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"content": "\u003cp>\u003ca href=\"https://www.spelllingmusic.com/\">SPELLLING\u003c/a> is an artist with her own multiverse. And while previous albums like \u003ci>The Turning Wheel\u003c/i> leaned into fantastical world-building and baroque instrumentation, the Oakland singer-songwriter strips that all away on her new release, \u003ca href=\"https://spellling.bandcamp.com/album/portrait-of-my-heart\">\u003ci>Portrait of My Heart\u003c/i>\u003c/a>. The 11-track project throttles at an exhilarating speed as SPELLLING leans into guitar-driven alternative rock to explore inner turmoil and conflicting desires.\u003c/p>\n\u003cp>On the title track, SPELLLING crescendoes to a wailing chorus of “I don’t belong here” — cathartically releasing self-doubt that’s come with following her artistic path. Meanwhile, the dark ballad “Destiny Arrives” foregrounds SPELLLING’s dynamic voice, at times dipping into a husky half-whisper, as she sings earnestly about suffering through obstacles. \u003ci>Portrait of My Heart\u003c/i> feels a little bit like System of a Down, a little bit like Kate Bush, and a little bit like Elphaba from \u003ci>Wicked\u003c/i>, yet stands firm in the signature SPELLLING sound that’s catapulted the singer from Oakland’s underground to the national stage.\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=2185729243/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>SPELLLING is taking \u003ci>Portrait of My Heart\u003c/i> on the road for a national tour that kicks off April 4 at San Francisco’s Great American Music Hall. Joining her on stage is a stripped-down ensemble drawn from her live band, the Mystery School: guitarist Wyatt Overson, who expertly modulates the album’s energy from minimalist riffs to maximalist guitar solos, and drummer Patrick Shelley and bassist Giulio Xavier Cetto, who provide a punchy, high-energy rhythm section.\u003c/p>\n\u003cp>https://youtu.be/VlUpWPRgaOI?si=OKrru8r3q0YUogVs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SPELLLING’s demos, which she writes alone with her guitar and synth, form the core of her creative process, but the artist built out the distortion-heavy sound of \u003ci>Portrait of My Heart\u003c/i> with a crew of venerable collaborators. Those include Bay Area-raised producer Rob Bisel, who helped SZA craft the smart R&B of \u003ci>SOS\u003c/i>, and Psymun, who’s assisted on Santigold’s crisp synth-pop and Yves Tumor’s grimy art-rock. Chaz Bear (a.k.a. \u003ca href=\"https://www.kqed.org/arts/13912444/toro-y-moi-new-album-mahal-bay-area-filipino\">Toro y Moi\u003c/a>) joined SPELLLING in the studio for “Mount Analogue,” a track with an ’80s lounge-singer vibe that wouldn’t sound out of place in a David Lynch film.\u003c/p>\n\u003cp>https://youtu.be/sEqrOuYakGg?si=JNf7NP-OoMS6zGwF\u003c/p>\n\u003cp>SPELLLING’s live shows usually ramp up those surrealist elements: To celebrate her last album, 2023’s \u003ca href=\"https://www.kqed.org/arts/13933887/spellling-mystery-school-sacred-bones-fairyland\">\u003cem>SPELLLING & the Mystery School\u003c/em>\u003c/a>, she booked a music festival at Oakland’s 75-year-old theme park, Children’s Fairyland, with Afrofuturist acts like the Sun Ra Arkestra. Her concerts tend to draw out those who once felt alienated like her — the queer, trans, Black and brown grown-up art kids, who might see themselves reflected in this portrait of SPELLLING’s heart.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>SPELLLING performs Friday, April 4, at the Great American Music Hall in San Francisco. \u003ca href=\"https://wl.seetickets.us/event/spellling/623859?afflky=GreatAmericanMusicHall\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.spelllingmusic.com/\">SPELLLING\u003c/a> is an artist with her own multiverse. And while previous albums like \u003ci>The Turning Wheel\u003c/i> leaned into fantastical world-building and baroque instrumentation, the Oakland singer-songwriter strips that all away on her new release, \u003ca href=\"https://spellling.bandcamp.com/album/portrait-of-my-heart\">\u003ci>Portrait of My Heart\u003c/i>\u003c/a>. The 11-track project throttles at an exhilarating speed as SPELLLING leans into guitar-driven alternative rock to explore inner turmoil and conflicting desires.\u003c/p>\n\u003cp>On the title track, SPELLLING crescendoes to a wailing chorus of “I don’t belong here” — cathartically releasing self-doubt that’s come with following her artistic path. Meanwhile, the dark ballad “Destiny Arrives” foregrounds SPELLLING’s dynamic voice, at times dipping into a husky half-whisper, as she sings earnestly about suffering through obstacles. \u003ci>Portrait of My Heart\u003c/i> feels a little bit like System of a Down, a little bit like Kate Bush, and a little bit like Elphaba from \u003ci>Wicked\u003c/i>, yet stands firm in the signature SPELLLING sound that’s catapulted the singer from Oakland’s underground to the national stage.\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=2185729243/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>SPELLLING is taking \u003ci>Portrait of My Heart\u003c/i> on the road for a national tour that kicks off April 4 at San Francisco’s Great American Music Hall. Joining her on stage is a stripped-down ensemble drawn from her live band, the Mystery School: guitarist Wyatt Overson, who expertly modulates the album’s energy from minimalist riffs to maximalist guitar solos, and drummer Patrick Shelley and bassist Giulio Xavier Cetto, who provide a punchy, high-energy rhythm section.\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/VlUpWPRgaOI'\n title='//www.youtube.com/embed/VlUpWPRgaOI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SPELLLING’s demos, which she writes alone with her guitar and synth, form the core of her creative process, but the artist built out the distortion-heavy sound of \u003ci>Portrait of My Heart\u003c/i> with a crew of venerable collaborators. Those include Bay Area-raised producer Rob Bisel, who helped SZA craft the smart R&B of \u003ci>SOS\u003c/i>, and Psymun, who’s assisted on Santigold’s crisp synth-pop and Yves Tumor’s grimy art-rock. Chaz Bear (a.k.a. \u003ca href=\"https://www.kqed.org/arts/13912444/toro-y-moi-new-album-mahal-bay-area-filipino\">Toro y Moi\u003c/a>) joined SPELLLING in the studio for “Mount Analogue,” a track with an ’80s lounge-singer vibe that wouldn’t sound out of place in a David Lynch film.\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/sEqrOuYakGg'\n title='//www.youtube.com/embed/sEqrOuYakGg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>SPELLLING’s live shows usually ramp up those surrealist elements: To celebrate her last album, 2023’s \u003ca href=\"https://www.kqed.org/arts/13933887/spellling-mystery-school-sacred-bones-fairyland\">\u003cem>SPELLLING & the Mystery School\u003c/em>\u003c/a>, she booked a music festival at Oakland’s 75-year-old theme park, Children’s Fairyland, with Afrofuturist acts like the Sun Ra Arkestra. Her concerts tend to draw out those who once felt alienated like her — the queer, trans, Black and brown grown-up art kids, who might see themselves reflected in this portrait of SPELLLING’s heart.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>SPELLLING performs Friday, April 4, at the Great American Music Hall in San Francisco. \u003ca href=\"https://wl.seetickets.us/event/spellling/623859?afflky=GreatAmericanMusicHall\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SPELLLING Leans Into Fantasy to Find Her Sound — and Herself",
"headTitle": "SPELLLING Leans Into Fantasy to Find Her Sound — and Herself | KQED",
"content": "\u003cp>With algorithms constantly quantifying our tastes and habits, it’s freeing to remember that little is truly known about some dimensions of the human experience. \u003ca href=\"https://spellling.bandcamp.com/\">SPELLLING\u003c/a> turns to her most trusted divination tools to tap into the spiritual realm: her synthesizer, her tarot cards and her intuition.\u003c/p>\n\u003cp>Since her critically acclaimed 2017 debut \u003ca href=\"https://spellling.bandcamp.com/album/pantheon-of-me-2\">\u003ci>Pantheon of Me\u003c/i>\u003c/a>, SPELLLING, born Chrystia Cabral, has evolved from a singer-songwriter into a bandleader and producer with her own cosmography. With the help of her mega-talented live band, her new album \u003ci>SPELLLING & the Mystery School\u003c/i> (out today via \u003ca href=\"https://www.sacredbonesrecords.com/\">Sacred Bones\u003c/a>) reimagines beloved tracks from \u003ci>Pantheon\u003c/i>, 2018’s haunting \u003ca href=\"https://spellling.bandcamp.com/album/mazy-fly\">\u003ci>Mazy Fly\u003c/i>\u003c/a> and her most ambitious project yet, 2021’s dark, orchestral \u003ca href=\"https://spellling.bandcamp.com/album/the-turning-wheel\">\u003ci>The Turning Wheel\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3464162172/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>To celebrate, on Sept. 16 Cabral is throwing a mini festival after hours at Oakland’s 73-year-old theme park, Children’s Fairyland. The enchanted evening is fittingly titled \u003ca href=\"https://www.eventbrite.com/e/through-the-looking-glass-an-evening-with-spellling-friends-tickets-663304911847\">Through the Looking Glass\u003c/a>, and features performances by Afrofuturist ensemble \u003ca href=\"https://www.sunraarkestra.com/\">Sun Ra Arkestra\u003c/a>, spiritual griot \u003ca href=\"https://www.youtube.com/watch?v=apUE3nAeszw\">Laraaji\u003c/a>, art rocker \u003ca href=\"https://www.instagram.com/a_r_o_m_a_/?hl=en\">AroMa\u003c/a> and more. Much like SPELLLING’s music, Cabral’s curation flows through styles and eras, paying homage to the lineage of Black artists who use fantasy to understand themselves and assert their place in the universe.\u003c/p>\n\u003cp>It’s certainly been a powerful tool for Cabral. “I struggled a lot through my youth with coping and being in an awkward position as a biracial, mixed, weird, freaky person and growing up in the suburbs in Sacramento,” she says. “I lived in an internal world.”\u003c/p>\n\u003cfigure id=\"attachment_13933894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933894\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-800x533.jpg\" alt=\"A person in a crop top stands on a staircase beside some windows smiling at the camera.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Cabral stands for a portrait in her home in Oakland, Calif., on Thursday, August 10, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Cabral has evolved from a shy kid into a musician captivating international audiences without sacrificing her unorthodox vision. “Something that I can 100% stand by is that you can radically reshape who you are and what you want to do with fantasy,” she reflects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During our interview on a recent afternoon, Cabral looks like a sorceress on her day off, with a \u003ci>Twilight Zone\u003c/i> vortex pattern on her T-shirt and glitter on her eyelids. She’s reclining on the couch, cuddling her two rescue dogs, Chani and Cooper, in her light-filled, artfully curated Oakland loft apartment. Small piles of books sit on nearly every flat surface — science fiction by Ursula K. Le Guin, a tarot guide by Alejandro Jodorowsky and Rick Rubin’s meditation on creativity.\u003c/p>\n\u003cfigure id=\"attachment_13933892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-800x533.jpg\" alt=\"A young woman cuddles on the couch with her dog in a light-filled, loft-style apartment. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Cabral, known as SPELLLING, sits for a portrait with her dog Chani at her home in Oakland, Calif., on Thursday, August 10, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upstairs, analog synths, guitars and a violin line the walls of Cabral’s small attic studio. Her musical ideas start here before she brings them to her ensemble, composed of string players Del Sol Quartet and Divya Farias, pianist Jaren Feeley, percussionist Patrick Shelley, bassist Giulio Xavier Cetto, guitarist Wyatt Overson and vocalists Toya Willock and Dharma Moon-Hunter. Together, the musicians interlace jazz, soul and classic rock influences, with Cabral’s eerie, minor-key synth playing enveloping their instrumentation in a spiderweb of darkness. [aside postid='arts_13931047']\u003c/p>\n\u003cp>“She has it all in her ears, which is very cool to see. She’s very good at hearing it all already, and then telling you how she wants it to go,” says bassist Cetto, who has played with contemporary jazz stars like Theo Crocker and Kassa Overall. “I feel like there’s a whole SPELLLING sound now.”\u003c/p>\n\u003cp>On \u003ci>SPELLLING & the Mystery School\u003c/i>, the band’s collaborative process adds dimension to the striking “Haunted Water,” whose wailing vocals and crescendo of drums conjure the restless spirits of the enslaved people who perished in the Atlantic Ocean. A teetering electric guitar melody builds suspense on “Cherry,” which Cabral reveals is about connecting with her “animalistic side,” submitting to her “desires as a woman and as a free person in this world.”\u003c/p>\n\u003cp>“It’s a hot girl anthem,” Cabral laughs.\u003c/p>\n\u003cfigure id=\"attachment_13933891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Cabral plays her synth as her dogs Cooper and Chani sit nearby in her studio in Oakland, Calif., on Thursday, August 10, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another track reimagined on \u003ci>Mystery School\u003c/i>, “Boys at School,” with its Pink Floyd-esque guitar solo, has become a rallying cry for her fans. Many of the people at SPELLLING shows are young, queer, trans, female, Black and brown, and they seem to identify deeply with the way Cabral conveys her frustration about a lifetime of feeling misunderstood. “I hate the boys at school,” sang a sold-out audience last Halloween at The Independent, letting out a howl of collective angst.\u003c/p>\n\u003cp>Depending on the listener, the “boys” could represent any force that keeps us down. “The whole institution — I feel like that’s what it represents,” Cabral says. “The things that feel like they have to be, for whatever reason, because of tradition or because of patriarchy as a whole — things that just go unchecked.”\u003c/p>\n\u003cp>And that’s the beauty of SPELLLING’s music — as if beckoning us through the looking glass, it offers us a new lens through which to examine our lives and our histories, and imagine new versions of ourselves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13849223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/Guitar.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/through-the-looking-glass-an-evening-with-spellling-friends-tickets-663304911847\">Through the Looking Glass\u003c/a>, curated by SPELLLING, Sacred Bones and Atlas Obscura, takes place Sept. 16 at Children’s Fairyland in Oakland. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Imagination is a key to liberation on her new album, ‘SPELLLING & the Mystery School.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With algorithms constantly quantifying our tastes and habits, it’s freeing to remember that little is truly known about some dimensions of the human experience. \u003ca href=\"https://spellling.bandcamp.com/\">SPELLLING\u003c/a> turns to her most trusted divination tools to tap into the spiritual realm: her synthesizer, her tarot cards and her intuition.\u003c/p>\n\u003cp>Since her critically acclaimed 2017 debut \u003ca href=\"https://spellling.bandcamp.com/album/pantheon-of-me-2\">\u003ci>Pantheon of Me\u003c/i>\u003c/a>, SPELLLING, born Chrystia Cabral, has evolved from a singer-songwriter into a bandleader and producer with her own cosmography. With the help of her mega-talented live band, her new album \u003ci>SPELLLING & the Mystery School\u003c/i> (out today via \u003ca href=\"https://www.sacredbonesrecords.com/\">Sacred Bones\u003c/a>) reimagines beloved tracks from \u003ci>Pantheon\u003c/i>, 2018’s haunting \u003ca href=\"https://spellling.bandcamp.com/album/mazy-fly\">\u003ci>Mazy Fly\u003c/i>\u003c/a> and her most ambitious project yet, 2021’s dark, orchestral \u003ca href=\"https://spellling.bandcamp.com/album/the-turning-wheel\">\u003ci>The Turning Wheel\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3464162172/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>To celebrate, on Sept. 16 Cabral is throwing a mini festival after hours at Oakland’s 73-year-old theme park, Children’s Fairyland. The enchanted evening is fittingly titled \u003ca href=\"https://www.eventbrite.com/e/through-the-looking-glass-an-evening-with-spellling-friends-tickets-663304911847\">Through the Looking Glass\u003c/a>, and features performances by Afrofuturist ensemble \u003ca href=\"https://www.sunraarkestra.com/\">Sun Ra Arkestra\u003c/a>, spiritual griot \u003ca href=\"https://www.youtube.com/watch?v=apUE3nAeszw\">Laraaji\u003c/a>, art rocker \u003ca href=\"https://www.instagram.com/a_r_o_m_a_/?hl=en\">AroMa\u003c/a> and more. Much like SPELLLING’s music, Cabral’s curation flows through styles and eras, paying homage to the lineage of Black artists who use fantasy to understand themselves and assert their place in the universe.\u003c/p>\n\u003cp>It’s certainly been a powerful tool for Cabral. “I struggled a lot through my youth with coping and being in an awkward position as a biracial, mixed, weird, freaky person and growing up in the suburbs in Sacramento,” she says. “I lived in an internal world.”\u003c/p>\n\u003cfigure id=\"attachment_13933894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933894\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-800x533.jpg\" alt=\"A person in a crop top stands on a staircase beside some windows smiling at the camera.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67830_20230810-Spellling-36-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Cabral stands for a portrait in her home in Oakland, Calif., on Thursday, August 10, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Cabral has evolved from a shy kid into a musician captivating international audiences without sacrificing her unorthodox vision. “Something that I can 100% stand by is that you can radically reshape who you are and what you want to do with fantasy,” she reflects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During our interview on a recent afternoon, Cabral looks like a sorceress on her day off, with a \u003ci>Twilight Zone\u003c/i> vortex pattern on her T-shirt and glitter on her eyelids. She’s reclining on the couch, cuddling her two rescue dogs, Chani and Cooper, in her light-filled, artfully curated Oakland loft apartment. Small piles of books sit on nearly every flat surface — science fiction by Ursula K. Le Guin, a tarot guide by Alejandro Jodorowsky and Rick Rubin’s meditation on creativity.\u003c/p>\n\u003cfigure id=\"attachment_13933892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-800x533.jpg\" alt=\"A young woman cuddles on the couch with her dog in a light-filled, loft-style apartment. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67817_20230810-Spellling-22-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Cabral, known as SPELLLING, sits for a portrait with her dog Chani at her home in Oakland, Calif., on Thursday, August 10, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upstairs, analog synths, guitars and a violin line the walls of Cabral’s small attic studio. Her musical ideas start here before she brings them to her ensemble, composed of string players Del Sol Quartet and Divya Farias, pianist Jaren Feeley, percussionist Patrick Shelley, bassist Giulio Xavier Cetto, guitarist Wyatt Overson and vocalists Toya Willock and Dharma Moon-Hunter. Together, the musicians interlace jazz, soul and classic rock influences, with Cabral’s eerie, minor-key synth playing enveloping their instrumentation in a spiderweb of darkness. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She has it all in her ears, which is very cool to see. She’s very good at hearing it all already, and then telling you how she wants it to go,” says bassist Cetto, who has played with contemporary jazz stars like Theo Crocker and Kassa Overall. “I feel like there’s a whole SPELLLING sound now.”\u003c/p>\n\u003cp>On \u003ci>SPELLLING & the Mystery School\u003c/i>, the band’s collaborative process adds dimension to the striking “Haunted Water,” whose wailing vocals and crescendo of drums conjure the restless spirits of the enslaved people who perished in the Atlantic Ocean. A teetering electric guitar melody builds suspense on “Cherry,” which Cabral reveals is about connecting with her “animalistic side,” submitting to her “desires as a woman and as a free person in this world.”\u003c/p>\n\u003cp>“It’s a hot girl anthem,” Cabral laughs.\u003c/p>\n\u003cfigure id=\"attachment_13933891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67807_20230810-Spellling-12-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Cabral plays her synth as her dogs Cooper and Chani sit nearby in her studio in Oakland, Calif., on Thursday, August 10, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another track reimagined on \u003ci>Mystery School\u003c/i>, “Boys at School,” with its Pink Floyd-esque guitar solo, has become a rallying cry for her fans. Many of the people at SPELLLING shows are young, queer, trans, female, Black and brown, and they seem to identify deeply with the way Cabral conveys her frustration about a lifetime of feeling misunderstood. “I hate the boys at school,” sang a sold-out audience last Halloween at The Independent, letting out a howl of collective angst.\u003c/p>\n\u003cp>Depending on the listener, the “boys” could represent any force that keeps us down. “The whole institution — I feel like that’s what it represents,” Cabral says. “The things that feel like they have to be, for whatever reason, because of tradition or because of patriarchy as a whole — things that just go unchecked.”\u003c/p>\n\u003cp>And that’s the beauty of SPELLLING’s music — as if beckoning us through the looking glass, it offers us a new lens through which to examine our lives and our histories, and imagine new versions of ourselves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13849223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/Guitar.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/through-the-looking-glass-an-evening-with-spellling-friends-tickets-663304911847\">Through the Looking Glass\u003c/a>, curated by SPELLLING, Sacred Bones and Atlas Obscura, takes place Sept. 16 at Children’s Fairyland in Oakland. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Concerts Not to Miss This Fall",
"headTitle": "Bay Area Concerts Not to Miss This Fall | KQED",
"content": "\u003cp>\u003cstrong>Update, Aug. 21, 2023: \u003c/strong>The \u003ca href=\"https://concerts.livenation.com/lights-on-festival-mountain-view-california-09-16-2023/event/1C005ED501CE7C4D\">Lights On Festival\u003c/a> in Mountain View, previously included in this roundup, is now canceled.\u003c/p>\n\u003cp>The best thing about living the Bay Area is that just when summer feels like it’s ending, we get hit with an extra two months of warm weather — and a fresh slate of festivals, concerts and dance parties. Here are 10 must-see fall shows to get on your calendar.\u003c/p>\n\u003cfigure id=\"attachment_13933308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1344570056-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1344570056-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1344570056-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1344570056-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1344570056-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1344570056.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat performs during weekend one of Austin City Limits Music Festival at Zilker Park on October 02, 2021 in Austin, Texas. \u003ccite>(Photo by Erika Goldring/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ticketmaster.com/doja-cat-the-scarlet-tour-san-francisco-california-10-31-2023/event/1C005ED4F97764E5\">Doja Cat\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 31, 2023\u003cbr>\nChase Center, San Francisco\u003cbr>\n$140+\u003c/em>\u003c/p>\n\u003cp>Doja Cat’s had an incredible rise from SoundCloud standout to viral sensation to international pop superstar, and signs suggest that the next phase of her career will be her most expressive and hard-hitting yet. With her recently shaved head, cinematic music videos and bars that remind everyone she can \u003ci>rap\u003c/i> rap, it’s clear that she doesn’t want to play into a cookie-cutter pop mold, and Halloween is a perfect occasion to see this shapeshifting mastermind.\u003c/p>\n\u003cfigure id=\"attachment_12278228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12278228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/13th_01-800x450.jpg\" alt=\"Angela Davis speaks inside West Oakland's abandoned 16th Street train station, in a still from Ava DuVernay's '13th.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Davis speaks inside West Oakland’s abandoned 16th Street train station, in a still from Ava DuVernay’s ’13th.’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/artist/angela-davis/\">Playlist: Angela Y. Davis at Oakland Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 21, 2023\u003c/em>\u003cbr>\n\u003cem>Paramount Theatre, Oakland\u003c/em>\u003cbr>\n\u003cem>$40–$125\u003c/em>\u003c/p>\n\u003cp>What music gave Angela Davis strength to survive imprisonment on false charges in the early ’70s, when she was a member of the Black Panther Party? What did she listen to as she prepared her lectures on feminism and African American studies at UC Santa Cruz, or sat down to pen her best-selling books on prison abolition? Fans will find out when the world-renowned activist and scholar curates one of the Oakland Symphony’s \u003ci>Playlist\u003c/i> concerts, a series started by the late conductor Michael Morgan where prominent culture-makers select songs for the orchestra to reimagine. Comedian W. Kamau Bell will host.\u003c/p>\n\u003cfigure id=\"attachment_13805273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/08/LittleDragon.MAIN_-800x450.jpg\" alt=\"Little Dragon performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Little Dragon performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://portolamusicfestival.com/\">Portola Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 30 and Oct. 1\u003c/em>\u003cbr>\n\u003cem>Pier 80, San Francisco\u003c/em>\u003cbr>\n\u003cem>$229.95+ single day, $359.95+ two-day\u003c/em>\u003c/p>\n\u003cp>Portola is designed for open-minded ravers and partiers. You have house music legends Armand Van Helden and Chris Lake going back to back; Tokischa, the Dominican sex siren of dembow and reggaeton; a Basement Jaxx DJ set; one of the UK’s finest MCs, Little Simz; cult-favorite indie band Little Dragon; and Skrillex. These artists don’t have a ton in common on the surface, but all of them are bound to have party-goers sweating on the dance floor.\u003c/p>\n\u003cfigure id=\"attachment_13933307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1214366877-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1214366877-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1214366877-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1214366877-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1214366877-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1214366877.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">American Blues musician Christone ‘Kingfish’ Ingram plays guitar as he performs onstage at Buddy Guy’s Legends nightclub, Chicago, Illinois, January 11, 2020. \u003ccite>( Paul Natkin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 29–Oct. 1\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>As concert ticket prices continue to rise, it’s become even more clear how much of a San Francisco treasure Hardly Strictly is. The 23rd annual free festival celebrates bluegrass, roots music and more, with a lineup of fiery up-and-comers like blues singer-guitarist Christone “Kingfish” Ingram and veterans like country-punk band Lucero. Phases and one and two of the lineup have already been announced, and phase three should be dropping any day now.\u003c/p>\n\u003cfigure id=\"attachment_13849392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849392\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/ShyanG.MAIN_-800x450.jpg\" alt=\"Shy'an G's new EP, 'The Reset,' finds the East Bay artist jumping into a life with the top down.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shy’an G. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.artandsouloakland.com/\">Art + Soul\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2023\u003c/em>\u003cbr>\n\u003cem>Frank Ogawa Plaza, Oakland\u003c/em>\u003cbr>\n\u003cem>Free\u003c/em>\u003c/p>\n\u003cp>The popular, family-friendly Oakland street fair Art + Soul joins forces with AfroComicCon this year for a weekend of music, comics, graphic novels and art. Headliners include the lauded hip-hop duo Latyrx and special guests, Grammy-winning children’s music group Alphabet Rockers and the Women in Hip-Hop Revue, which includes a heavy-hitting, diverse lineup of Suga-T, RyanNicole, Coco Peila, Dakini Star, GinaMadrid, Breathless, Shy’an G and Versoul, with DJ LadyRyan behind the decks.\u003c/p>\n\u003cfigure id=\"attachment_13917247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/through-the-looking-glass-an-evening-with-spellling-friends-tickets-663304911847\">Through the Looking Glass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 16, 2023\u003cbr>\nChildren’s Fairyland, Oakland\u003cbr>\n$70–$85\u003c/em>\u003c/p>\n\u003cp>Oakland artist Spellling has a gift for transporting listeners into magical realms, both with her mythical lyrics and her band’s otherworldly instrumentation. She draws from a long legacy of experimental, spiritual Black music — a legacy she’ll connect to at her own festival, Through the Looking Glass, which also stars Afrofuturism purveyors Sun Ra Arkestra, Laraaji, Zachary James Watkins, AroMa and more. The event will transform Children’s Fairyland into an adult playground of imagination and top-tier artistry.\u003c/p>\n\u003cfigure id=\"attachment_13898239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898239\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/fantastic_negrito_at_crossing_border_by-Peter-Koudstaal-1-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Grammy-winning blues-rock artist Fantastic Negrito. \u003ccite>(Peter Koudstaal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://dockofbayfest.com/\">Dock of the Bay Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 9 and 10, 2023\u003c/em>\u003cbr>\n\u003cem>Mare Island\u003c/em>\u003cbr>\n\u003cem>Single day $95+\u003c/em>\u003c/p>\n\u003cp>Funk and soul lovers can two-step on the waterfront at Dock of the Bay Festival, which brings together boogie hitmakers Morris Day and the Time, funk legends Average White Band and Bay Area favorites like Grammy-winning blues-rocker Fantastic Negrito and soul revivalists Monophonics. Expect danceable grooves and instrumental excellence.\u003c/p>\n\u003cfigure id=\"attachment_13842816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842816\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_4331-800x533.jpg\" alt=\"Lord Huron perform at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4331.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4331-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4331-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4331-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4331-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4331-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lord Huron perform at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.soundsummit.net/\">Sound Summit\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 9, 2023\u003c/em>\u003cbr>\n\u003cem>Mountain Theater, Mount Tamalpais State Park\u003c/em>\u003cbr>\n\u003cem>$120+\u003c/em>\u003c/p>\n\u003cp>On a mountaintop among frolicking chipmunks, underneath circling hawks, Sound Summit brings a day of indie rock and folk to one of the Bay Area’s most spectacular view spots: Mount Tam. This year festival-goers will hear the ballads of Lord Huron, Sierra Ferrell’s genre-bending explorations of jazz and calypso, Kevin Morby’s twangy garage punk, country supergroup Brokedown in Bakersfield and Mill Valley salsa, Afrobeat, reggae and funk band Vinyl. Remember to pack in, pack out and leave no trace.\u003c/p>\n\u003cfigure id=\"attachment_13865652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/Hiero-Day-2019-1433-800x450.jpg\" alt=\"Hieroglyphics on stage at Hiero Day 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics on stage at Hiero Day 2019. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hieroday.com/\">Hiero Day\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 4, 2023\u003c/em>\u003cbr>\n\u003cem>Frank Ogawa Plaza\u003c/em>\u003cbr>\n\u003cem>Free\u003c/em>\u003c/p>\n\u003cp>Hip-hop’s 50th anniversary coincides with the 30th anniversary of Souls of Mischief’s essential album \u003ci>’93 ’til Infinity\u003c/i>, so 2023 promises an auspicious Hiero Day. This year, the intergenerational, homegrown hip-hop festival moves from Jack London Square to Frank Ogawa Plaza, and is free with RSVP. The lineup so far includes Hieroglyphics with special guest Common, Breakbeat Lou, Paris, Abstract Rude, Lil Blood and more, with additional artists soon to be announced. \u003ca href=\"https://www.instagram.com/p/Cv2wb-bvnkF/\">Several pre-Hiero Day events\u003c/a> — including a Souls of Mischief mural reveal — are planned at Hungry Ghost Studio, Moxy, Crybaby and more, and an afterparty at is slated for Crybaby on Sept. 4.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Hiero Day is free; Angela Davis curates a night at the symphony; and more. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Aug. 21, 2023: \u003c/strong>The \u003ca href=\"https://concerts.livenation.com/lights-on-festival-mountain-view-california-09-16-2023/event/1C005ED501CE7C4D\">Lights On Festival\u003c/a> in Mountain View, previously included in this roundup, is now canceled.\u003c/p>\n\u003cp>The best thing about living the Bay Area is that just when summer feels like it’s ending, we get hit with an extra two months of warm weather — and a fresh slate of festivals, concerts and dance parties. Here are 10 must-see fall shows to get on your calendar.\u003c/p>\n\u003cfigure id=\"attachment_13933308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1344570056-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1344570056-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1344570056-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1344570056-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1344570056-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1344570056.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat performs during weekend one of Austin City Limits Music Festival at Zilker Park on October 02, 2021 in Austin, Texas. \u003ccite>(Photo by Erika Goldring/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ticketmaster.com/doja-cat-the-scarlet-tour-san-francisco-california-10-31-2023/event/1C005ED4F97764E5\">Doja Cat\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 31, 2023\u003cbr>\nChase Center, San Francisco\u003cbr>\n$140+\u003c/em>\u003c/p>\n\u003cp>Doja Cat’s had an incredible rise from SoundCloud standout to viral sensation to international pop superstar, and signs suggest that the next phase of her career will be her most expressive and hard-hitting yet. With her recently shaved head, cinematic music videos and bars that remind everyone she can \u003ci>rap\u003c/i> rap, it’s clear that she doesn’t want to play into a cookie-cutter pop mold, and Halloween is a perfect occasion to see this shapeshifting mastermind.\u003c/p>\n\u003cfigure id=\"attachment_12278228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12278228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/13th_01-800x450.jpg\" alt=\"Angela Davis speaks inside West Oakland's abandoned 16th Street train station, in a still from Ava DuVernay's '13th.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/13th_01-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Davis speaks inside West Oakland’s abandoned 16th Street train station, in a still from Ava DuVernay’s ’13th.’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/artist/angela-davis/\">Playlist: Angela Y. Davis at Oakland Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 21, 2023\u003c/em>\u003cbr>\n\u003cem>Paramount Theatre, Oakland\u003c/em>\u003cbr>\n\u003cem>$40–$125\u003c/em>\u003c/p>\n\u003cp>What music gave Angela Davis strength to survive imprisonment on false charges in the early ’70s, when she was a member of the Black Panther Party? What did she listen to as she prepared her lectures on feminism and African American studies at UC Santa Cruz, or sat down to pen her best-selling books on prison abolition? Fans will find out when the world-renowned activist and scholar curates one of the Oakland Symphony’s \u003ci>Playlist\u003c/i> concerts, a series started by the late conductor Michael Morgan where prominent culture-makers select songs for the orchestra to reimagine. Comedian W. Kamau Bell will host.\u003c/p>\n\u003cfigure id=\"attachment_13805273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/08/LittleDragon.MAIN_-800x450.jpg\" alt=\"Little Dragon performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/LittleDragon.MAIN_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Little Dragon performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://portolamusicfestival.com/\">Portola Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 30 and Oct. 1\u003c/em>\u003cbr>\n\u003cem>Pier 80, San Francisco\u003c/em>\u003cbr>\n\u003cem>$229.95+ single day, $359.95+ two-day\u003c/em>\u003c/p>\n\u003cp>Portola is designed for open-minded ravers and partiers. You have house music legends Armand Van Helden and Chris Lake going back to back; Tokischa, the Dominican sex siren of dembow and reggaeton; a Basement Jaxx DJ set; one of the UK’s finest MCs, Little Simz; cult-favorite indie band Little Dragon; and Skrillex. These artists don’t have a ton in common on the surface, but all of them are bound to have party-goers sweating on the dance floor.\u003c/p>\n\u003cfigure id=\"attachment_13933307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1214366877-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1214366877-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1214366877-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1214366877-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1214366877-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1214366877.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">American Blues musician Christone ‘Kingfish’ Ingram plays guitar as he performs onstage at Buddy Guy’s Legends nightclub, Chicago, Illinois, January 11, 2020. \u003ccite>( Paul Natkin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 29–Oct. 1\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>As concert ticket prices continue to rise, it’s become even more clear how much of a San Francisco treasure Hardly Strictly is. The 23rd annual free festival celebrates bluegrass, roots music and more, with a lineup of fiery up-and-comers like blues singer-guitarist Christone “Kingfish” Ingram and veterans like country-punk band Lucero. Phases and one and two of the lineup have already been announced, and phase three should be dropping any day now.\u003c/p>\n\u003cfigure id=\"attachment_13849392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849392\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/ShyanG.MAIN_-800x450.jpg\" alt=\"Shy'an G's new EP, 'The Reset,' finds the East Bay artist jumping into a life with the top down.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shy’an G. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.artandsouloakland.com/\">Art + Soul\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2023\u003c/em>\u003cbr>\n\u003cem>Frank Ogawa Plaza, Oakland\u003c/em>\u003cbr>\n\u003cem>Free\u003c/em>\u003c/p>\n\u003cp>The popular, family-friendly Oakland street fair Art + Soul joins forces with AfroComicCon this year for a weekend of music, comics, graphic novels and art. Headliners include the lauded hip-hop duo Latyrx and special guests, Grammy-winning children’s music group Alphabet Rockers and the Women in Hip-Hop Revue, which includes a heavy-hitting, diverse lineup of Suga-T, RyanNicole, Coco Peila, Dakini Star, GinaMadrid, Breathless, Shy’an G and Versoul, with DJ LadyRyan behind the decks.\u003c/p>\n\u003cfigure id=\"attachment_13917247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/through-the-looking-glass-an-evening-with-spellling-friends-tickets-663304911847\">Through the Looking Glass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 16, 2023\u003cbr>\nChildren’s Fairyland, Oakland\u003cbr>\n$70–$85\u003c/em>\u003c/p>\n\u003cp>Oakland artist Spellling has a gift for transporting listeners into magical realms, both with her mythical lyrics and her band’s otherworldly instrumentation. She draws from a long legacy of experimental, spiritual Black music — a legacy she’ll connect to at her own festival, Through the Looking Glass, which also stars Afrofuturism purveyors Sun Ra Arkestra, Laraaji, Zachary James Watkins, AroMa and more. The event will transform Children’s Fairyland into an adult playground of imagination and top-tier artistry.\u003c/p>\n\u003cfigure id=\"attachment_13898239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898239\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/fantastic_negrito_at_crossing_border_by-Peter-Koudstaal-1-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Grammy-winning blues-rock artist Fantastic Negrito. \u003ccite>(Peter Koudstaal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://dockofbayfest.com/\">Dock of the Bay Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 9 and 10, 2023\u003c/em>\u003cbr>\n\u003cem>Mare Island\u003c/em>\u003cbr>\n\u003cem>Single day $95+\u003c/em>\u003c/p>\n\u003cp>Funk and soul lovers can two-step on the waterfront at Dock of the Bay Festival, which brings together boogie hitmakers Morris Day and the Time, funk legends Average White Band and Bay Area favorites like Grammy-winning blues-rocker Fantastic Negrito and soul revivalists Monophonics. Expect danceable grooves and instrumental excellence.\u003c/p>\n\u003cfigure id=\"attachment_13842816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842816\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_4331-800x533.jpg\" alt=\"Lord Huron perform at Treasure Island Music Festival on Oct. 14, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4331.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4331-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4331-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4331-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4331-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4331-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lord Huron perform at Treasure Island Music Festival on Oct. 14, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.soundsummit.net/\">Sound Summit\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 9, 2023\u003c/em>\u003cbr>\n\u003cem>Mountain Theater, Mount Tamalpais State Park\u003c/em>\u003cbr>\n\u003cem>$120+\u003c/em>\u003c/p>\n\u003cp>On a mountaintop among frolicking chipmunks, underneath circling hawks, Sound Summit brings a day of indie rock and folk to one of the Bay Area’s most spectacular view spots: Mount Tam. This year festival-goers will hear the ballads of Lord Huron, Sierra Ferrell’s genre-bending explorations of jazz and calypso, Kevin Morby’s twangy garage punk, country supergroup Brokedown in Bakersfield and Mill Valley salsa, Afrobeat, reggae and funk band Vinyl. Remember to pack in, pack out and leave no trace.\u003c/p>\n\u003cfigure id=\"attachment_13865652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/Hiero-Day-2019-1433-800x450.jpg\" alt=\"Hieroglyphics on stage at Hiero Day 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-1433.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics on stage at Hiero Day 2019. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hieroday.com/\">Hiero Day\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 4, 2023\u003c/em>\u003cbr>\n\u003cem>Frank Ogawa Plaza\u003c/em>\u003cbr>\n\u003cem>Free\u003c/em>\u003c/p>\n\u003cp>Hip-hop’s 50th anniversary coincides with the 30th anniversary of Souls of Mischief’s essential album \u003ci>’93 ’til Infinity\u003c/i>, so 2023 promises an auspicious Hiero Day. This year, the intergenerational, homegrown hip-hop festival moves from Jack London Square to Frank Ogawa Plaza, and is free with RSVP. The lineup so far includes Hieroglyphics with special guest Common, Breakbeat Lou, Paris, Abstract Rude, Lil Blood and more, with additional artists soon to be announced. \u003ca href=\"https://www.instagram.com/p/Cv2wb-bvnkF/\">Several pre-Hiero Day events\u003c/a> — including a Souls of Mischief mural reveal — are planned at Hungry Ghost Studio, Moxy, Crybaby and more, and an afterparty at is slated for Crybaby on Sept. 4.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"content": "\u003cp>Last year was a career-defining one for Tia Cabral, the experimental singer-songwriter known as \u003ca href=\"https://www.spelllingmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Spellling\u003c/a>. With her 2021 album \u003cem>The Turning Wheel\u003c/em>, she evolved from bedroom artist to maximalist composer, enlisting over two dozen instrumentalists to execute her surreal vision. It caught on: The album got rave reviews, and by the end of the year, new fans from across the world had begun asking when they would see her in concert.\u003c/p>\n\u003cp>Cabral had hesitations about pandemic-era touring. The infection rates for COVID-19 had returned with a force after receding that summer, and she knew that indoor gatherings of strangers are the exact setting where risk of exposure to the virus multiplies. But she also sensed a moment of hard-won opportunity that would not last forever. “It was too hard to turn it down [because of] my eagerness to share the music that I spent so long writing,” the Oakland artist says. “I’m like, I just want to do it.” She booked a short European trip for May and June 2022 consisting of outdoor festival gigs, which she figured would be safer than playing clubs.\u003c/p>\n\u003cp>Things went well at first: Cabral and her band kept interactions outside their bubble to a minimum, wore masks as much as possible and agreed to test for COVID immediately if anyone felt unwell. But the mood changed in early June, when they arrived in Barcelona for the sprawling Primavera Sound festival. “It’s called Primavera in the City—it’s literally all over the city. There are so many people everywhere you go,” Cabral says. “So it became really hard to avoid, and stick to our regimen.” Finally, at a stop in Portugal, a bandmate tested positive. Cabral made the tough call to cancel her remaining shows, and paid for her collaborator’s quarantine in a hotel. “It just isn’t right to move forward into the unknown and into this risk for ourselves and other people,” she says.\u003c/p>\n\u003cp>Obstacles like the ones Cabral encountered are now features of life on the road. COVID rates in the U.S. stayed relatively high this spring and summer, and have only recently begun to dip (though the official stats don’t account for unreported home tests). But beyond the numbers, many musicians have found a set of complex and wearying tradeoffs await them on tour lately. The maze-like logistics of COVID safety are theirs to navigate, with little support from governments or their industry. Mask mandates and similar risk-reduction policies have evaporated. And audiences, perhaps starved for social connection and a sense of normalcy, have largely reverted to pre-pandemic behavior. For those operating below the very highest levels of success and infrastructure, the increased health and financial risks of mounting live music—and the burden of trying to avoid them—tend to fall hardest on the individual performers.\u003c/p>\n\u003cp>“We’re not health officials or experts,” says \u003ca href=\"https://www.panacherock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Panache Booking\u003c/a>‘s Michelle Cable, who manages Spellling, Ty Segall, Mac DeMarco and others, and books tours for artists such as Bikini Kill and Ezra Furman. “It’s added a whole other extra layer of complication and stress to touring, which is already stressful without what’s happened in the last two to three years.” [aside postid='arts_13918908']\u003c/p>\n\u003ch3>A domino effect of financial losses\u003c/h3>\n\u003cp>Brijean Murphy is one half of the Los Angeles disco-house duo Brijean and a touring percussionist with the bands Poolside and Toro y Moi. Prior to the pandemic, Murphy toured six months out of the year, and was well-acquainted with the job’s common headaches: the busy travel schedules, cramped conditions and missed sleep, often without a huge financial payoff at the end. But lately, she says even the more mundane parts of road life—like flying on planes, where masks are no longer required—now come with “financial, personal and spiritual repercussions.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year, the bands Murphy works with have avoided going on long runs like they used to; she’s played a few Brijean shows and some one-offs with Poolside. Despite masking and regular testing, she came down with COVID-19 in May after a string of European concerts, and had to quarantine on the East Coast. As if it weren’t enough to be sick, alone and burning money while stranded far from home, healing time from COVID can be unpredictable—the CDC estimates that nearly one in five U.S. adults experiences \u003ca href=\"https://www.cdc.gov/nchs/pressroom/nchs_press_releases/2022/20220622.htm\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms lasting more than three months\u003c/a>—which can delay a musician’s return to the stage well after they’ve ceased to be contagious.\u003c/p>\n\u003cp>“There are just so many moving parts,” Brijean says, describing her stress. “And I think on top of everybody being worked so hard, your dollar doesn’t go as far as it used to.”\u003c/p>\n\u003cp>Indeed, inflation hit a 40-year high in June and has come down only slightly, adding more financial pressure as musicians attempt to bounce back from two years without performance income. And as the BA.5 variant spread, show cancellations due to COVID were commonplace throughout the summer. Bikini Kill called off nearly two dozen shows when several members got sick. Blondie, touring in support of a career-spanning box set, canceled or postponed dates in Boston, New York and Connecticut. Rakim canceled his European tour, which was supposed to take place in August.\u003c/p>\n\u003cp>“After a month in which we have had several COVID cases in our crew and even more close contacts requiring quarantine, it is our sad consensus that extensive foreign travel (in my case by cruise ship) is neither safe nor logistically possible,” the \u003ca href=\"https://rockthebells.com/articles/rakim-cancels-his-2022-european-tour-amid-covid-concerns/\" target=\"_blank\" rel=\"noopener noreferrer\">rap veteran wrote\u003c/a> in a statement.\u003c/p>\n\u003cp>So what happens when shows are canceled due to COVID? If they aren’t able to reschedule lost dates, artists are obligated to refund tickets and, if applicable, give venues back their deposits. Cable says musicians who travel with a crew typically have agreements for how to compensate them in the event of cancellations; these vary, but a typical one might require paying everyone half their wages. Travel may need to be rebooked, and quarantine hotels secured. Any money already spent on promotion is likely non-refundable. Additionally, if a show doesn’t happen, a booking agent like Cable doesn’t collect her commission after putting in as much as three years of work to make a concert happen. [aside postid='arts_13918796']\u003c/p>\n\u003cp>If only to avoid these headaches, many artists take extra pains to keep themselves safe from COVID on the road as much as possible—although Cable says that even among musicians, that vigilance has waned. When we spoke in June, she shared that it was common for artists to request that venues require proof of vaccination or a negative PCR test at the door, whether or not the local government had a mandate in place. As the summer progressed, she says, fewer clubs made this a regular practice, and performers began to follow suit. Some of her artists still ask for signage requesting that showgoers wear masks, and may even provide face coverings for audiences—but she says few patrons actually wear them, and those who do often shed them while eating, drinking, dancing or moshing.\u003c/p>\n\u003cp>Artists with bigger budgets may hire COVID compliance officers to ensure that health measures are observed, or travel separately from the rest of the touring party to further minimize exposure. These added precautions, of course, all come at a price.\u003c/p>\n\u003cp>“COVID tests are expensive, masks are expensive, extra hotel rooms are expensive,” Cable says. “When you’re checking at the door, it’s an extra expense of having extra people hired. … That comes out of the show settlement, meaning it ultimately comes out of the band’s payments.”\u003c/p>\n\u003cp>And there’s another, less obvious cost to these arrangements: Musicians who close off backstage areas and stay away from the merch table miss out on potential networking and connections that could lead to future work. “A big part of being a freelancer and being in this field, like many fields probably, is that you can meet up with people, have social interactions, connect with people and then follow that connection,” Murphy says, “[whether] it’s working on an album together later or getting hired to go on their tour or collaborate on a different session.”\u003c/p>\n\u003cfigure id=\"attachment_13905554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean performs at Outside Lands in San Francisco’s Golden Gate Park on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Independent venues struggle, too\u003c/h3>\n\u003cp>Cultural attitudes toward the virus vary widely from place to place, and even in cases where the artist and venue are in total agreement on enforcing COVID safety, the social and political climate of the surrounding area can create its own hurdles.\u003c/p>\n\u003cp>In April 2021, Florida Governor Ron DeSantis issued an \u003ca href=\"https://www.flgov.com/wp-content/uploads/2021/04/EO-21-81.pdf\">executive order\u003c/a> making it illegal for businesses in his state to ask for proof of vaccination. In response, Tom DeGeorge, owner of the 300-capacity Tampa club Crowbar, got together with venue owners from his state and Texas—where there are similar restrictions—and discovered a legal loophole that enables them to request negative PCR tests from customers. “We had to be very careful with the wording because if we screwed up, it was a $5,000 fine per infraction. So it was a risk in and of itself,” DeGeorge says. “But it did definitely help me get certain artists for shows that wanted a special requirement.” (Still, as cultural tides have turned, DeGeorge says he hasn’t had any artist ask him to check COVID tests since spring.)\u003c/p>\n\u003cp>In 2020, DeGeorge led a coalition called \u003ca href=\"https://www.cltampa.com/music/here-are-the-tampa-bay-music-venues-whove-joined-the-safe-sound-responsible-concert-coalition-12213333\" target=\"_blank\" rel=\"noopener noreferrer\">Safe & Sound\u003c/a>, where Tampa music venues banded together to enforce masking and social distancing at their businesses. From about October 2020 to February 2022, DeGeorge says, he and his staff dealt with extensive backlash. “My place was tagged up. I had my beer garden destroyed. One day I had a woman spit in my face at a concert,” DeGeorge says. “I would regularly come in to work and have voicemails on the phone telling me I was a Nazi and they were going to burn my club down. I mean, it was relentless.”\u003c/p>\n\u003cp>Steven Severin says he’s found the prevailing attitude to be more cautious in Seattle, where he owns the 650-capacity concert hall \u003ca href=\"https://www.neumos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Neumos\u003c/a>. Still, like the musicians they host, venues like his have to prepare for the unpredictable: “People keep pushing tours back or canceling them,” he says. “I can’t imagine being an artist and having to navigate this stuff.”\u003c/p>\n\u003cp>Although governments and private funders created some grants to help the live music industry at the beginning of the pandemic, most relief funding has dried up—even as professionals across the industry say it still needs institutional support.\u003c/p>\n\u003cp>DeGeorge and Severin are both members of the National Independent Venue Association, which lobbied for the Shuttered Venue Operators Grant (SVOG), through which eligible venues could apply for emergency assistance. Throughout 2021, the \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">SVOG rollout hit numerous delays\u003c/a>, and venue owners took on debt to keep their operations going or simply closed their doors. In June, a national coalition of mayors led by San Francisco’s London Breed and Chicago’s Lori Lightfoot \u003ca href=\"https://legacy.usmayors.org/resolutions/90th_Conference/proposed-review-list-full-print-committee-individual.asp?resid=a0F4N00000QhBotUAF\" target=\"_blank\" rel=\"noopener noreferrer\">called on Congress to support the arts and culture sector’s recovery\u003c/a>, recommending that the U.S. Small Business Administration expand the time allowed for venues to use SVOG funding to cover costs incurred through March 2023.\u003c/p>\n\u003cp>“It will be at least till the beginning of 2023 before we get back to some type of normal,” Severin says. “That’s what I was saying like three months ago. And now I’m starting to worry that that’s going to push out even further.”\u003c/p>\n\u003cfigure id=\"attachment_13919324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919324\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Primavera Sounds in Barcelona in June 2022. \u003ccite>(Sharon Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Musicians fend for themselves\u003c/h3>\n\u003cp>As much as venues have struggled, there’s no comparable federal relief funding for individual artists, who are the engines driving the live music economy. Many grants from state and local governments and foundations are no longer taking applications. “I think there’s more of this attitude of like, ‘You have to deal with it. You took on this risk,’ ” Tia Cabral says. “That’s disappointing.”\u003c/p>\n\u003cp>For now, artists and their teams are left to figure things out on their own.\u003c/p>\n\u003cp>Brijean Murphy is still pursuing her musical aspirations while also leaning into her second, more pandemic-friendly career as an illustrator and visual artist, a job she can do without stepping foot into a crowd. “I feel like I’m still just watching [the situation] unfold and seeing how people, bands, companies, venues are reacting to this wave that we’re in, this phase of what it is to be in entertainment today,” she says.\u003c/p>\n\u003cp>Being a live musician in 2022 “can be challenging, can be a grind, can be soul-crushing at times,” Murphy adds. But there are also moments of transcendence. “We played in San Diego, and it was this outdoor venue on the beach. It was sunset and it was sold out, and everyone was having the best time. So I feel like there are a lot of highs and lows still.” [aside postid='arts_13919062']\u003c/p>\n\u003cp>Despite the lows, musicians are finding ways to stay motivated and push forward. Spellling is embarking on a headlining U.S. tour in late September that will take Cabral and her band to 15 venues from North Carolina to Oregon. This time, she knows that the liberatory feeling of performing must be tempered with constant risk assessment and caution. But she plans to make the best of the situation by using what would have been social time for introspection and songwriting on the road.\u003c/p>\n\u003cp>“I just have to accept that there isn’t any cutting loose, and that’s OK,” she says. “And try to turn that into a creative meditation, instead of this other picture of tour that is about dancing with strangers, crashing in people’s houses and, you know, sharing drinks and making new friends.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year was a career-defining one for Tia Cabral, the experimental singer-songwriter known as \u003ca href=\"https://www.spelllingmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Spellling\u003c/a>. With her 2021 album \u003cem>The Turning Wheel\u003c/em>, she evolved from bedroom artist to maximalist composer, enlisting over two dozen instrumentalists to execute her surreal vision. It caught on: The album got rave reviews, and by the end of the year, new fans from across the world had begun asking when they would see her in concert.\u003c/p>\n\u003cp>Cabral had hesitations about pandemic-era touring. The infection rates for COVID-19 had returned with a force after receding that summer, and she knew that indoor gatherings of strangers are the exact setting where risk of exposure to the virus multiplies. But she also sensed a moment of hard-won opportunity that would not last forever. “It was too hard to turn it down [because of] my eagerness to share the music that I spent so long writing,” the Oakland artist says. “I’m like, I just want to do it.” She booked a short European trip for May and June 2022 consisting of outdoor festival gigs, which she figured would be safer than playing clubs.\u003c/p>\n\u003cp>Things went well at first: Cabral and her band kept interactions outside their bubble to a minimum, wore masks as much as possible and agreed to test for COVID immediately if anyone felt unwell. But the mood changed in early June, when they arrived in Barcelona for the sprawling Primavera Sound festival. “It’s called Primavera in the City—it’s literally all over the city. There are so many people everywhere you go,” Cabral says. “So it became really hard to avoid, and stick to our regimen.” Finally, at a stop in Portugal, a bandmate tested positive. Cabral made the tough call to cancel her remaining shows, and paid for her collaborator’s quarantine in a hotel. “It just isn’t right to move forward into the unknown and into this risk for ourselves and other people,” she says.\u003c/p>\n\u003cp>Obstacles like the ones Cabral encountered are now features of life on the road. COVID rates in the U.S. stayed relatively high this spring and summer, and have only recently begun to dip (though the official stats don’t account for unreported home tests). But beyond the numbers, many musicians have found a set of complex and wearying tradeoffs await them on tour lately. The maze-like logistics of COVID safety are theirs to navigate, with little support from governments or their industry. Mask mandates and similar risk-reduction policies have evaporated. And audiences, perhaps starved for social connection and a sense of normalcy, have largely reverted to pre-pandemic behavior. For those operating below the very highest levels of success and infrastructure, the increased health and financial risks of mounting live music—and the burden of trying to avoid them—tend to fall hardest on the individual performers.\u003c/p>\n\u003cp>“We’re not health officials or experts,” says \u003ca href=\"https://www.panacherock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Panache Booking\u003c/a>‘s Michelle Cable, who manages Spellling, Ty Segall, Mac DeMarco and others, and books tours for artists such as Bikini Kill and Ezra Furman. “It’s added a whole other extra layer of complication and stress to touring, which is already stressful without what’s happened in the last two to three years.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>A domino effect of financial losses\u003c/h3>\n\u003cp>Brijean Murphy is one half of the Los Angeles disco-house duo Brijean and a touring percussionist with the bands Poolside and Toro y Moi. Prior to the pandemic, Murphy toured six months out of the year, and was well-acquainted with the job’s common headaches: the busy travel schedules, cramped conditions and missed sleep, often without a huge financial payoff at the end. But lately, she says even the more mundane parts of road life—like flying on planes, where masks are no longer required—now come with “financial, personal and spiritual repercussions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, the bands Murphy works with have avoided going on long runs like they used to; she’s played a few Brijean shows and some one-offs with Poolside. Despite masking and regular testing, she came down with COVID-19 in May after a string of European concerts, and had to quarantine on the East Coast. As if it weren’t enough to be sick, alone and burning money while stranded far from home, healing time from COVID can be unpredictable—the CDC estimates that nearly one in five U.S. adults experiences \u003ca href=\"https://www.cdc.gov/nchs/pressroom/nchs_press_releases/2022/20220622.htm\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms lasting more than three months\u003c/a>—which can delay a musician’s return to the stage well after they’ve ceased to be contagious.\u003c/p>\n\u003cp>“There are just so many moving parts,” Brijean says, describing her stress. “And I think on top of everybody being worked so hard, your dollar doesn’t go as far as it used to.”\u003c/p>\n\u003cp>Indeed, inflation hit a 40-year high in June and has come down only slightly, adding more financial pressure as musicians attempt to bounce back from two years without performance income. And as the BA.5 variant spread, show cancellations due to COVID were commonplace throughout the summer. Bikini Kill called off nearly two dozen shows when several members got sick. Blondie, touring in support of a career-spanning box set, canceled or postponed dates in Boston, New York and Connecticut. Rakim canceled his European tour, which was supposed to take place in August.\u003c/p>\n\u003cp>“After a month in which we have had several COVID cases in our crew and even more close contacts requiring quarantine, it is our sad consensus that extensive foreign travel (in my case by cruise ship) is neither safe nor logistically possible,” the \u003ca href=\"https://rockthebells.com/articles/rakim-cancels-his-2022-european-tour-amid-covid-concerns/\" target=\"_blank\" rel=\"noopener noreferrer\">rap veteran wrote\u003c/a> in a statement.\u003c/p>\n\u003cp>So what happens when shows are canceled due to COVID? If they aren’t able to reschedule lost dates, artists are obligated to refund tickets and, if applicable, give venues back their deposits. Cable says musicians who travel with a crew typically have agreements for how to compensate them in the event of cancellations; these vary, but a typical one might require paying everyone half their wages. Travel may need to be rebooked, and quarantine hotels secured. Any money already spent on promotion is likely non-refundable. Additionally, if a show doesn’t happen, a booking agent like Cable doesn’t collect her commission after putting in as much as three years of work to make a concert happen. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If only to avoid these headaches, many artists take extra pains to keep themselves safe from COVID on the road as much as possible—although Cable says that even among musicians, that vigilance has waned. When we spoke in June, she shared that it was common for artists to request that venues require proof of vaccination or a negative PCR test at the door, whether or not the local government had a mandate in place. As the summer progressed, she says, fewer clubs made this a regular practice, and performers began to follow suit. Some of her artists still ask for signage requesting that showgoers wear masks, and may even provide face coverings for audiences—but she says few patrons actually wear them, and those who do often shed them while eating, drinking, dancing or moshing.\u003c/p>\n\u003cp>Artists with bigger budgets may hire COVID compliance officers to ensure that health measures are observed, or travel separately from the rest of the touring party to further minimize exposure. These added precautions, of course, all come at a price.\u003c/p>\n\u003cp>“COVID tests are expensive, masks are expensive, extra hotel rooms are expensive,” Cable says. “When you’re checking at the door, it’s an extra expense of having extra people hired. … That comes out of the show settlement, meaning it ultimately comes out of the band’s payments.”\u003c/p>\n\u003cp>And there’s another, less obvious cost to these arrangements: Musicians who close off backstage areas and stay away from the merch table miss out on potential networking and connections that could lead to future work. “A big part of being a freelancer and being in this field, like many fields probably, is that you can meet up with people, have social interactions, connect with people and then follow that connection,” Murphy says, “[whether] it’s working on an album together later or getting hired to go on their tour or collaborate on a different session.”\u003c/p>\n\u003cfigure id=\"attachment_13905554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean performs at Outside Lands in San Francisco’s Golden Gate Park on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Independent venues struggle, too\u003c/h3>\n\u003cp>Cultural attitudes toward the virus vary widely from place to place, and even in cases where the artist and venue are in total agreement on enforcing COVID safety, the social and political climate of the surrounding area can create its own hurdles.\u003c/p>\n\u003cp>In April 2021, Florida Governor Ron DeSantis issued an \u003ca href=\"https://www.flgov.com/wp-content/uploads/2021/04/EO-21-81.pdf\">executive order\u003c/a> making it illegal for businesses in his state to ask for proof of vaccination. In response, Tom DeGeorge, owner of the 300-capacity Tampa club Crowbar, got together with venue owners from his state and Texas—where there are similar restrictions—and discovered a legal loophole that enables them to request negative PCR tests from customers. “We had to be very careful with the wording because if we screwed up, it was a $5,000 fine per infraction. So it was a risk in and of itself,” DeGeorge says. “But it did definitely help me get certain artists for shows that wanted a special requirement.” (Still, as cultural tides have turned, DeGeorge says he hasn’t had any artist ask him to check COVID tests since spring.)\u003c/p>\n\u003cp>In 2020, DeGeorge led a coalition called \u003ca href=\"https://www.cltampa.com/music/here-are-the-tampa-bay-music-venues-whove-joined-the-safe-sound-responsible-concert-coalition-12213333\" target=\"_blank\" rel=\"noopener noreferrer\">Safe & Sound\u003c/a>, where Tampa music venues banded together to enforce masking and social distancing at their businesses. From about October 2020 to February 2022, DeGeorge says, he and his staff dealt with extensive backlash. “My place was tagged up. I had my beer garden destroyed. One day I had a woman spit in my face at a concert,” DeGeorge says. “I would regularly come in to work and have voicemails on the phone telling me I was a Nazi and they were going to burn my club down. I mean, it was relentless.”\u003c/p>\n\u003cp>Steven Severin says he’s found the prevailing attitude to be more cautious in Seattle, where he owns the 650-capacity concert hall \u003ca href=\"https://www.neumos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Neumos\u003c/a>. Still, like the musicians they host, venues like his have to prepare for the unpredictable: “People keep pushing tours back or canceling them,” he says. “I can’t imagine being an artist and having to navigate this stuff.”\u003c/p>\n\u003cp>Although governments and private funders created some grants to help the live music industry at the beginning of the pandemic, most relief funding has dried up—even as professionals across the industry say it still needs institutional support.\u003c/p>\n\u003cp>DeGeorge and Severin are both members of the National Independent Venue Association, which lobbied for the Shuttered Venue Operators Grant (SVOG), through which eligible venues could apply for emergency assistance. Throughout 2021, the \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">SVOG rollout hit numerous delays\u003c/a>, and venue owners took on debt to keep their operations going or simply closed their doors. In June, a national coalition of mayors led by San Francisco’s London Breed and Chicago’s Lori Lightfoot \u003ca href=\"https://legacy.usmayors.org/resolutions/90th_Conference/proposed-review-list-full-print-committee-individual.asp?resid=a0F4N00000QhBotUAF\" target=\"_blank\" rel=\"noopener noreferrer\">called on Congress to support the arts and culture sector’s recovery\u003c/a>, recommending that the U.S. Small Business Administration expand the time allowed for venues to use SVOG funding to cover costs incurred through March 2023.\u003c/p>\n\u003cp>“It will be at least till the beginning of 2023 before we get back to some type of normal,” Severin says. “That’s what I was saying like three months ago. And now I’m starting to worry that that’s going to push out even further.”\u003c/p>\n\u003cfigure id=\"attachment_13919324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919324\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Primavera Sounds in Barcelona in June 2022. \u003ccite>(Sharon Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Musicians fend for themselves\u003c/h3>\n\u003cp>As much as venues have struggled, there’s no comparable federal relief funding for individual artists, who are the engines driving the live music economy. Many grants from state and local governments and foundations are no longer taking applications. “I think there’s more of this attitude of like, ‘You have to deal with it. You took on this risk,’ ” Tia Cabral says. “That’s disappointing.”\u003c/p>\n\u003cp>For now, artists and their teams are left to figure things out on their own.\u003c/p>\n\u003cp>Brijean Murphy is still pursuing her musical aspirations while also leaning into her second, more pandemic-friendly career as an illustrator and visual artist, a job she can do without stepping foot into a crowd. “I feel like I’m still just watching [the situation] unfold and seeing how people, bands, companies, venues are reacting to this wave that we’re in, this phase of what it is to be in entertainment today,” she says.\u003c/p>\n\u003cp>Being a live musician in 2022 “can be challenging, can be a grind, can be soul-crushing at times,” Murphy adds. But there are also moments of transcendence. “We played in San Diego, and it was this outdoor venue on the beach. It was sunset and it was sold out, and everyone was having the best time. So I feel like there are a lot of highs and lows still.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the lows, musicians are finding ways to stay motivated and push forward. Spellling is embarking on a headlining U.S. tour in late September that will take Cabral and her band to 15 venues from North Carolina to Oregon. This time, she knows that the liberatory feeling of performing must be tempered with constant risk assessment and caution. But she plans to make the best of the situation by using what would have been social time for introspection and songwriting on the road.\u003c/p>\n\u003cp>“I just have to accept that there isn’t any cutting loose, and that’s OK,” she says. “And try to turn that into a creative meditation, instead of this other picture of tour that is about dancing with strangers, crashing in people’s houses and, you know, sharing drinks and making new friends.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few years ago, Chrystia Cabral started recording at home for an audience of one, exploring electronic instrumentation with gothic and industrial aesthetics. Under the name \u003ca href=\"http://spelllingmusic.com\" target=\"_blank\" rel=\"noopener noreferrer\">SPELLLING\u003c/a>, she’s already notably succeeded. Her striking 2017 debut, \u003ca href=\"https://spellling.bandcamp.com/album/pantheon-of-me-2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pantheon of Me\u003c/em>\u003c/a>, led to a record deal with Sacred Bones and the release of her critically acclaimed 2019 album, \u003ca href=\"https://spellling.bandcamp.com/album/mazy-fly\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mazy Fly\u003c/em>\u003c/a>. Now, she’s getting ready to put out the most ambitious project of her career thus far.\u003c/p>\n\u003cp>After getting her M.F.A. at UC Berkeley in 2019, where she explored performance and storytelling, SPELLLING broadened her lyrical interests and creative personas for her new album, \u003cem>The Turning Wheel\u003c/em>, out June 25. On \u003cem>The Turning Wheel\u003c/em>, we see her ascend from D.I.Y. producer to composer, enlisting over two dozen horn, woodwind and string players, pianists, bassists, guitarists and percussionists—a big collaborative effort she was able to pull off despite the limitations of the pandemic.\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>“I thought this would be my dream album to make, [and that I’d] have that opportunity to do something totally different from how I’ve made music in the past, which is to work with other people, get into a studio,” she says. “So that was the intention. It did not come together that way at all.”\u003c/p>\n\u003cp>Citing figures Minnie Riperton and Marvin Gaye as examples, SPELLLING says the roots of \u003cem>The Turning Wheel\u003c/em> lie in “romanticizing the type of music that I love to listen to over and over, this era of soul music where people were cutting records and being in the same space together, and the lush orchestration of the ’70s soul music that I love.” [aside postid='arts_13899062']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SPELLLING admits she was nervous about whether she’d be able to execute that vision. “I don’t have the vocabulary of a lot of these session musicians,” she says. “I think the surprising part was getting in there and noticing I really do have the language. That sort of ease was able to just occur naturally. Music is that language that you can tap into whatever your background is, whatever your formal relationship is with music making.”\u003c/p>\n\u003cp>Among the musicians SPELLLING worked with, one who particularly inspired her was Oakland’s \u003ca href=\"https://destinymuhammadproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny Muhammad\u003c/a>, who only began exploring the harp when she was in her early thirties, and is now a celebrated player and composer who has collaborated with the \u003ca href=\"https://www.facebook.com/watch/?v=164561662290850\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a>. “We had that similar narrative where you’re stepping into something later in your life that was unexpected,” SPELLLING reflects. “I didn’t make music until a few years ago, and it’s totally just changed everything in my life, just embracing that, getting over the imposter syndrome maybe and figuring out everyone’s making things up as they go.”\u003c/p>\n\u003cp>The resulting album is an intentional hybrid, split into “Above” and “Below” halves, with the warmer, more collaborative efforts on the first half and electronic, darker songs on the second. [aside postid='arts_13899291']\u003c/p>\n\u003cp>“The ‘Above’ songs, I’m thinking also about writing songs for other people, building a portfolio for writing and maybe writing for a film and scoring,” SPELLLING explains.\u003c/p>\n\u003cp>\u003cem>The Turning Wheel\u003c/em> starts with the strings and rich sound of “Little Deer,” and SPELLLING matches the moment with her clear, involving singing. “For ‘Little Deer,’ it was listening to a lot of Jackson Five and Michael Jackson and thinking about, ‘How do I bring out the child in me to sing these songs, to have that youthful innocent timbre to the way that I sing?’” she says. “I treat it like a research project, I do things to just get me in that mode.”\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/track=603741618/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Another “Above” song with a particularly interesting title is “Emperor With An Egg.” As SPELLLING notes, its origin is anything but mystical. The idea came to her while watching a documentary about emperor penguins. “I’ll just see a moment like that and get really attached to the metaphor of really simple things,” she says. “Watching the conditions that the emperor penguins were in and this kingdom of ice and the struggle to protect your creation—to me, it just locked into this bigger concept of the album.”\u003c/p>\n\u003cp>The shift from “Above” to “Below” comes fully to the fore in “Boys in School,” where the feeling turns from warmth to a focused coolness, with a full classic rock-style guitar section towards the end. It’s a variation in theatricality, moving from the mental space of writing for others to considering something more personal. There’s still a sense of playing a role, something fully apparent in another “Below” centerpiece track, the string-swirled, pulsing-bass mood-out “Queen of Wands.”\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/track=3401706935/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“The vocals ended up taking months and I would go with a certain song and just live in that song for a really long time,” SPELLLING recalls. “‘Queen of Wands’ was the first song I started to do the vocals for. It’s this character—it’s based off of tarot—but a character who’s just finding empowerment. I had to just really put myself in the mind of the character. I think each song has its own sort of force. I imagine just the character that’s in the song; it’s like method acting.”\u003c/p>\n\u003cp>While shows and tours are starting to happen again, SPELLLING doesn’t have anything specifically planned beyond an appearance next year at Spain’s legendary \u003ca href=\"https://www.primaverasound.com/en/barcelona/weekend-2-programme-2022\" target=\"_blank\" rel=\"noopener noreferrer\">Primavera Sound\u003c/a> festival. But she has ideas for her return to the stage, as well as for how she’d like to approach the next album.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m thinking about opportunities like that to do music production for theater, maybe creating a performance that aligns with my background with performance art from school,” she says. “Doing that in a music venue and having that on tour, certain aspects like that I think are really exciting to think about. Also, just after how much energy this album took, I’m also thinking maybe the next thing I put out will be really minimal.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, Chrystia Cabral started recording at home for an audience of one, exploring electronic instrumentation with gothic and industrial aesthetics. Under the name \u003ca href=\"http://spelllingmusic.com\" target=\"_blank\" rel=\"noopener noreferrer\">SPELLLING\u003c/a>, she’s already notably succeeded. Her striking 2017 debut, \u003ca href=\"https://spellling.bandcamp.com/album/pantheon-of-me-2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pantheon of Me\u003c/em>\u003c/a>, led to a record deal with Sacred Bones and the release of her critically acclaimed 2019 album, \u003ca href=\"https://spellling.bandcamp.com/album/mazy-fly\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mazy Fly\u003c/em>\u003c/a>. Now, she’s getting ready to put out the most ambitious project of her career thus far.\u003c/p>\n\u003cp>After getting her M.F.A. at UC Berkeley in 2019, where she explored performance and storytelling, SPELLLING broadened her lyrical interests and creative personas for her new album, \u003cem>The Turning Wheel\u003c/em>, out June 25. On \u003cem>The Turning Wheel\u003c/em>, we see her ascend from D.I.Y. producer to composer, enlisting over two dozen horn, woodwind and string players, pianists, bassists, guitarists and percussionists—a big collaborative effort she was able to pull off despite the limitations of the pandemic.\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>“I thought this would be my dream album to make, [and that I’d] have that opportunity to do something totally different from how I’ve made music in the past, which is to work with other people, get into a studio,” she says. “So that was the intention. It did not come together that way at all.”\u003c/p>\n\u003cp>Citing figures Minnie Riperton and Marvin Gaye as examples, SPELLLING says the roots of \u003cem>The Turning Wheel\u003c/em> lie in “romanticizing the type of music that I love to listen to over and over, this era of soul music where people were cutting records and being in the same space together, and the lush orchestration of the ’70s soul music that I love.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SPELLLING admits she was nervous about whether she’d be able to execute that vision. “I don’t have the vocabulary of a lot of these session musicians,” she says. “I think the surprising part was getting in there and noticing I really do have the language. That sort of ease was able to just occur naturally. Music is that language that you can tap into whatever your background is, whatever your formal relationship is with music making.”\u003c/p>\n\u003cp>Among the musicians SPELLLING worked with, one who particularly inspired her was Oakland’s \u003ca href=\"https://destinymuhammadproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny Muhammad\u003c/a>, who only began exploring the harp when she was in her early thirties, and is now a celebrated player and composer who has collaborated with the \u003ca href=\"https://www.facebook.com/watch/?v=164561662290850\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a>. “We had that similar narrative where you’re stepping into something later in your life that was unexpected,” SPELLLING reflects. “I didn’t make music until a few years ago, and it’s totally just changed everything in my life, just embracing that, getting over the imposter syndrome maybe and figuring out everyone’s making things up as they go.”\u003c/p>\n\u003cp>The resulting album is an intentional hybrid, split into “Above” and “Below” halves, with the warmer, more collaborative efforts on the first half and electronic, darker songs on the second. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The ‘Above’ songs, I’m thinking also about writing songs for other people, building a portfolio for writing and maybe writing for a film and scoring,” SPELLLING explains.\u003c/p>\n\u003cp>\u003cem>The Turning Wheel\u003c/em> starts with the strings and rich sound of “Little Deer,” and SPELLLING matches the moment with her clear, involving singing. “For ‘Little Deer,’ it was listening to a lot of Jackson Five and Michael Jackson and thinking about, ‘How do I bring out the child in me to sing these songs, to have that youthful innocent timbre to the way that I sing?’” she says. “I treat it like a research project, I do things to just get me in that mode.”\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/track=603741618/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Another “Above” song with a particularly interesting title is “Emperor With An Egg.” As SPELLLING notes, its origin is anything but mystical. The idea came to her while watching a documentary about emperor penguins. “I’ll just see a moment like that and get really attached to the metaphor of really simple things,” she says. “Watching the conditions that the emperor penguins were in and this kingdom of ice and the struggle to protect your creation—to me, it just locked into this bigger concept of the album.”\u003c/p>\n\u003cp>The shift from “Above” to “Below” comes fully to the fore in “Boys in School,” where the feeling turns from warmth to a focused coolness, with a full classic rock-style guitar section towards the end. It’s a variation in theatricality, moving from the mental space of writing for others to considering something more personal. There’s still a sense of playing a role, something fully apparent in another “Below” centerpiece track, the string-swirled, pulsing-bass mood-out “Queen of Wands.”\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/track=3401706935/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“The vocals ended up taking months and I would go with a certain song and just live in that song for a really long time,” SPELLLING recalls. “‘Queen of Wands’ was the first song I started to do the vocals for. It’s this character—it’s based off of tarot—but a character who’s just finding empowerment. I had to just really put myself in the mind of the character. I think each song has its own sort of force. I imagine just the character that’s in the song; it’s like method acting.”\u003c/p>\n\u003cp>While shows and tours are starting to happen again, SPELLLING doesn’t have anything specifically planned beyond an appearance next year at Spain’s legendary \u003ca href=\"https://www.primaverasound.com/en/barcelona/weekend-2-programme-2022\" target=\"_blank\" rel=\"noopener noreferrer\">Primavera Sound\u003c/a> festival. But she has ideas for her return to the stage, as well as for how she’d like to approach the next album.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m thinking about opportunities like that to do music production for theater, maybe creating a performance that aligns with my background with performance art from school,” she says. “Doing that in a music venue and having that on tour, certain aspects like that I think are really exciting to think about. Also, just after how much energy this album took, I’m also thinking maybe the next thing I put out will be really minimal.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Bay Area Albums of the 2010s",
"headTitle": "The Best Bay Area Albums of the 2010s | KQED",
"content": "\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\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=1644131755/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>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\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=3108730587/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>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\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=3949757894/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>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\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=2338106943/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>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\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=1805295426/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>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\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=1240226381/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>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\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=856121914/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>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\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=1941114977/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>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\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=1762232894/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>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\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=523521630/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>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\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=4268731096/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>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\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=136764004/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>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\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=1644131755/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>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\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=3108730587/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>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\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=3949757894/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>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\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=2338106943/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>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\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=1805295426/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>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\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=1240226381/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>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\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=856121914/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>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\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=1941114977/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>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\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=1762232894/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>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\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=523521630/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>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\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=4268731096/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>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\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=136764004/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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Experimental Music Festival Stasis Benefits ‘Hybrid’ Series at Pro Arts",
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"content": "\u003cp>Since 2016, downtown Oakland gallery Pro Arts has become a staple venue for experimental electronic music and multimedia performance through its Hybrid series. Organizer Michael Daddona, who runs Ratskin Records, is well connected to local and touring artists operating in the murky intersections of noise and video, techno and performance art. But with fewer underground venues to host such gigs in Oakland, he’s found a fitting alternative at Pro Arts.\u003c/p>\n\u003cp>\u003ca href=\"https://proartsgallery.org/event/stasis-a-festival-of-sound-performance-video-art/\">Stasis: A Festival of Sound, Performance, Video & Art\u003c/a>, occurring this weekend at the nonprofit gallery, is at once a benefit for Hybrid and a celebration of the scenes it lifts up and serves. With nearly 40 musical or multimedia acts (many familiar from the Ratskin roster), along with film and video screenings and a visual art market, Stasis opens a wide window onto the margins of experimental electronic music in Oakland. \u003c/p>\n\u003cp>\u003ca href=\"http://ratskinrecords.bandcamp.com/album/pantheon-of-me\">\"Pantheon Of Me\" by SPELLLING\u003c/a>\u003c/p>\n\u003cp>Sunday, after a daytime art market, promises the record-release event for Spellling’s stirring debut full-length \u003cem>Pantheon of Me\u003c/em>, which Ratskin is reissuing on vinyl and cassette following its initial self-release last year. It comes ahead of a potential breakout moment for Berkeley songwriter Tia Cabral, whose follow-up album as Spellling is due February on high-profile New York indie Sacred Bones Records. Main support, meanwhile, is avant-pop artist \u003ca href=\"https://www.kqed.org/arts/13814982/tyler-holmes-is-here-for-your-inner-freak\">Tyler Holmes\u003c/a>.\u003c/p>\n\u003cp>Friday and Saturday performers include synthesizer-oriented soloists Beast Nest and Lance Hill, multimedia performance vehicles Wizard Apprentice and Lexagon, noise projects Head Boggle and Bran (…) Pos, and underground fixtures Burmese and \u003ca href=\"https://www.kqed.org/arts/11550707/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias\">Las Sucias\u003c/a>. Tickets are $9 a day, or $25 for a three-day pass. Find the full lineup \u003ca href=\"https://www.facebook.com/events/674307272972443/\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since 2016, downtown Oakland gallery Pro Arts has become a staple venue for experimental electronic music and multimedia performance through its Hybrid series. Organizer Michael Daddona, who runs Ratskin Records, is well connected to local and touring artists operating in the murky intersections of noise and video, techno and performance art. But with fewer underground venues to host such gigs in Oakland, he’s found a fitting alternative at Pro Arts.\u003c/p>\n\u003cp>\u003ca href=\"https://proartsgallery.org/event/stasis-a-festival-of-sound-performance-video-art/\">Stasis: A Festival of Sound, Performance, Video & Art\u003c/a>, occurring this weekend at the nonprofit gallery, is at once a benefit for Hybrid and a celebration of the scenes it lifts up and serves. With nearly 40 musical or multimedia acts (many familiar from the Ratskin roster), along with film and video screenings and a visual art market, Stasis opens a wide window onto the margins of experimental electronic music in Oakland. \u003c/p>\n\u003cp>\u003ca href=\"http://ratskinrecords.bandcamp.com/album/pantheon-of-me\">\"Pantheon Of Me\" by SPELLLING\u003c/a>\u003c/p>\n\u003cp>Sunday, after a daytime art market, promises the record-release event for Spellling’s stirring debut full-length \u003cem>Pantheon of Me\u003c/em>, which Ratskin is reissuing on vinyl and cassette following its initial self-release last year. It comes ahead of a potential breakout moment for Berkeley songwriter Tia Cabral, whose follow-up album as Spellling is due February on high-profile New York indie Sacred Bones Records. Main support, meanwhile, is avant-pop artist \u003ca href=\"https://www.kqed.org/arts/13814982/tyler-holmes-is-here-for-your-inner-freak\">Tyler Holmes\u003c/a>.\u003c/p>\n\u003cp>Friday and Saturday performers include synthesizer-oriented soloists Beast Nest and Lance Hill, multimedia performance vehicles Wizard Apprentice and Lexagon, noise projects Head Boggle and Bran (…) Pos, and underground fixtures Burmese and \u003ca href=\"https://www.kqed.org/arts/11550707/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias\">Las Sucias\u003c/a>. Tickets are $9 a day, or $25 for a three-day pass. Find the full lineup \u003ca href=\"https://www.facebook.com/events/674307272972443/\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SPELLLING a Highlight at Three-Day 'Black & Brown' Punk Festival",
"headTitle": "SPELLLING a Highlight at Three-Day ‘Black & Brown’ Punk Festival | KQED",
"content": "\u003cp>As we sit down in Tia Cabral’s apartment in downtown Berkeley to talk about how she has spent the last year — building her one-woman project SPELLLING — she shows me an old cassette tape labeled “Tia’s Greatest Hits.”\u003c/p>\n\u003cp>“I found this recently. My dad had kept it,” she says. “When I was little I had a tiny tape recorder, and I would take my dad’s old cassettes and make talk shows, or use the songs that were on there to introduce them. I thought there was no way it would still work, but I played it, and it’s me when I was about six on the piano. I’d found a way to rewind and dub harmonies, and make it into a song.”\u003c/p>\n\u003cp>As she grew older, she became a visual artist instead of keeping up with music; today, the walls of her bright studio are covered in her own artwork and the work of friends. She says writing songs was always in the back of her mind, “but I never had the right tool for writing songs,” she says. \u003c/p>\n\u003cfigure id=\"attachment_13784231\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon.jpg\" alt=\"The cover of SPELLLING's EP, 'Pantheon of Me.'\" width=\"700\" height=\"700\" class=\"size-full wp-image-13784231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">The cover of SPELLLING’s EP, ‘Pantheon of Me.’\u003c/figcaption>\u003c/figure>\n\u003cp>Two events changed things for SPELLLING. First, she moved into the room of a friend who had died suddenly, an artist, which made her feel pressure to begin the creative projects she had always thought about. Then she went to a show at Viracocha, the now-defunct San Francisco venue, and saw a woman perform with a loop pedal. “I just knew, ‘That’s it, that’s my tool,’” she says. “I don’t know how to use instruments or compose in these traditional ways, but this seemed like the way that I could make music.”\u003c/p>\n\u003cp>So she bought her first musical instrument, a loop pedal, and began learning how to produce her own music. By January, she’d released a six song EP, \u003cem>Pantheon of Me\u003c/em>, and this August she plans to release an extended version as her first full-length album. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The songs on \u003cem>Pantheon of Me\u003c/em> unspool slowly, meandering between resonant vocals, sludgy bass and ethereal spacey synth. Cabral says she uses spoons, cups, utensils and other objects around her apartment to create texture in sound. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pEw-RpqPxuY\u003c/p>\n\u003cp>“The mood and the shape of the sound is important to me,” she says. “I like to hear flaws a lot, I like to hear fragility, and songs that feel vulnerable. I don’t like when identity is lacking in a sound. So a big part of this project is that I want these feelings that I have, of vulnerability and experimentation, to be tangible in the sound. I try to do that with my voice — I am inspired by soul artists and people who make it a point to make their voice vulnerable, and I like to hear the grittiness and the texture in the way that they speak.”\u003c/p>\n\u003cp>She began performing, too. Playing live scared her at first, but it’s since become one of the most important aspects, for her, of being part of a music scene.\u003c/p>\n\u003cp>“I like that it’s gotten me out places I would have never gone before, to meet so many people, artists, and to connect,” she says. “Working with that fear has helped me grow a lot as a person and be more adventurous, more confident, and to continue to be motivated.”\u003c/p>\n\u003cp>That’s especially true, SPELLLING says, in the Bay Area. “The community here feels bottomless, endless,” she says. “There’s something happening every day. Even if it’s not in public, it’s in someone’s home, and that makes it even more special.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>SPELLLING’s next performance is on Thursday, Aug. 3, as one of the 43 bands playing at \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">The Universe is Lit: Bay Area Black and Brown Punk Festival\u003c/a> running Aug. 3–6 in Oakland and San Francisco. \u003c/p>\n\u003cp>This festival is a true labor of love by three friends, Shawna Shawnté, Titania Kumeh and Jade Ariana Fair, who say they were inspired by similar festivals in Chicago, New Orleans, and Portland with a mission to forge a positive space for black and brown artists making non-conventional music, film, and art here in the Bay Area. \u003c/p>\n\u003cp>“We’re all in bands together, we’re all making music, and we just thought, ‘Why don’t we get people together?’” says Kumeh. “No one else was doing it, so we just decided to organize it.”\u003c/p>\n\u003cfigure id=\"attachment_13784822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-800x587.jpg\" alt=\"Maya Songbird is among the 43 performers at The Universe Is Lit's festival.\" width=\"800\" height=\"587\" class=\"size-medium wp-image-13784822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-520x382.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maya Songbird is among the 43 performers at The Universe Is Lit’s festival. \u003ccite>(Jaz Yossarian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, they’ve spent the past year fundraising, booking, and finding venues. Mostly a volunteer effort, with friend’s bands hosting over a dozen benefit shows all over the country, the festival is free to attend and even begins with a group dinner. “There are bands coming from all over, as far as Australia, so we’re having a dinner to help everyone meet each other and connect,” says Fair. “Food does that for people. Food, music and art.” \u003c/p>\n\u003cp>The name “The Universe is Lit” was inspired, they say, by the ways people are helping one another and finding inspiration at a time when “everything that wants you \u003cem>not\u003c/em> to radiate is being shown daily,” says Shawnté. “But right now, we’re lit up.” It’s meant to be a celebration of and for the communities that performers like SPELLLING have found so important here — artists who produce music outside of the mainstream, or in private spaces.\u003c/p>\n\u003cfigure id=\"attachment_13784824\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/LasSucias.jpg\" alt=\"Las Sucias play The Universe Is Lit festival Aug. 4.\" width=\"400\" height=\"400\" class=\"size-full wp-image-13784824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Las Sucias play The Universe Is Lit festival Aug. 4.\u003c/figcaption>\u003c/figure>\n\u003cp>“In the Bay Area there is so much scarcity and stress about housing, and a lack of ways to create, and needing money, but we wanted to really show that we are doing it, that we are creating,” says Shawnté. “It’s very easy for people to think of punk or freak culture as just automatically a ‘white thing’ but we have this whole community, all of these friends who are doing these things, and there’s a long history of black and brown people making this kind of music.”\u003c/p>\n\u003cp>For Shawnté, Kumeh and Fair, the festival is not about any singular aesthetic, but the act of inclusion for nonlinear, informal approaches to making art. That’s one aspect that SPELLLING especially values.\u003c/p>\n\u003cp>“I relate to punk because I think it’s the ultimate strive,” she says. “Nothing I make is ever going to be perfect. And I relate to that as it not being the goal. The goal is just to let it out, the process.” \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\u003cp>\u003cem>The Universe is Lit: Black & Brown Punk Festival runs Aug. 3–6 at various venues in Oakland and San Francisco. \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Find more about SPELLLING \u003ca href=\"https://spellling.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we sit down in Tia Cabral’s apartment in downtown Berkeley to talk about how she has spent the last year — building her one-woman project SPELLLING — she shows me an old cassette tape labeled “Tia’s Greatest Hits.”\u003c/p>\n\u003cp>“I found this recently. My dad had kept it,” she says. “When I was little I had a tiny tape recorder, and I would take my dad’s old cassettes and make talk shows, or use the songs that were on there to introduce them. I thought there was no way it would still work, but I played it, and it’s me when I was about six on the piano. I’d found a way to rewind and dub harmonies, and make it into a song.”\u003c/p>\n\u003cp>As she grew older, she became a visual artist instead of keeping up with music; today, the walls of her bright studio are covered in her own artwork and the work of friends. She says writing songs was always in the back of her mind, “but I never had the right tool for writing songs,” she says. \u003c/p>\n\u003cfigure id=\"attachment_13784231\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon.jpg\" alt=\"The cover of SPELLLING's EP, 'Pantheon of Me.'\" width=\"700\" height=\"700\" class=\"size-full wp-image-13784231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Spellling.Pantheon-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">The cover of SPELLLING’s EP, ‘Pantheon of Me.’\u003c/figcaption>\u003c/figure>\n\u003cp>Two events changed things for SPELLLING. First, she moved into the room of a friend who had died suddenly, an artist, which made her feel pressure to begin the creative projects she had always thought about. Then she went to a show at Viracocha, the now-defunct San Francisco venue, and saw a woman perform with a loop pedal. “I just knew, ‘That’s it, that’s my tool,’” she says. “I don’t know how to use instruments or compose in these traditional ways, but this seemed like the way that I could make music.”\u003c/p>\n\u003cp>So she bought her first musical instrument, a loop pedal, and began learning how to produce her own music. By January, she’d released a six song EP, \u003cem>Pantheon of Me\u003c/em>, and this August she plans to release an extended version as her first full-length album. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The songs on \u003cem>Pantheon of Me\u003c/em> unspool slowly, meandering between resonant vocals, sludgy bass and ethereal spacey synth. Cabral says she uses spoons, cups, utensils and other objects around her apartment to create texture in sound. \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/pEw-RpqPxuY'\n title='//www.youtube.com/embed/pEw-RpqPxuY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The mood and the shape of the sound is important to me,” she says. “I like to hear flaws a lot, I like to hear fragility, and songs that feel vulnerable. I don’t like when identity is lacking in a sound. So a big part of this project is that I want these feelings that I have, of vulnerability and experimentation, to be tangible in the sound. I try to do that with my voice — I am inspired by soul artists and people who make it a point to make their voice vulnerable, and I like to hear the grittiness and the texture in the way that they speak.”\u003c/p>\n\u003cp>She began performing, too. Playing live scared her at first, but it’s since become one of the most important aspects, for her, of being part of a music scene.\u003c/p>\n\u003cp>“I like that it’s gotten me out places I would have never gone before, to meet so many people, artists, and to connect,” she says. “Working with that fear has helped me grow a lot as a person and be more adventurous, more confident, and to continue to be motivated.”\u003c/p>\n\u003cp>That’s especially true, SPELLLING says, in the Bay Area. “The community here feels bottomless, endless,” she says. “There’s something happening every day. Even if it’s not in public, it’s in someone’s home, and that makes it even more special.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>SPELLLING’s next performance is on Thursday, Aug. 3, as one of the 43 bands playing at \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">The Universe is Lit: Bay Area Black and Brown Punk Festival\u003c/a> running Aug. 3–6 in Oakland and San Francisco. \u003c/p>\n\u003cp>This festival is a true labor of love by three friends, Shawna Shawnté, Titania Kumeh and Jade Ariana Fair, who say they were inspired by similar festivals in Chicago, New Orleans, and Portland with a mission to forge a positive space for black and brown artists making non-conventional music, film, and art here in the Bay Area. \u003c/p>\n\u003cp>“We’re all in bands together, we’re all making music, and we just thought, ‘Why don’t we get people together?’” says Kumeh. “No one else was doing it, so we just decided to organize it.”\u003c/p>\n\u003cfigure id=\"attachment_13784822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-800x587.jpg\" alt=\"Maya Songbird is among the 43 performers at The Universe Is Lit's festival.\" width=\"800\" height=\"587\" class=\"size-medium wp-image-13784822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-520x382.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maya Songbird is among the 43 performers at The Universe Is Lit’s festival. \u003ccite>(Jaz Yossarian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, they’ve spent the past year fundraising, booking, and finding venues. Mostly a volunteer effort, with friend’s bands hosting over a dozen benefit shows all over the country, the festival is free to attend and even begins with a group dinner. “There are bands coming from all over, as far as Australia, so we’re having a dinner to help everyone meet each other and connect,” says Fair. “Food does that for people. Food, music and art.” \u003c/p>\n\u003cp>The name “The Universe is Lit” was inspired, they say, by the ways people are helping one another and finding inspiration at a time when “everything that wants you \u003cem>not\u003c/em> to radiate is being shown daily,” says Shawnté. “But right now, we’re lit up.” It’s meant to be a celebration of and for the communities that performers like SPELLLING have found so important here — artists who produce music outside of the mainstream, or in private spaces.\u003c/p>\n\u003cfigure id=\"attachment_13784824\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/LasSucias.jpg\" alt=\"Las Sucias play The Universe Is Lit festival Aug. 4.\" width=\"400\" height=\"400\" class=\"size-full wp-image-13784824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/LasSucias-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Las Sucias play The Universe Is Lit festival Aug. 4.\u003c/figcaption>\u003c/figure>\n\u003cp>“In the Bay Area there is so much scarcity and stress about housing, and a lack of ways to create, and needing money, but we wanted to really show that we are doing it, that we are creating,” says Shawnté. “It’s very easy for people to think of punk or freak culture as just automatically a ‘white thing’ but we have this whole community, all of these friends who are doing these things, and there’s a long history of black and brown people making this kind of music.”\u003c/p>\n\u003cp>For Shawnté, Kumeh and Fair, the festival is not about any singular aesthetic, but the act of inclusion for nonlinear, informal approaches to making art. That’s one aspect that SPELLLING especially values.\u003c/p>\n\u003cp>“I relate to punk because I think it’s the ultimate strive,” she says. “Nothing I make is ever going to be perfect. And I relate to that as it not being the goal. The goal is just to let it out, the process.” \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\u003cp>\u003cem>The Universe is Lit: Black & Brown Punk Festival runs Aug. 3–6 at various venues in Oakland and San Francisco. \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Find more about SPELLLING \u003ca href=\"https://spellling.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
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"order": 19
},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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},
"freakonomics-radio": {
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"meta": {
"site": "radio",
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},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
"title": "Fresh Air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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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},
"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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