Dragons, Creepy Creeps, The Phantoms – Jan. 14, 2014

2014 Flashback…

If anyone needed a reminder of how fun rock ‘n’ roll can still be, they should have been to this show at The Casbah in San Diego. The Casbah was celebrating its 25th anniversary and was hosting bands from throughout its storied history, along with the kind of acts that should keep the venue vital for another quarter of a century.

First up on an all San Diego bill were newcomers, The Phantoms. This group features Victor Penalosa, the current drummer for the Flamin’ Groovies, on guitar and vocals, and a fantastic backing band of Xavier Anaya on lead guitar, Chris Iandolo on bass and Jarrod Lucas (from The Dragons) on drums. They opened with the lead song from their self-titled debut album, “Baby Loves Her Rock and Roll”, which sounded like a revved up long-lost song by The Beat (Paul Collins’ not English). The Phantoms then charged through their 10 song set as if they were the headliners with songs like “Stab My Broken Heart”, which besides kicking ass throughout, ended with the opening riff to “Love Gun” by KISS. The set then ended with a garage rockin’ version of Bob Seger’s “Rosalie” and then an homage to the bassist for glam-rock heroes Mott The Hoople with “The Ballad of Overend Watts”.  These guys seem to be channeling the late 70’s/early 80’s power pop of The Plimsouls, 20/20 and the aforementioned Beat and are definitely a band keep an eye on.

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Soft Lions – The Casbah – July 16, 2015

Clearing out my old tumblr blog (originally from Jan 4, 2016)

One of my favorite bands in San Diego for a couple years now has been Soft Lions.  I was fortunate to see them in their debut show at the Soda Bar at the end of 2013; I saw them again the next year opening for Small Black and Snowmine, and then again this past summer at a headlining record-release show at the Casbah.

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Will Butler – The Casbah – May 29, 2015

Clearing out my tumblr (originally from June 2015):

Last month, Arcade Fire’s hyperactive sideman, Will Butler, brought his new solo act to the Casbah here in San Diego.  The last time I saw Will he was bounding across the stage, playing one instrument after another, in front of about 20,000 Arcade Fire fans on last summer’s Reflektor tour.  On this night he offered the same stadium level effort and energy, but this time it was for a sold out crowd of only 200.

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Luna – The Casbah, San Diego – Dec. 29, 2015

Luna 2

The reunited Luna played to a sold out and enthusiastic crowd on this night at the Casbah.  The lineup consisted of hubby/wife duo of Dean Wareham and Britta Phillips, longtime guitarist Sean Eden, and drummer Lee Wall.

The 16 song set was comprised mostly of songs from two earlier albums:Penthouse and Bewitched; as well as several from their last record.Rendezvous.  I had never seen Luna before but I’m glad I caught them this time around.  The band was really tight as they seemed to play their melodic pop/rock effortlessly.  The band’s appreciation of the Velvet Underground was apparent in many songs, especially on the closer to the main set, “Friendly Advice”.

After a short break Luna returned to play “23 Minutes in Brussels” off of the 1995 album Penthouse and then launched into a ragged indie rock version of the George McCrae disco classic, “Rock Your Body”.  [You can catch a clip of this HERE – I did not take this video but whoever did must have been standing only a few feet from me].

PINS – The Casbah, San Diego – May 2, 2016

[click pics for larger versions – photos by Esau Laniado]

This past Monday at the Casbah proved once again why it’s a good plan to arrive early for shows and catch the opening acts.  Your worst case scenario is that you get to hang out, have a couple of beers and socialize, but more often than not, if you give these support groups a chance, you should find something to enjoy about them.  PINS, who, like headliners The Subways, hail from England,  provided strong evidence to support my theory.  The way I see it, if you can’t enjoy an act as good as PINS you probably don’t really like rock ‘n’ roll that much!

PINS may be from Manchester, but if they want to move to San Diego they would fit right into our local music scene.  Their mix of noisy but melodic guitar-led music, with influences as wide as shoegaze, surf, riot grrrl and lots of garage-rock would feel right at home here.  The band, featuring Faith Holgate on lead vocals and guitar, Lois McDonald on lead guitar, Anna Donigan on bass, Sophie Galpin on drums, and Kyoko Swan on keys,  were quite dynamic and could go from a soft melodic passage to a ferocious wall of sound.  Some of the best moments came when all the PINS would sing together – sometimes in unison with gang vocals and at others with layered harmonies.

PINS were also adept at getting the crowd involved in the show.  The Casbah was filling up nicely for their set, but San Diego audiences often take a wait-and-see approach before giving it up for bands they don’t know.  Holgate decided to just take things into her own hands, though, and went out into the crowd – as she was singing – and took the hand of a girl near the front and started dancing with her. This, of course, got everyone moving, and by the end of the set the crowd was completely engaged. If someone had walked in right then, they might have thought PINS were the headliners!

I had a chance to speak with Holgate after the show and she told me that they had just played the Casbah recently and that this show went a lot better for them.  I took that to mean that the crowd was larger and more active during their set.  My prediction is that by the next time they come through town they’ll be able to count on San Diego from the start!

Here are a couple of videos I took from the show:

Both songs are off PINS’ 2013 debut album, Girls Like Us.  I haven’t heard that record yet but I did pick up their second LP, 2015’s Wild Nights, at the show  and can confirm this record is going to get a lot of play!  Apparently they recorded it at the famous Rancho de la Luna studio in Joshua Tree (that’s the location in the Palm Desert that Dave Grohl featured in his Sonic Highways series) and their producer, Dave Catchling, managed to keep PINS’ distinctive character while also helping them achieve a bigger and more varied sound.

You can check out more about PINS here on their website:  wearepins

All photographs are by Esau Laniado at www.instagram.com/esaulaniado.

 

The Subways – The Casbah, San Diego – May 2, 2016

Sometimes you just get lucky.  Lucky to be in just the right place at the right time, and in this case that means catching a band like the Subways at a place like the Casbah.  The Subways, from England, had a minor hit in the U.S. back in 2006 when the single “Rock & Roll Queen” from their debut album, Young for Eternity, was released.  They toured that record, stayed in Los Angeles to record its follow-up, All or Nothing, then returned to the UK and didn’t come back until this tour.  That’s eight years with no presence in America.

Here’s a group that has played to 70,000+ fans at the Reading and Leeds festivals, among others, (check out this performance) and tonight they were going to play the Casbah, which has a capacity of just 200.  I asked their manager, Ben Hamilton-Kirby, who accompanied the band on this tour, what size venues the Subways typically play when they headline at home.  He told me that in addition to the festival circuit the band typically plays to crowds of about 1,500 to 3,000, depending on the location.  Interestingly, the lower number was at home in England, but in Germany and other European cities they are even more popular and draw the larger crowds.  I then asked him what it was like for the band to play such a small venue when they were so comfortable playing to much larger audiences, and he said, “Actually, it was worse than that for a while – only 18 tickets were sold before the show, so the band really didn’t know what the reception would be like.”  As it turns out, they needn’t have worried as the Casbah filled up nicely by the time their set started.  It may not have been 75,000, but 150 inside the Casbah can create some energy!

[click on pictures for larger versions]

And energy is just what the Subways provided.  After a taped symphonic introduction, the band hit the stage at full speed playing the song “Kalifornia” from their 2008 album, All or Nothing.  This song starts with an attacking drum fill followed by a huge, heavy guitar & bass riff before singer Billy Lunn‘s vocals enter to sing/shout the verse.  Then on the chorus, Lunn is joined by bassist Charlotte Cooper, and their voices blend perfectly to put the pop into their pop/punk sound.

That’s how it went for the 18-number set (see the full setlist I posted here) – song after song of energetic and inspired rock and roll.  The band, which also included Lunn’s brother, Josh Morgan, on drums, was fully engaged with each other and with the audience. Lunn was especially talkative, and quite funny, sharing stories and bantering with the crowd and his band-mates.  This connection was tested a couple of times when the singer would stop singing in mid verse or chorus, trusting the audience to fill in the vocals.  This would seem to be a risky maneuver for a band that hadn’t been around in 8 years, but Lunn knew his audience and they did their part at full volume.

The Subways’ influences are varied and I can hear a mix of bands and genres: from early glam and punk like T-Rex and the Ramones to alt rock and Brit-pop like Nirvana and Oasis.  They also have a real classic rock sound to them, and I’ll bet Billy Lunn grew up with a great record collection around him. I had a chance to talk to Lunn after the show and ask him a few questions.  First I asked how old he was when he wrote “Rock & Roll Queen” and what it felt like to still be playing it and receive such an enthusiastic response from the audience.  He told me that he was 17 when he wrote the song and is “just thrilled to be able to still play it and for people to enjoy it so much.”  He told me about how they got their first record deal when they were quite young and that he can’t believe that song is still going so strong after all these years.  I then asked if when he wrote it he was aware of the Mott the Hoople song with the same name (listen here) since not only does it have the same title but the Subways have a glam-rock edge to some of their songs like Mott the Hoople did.  Lunn admitted that he had never heard of the song at the time but that he did hear it later on and that he really likes it.  He even mentioned that he thought he was “being so clever coming up with that phrase, only to find out it had already been a hit for another band.”

And now we come to the end of the performance as the band launches into “Rock & Roll Queen.”  The crowd was pushing forward, dancing and singing every word at full volume along with the band.  And as the song ended, Lunn, drenched in sweat with a big smile on his face, just looked out over the audience at this dive bar on Kettner and had a look on his face as if he felt like he was the lucky one to be there.

 


The other good fortune I had on this night was to meet a young photographer who agreed to share his photographs with me.  All of the pictures in this post are his, and you can find more of his excellent work on his Instagram account: www.instagram.com/esaulaniado.


Click here to check out The Subways website.

Click here for more pictures and videos from the show from MaxSoundsMusic.

The Subways – Pics & Video from The Casbah

Here are the pictures I took at The Subways‘ Casbah show.  See the full MaxSounds review of the show and much better pictures here: The Subways – May 2, 2016

[click pictures for larger versions]

Check out these videos from the show:

Subways - 0 Setlist

And here are a couple of promo pictures I got from the Subways’ manager:

Black Mountain – The Casbah, San Diego 4-26-16

Black Mountain took the small stage at the Casbah (check out the picture below to see how little room there is for the players once all the equipment is set up) and put on an epic show.  They began with the first two songs, “Mothers of the Sun” and “Florian Saucer Attack”, off of IV, their highly anticipated new LP.  These numbers set the stage perfectly for the rest of this alternately restrained, heavy, doomy, proggy and mostly really fucking loud show!

Add in the main set’s closing number, the 9-minute opus “Space to Bakersfield”, and if these song titles suggest a hint of prog rock from years past, you’d be right on the money.  Keyboardist Jeremy Schmidt utilized his Moog synthesizer throughout the set, but especially on the new songs like the first two and others like “Defector” and “You Can Dream”.  The Moog added a retro layer – like Rush circa “Tom Sawyer” – to Black Mountain’s already varied sound.  I spoke with Schmidt after the show and he confirmed that the band is a fan of that era and style of music and it just fit naturally with the songs they were writing for this album.

In all, Black Mountain played eight of the ten tracks off of IV – which arrived just a couple of months ago after a wait of nearly six years since their last album, the excellent Wilderness Heart.  I asked songwriter/guitarist Stephen McBean about the long gap between albums and he said that it was filled with A LOT of touring for Black Mountain, plus all the members have side projects with which they record and tour as well; so actually they had all been quite busy.  He did share that he believes the next Black Mountain LP will come along much quicker this time.

Along with the new material they sprinkled songs from throughout their catalog.  “Stormy High”, from their second album, In the Future, followed the initial 1-2 punch from IV and showed just how heavy and massive Black Mountain can sound.  Next up was “Drugonaut” off their self-titled debut record, which came out in 2005.  This song starts off with a rolling bass line and funky wah wah guitar and then slowly builds until it ends with an extended psychedelic freak-out of a guitar solo. Then a couple songs later we got the set-piece, “Tyrants”, which starts with Joshua Wells laying down a long, pummeling drum part as the guitar, keys and bass join together for a heroic introduction.  This is followed by a quiet, melodic section featuring McBean and singer Amber Webber joining together on vocals.  This interlude is just a feint though as the song builds from that towards a monumental riff and  guitar solo from McBean.

While Black Mountain’s sound can be as immense as their name suggests, they also know how to provide contrast and space in their music, as all of the instruments and voices have a chance to shine on their own while still completely meshing with each other.  Singer/guitarist Amber Weber provides much of the balance to Black Mountain’s sound with her clear, and at times haunting, vibrato-laden vocals.  It is her voice as much as McBean’s huge guitar sound that helps Black Mountain stand out from the pack.  Make no mistake though – when they decide to cut loose – they are as loud as any group I’ve ever heard.  Standing near the stage during the final song, “Don’t Run Our Hearts Around”, I felt like I was taking the music in through my entire body and not just my ears.

Check out these videos from the show:  “Stormy High”   “Tyrants”   “Line Them All Up”

Here’s the setlist I submitted for the show:  Black Mountain Setlist


Side Note:  I had  chance to speak with Amber Webber after the show and asked her a couple of questions. I mentioned that the last time I saw her was there at the Casbah with her band Lightning Dust.  This group, which includes BM’s drummer Joshua Wells, is a much mellower and more melodic affair than the mother group. I asked if she minded coming back to the small, though prestigious Casbah, after playing the larger/nicer Belly Up tavern the last time Black Mountain came through town.  She reminded me that The Black Angels basically co-headlined that show with them, otherwise they wouldn’t have been able to book it.  She also said that she really liked the Casbah and how enthusiastic the fans were whenever they played there.

Learn more about Black Mountain and buy their records here at Jagjaguwar

Here are some BM side projects to check out:  Pink Mountaintops, Lightning Dust, Kodiak Deathbeds, Blood Meridian, Obliterations, Sinoia Caves, Grim Tower

 

Creepseed – The Casbah, San Diego – Mar 14, 2016

In keeping with the tradition that practically all San Diego musicians of note must be in at least three bands, Josh Kmak of The New Kinetics and Shady Francos launched his new band, Creepseed, earlier this week at The Casbah.  Joining him were O (fluff, Makeup Sex, Reeve Oliver, Systems Officer etc etc) on guitar; Josh Rudiger (Shady Francos, Sheila + the Rainbow Colored Trash Bags) on drums; and Ana Y (Makeup Sex, Spin Records) on bass.

Though they were the first of three bands that night (in support of Fred & Toody of Deadmoon fame) there was a good sized, enthusiastic, crowd on hand to catch the debut performance of this new band.  You would never know this was their first show though if Kmak hadn’t told us, though that shouldn’t be too surprising considering how much experience all the musicians have.  Kmak led the band through an energetic set of songs that combined elements of garage, surf and 50’s influenced rock.  The songs ranged from a mid-tempo modern take on Ricky Nelson or Buddy Holly to all out rockers with the band locked into a groove, bashing out riffs with a squalling lead guitar laid over the top.

Joining Creepseed for a few songs were Brian Reilly (The New Kinetics, Hiroshima Mockingbirds) who tried to contain himself on the slower song “This Dream I Dread”; and  Pat Beers (Schizophonics), who just barely contained himself (compared to his typically unhinged style) who came out near the end to help Creepseed close out a very successful first show. Hopefully we will see more of this new band in the months to come!

Video of “This Dream I Dread”

Facebook for Creepseed

 

Creepseed – “This Dream I Dread”- The Casbah 3/14/16

Video

Josh Kmak of The New Kinetics and Shady Francos has a new band, Creepseed. This video is from their debut performance at the Casbah.  Joining Josh in Creepseed are O from fluff and the Makeup Sex, Josh from Shady Francos and Sheila & the Rainbow Colored Trash bags, and Ana from The Makeup Sex and Spin Records.  Sitting in on this song is Brian Reilly of the New Kinetics on the right.