20th Street Block Party offers a chance to check out some of the bands on Noise Pop’s radar in the months ahead of its \u003ca href=\"https://www.kqed.org/arts/13852108/at-noise-pop-2019-the-opening-acts-stole-the-show\" target=\"_blank\" rel=\"noopener\">namesake festival\u003c/a> in late February. This year’s free mini-festival features Australian rockers \u003ca href=\"https://alkcm.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Alex Cameron\u003c/a> and Roy Molloy, Philly indie band \u003ca href=\"https://speedyortiz.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Speedy Ortiz\u003c/a>, L.A. singer songwriter (and Cherry Glazerr member) \u003ca href=\"https://sasami.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Sasami\u003c/a>, Oakland pop punk band \u003ca href=\"https://therealpityparty.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Pity Party\u003c/a>, Oakland post-punk bands \u003ca href=\"https://shutupsoakland.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Shutups\u003c/a> and \u003ca href=\"https://soundcloud.com/helloyellomusic\" target=\"_blank\" rel=\"noopener\">Hello Yello\u003c/a> and San Francisco indie singer \u003ca href=\"https://open.spotify.com/album/5oNIIIruW429J4w1VStAXY\" target=\"_blank\" rel=\"noopener\">ZOLA\u003c/a>.\u003c/p>\n\u003cp>There’s plenty of food to try from around the neighborhood as well, with 12 vendors including Farmhouse Kitchen serving Thai, Humphry Slocombe’s ice cream and barbeque from Bombzie’s.\u003c/p>\n\u003cp>While the 20th Street Block Party is free to attend, there’s an opportunity to donate to local nonprofits \u003ca href=\"https://826valencia.org/\" target=\"_blank\" rel=\"noopener\">826 Valencia\u003c/a>, which helps local elementary, middle and high school students find their voices as writers, and \u003ca href=\"https://lacocinasf.org/\" target=\"_blank\" rel=\"noopener\">La Cocina\u003c/a>, which works with women of color and immigrant entrepreneurs to get their food businesses off the ground. Both nonprofits will be have booths at the fest with interactive activities as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Nastia Voynovskaya\u003c/strong>\u003c/p>\n\u003cp>Noise Pop’s \u003ca href=\"http://www.20thstreetblockparty.com\" target=\"_blank\" rel=\"noopener\">20th Street Block Party\u003c/a> is a celebration of the local event producer’s neighborhood around the intersection of 20th and Bryant Streets, with bands, food, drinks and more.\u003c/p>\n\u003cp>With Noise Pop’s biggest annual event, Treasure Island Music Festival, \u003ca href=\"https://www.kqed.org/arts/13863023/treasure-island-music-festival-on-indefinite-hiatus\" target=\"_blank\" rel=\"noopener\">no longer happening this year\u003c/a>, the 20th Street Block Party offers a chance to check out some of the bands on Noise Pop’s radar in the months ahead of its \u003ca href=\"https://www.kqed.org/arts/13852108/at-noise-pop-2019-the-opening-acts-stole-the-show\" target=\"_blank\" rel=\"noopener\">namesake festival\u003c/a> in late February. This year’s free mini-festival features Australian rockers \u003ca href=\"https://alkcm.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Alex Cameron\u003c/a> and Roy Molloy, Philly indie band \u003ca href=\"https://speedyortiz.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Speedy Ortiz\u003c/a>, L.A. singer songwriter (and Cherry Glazerr member) \u003ca href=\"https://sasami.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Sasami\u003c/a>, Oakland pop punk band \u003ca href=\"https://therealpityparty.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Pity Party\u003c/a>, Oakland post-punk bands \u003ca href=\"https://shutupsoakland.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Shutups\u003c/a> and \u003ca href=\"https://soundcloud.com/helloyellomusic\" target=\"_blank\" rel=\"noopener\">Hello Yello\u003c/a> and San Francisco indie singer \u003ca href=\"https://open.spotify.com/album/5oNIIIruW429J4w1VStAXY\" target=\"_blank\" rel=\"noopener\">ZOLA\u003c/a>.\u003c/p>\n\u003cp>There’s plenty of food to try from around the neighborhood as well, with 12 vendors including Farmhouse Kitchen serving Thai, Humphry Slocombe’s ice cream and barbeque from Bombzie’s.\u003c/p>\n\u003cp>While the 20th Street Block Party is free to attend, there’s an opportunity to donate to local nonprofits \u003ca href=\"https://826valencia.org/\" target=\"_blank\" rel=\"noopener\">826 Valencia\u003c/a>, which helps local elementary, middle and high school students find their voices as writers, and \u003ca href=\"https://lacocinasf.org/\" target=\"_blank\" rel=\"noopener\">La Cocina\u003c/a>, which works with women of color and immigrant entrepreneurs to get their food businesses off the ground. Both nonprofits will be have booths at the fest with interactive activities as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Updated Monday, 3:30 p.m. \u003c/em>\u003c/p>\n\u003cp>Noise Pop and Another Planet Entertainment announced Monday that the 2019 edition of Treasure Island Music Festival is cancelled, saying in a statement that the anticipated annual event first launched in 2007 is “on hiatus for the foreseeable future.”\u003c/p>\n\u003cp>The multi-day music festival, focused on indie-rock and increasingly electronic and hip-hop programming, occurred for the first time in Oakland last year, at Middle Harbor Shoreline Park.\u003c/p>\n\u003cp>But last month the Bay Conservation and Development Commission ordered the Port of Oakland, which oversees Middle Harbor, to cease hosting events without the regulatory agency’s approval, throwing the future of events at the shoreline location into question. [aside postID=arts_13843462,arts_13862704]\u003c/p>\n\u003cp>According to minutes from a BCDC enforcement committee meeting in July, the Port has flaunted its obligation to seek permission before reducing public access to the park by hosting ticketed events. “BCDC staff has communicated the issue over the years with the Port,” the minutes read. “Nevertheless, these special events continue to occur without BCDC approval.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Save the Bay, a conservationist group, pressured BCDC after observing adverse effects on Middle Harbor following Treasure Island Music Festival last year.\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13843462/ruffled-feathers-can-birds-and-music-festivals-share-middle-harbor-park\">previously reported\u003c/a>, in 2018 the Port of Oakland-owned and operated park hosted three music festivals attended by more than 4,000 people in addition to Treasure Island and Blurry Vision, which each drew more than 10,000 people across their two-day runs. Last year the Port collected more than $60,000 in rental fees for the events at Middle Harbor.\u003c/p>\n\u003cp>The Port’s contracts with event promoters including APE and Blurry Vision producer Goldenvoice, which KQED previously reviewed, included no park-specific environmental stipulations aside from standard cleanup, even though Middle Harbor Shoreline Park provides important wildlife habitat for migrating and endangered and threatened species of birds.\u003c/p>\n\u003cp>The spat between the Port and BCDC contributed to the festival cancellation. “With the new issues facing the site location…putting on a festival to the degree for which our fans have come to expect over the past decade is simply not possible,” Noise Pop and APE said in a statement.\u003c/p>\n\u003cp>Treasure Island’s move to Oakland was an attempted rebound. The festival’s 2016 installment was marred by a rainstorm, prompting many artists to cancel and leading to litigation from disgruntled and injured attendees. It took a year off in 2017 before resurfacing at Middle Harbor.\u003c/p>\n\u003cp>The festival organizers’ statement goes on to note other opportunities to support local musicians and events, including Outside Lands, Noise Pop Festival and “any of the hundreds of concerts both Another Planet Entertainment and Noise Pop bring to the greater Bay Area each year.”\u003c/p>\n\u003cp>A Port of Oakland spokesperson said in a statement that it notifies BCDC about concerts but acknowledged it has been “remiss in obtaining written approvals.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spokesperson added, “We’re implementing controls to make sure we fulfill BCDC’s requirements for all future concerts.”\u003c/p>\n\n",
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"datePublished": "2019-08-05T14:28:47-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Monday, 3:30 p.m. \u003c/em>\u003c/p>\n\u003cp>Noise Pop and Another Planet Entertainment announced Monday that the 2019 edition of Treasure Island Music Festival is cancelled, saying in a statement that the anticipated annual event first launched in 2007 is “on hiatus for the foreseeable future.”\u003c/p>\n\u003cp>The multi-day music festival, focused on indie-rock and increasingly electronic and hip-hop programming, occurred for the first time in Oakland last year, at Middle Harbor Shoreline Park.\u003c/p>\n\u003cp>But last month the Bay Conservation and Development Commission ordered the Port of Oakland, which oversees Middle Harbor, to cease hosting events without the regulatory agency’s approval, throwing the future of events at the shoreline location into question. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to minutes from a BCDC enforcement committee meeting in July, the Port has flaunted its obligation to seek permission before reducing public access to the park by hosting ticketed events. “BCDC staff has communicated the issue over the years with the Port,” the minutes read. “Nevertheless, these special events continue to occur without BCDC approval.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Save the Bay, a conservationist group, pressured BCDC after observing adverse effects on Middle Harbor following Treasure Island Music Festival last year.\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13843462/ruffled-feathers-can-birds-and-music-festivals-share-middle-harbor-park\">previously reported\u003c/a>, in 2018 the Port of Oakland-owned and operated park hosted three music festivals attended by more than 4,000 people in addition to Treasure Island and Blurry Vision, which each drew more than 10,000 people across their two-day runs. Last year the Port collected more than $60,000 in rental fees for the events at Middle Harbor.\u003c/p>\n\u003cp>The Port’s contracts with event promoters including APE and Blurry Vision producer Goldenvoice, which KQED previously reviewed, included no park-specific environmental stipulations aside from standard cleanup, even though Middle Harbor Shoreline Park provides important wildlife habitat for migrating and endangered and threatened species of birds.\u003c/p>\n\u003cp>The spat between the Port and BCDC contributed to the festival cancellation. “With the new issues facing the site location…putting on a festival to the degree for which our fans have come to expect over the past decade is simply not possible,” Noise Pop and APE said in a statement.\u003c/p>\n\u003cp>Treasure Island’s move to Oakland was an attempted rebound. The festival’s 2016 installment was marred by a rainstorm, prompting many artists to cancel and leading to litigation from disgruntled and injured attendees. It took a year off in 2017 before resurfacing at Middle Harbor.\u003c/p>\n\u003cp>The festival organizers’ statement goes on to note other opportunities to support local musicians and events, including Outside Lands, Noise Pop Festival and “any of the hundreds of concerts both Another Planet Entertainment and Noise Pop bring to the greater Bay Area each year.”\u003c/p>\n\u003cp>A Port of Oakland spokesperson said in a statement that it notifies BCDC about concerts but acknowledged it has been “remiss in obtaining written approvals.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spokesperson added, “We’re implementing controls to make sure we fulfill BCDC’s requirements for all future concerts.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Noise Pop Lineup Announced: Princess Nokia, Beirut, Baths and More",
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"content": "\u003cp>\u003ca href=\"http://noisepopfest.com\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> is preparing to take over Fillmore, Great American Music Hall, Starline Social Club and other Bay Area venues for a week of shows Feb. 25–Mar. 3, and the promotional outfit just announced its a big chunk of its lineup for the 2019 fest, with more acts to be revealed in January. Per usual, the concert series features an eclectic mix of hip-hop, R&B, indie rock, pop and experimental music. Best of all, unlike a weekend-long fest, you can choose your own adventure and attend the shows suited to your tastes.\u003c/p>\n\u003cp>Next year’s Noise Pop features some standout rising artists as well as established faves. \u003ca href=\"http://princessnokia.org/\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a>, the trendsetting New York rapper who puts body positivity and her Afro-Caribbean roots at the forefront of her work, is one of those acts, as well as \u003ca href=\"https://www.beirutband.com/\" target=\"_blank\" rel=\"noopener\">Beirut\u003c/a>, the horn-forward indie rock band whose work draws from Eastern European folk music. \u003ca href=\"https://www.facebook.com/bathsmusic/\" target=\"_blank\" rel=\"noopener\">Baths\u003c/a>, the LA producer, makes colorful electronic compositions that are as whimsical as they are danceable. Venerated guitarist \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener\">Bob Mould\u003c/a>, known for his work with Hüsker Dü in the ’80s and Sugar in the ’90s, also performs.\u003c/p>\n\u003cp>Check out the complete Noise Pop lineup below, and visit the festival’s website for the full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a>.\u003c/p>\n\u003cp>Beirut\u003cbr>\nBob Mould\u003cbr>\nPrincess Nokia\u003cbr>\nPetit Biscuit\u003cbr>\nTeenage Fanclub\u003cbr>\nAlbert Hammond Jr\u003cbr>\nJason Lytle (of Grandaddy)\u003cbr>\nBaths\u003cbr>\nTourist\u003cbr>\nUffie\u003cbr>\nMen I Trust\u003cbr>\nDaughters\u003cbr>\nCurrent Joys\u003cbr>\nDarlingside\u003cbr>\nYves Tumor\u003cbr>\nVHS Collection\u003cbr>\nCaroline Rose\u003cbr>\nThe Marías\u003cbr>\nMNEK\u003cbr>\nMy Brightest Diamond\u003cbr>\nMNDSGN\u003cbr>\nKllo\u003cbr>\nHaley Heynderickx\u003cbr>\nCharlotte Lawrence\u003cbr>\nJerry Paper\u003cbr>\nKodie Shane\u003cbr>\nHelado Negro\u003cbr>\nKamaal Williams\u003cbr>\nTommy Newport\u003cbr>\nMarissa Nadler\u003cbr>\nQrion\u003cbr>\nOh Pep!\u003cbr>\nJitwam\u003cbr>\nKERA\u003cbr>\nThe Love Language\u003cbr>\nRiver Whyless\u003cbr>\nIlluminati Hotties\u003cbr>\nClub Night\u003cbr>\nawakebutstillinbed\u003cbr>\nPartner\u003cbr>\nDude York\u003cbr>\nBlanck Mass\u003cbr>\nGilligan Moss\u003cbr>\nTravis Hayes\u003cbr>\nLos Wálters\u003cbr>\nField Medic\u003cbr>\nChynna\u003cbr>\nKatzù Oso\u003cbr>\nH.C. McEntire\u003cbr>\nHana Vu\u003cbr>\nHilary Woods\u003cbr>\nSwarvy\u003cbr>\nOuri\u003cbr>\nSunsleeper\u003cbr>\nSundressed\u003cbr>\nAlien Boy\u003cbr>\nGap Girls\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The eclectic festival kicks off on Feb. 25.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://noisepopfest.com\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> is preparing to take over Fillmore, Great American Music Hall, Starline Social Club and other Bay Area venues for a week of shows Feb. 25–Mar. 3, and the promotional outfit just announced its a big chunk of its lineup for the 2019 fest, with more acts to be revealed in January. Per usual, the concert series features an eclectic mix of hip-hop, R&B, indie rock, pop and experimental music. Best of all, unlike a weekend-long fest, you can choose your own adventure and attend the shows suited to your tastes.\u003c/p>\n\u003cp>Next year’s Noise Pop features some standout rising artists as well as established faves. \u003ca href=\"http://princessnokia.org/\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a>, the trendsetting New York rapper who puts body positivity and her Afro-Caribbean roots at the forefront of her work, is one of those acts, as well as \u003ca href=\"https://www.beirutband.com/\" target=\"_blank\" rel=\"noopener\">Beirut\u003c/a>, the horn-forward indie rock band whose work draws from Eastern European folk music. \u003ca href=\"https://www.facebook.com/bathsmusic/\" target=\"_blank\" rel=\"noopener\">Baths\u003c/a>, the LA producer, makes colorful electronic compositions that are as whimsical as they are danceable. Venerated guitarist \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener\">Bob Mould\u003c/a>, known for his work with Hüsker Dü in the ’80s and Sugar in the ’90s, also performs.\u003c/p>\n\u003cp>Check out the complete Noise Pop lineup below, and visit the festival’s website for the full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a>.\u003c/p>\n\u003cp>Beirut\u003cbr>\nBob Mould\u003cbr>\nPrincess Nokia\u003cbr>\nPetit Biscuit\u003cbr>\nTeenage Fanclub\u003cbr>\nAlbert Hammond Jr\u003cbr>\nJason Lytle (of Grandaddy)\u003cbr>\nBaths\u003cbr>\nTourist\u003cbr>\nUffie\u003cbr>\nMen I Trust\u003cbr>\nDaughters\u003cbr>\nCurrent Joys\u003cbr>\nDarlingside\u003cbr>\nYves Tumor\u003cbr>\nVHS Collection\u003cbr>\nCaroline Rose\u003cbr>\nThe Marías\u003cbr>\nMNEK\u003cbr>\nMy Brightest Diamond\u003cbr>\nMNDSGN\u003cbr>\nKllo\u003cbr>\nHaley Heynderickx\u003cbr>\nCharlotte Lawrence\u003cbr>\nJerry Paper\u003cbr>\nKodie Shane\u003cbr>\nHelado Negro\u003cbr>\nKamaal Williams\u003cbr>\nTommy Newport\u003cbr>\nMarissa Nadler\u003cbr>\nQrion\u003cbr>\nOh Pep!\u003cbr>\nJitwam\u003cbr>\nKERA\u003cbr>\nThe Love Language\u003cbr>\nRiver Whyless\u003cbr>\nIlluminati Hotties\u003cbr>\nClub Night\u003cbr>\nawakebutstillinbed\u003cbr>\nPartner\u003cbr>\nDude York\u003cbr>\nBlanck Mass\u003cbr>\nGilligan Moss\u003cbr>\nTravis Hayes\u003cbr>\nLos Wálters\u003cbr>\nField Medic\u003cbr>\nChynna\u003cbr>\nKatzù Oso\u003cbr>\nH.C. McEntire\u003cbr>\nHana Vu\u003cbr>\nHilary Woods\u003cbr>\nSwarvy\u003cbr>\nOuri\u003cbr>\nSunsleeper\u003cbr>\nSundressed\u003cbr>\nAlien Boy\u003cbr>\nGap Girls\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "empress-of-jeff-rosenstock-to-headline-this-years-20th-street-block-party",
"title": "Empress Of, Jeff Rosenstock to Headline This Year's 20th Street Block Party",
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"headTitle": "Empress Of, Jeff Rosenstock to Headline This Year’s 20th Street Block Party | KQED",
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"content": "\u003cp>Local concert promoters Noise Pop have announced the lineup for the sixth annual \u003ca href=\"http://www.20thstreetblockparty.com/\" rel=\"noopener\" target=\"_blank\">20th Street Block Party\u003c/a>, the free outdoor festival held in the Mission District.\u003c/p>\n\u003cp>Held Aug. 18, this year’s 20th Street Block Party features performances by Empress Of, Jeff Rosenstock, The Marias and other groups, with more to be announced in the near future.\u003c/p>\n\u003cp>Empress Of is the electro-synth-pop project of Latin American-singer songwriter Lorely Rodriguez, who’s currently working on the follow-up to her critically acclaimed debut album \u003ci>Me\u003c/i>; festival-goers should anticipate hearing new tracks.\u003c/p>\n\u003cfigure id=\"attachment_13835557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-800x534.jpg\" alt=\"On stage during the 2017 20th Street Block Party\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On stage during the 2017 20th Street Block Party. \u003ccite>(Paige K Parsons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 2018 20th Block Street Party lineup also includes several local groups, such as San Francisco “\u003ca href=\"https://theshes.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">all female rock and roll quartet\u003c/a>” The She’s, pop punkers \u003ca href=\"https://thetotalbettys.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">The Total Bettys\u003c/a> and \u003ca href=\"https://fantheband.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">FAN\u003c/a>, the new solo project from Meric Long, the singer/guitarist of the Dodos. \u003c/p>\n\u003cp>The final act on the bill will be revealed in the coming weeks, as it will be determined by a contest Noise Pop is holding with DoTheBay. The winner will perform first on the festival’s main stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival, which takes over the 20th Street corridor between Harrison and Bryant Streets, also features numerous food vendors and local artists. Over the past six years, the festival has grown into a massive event, drawing crowds over 20,000 and raising thousands for the Mission Language and Vocational School.\u003c/p>\n\u003cp>“We honestly love throwing on this event every summer, especially because it helps give back to our 20th Street neighborhood—the backyard to Noise Pop’s own offices,” Noise Pop general manager Dawson Ludwig said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To learn more about the festival, visit \u003ca href=\"http://www.20thstreetblockparty.com/\" rel=\"noopener\" target=\"_blank\">20thstreetblockparty.com\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Local concert promoters Noise Pop have announced the lineup for the sixth annual \u003ca href=\"http://www.20thstreetblockparty.com/\" rel=\"noopener\" target=\"_blank\">20th Street Block Party\u003c/a>, the free outdoor festival held in the Mission District.\u003c/p>\n\u003cp>Held Aug. 18, this year’s 20th Street Block Party features performances by Empress Of, Jeff Rosenstock, The Marias and other groups, with more to be announced in the near future.\u003c/p>\n\u003cp>Empress Of is the electro-synth-pop project of Latin American-singer songwriter Lorely Rodriguez, who’s currently working on the follow-up to her critically acclaimed debut album \u003ci>Me\u003c/i>; festival-goers should anticipate hearing new tracks.\u003c/p>\n\u003cfigure id=\"attachment_13835557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-800x534.jpg\" alt=\"On stage during the 2017 20th Street Block Party\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On stage during the 2017 20th Street Block Party. \u003ccite>(Paige K Parsons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 2018 20th Block Street Party lineup also includes several local groups, such as San Francisco “\u003ca href=\"https://theshes.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">all female rock and roll quartet\u003c/a>” The She’s, pop punkers \u003ca href=\"https://thetotalbettys.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">The Total Bettys\u003c/a> and \u003ca href=\"https://fantheband.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">FAN\u003c/a>, the new solo project from Meric Long, the singer/guitarist of the Dodos. \u003c/p>\n\u003cp>The final act on the bill will be revealed in the coming weeks, as it will be determined by a contest Noise Pop is holding with DoTheBay. The winner will perform first on the festival’s main stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival, which takes over the 20th Street corridor between Harrison and Bryant Streets, also features numerous food vendors and local artists. Over the past six years, the festival has grown into a massive event, drawing crowds over 20,000 and raising thousands for the Mission Language and Vocational School.\u003c/p>\n\u003cp>“We honestly love throwing on this event every summer, especially because it helps give back to our 20th Street neighborhood—the backyard to Noise Pop’s own offices,” Noise Pop general manager Dawson Ludwig said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To learn more about the festival, visit \u003ca href=\"http://www.20thstreetblockparty.com/\" rel=\"noopener\" target=\"_blank\">20thstreetblockparty.com\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Everything We Loved at Noise Pop 2018",
"headTitle": "Everything We Loved at Noise Pop 2018 | KQED",
"content": "\u003cp>The only unfortunate thing about Noise Pop is that it’s impossible to be everywhere at once throughout the week-long fest. With over eight shows happening per night in different corners of the Bay — and major headliners like Superchunk and Ty Dolla $ign playing at the same time — festival-goers have to make some tough calls. Everyone who chose another show over Madlib’s DJ set at the Mezzanine on Feb. 22, for instance, probably felt major FOMO when they found out Dave Chappelle and Yasiin Bey showed up on stage. (I know I did.)\u003c/p>\n\u003cp>Noise Pop has evolved considerably over the past 25 years. What started in 1993 as a one-day lineup now encompasses intimate club gigs with local musicians, chart-toppers in major concert halls, and underground legends in shows all around the Bay Area. This year’s edition continued Noise Pop’s \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" target=\"_blank\" rel=\"noopener\">embrace of hip-hop, R&B, and pop\u003c/a>, and even included some experimental and world music. Probably the most off-kilter event this year was the “sleep concert” by new age composer Robert Rich, where showgoers in sleeping bags spent the night at Gray Area while lulled into slumber with ambient electronics.\u003c/p>\n\u003cfigure id=\"attachment_13825544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg\" alt=\"The crowd gets ready for Robert Rich's Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gets ready for Robert Rich’s Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Along with KQED Arts’ senior editor Gabe Meline, contributor Montse Reyes, and photographer Estefany Gonzalez, I went to as many shows as I could handle this year. These are our highlights.\u003c/p>\n\u003cfigure id=\"attachment_13825591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg\" alt=\"Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Ty Dolla $ign Breaking Hearts with His Angelic Voice and Guitar Solo\u003c/h3>\n\u003cp>Ty Dolla $ign can turn up a club rapping about money and sex just as easily as he can move listeners to tears with his raspy, gospel-tinged falsetto, and he did both at the UC Theatre on Feb. 24. His high-energy performance showed why he’s one of the West Coast’s reigning hitmakers, bouncing from funky tracks like “Ex” to sweet serenades like “Don’t Judge Me,” nostalgic Top 40 hits like “Toot It and Boot It” and “Saved,” and club bangers like “Blase” and “Only Right.” As if his acrobatic voice alone wasn’t enough to prove his versatility, during a particularly sweet, emotional point in the show, Dolla climbed to the top of his stage setup and delivered a bluesy guitar solo as couples swayed and girls screamed. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg\" alt=\"Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13825617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Superchunk Finding the Fountain of Youth in Political Dissent\u003c/h3>\n\u003cp>Superchunk was \u003cem>on their game\u003c/em> at the Great American Music Hall. As he pogoed, kicked, soloed, dragged the mic stand around, banged his head and shouted to the ceiling, frontman Mac McCaughan made his case as the Dick Clark of indie rock, just an ageless ball of energy. The set drew heavily from the band’s new album \u003cem>What a Time to Be Alive\u003c/em> — directed at the current administration and “this f—king disaster of a country,” as MacCaughan said — while including blasts from the Clinton era like “Detroit Has a Skyline” and “Water Wings.” Just when it couldn’t get any better, Waxahatchee’s Katie Crutchfield showed up for a gorgeous duet on “Erasure,” and then it got even \u003cem>better\u003c/em> after that, with fan favorites “Driveway to Driveway,” “Cast Iron,” “The First Part,” “Mower” and more. The whole thing had a unifying feel to it; as McCaughan said at one point, “People living in glorious cities like San Francisco have the right idea about how people from all cultures can exist together.” \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg\" alt=\"Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Shabazz Palaces Beaming Their Audience into a Futuristic Dimension\u003c/h3>\n\u003cp>With distance, one often sees more clearly. On Feb. 21 at The Chapel, Shabazz Palaces and their disorienting, experimental hip-hop beamed the audience away from the terrestrial to get a better look at what is on the ground. Before the duo launched into “Gunbeat Falls,” a warning of “disturbing content ahead” flashed on screen, followed by clips of war, tanks, and missiles exploding in the sky. The song is a sprawling critique of capitalism and its ills — violence, imperialism, and ritualistic consumption. But like in the rest of their set, Ishmael Butler and Tendai Maraire weren’t employing their futuristic sensibilities to help the audience escape. Rather, they were patching in from their world to encourage attendees to reflect on the ugliness of our own. Still, in the end the song returned to why we were there in the first place, “the beat will always save us.” \u003cem>— Montse Reyes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg\" alt=\"Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tune-Yards’ Merrill Garbus Commanding a Forceful Presence\u003c/h3>\n\u003cp>Tune-Yards’ Merrill Garbus just \u003cem>moves\u003c/em> with a visceral musicality. At the Fox Theater on Feb. 23, she sang with a deep, resonant confidence, commanding her loop pedals and sample pads as if they were extensions of her body. Accompanied by a bassist and drummer, she delivered a funkified set imbued with a deep groove that had the audience moving the entire time. On “Powa,” one of her earlier tracks, she even hit a chill-inducing, Mariah-worthy falsetto. The only detraction from the performance’s fluidity was Garbus’ \u003ca href=\"https://www.npr.org/sections/allsongs/2018/01/19/578822264/tune-yards-merrill-garbus-pierces-her-own-privilege\" target=\"_blank\" rel=\"noopener\">cringeworthy track about being white\u003c/a>, “Colonizer.” I wished she had given a shout out to Black Lives Matter — or said something in solidarity with the anti-racist movement — instead of subjecting the audience to its navel-gazing, Macklemore-esque self-inquiry. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"file\" ids=\"13825278,13825589,13825593,13825581,13825573,13825572,13825570,13825566,13825551,13825543,13825542,13825530,13825516,13825515,13825439,13825433,13825423,13825538,13825428,13825418,13825291,13825296,13825290,13825287,13825285,13825276\" orderby=\"rand\"]\u003c/p>\n\u003ch3>Shamir Making Millennials Forget Their Generational Woes\u003c/h3>\n\u003cp>Shamir’s lo-fi guitar rock is as self-aware and incisive as it is dreamy and personal. In the middle of his Feb. 24 set at the Rickshaw Stop, the Las Vegas musician started into his cheeky ode to the ever-scrutinized millennials, “90s Kids.” \u003cem>We talk with vocal fry / We watch our futures die\u003c/em>, he sang in deceptively dulcet tones before railing against misconceptions of the generation, that millennials are “gross and vain,” cold, greedy, and dramatic. The audience, full of his peers, seemed to agree. They raised beer bottles and glasses for a toast in an endearing show of camaraderie. For now at least, any creeping dread about insurmountable student loans, living up to parental expectations, and making rent could be quelled by Shamir’s charm. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg\" alt=\"Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13825616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hearing a Pin Drop During Doug Martsch’s Solo Set\u003c/h3>\n\u003cp>Built to Spill had played \u003cem>Keep It Like a Secret\u003c/em> in its entirety to a sold-out Fillmore crowd the night before, but frontman Doug Martsch wasn’t done yet: his Feb. 21 solo acoustic set at the wood-paneled Swedish American Hall served as a nice afterglow. Along with folksy-bluesy numbers from his 2002 solo album \u003cem>Now You Know\u003c/em>, the show included Built to Spill favorites like “Big Dipper” and “Made-Up Dreams,” and the always-affable Martsch ended things with Wye Oak’s “Civilian,” performed with guest vocalist Kylee Swenson. Average Age of the Audience: 39. Most Common Place to See the Reflection of Overhead Lights: Doug Martsch’s balding crown. Relief in the Crowd That the Show Was Over Before 9:30pm: palpable. Chances That Indie Rock Will Age With Grace Instead of Entitlement and Crankiness: looking pretty good, actually. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\nhttps://www.instagram.com/p/BfjSVjiBKxR/?taken-by=imaneurope\n\u003c/div>\n\u003ch3>Iman Europe Stealing the Show at Cornerstone\u003c/h3>\n\u003cp>On Feb. 22, Caleborate packed Berkeley’s Cornerstone — the newly remodeled former pool hall — for an intimate set, performing his latest and most introspective album, \u003cem>Real Person\u003c/em>, in full. Caleborate is a masterful lyricist who makes his personal experiences feel vivid and relatable just as easily as he surprises listeners with clever turns of phrase. While Caleborate was warm and engaging with the audience, shouting out family members in attendance and even a performing a duet with his brother, Cash Campaign, who opened for him earlier, his set of \u003cem>Real Person\u003c/em>’s deep reflections had the pensive mood of sitting at home and writing in a journal. Performing before Caleborate, L.A. rapper-singer Iman Europe stole the show with her upbeat stage presence, infectious smile, and voice — rich, smoky, and an acquired taste, like a cup of good espresso. Europe seduced listeners with sexy R&B and then stopped them in their tracks with an a cappella freestyle, ending her set with “Oakland,” an homage to her favorite East Bay city. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825429\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825429\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg\" alt=\"Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jay Som Recreating the Comfort and Solitude of Our Bedrooms\u003c/h3>\n\u003cp>There are few spaces as quiet and sacred as one’s bedroom. At Gray Area on Feb. 22, openers lo-fi indie rockers Hand Habits brought the tender solitude a bedroom offers when one needs space to unravel. With Michelle Zauner of Japanese Breakfast’s sprightly energy, the stuccoed venue became an unfettered playground, the way your bedroom brings the comfort to exist without judgement. And the quiet, crushing vulnerability of Jay Som’s set brought to mind the way our bedrooms function like a museum of our lives — full of relics, secrets and baubles tied to distinct memories, both sweet and sad. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\nhttps://www.instagram.com/p/BflslTmFo7m/?hl=en&taken-by=cirrus_oxide\n\u003c/div>\n\u003ch3>Chuck Johnson, on Lap Steel, Putting Listeners in a Trance\u003c/h3>\n\u003cp>On Feb. 21 at Oakland’s Starline Social Club, Portland rockers Grails delivered an all-instrumental, guitar-driven set that was dark, psychedelic, and even a little funky, in the vein of Roger Waters’ playing on Pink Floyd’s \u003cem>The Wall\u003c/em>. But their stoic, bespectacled opener, Chuck Johnson, had the audience transfixed without so much as saying a single word on stage. At first, it was unclear what Johnson was doing when he gently tapped the strings of his lap steel and activated several delay and loop pedals. But as he created a cloud of shimmering reverb, he began to play a swaying, wistful melody that recalled the glitter of twinkling stars in a desert sky. It was a single composition from start to finish, and listeners were entranced. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n",
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"excerpt": "Photos and highlights from this year's festival, including Ty Dolla $ign, tUnE-yArDs, Shabazz Palaces, Superchunk, and more. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only unfortunate thing about Noise Pop is that it’s impossible to be everywhere at once throughout the week-long fest. With over eight shows happening per night in different corners of the Bay — and major headliners like Superchunk and Ty Dolla $ign playing at the same time — festival-goers have to make some tough calls. Everyone who chose another show over Madlib’s DJ set at the Mezzanine on Feb. 22, for instance, probably felt major FOMO when they found out Dave Chappelle and Yasiin Bey showed up on stage. (I know I did.)\u003c/p>\n\u003cp>Noise Pop has evolved considerably over the past 25 years. What started in 1993 as a one-day lineup now encompasses intimate club gigs with local musicians, chart-toppers in major concert halls, and underground legends in shows all around the Bay Area. This year’s edition continued Noise Pop’s \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" target=\"_blank\" rel=\"noopener\">embrace of hip-hop, R&B, and pop\u003c/a>, and even included some experimental and world music. Probably the most off-kilter event this year was the “sleep concert” by new age composer Robert Rich, where showgoers in sleeping bags spent the night at Gray Area while lulled into slumber with ambient electronics.\u003c/p>\n\u003cfigure id=\"attachment_13825544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg\" alt=\"The crowd gets ready for Robert Rich's Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gets ready for Robert Rich’s Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Along with KQED Arts’ senior editor Gabe Meline, contributor Montse Reyes, and photographer Estefany Gonzalez, I went to as many shows as I could handle this year. These are our highlights.\u003c/p>\n\u003cfigure id=\"attachment_13825591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg\" alt=\"Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Ty Dolla $ign Breaking Hearts with His Angelic Voice and Guitar Solo\u003c/h3>\n\u003cp>Ty Dolla $ign can turn up a club rapping about money and sex just as easily as he can move listeners to tears with his raspy, gospel-tinged falsetto, and he did both at the UC Theatre on Feb. 24. His high-energy performance showed why he’s one of the West Coast’s reigning hitmakers, bouncing from funky tracks like “Ex” to sweet serenades like “Don’t Judge Me,” nostalgic Top 40 hits like “Toot It and Boot It” and “Saved,” and club bangers like “Blase” and “Only Right.” As if his acrobatic voice alone wasn’t enough to prove his versatility, during a particularly sweet, emotional point in the show, Dolla climbed to the top of his stage setup and delivered a bluesy guitar solo as couples swayed and girls screamed. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg\" alt=\"Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13825617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Superchunk Finding the Fountain of Youth in Political Dissent\u003c/h3>\n\u003cp>Superchunk was \u003cem>on their game\u003c/em> at the Great American Music Hall. As he pogoed, kicked, soloed, dragged the mic stand around, banged his head and shouted to the ceiling, frontman Mac McCaughan made his case as the Dick Clark of indie rock, just an ageless ball of energy. The set drew heavily from the band’s new album \u003cem>What a Time to Be Alive\u003c/em> — directed at the current administration and “this f—king disaster of a country,” as MacCaughan said — while including blasts from the Clinton era like “Detroit Has a Skyline” and “Water Wings.” Just when it couldn’t get any better, Waxahatchee’s Katie Crutchfield showed up for a gorgeous duet on “Erasure,” and then it got even \u003cem>better\u003c/em> after that, with fan favorites “Driveway to Driveway,” “Cast Iron,” “The First Part,” “Mower” and more. The whole thing had a unifying feel to it; as McCaughan said at one point, “People living in glorious cities like San Francisco have the right idea about how people from all cultures can exist together.” \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg\" alt=\"Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Shabazz Palaces Beaming Their Audience into a Futuristic Dimension\u003c/h3>\n\u003cp>With distance, one often sees more clearly. On Feb. 21 at The Chapel, Shabazz Palaces and their disorienting, experimental hip-hop beamed the audience away from the terrestrial to get a better look at what is on the ground. Before the duo launched into “Gunbeat Falls,” a warning of “disturbing content ahead” flashed on screen, followed by clips of war, tanks, and missiles exploding in the sky. The song is a sprawling critique of capitalism and its ills — violence, imperialism, and ritualistic consumption. But like in the rest of their set, Ishmael Butler and Tendai Maraire weren’t employing their futuristic sensibilities to help the audience escape. Rather, they were patching in from their world to encourage attendees to reflect on the ugliness of our own. Still, in the end the song returned to why we were there in the first place, “the beat will always save us.” \u003cem>— Montse Reyes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg\" alt=\"Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tune-Yards’ Merrill Garbus Commanding a Forceful Presence\u003c/h3>\n\u003cp>Tune-Yards’ Merrill Garbus just \u003cem>moves\u003c/em> with a visceral musicality. At the Fox Theater on Feb. 23, she sang with a deep, resonant confidence, commanding her loop pedals and sample pads as if they were extensions of her body. Accompanied by a bassist and drummer, she delivered a funkified set imbued with a deep groove that had the audience moving the entire time. On “Powa,” one of her earlier tracks, she even hit a chill-inducing, Mariah-worthy falsetto. The only detraction from the performance’s fluidity was Garbus’ \u003ca href=\"https://www.npr.org/sections/allsongs/2018/01/19/578822264/tune-yards-merrill-garbus-pierces-her-own-privilege\" target=\"_blank\" rel=\"noopener\">cringeworthy track about being white\u003c/a>, “Colonizer.” I wished she had given a shout out to Black Lives Matter — or said something in solidarity with the anti-racist movement — instead of subjecting the audience to its navel-gazing, Macklemore-esque self-inquiry. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>Shamir Making Millennials Forget Their Generational Woes\u003c/h3>\n\u003cp>Shamir’s lo-fi guitar rock is as self-aware and incisive as it is dreamy and personal. In the middle of his Feb. 24 set at the Rickshaw Stop, the Las Vegas musician started into his cheeky ode to the ever-scrutinized millennials, “90s Kids.” \u003cem>We talk with vocal fry / We watch our futures die\u003c/em>, he sang in deceptively dulcet tones before railing against misconceptions of the generation, that millennials are “gross and vain,” cold, greedy, and dramatic. The audience, full of his peers, seemed to agree. They raised beer bottles and glasses for a toast in an endearing show of camaraderie. For now at least, any creeping dread about insurmountable student loans, living up to parental expectations, and making rent could be quelled by Shamir’s charm. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg\" alt=\"Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13825616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hearing a Pin Drop During Doug Martsch’s Solo Set\u003c/h3>\n\u003cp>Built to Spill had played \u003cem>Keep It Like a Secret\u003c/em> in its entirety to a sold-out Fillmore crowd the night before, but frontman Doug Martsch wasn’t done yet: his Feb. 21 solo acoustic set at the wood-paneled Swedish American Hall served as a nice afterglow. Along with folksy-bluesy numbers from his 2002 solo album \u003cem>Now You Know\u003c/em>, the show included Built to Spill favorites like “Big Dipper” and “Made-Up Dreams,” and the always-affable Martsch ended things with Wye Oak’s “Civilian,” performed with guest vocalist Kylee Swenson. Average Age of the Audience: 39. Most Common Place to See the Reflection of Overhead Lights: Doug Martsch’s balding crown. Relief in the Crowd That the Show Was Over Before 9:30pm: palpable. Chances That Indie Rock Will Age With Grace Instead of Entitlement and Crankiness: looking pretty good, actually. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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