Hey Hey Hey live music fans! Performer is stoked to be presenting the AMAZEBALLS Tumbleweed Wanderers show this Saturday, November 30th at Great American Music Hall in San Francisco.
Oakland’s Tumbleweed Wanderers combine soul, folk, and rock and roll to create a hugely dynamic musical experience. They weave through their shows with smooth transitions, bringing the listener from dark chaotic banjo-rock, through intimate acoustic harmonies, to energetic explosions of soul.
Want tix? Of course you do, and we’ve got the hookup. Just leave a comment below and we’ll pick one lucky winner to win a crisp pair of tickets which will be waiting for you and your guest at the door. How’s that for a Thanksgiving treat?
We’re presenting an AMAZING show at Great American Music Hall this Saturday, featuring a local San Francisco band we totally love, Rin Tin Tiger.
Wanna win a pair of tix? Easy, just leave a comment below and we’ll pick a winner before noon Eastern on Saturday.
While you’re hear, listen to the band’s new LP below, and check out what band member Sean E. Sullivan has to say about the gig and the band’s live stage show.
How does preparation for a hometown gig differ from playing live on the road?
The biggest difference is the kind of rooms we play and the kind of set list. In the Bay Area we play pretty good sized rooms that fit hundreds of people. When we’re on the road sometimes we play comparable places but oftentimes we end up at smaller bars or even restaurants. There’s all kinds of funky places to play on the road and we’ve done a lot of them. The other big difference is the style and length of the set list. For hometown shows, especially headlining ones, we like to toss in a bunch of older classic cuts for those that have been with through the years.
What do you like best about Great American Music Hall?
The ambiance. It’s such a gorgeous building rich in history and being surrounded by that kind of atmosphere is really inspiring when on stage. The lights are also top notch and the staff are all very friendly.
What’s your favorite part of performing live?
Feeding off of the energy of the audience. Crazy dance moves and singing along really make the performance aspect of being a musician very rewarding. Recording is great but having people react to something live is the best.
What can an audience expect in a RTT show?
Lots of sweat, headbanging, dancing, jumping off of things, lengthy in between song comedy/banter, and hopefully some awesome sing-a-longs.
What can fans and newcomers expect from the new LP?
Some classic RTT elements – acoustic guitar, groovy bass, lots of lyrics, and punk rock drumming – all taken to the next level. This record captures our live sound more accurately than we’ve been able to in the past and feels very much like a “band” album. All of the parts are very important and we all worked well together to create something we’re very proud of.
How does the new album compare to your previous records?
It’s longer, it’s better, it’s more “band oriented”, as in there’s only 1 out of 12 songs that are just guitar and vocals, whereas our last album, Toxic Pocketbook, had 3 of 8 tracks with just Kevin. It’s also some of the most aggressive material we’ve released and also some of the most country leaning. Diverse yet cohesive (hopefully).
There are a lot of acts jumping on the “folk” bandwagon these days, in the wake of Mumford & Sons’ success. What makes Rin Tin Tiger stand out in this new revival?
I think we basically sound nothing like Mumford or the other popular folk acts right now. Nothing against any of those bands because they’re great at what they do, I just think that what we do is very different. The only real similarity is the acoustic guitar element. Our songs are much more rooted in rock and rhythm and blues with a lot of the folk influence coming from the emphasis and importance of the lyrics. A lot of our new songs are rock or country songs played with a Guild instead of a Telecaster and at a fast tempo. Everything else about us is different too. Our live shows are more like punk shows and we don’t dress like we’re from the 1920s. We’re three dudes making serious music with a fun attitude. A lot of contemporary folk music takes itself too seriously without having the content to back it up. We’re trying to fill a gap between country and punk and folk that hopefully comes off as not only fun but artistic as well.
This Saturday the Frail play what’s sure to be an amazing hometown show at Great American Music Hall in San Francisco, and we’ve got tix! Want to win a pair? Easy, just leave a comment below.
We recently caught up with the band to chat about the show and the recording of their upcoming LP, due out soon.
What are you looking forward to the most at this show in San Francisco?
Aaron: GAMH is my favorite venue, hands down. The first time I played there, I must have taken 20 pictures of the marquee to the point where someone walked by and asked “Big fan?” Also, this will be my first time playing with The Frail in front of family and friends, so it’s the best of all worlds. Danny: Personally speaking, I have never played GAMH and it’s always been somewhere I’ve wanted to play. So I couldn’t be more excited to be playing that legendary room! Plus I’m pretty sure Rolling Stone just called it one of their favorite venues. So there you have it.
From a musician’s standpoint, what are the key differences between performing at home in SF and other cities?
Izzy: The difference is knowing the staff at our local venues and catching up with them when we play. It’s nice, especially since we’re all busy and don’t really get to chat unless we’re under those circumstances.
Danny: I love seeing new faces, and different venues around the country. I mean at home we’re used to certain venues the room size, the gear, the way they sound and we can plan for that. Sometimes playing out of town, it’s a guessing game, but hey it keeps you on your toes and you get to meet new people!
What can an audience expect to experience at a live Frail show?
Danny: You can expect five guys bringing a house party vibe to any venue. We like to bridge the gap between the audience and the stage, literally. I’ve set up stools and walked out into the crowd on them…I like to build bridges…So expect to dance, feel like you are part of the band for the night, and to get sweaty…
You describe your sound as ‘Indie-tronic’ – what exactly does that mean?
Izzy: Indie-tronic means electronic dance music with lots of indie influence and no hippie shit.
Danny: But I guess indie is still a working genre right? I mean, does anyone really know what that means anymore? Cuz it def doesn’t mean independent anymore…
Your new LP, Love Death Legend comes out soon. What can fans and newcomers expect from this release? And is there an expected release date yet?
Kev: Old Frail was a half sandwich and a bowl of soup (bunch of EPs). The new Frail is a full meal **with a side of steroids and bath salts (1st full length, different songwriting approach, new producer,etc).
Danny: We are currently working on the label end of things so no release date yet, however we are launching our first song and new video “You Just Wanna Leave” any day now.
You actually worked with Converse to complete the recording of the record in Brooklyn. How did that come about, and what was your recording experience like?
Danny: Well, we applied and a friend at Cornerstone/Fader had also been really pushing us to everyone there and i guess it finally clicked! We were really really excited to get out there. I hadn’t been to NYC in a long time, and Izzy had never been so it was definitely an experience. We were also just stoked to see the list of bands that had been in there: Ra Ra Riot, our friends Shinobi Ninja, Dan Black, Big Boi and tons more – so it was really inspiring. Our producer and good friend Patrick Brown came out, we drank, and we recorded. I remember at one point we were working on a song called “I Never Knew You” and everyone just kept playing me Usher songs…Now I just wish I had actually been able to sing like Usher. Oh well…
We’re super psyched that Bosnian Rainbows are coming to San Francisco next Thursday – more specifically, the badass Great American Music Hall.
After an intense experience with his last project, the Mars Volta, guitarist and vocalist Omar Rodriguez-Lopez returned home to El Paso for some much-needed rest. Instead, he found three like-minded musicians who were ready for a new journey.
Rodriguez-Lopez, Teri Gender Bender (of Le Butcherettes), Deantoni Parks (the Mars Volta’s drummer) and Nicci Kasper created the alt-rock band Bosnian Rainbows. Their self-titled debut album is out on June 25 on Sargent House.
Want to win tickets? Simple, just leave a comment on this page, and we’ll pick a lucky winner to win a pair for next week’s show.
WHERE: Great American Music Hall – San Francisco, CA
WHEN: August 4
HIGHLIGHT: Spandex, String Metal and Innovative Weirdness
The marquee outside the Great American Music Hall seemed to read in descending order: “TONIGHT: Judgement Day/The Phenomenauts/Tornado Rider.” Instead, Judgement Day, a band that has risen in stature in both the local and national scenes in recent years, opened the show to early-bird fans. Each band had their own contingent of fans there that night, and Judgement Day’s posse got there bright and early, and was rewarded with a typically awe-inspiring set. Judgement Day is a “string-metal” band that probably sounds exactly like what you’re imagining. Though they started out as a band that was mostly appreciated by other musicians for their academic approach to songwriting, real people have finally caught on in the last few years – instead of singing along at choruses, fans drummed their thighs along to favorite violin and cello riffs.
The Phenomenauts took the middle slot, providing a suitable transition from Judgement Day’s more cerebral presentation to the disjointed madness of Tornado Rider. The Phenomenauts went through the usual motions, leading the crowd in coordinated chants and deploying fog machines for effect. That’s not to say it wasn’t fun – there’s a reason the band has amassed a loyal army of fans, many of whom were there that night. Though it’s virtually always the same show, a Phenomenauts gig is a guaranteed good time.
Though the filter of a YouTube stream may not give you the full effect, make no mistake: Tornado Rider is simply chaotic live. As a live band, they make about as much sense as their songs, which are titled things like “Goat God,” “I’m a Falcon” and “OMG, It’s a Dinosaur.” In just the first 20 minutes of their set, the audience was treated to a man dressed as a tree, lead singer Rushad Eggleston rocking the hell out of his cello in his traditional uniform of spandex pants, elf hat and headset mic, and one of the Phenomenauts making a cameo appearance as the title character in the aforementioned “OMG, It’s a Dinosaur.” Though their fans are all very different, all three bands are quite equal in innate weirdness.
Great American Music Hall // San Francisco, CA // June 16
Con Brio warmed up the audience with their up-tempo, soulful jazz. The band worked really well, and Xandra Corpora has an awesome voice that lures out the dancer in you. You couldn’t help but move to the music. The rest of the band could have used a spring in their step to match the music, though. The stiff performance was in a slightly weird contrast to the lively music.
The main act, Sioux City Kid, lit the venue on fire with their loud and rough American rock and roll. It’s hard to put them in any musical box, but that doesn’t mean that it is hard to enjoy their music. You can hear blues, gypsy jazz, ’50s rock and many other flavors in the music. The songs are intimate, pondering stories revolving around relationships and other real-life situations. Even though the music is fast and up-beat, the lyrics can be melancholic and blues-like.
Sioux City Kid sounded great even though there were obvious technical problems with the guitars. The songs and performance rolled fluidly and there was an air of confidence about the band that made it hard to believe they’ve only released one full length album. Jared Griffin has raspy voice that sounds like rough life itself, with a playful cockiness to it. The other main attraction of the band is Davey Diamonds on guitar, constantly moving and jumping around and abusing riffs and solos on his axe. The rest of the band played supporting roles in this production but did that very well. There wasn’t a weak link in the set, except for that guitar amp.