Last Saturday night, I unintentionally curated a personal musical festival of sorts, attending six different sets of music, in three venues, over eight hours. While walking home at 3:30am we reflected upon the most shows that we’d seen over one night, usually at festivals like Burning Man or Treasure Island. But this Saturday night began just like any other…until it turned into an ideal arc of music that I rode across San Francisco, bringing with it a strange and captivating diversity of sound all by happy coincidence. Starting with Bay Area and Portland-based folk acts like Rainbow Girls and John Craigie, escalating to the Berliner-infused dance beats of Oliver Koletzki, and ending with a mystical Danish downtempo set by Satori. Seeing my dear friend John Craigie play a sold-out show (set 3 of 6) was a heart-warming and nostalgic midpoint to a night full of fantastic music. Highlights from my favorite shows of the evening and a new music playlist up next.

Rainbow Girls, August Hall

Rainbow Girls, the self-described “Eclectic Folk Trio”, hails from Sonoma’s auburn rolling hills and easily swept up the audience with their soaring harmonies and delicate melodies. Known throughout the Bay Area folk scene for their mesmerizing music, we were happily transfixed early in the evening by the bands’ three talented members – Erin Chapin, Caitlin Gowdey and Vanessa May.  While performing at August Hall, San Francisco’s newest music venue, these ladies offered subdued folk tunes with rich harmonies and activist lyrics. On Nov. 8, 2017, Rainbow Girls released their first album as a trio, American Dream as a socially conscious record, that explores the impact of the Black Lives Matter movement, the protests at Standing Rock and concerns about the disintegration of the fabric of American culture (The Boot). Enjoy the title track off this album, a cozy antidote to the smoky skies of California, lifting our spirits and clearing our lungs through their gift of poetic and hopeful songwriting: “Everyone is worth something, and it’s not their weight in gold”.

 

 

 

 

 

 

 

https://www.youtube.com/watch?v=ocEKFdhwkO8

John Craigie, August Hall

John Craigie, the now famous orator, and musician has been regaling audiences with “humorous storytelling, serious folk” for many years, and holds a special place in my heart since he was my first community connection to Burning Man. After my 2013 camp plans fell through, a mutual friend introduced us in Golden Gate Park at the Bicycle Music Festival; Craigie’s generous spirit invoked a once in a lifetime introduction to Home Free Dome, a veteran Burner camp filled with many inspirational artists and musicians (Daniel Steinbock, Leigh Jones, to name a few). Ever since then I’ve been attending Craigie shows whenever I get the chance – from the dusty couches of Center Camp, to backyards in Santa Cruz, to amphitheaters in Berkeley. After a dozen or so shows under my belt, I was delighted to see Craigie’s soldout set with Rainbow Girls on was filled with every bit of rye wit and heart-wrenching lyricism that he’s known for. An endearing friend to be sure, Cragie’s empathetic nature comes out in his complex folk songs that are a perfect soundtrack to the country roads of Eastern Oregon or a rain-soaked winter’s walk in Big Sur. Since touring with Jack Johnson last year, it seems the rest of the folk community has caught on to Cragie’s allure of “…trubador mix of folk and wit”. I can only hope he keeps reaching bigger audiences with his earnest charm and self-deprecating songs that help remind us of the universality of hard times and the healing power of music and humor to help us today’s challenges.  “And when the apocalypse is over, I hope you like your job…ain’t a shame, no body sets anybody free anymore?”

 

 

 

 

 

 

 

 

 

 

 

 

Oliver Koletzki, Halcyon

After laughing and singing along with Craigie and his band of folksy friends, I bid my 1st music crew farewell and headed to SOMA for a complete change of scenery. Upon arrival at the club Halcyon, the line of German and Spanish speakers wound around the corner, while thumping Bass vibrated the sidewalk we stood upon. Once inside the venue, I was disoriented by smoke machines billowing inline with the steady drum od dance beats and light. After only a brief search I located my friends in the crowd, aka music crew #2 for the night. Soon the party DJ that had been playing at my arrival transitioned in to the main show stealer – Oliver Koletrzki, a legendary Berlin-based producer and DJ known for a unique style of rhythmic techno house and electronic dance music he’d been making for over 30 years. Launched into fame in 2005, Koletrzki’s underground hit “Der Mückenschwarm” was discovered by techno-king Sven Väth, who signed the record to his label Cocoon and it quickly became the best techno record of 2005. Since then Kolestrzki has run his electronic dance house music career, started his own label and performs live sets as often as he can (see Berlin Boiler Room set below). As I transitioned from a Northern California folksy dreamscape into a full-on European techno dance party, Koletzki’s uplifting beats intermixed with haunting female vocals launched me into my much needed second wind, creating a dance party whose electric energy would carry me through the night.

 

 

 

 

 

 

https://www.youtube.com/watch?v=OZqPjILQosg

 

 

 

Satori, Public Works

After Koletzki’s s vibrant dance set it was time to close out the night with a quick snack followed by Satori, a new mystical Danish DJ I would soon become enraptured by during his set at Public Works. Satori’s global electronic sound defies clear definition, he himself describes it as “…an endless blend of seductive trance and mind-altering earthy tones….hoping to provoke a spiritual journey through his infinite sound-garden.” While that might just sound like a great acid trip, the vague verbiage is actually incredibly on point. As the last set of the night, Satori’s eclectic mix of drum beats, international instruments, and lyrical intonation was the perfect reverb to keep up dancing into the wee hours of the morning. While at times his melodic sound could soothe you into a lullaby-like trance, before you nodded off on the dance floor, he would elevate the audience with a surprising strum of a guitar or a loop of kora (West African harp) melodies. As a rising star in the electronic world, I’m sure we will be seeing Satoria headline more festivals and become a true leader in the global fusion genre. Despite being incredibly exhausted, I couldn’t help but get lost in the loops of his sometimes cacophonous, but always interesting looping melodies.  With such an eclectic mix of instrumental fusion in his repertoire,  I can’t wait tt see him again live, it is well worth spending some time diving into Santori’s distinctly hypnotic sound.

 

 

 

And for your curated listening, find my newest favorites below:

 

 

 

 

 

Friday the 13th is a holiday celebrated by Wiccans, goths, and nerds like me who celebrated her golden birthday on the auspicious date.  In April though, my joyful reverence for the day was aptly justified thanks to a few musical gifts. First of all, the stars had aligned such that my favorite new find,  Y La Bamba, was playing Cafe du Nord. Second, the show sold out but we still got last minute tickets for our crew. Third, Y La Bamba turned out to be the opener (!), a truly marvelous gift for those of us plagued by Friday evening exhaustion but hungry for some musical salvation.

Friday, April 13th: Y La Bamba @ Cafe du Nord

Y La Bamba played their set at Cafe du Nord, a Mid-Market neighborhood venue famed for its history of serving San Francisco (almost) continuously since 1907. The concert hall is located in the subterranean level of the Swedish American Hall, another great San Francisco venue. Du Nord’s low ceilings and disjointed layout can feel a bit cramped and stuffy at times, making views of the band or hopes of a relaxed atmosphere usually non-existent on sold-out show nights.  But with ticket prices under $15 and a concert calendar of consistently high performing breakout acts one can forgive the Du Nord’s red light district dingy hue and the parting gift of a few bruised toes.

Hailing from Portland Oregon, Y La Bamba is the project of frontwoman Luz Elena Mendoza, who carries her multiple identities with pride.  Mendoza’s Mexican family roots are immediately apparent in her music as this California native integrates bilingual storytelling and a diverse array of instruments into her enigmatic indie-folk-pop band. The group’s sound weds Mexican folk styles — from mariachi, Nueva Cancion, and norteño to American folk-rock and dreamy indie.

During their Friday the 13th set Y La Bamba’s songs ranged from hip shaking Chicano folk grooves to shoegazing rock ballads reminiscent of Real Estate. During the set, it was evident that the audience was eager for this hybrid sound – captivating us with an integration of Mexican and American music styles that were not only catchy but felt especially poignant with the current wave of nationalist politics. For those of us proud to live and support the residents of our sanctuary city, this Latin music fusion music is ever more important to honor and patron. As a soundtrack for those who value diversity in our communities and on our stereo speakers,  Y La Bamba is a fresh soundtrack for the revolution.

https://www.youtube.com/watch?v=XMUxca7gXv4

This new music playlist, Red Rye in Bed Stuy, was inspired by songs I discovered while exploring the gritty and beautiful streets of Manhattan.

Happy Listening!

 

 

 

Living off Valencia street in the Mission district of San Francisco definitely comes with distinct musical advantages. Say you fancy a free jazz show? Hop over to Amnesia and chat up a cute stranger. Running late for a sold-out set at The Chapel? Walk just a few brisk blocks and you’ve arrived flushed and ready to groove. While many have mourned the gentrification of this Mission corridor I still revel in the fact that live music can be found just a stone’s throw away from most street corners. It’s one of the many reasons I love this neighborhood and I’m grateful to call it home. Last month I saw two great sets down the street: R&B singer/songwriter Son Little & UK-based Americana singer/songwriter Jade Bird. Those reviews and a new music playlist after the jump:

Son Little

Aaron Earl Livingston, known by his stage name Son Little, released his first self-titled album in 2015. Livingston grew up on R&B and hip-hop in Philadelphia and his music is strongly influenced by this roots sound. His music ranges from jazz to soul, pop to R&B. As NPR Music notes, ” Little’s genre-bending is backed up by an expressive voice…He sings like a preacher’s son, which he is, and delivers his phrases like he knows he might get only one chance to grab your attention.” In Fall of 2017 Livingston released his newest album, Blue Magic, based on the pop song hit by the same name. It was promoting this album that brought Little to San Francisco, and I was overjoyed. After falling hard for his romantic ballad “Lay Down” (off his first self-titled album),  I was keen to see Livingston’s full musical range live. From rock to pop, blues, and jazz the set was full of spark – and even a bit of 60’s era nostalgia showing up in his newer songs. As Paste Magazine points out, his new album feels fresh yet familiar: ” The real sleight of hand, however, is that this New Magic is also the old magic. It sounds and feels both old and new throughout.” Creating a truly original sound in the crowded field of rhythm and blues is certainly a feat these days, bravo Son Little.

Jade Bird

Opening for Son Little, 19-year old UK singer Jade Bird was a sleeper pick since her sound initially was quite sparse and acoustic for the Little crowd (hungry for some soulful, upbeat jams). But a few songs into the set Jade Bird had endeared us to her unique twist on the Americana folk genre. Last September Bird released her debut EP “Something American”, recorded in the USA and highlighting her reverie for the states. As NPR Music observed: “Her phrasing and accent feel as if they’d be as at home in the Catskill Mountains of upstate New York as they would on Nashville radio.” To kick off her career by touring with Son Little was a good start for Bird,  expanding her reach across the USA. I found myself interested in Bird’s music since these days I’m eager for a softer stereo sound (perhaps to drown out the harsh political realities).  I was surprised to catch myself unconsciously humming the melody of “Something American” many weeks after her set. Cementing my belief that she has definitely won over this Yankee, and it looks like this year she’ll begin her North American takeover. Cheers!

On the music discovery side of things, I’m a huge fan of the All Songs Considered Tiny Desk Concert series.  They release new videos every week and I can not recommend them enough. They even get 12 piece bands like the Roots to come play in their office. Who says a big sound can’t come from humble surroundings?

Lastly, my new playlist of fresh artists and new songs by old favorites is below.

Happy Listening!

There is no better homecoming than the amber glow of a concert stage, framing the faces of dear friends you’ve missed all summer. Luckily Fall was just the season for musical reunions. The week of the Autumnal Equinox brought me into the cozy coastal sound of Fleet Foxes at Monterey’s historic Golden State Theater. Back in San Francisco, I was dazzled by the soulful acoustic set of Shannon Lay and rockin’ blues sound of Kevin Morby. Finally, in October, Hardly Strictly Bluegrass festival brought Indian summer heat to Golden Gate Park as well as the new smokin’ duet of Courtney Barnett & Kurt Vile. Reviews of these shows and a new music playlist after the jump. Cheers!

Fleet Foxes

Fleet Foxes, a popular indie folk band from Seattle, delighted fans in 2017 by releasing their first album in six years, Crack-Up.  This was the second release since former bandmate Josh Tillman had left the band in 2008 to start Father John Misty (a popular indie folk band with a similar orchestral indie soundscape).  But despite Father John Misty’s dominance of airwaves and festival stages over that past six years, many would argue that Fleet Foxes still carries the torch in this genre of indie folk, and after this amazing live show, I’d have to agree. Critical acclaim for the Fleet Foxes’s work highlights their multi-instrument weave of intricate vocal harmonies. Their earnest lyrical songs have been described as a “…pastoral brand of baroque pop.” I have loved Fleet Foxes since attending college in the angsty Pacific Northwest. After such a long hiatus I worried that I would never get the chance to see them live. So when their Monterey show went on sale (the only “Bay Area” set of their 2017 tour) I leaped at the chance to rekindle my adolescence emotional attachment to the band. The experience of reveling in their full-throated sounded, as it filled the Art-Deco themed Golden State Theater in Monterey, was pure delight.

 

Kevin Morby

Just five days after the Fleet Foxes show I had the pleasure of seeing Kevin Morby, a new artist who has captivated me through catchy melodies and political lyrics since 2016.  Kevin Morby’s solo project is an outgrowth of his bassist work with formidable indie folk band Woods (who did a great show at the Chapel last year!). After leaving Woods in 2013 Kevin Morby began writing and recording for his own band and gaining national acclaim. This year Morby released his fourth solo album,  City Music, an ode to his former hometown of New York City.  The show I caught at Great American Music Hall was the last night of his summer showcase and record release tour. As the capstone evening to six weeks on the road, this Saturday night show was going to be his band’s last explosion of sound. You could tell Morby was both ecstatic and exhausted as he walked onstage. As the set began, it was evident from the fevered head-shaking of his bandmates that they intended to finish on a high note. Morby’s shaggy hair and navy suit bedazzled by felt shaped music notes aptly matched his freak folk/rock songs.

 

 

 

 

 

Shannon Lay

Shannon Lay, the opener for Kevin Morby’s set, bewitched the audience with a gentle electric guitar sound and waifey vocals. Her punk roots, as guitarist for the band Feels, was belied by bright orange hair tied back in pigtail braids  – giving her a punk rock Pipi Longstocking vibe. With endless reverb, Lay’s set felt “timeless”, in the words of Kevin Morby himself. Kevin had helped Lay produce the album “Live Water” that she was promoting on this tour.  At the beginning of his set, he recounted the story of seeing Lay perform her solo set in a small LA bar, and was so impressed that he promptly introduced himself afterward and offered to produce her record. This seasoned musician’s affection for Lay’s music was a notable recommendation that will likely accelerate her career, and her beautiful minimalist sound deserves the high praise.  Lay’s humor and affection is also a key feature of her onstage personality, further endearing us. Before playing my favorite song of the set, “All this Life Going Down”, she remarked – “Hey everyone.. congratulations on being alive. This world has been pretty darn crazy, hard, pretty and ugly. Congrats, just congrats on making it through.” Amen, sister.

 

 

Courtney Barnett & Kurt Vile

Courtney Barnett’s deep Aussie drawl is the perfect complement to her rye humor her storytelling/songwriting style is known for. Kurt Vile’s jangly Americana style is similar to the lack of inflection in his vocals, but magically sonic melodies that render audiences emotionally rocked. This pair of low profile, highly talented guitarists began recording duet songs together in 2017 to the delight of fans across the world.The way Barnett and Vile lock into grooves, trading barbs in deadpan tones, and dueling with seemingly effortless yet entrancing guitar riffs makes for a delightful endeavor that plays to both artists’ strengths. They premiered these new songs at Hardly Strictly Bluegrass this past week. In the fields of Golden Gate Park, surrounded by sun-dappled eucalyptus trees, the two began their Fall tour. Enjoy this title track, “Over Everything”, from their forthcoming 2017 collaborative album “Lotta Sea Lice”, out October 13th.

 

 

 

 

 

Next post will feature Son Little, until then enjoy my Fall new music playlist:

 

 

 

When one of your best concert buddies lives in Paris, you end up seeing some great shows in France. That’s how I found myself in Lyon during a warm summer evening last July, sitting perched atop an ancient Roman amphitheater built in 15 B.C. For this weekend jaunt, we had adventured to Lyon, France’s second largest city, at the confluence of the Saône and Rhône rivers, to attend their summer music festival: Les Nuits de Fourvière.

Ironically enough, we were surrounded by French people, in a Roman amphitheater, about to listen to a wholeheartedly American musical genre – Soul. We had left our respective homes in Paris and London for the countryside in search of this night of Soul music, primarily the sets of Valerie June and Michael Kiwanuka. By using this concert as a catalyst for a weekend getaway to Lyon, we discovered a beautiful city brimming with 2,000 years of history, delicious local food, and hilarious salty locals. But no one could have warned us of the powerful show we had ahead of us – filled with brilliant music and thunderstorms, an electric combination to be sure.

Valerie June

I fell for Valerie June’s sound a few years back, when her combination of unique raspy vocals and authentic onstage southern charm caught my attention. A Tennesse native, June’s sound encompasses a mixture of soul, folk, blues, gospel, country, and bluegrass.  I was lucky enough to see Valerie front and center at Hardly Strictly Bluegrass last year. Since that show, she released her 2017 album, The Order of Time, which featured prominently in her Lyon show. In France her set was aided by a metrological cacophony of thunderstorms. As her set began warm summer rain showered us and brilliant displays of lighting seemed to pulse perfectly in sync with the handclappin’, foot stompin’ members of her band. My favorite song from her new album and the Lyon set was Shakedown:

Michael Kiwanuka

Michael Kiwanuka is a talented British rock music who’s been putting out hit singles since 2012. This year his prominence in the media rose when his song “Cold Little Heart” was made the title song for the hit HBO show “Big Little Lies”. This year singer/songwriter Kiwanuka released his second album,  Love & Hate, described by Pitchfork as “…a bittersweet offering, pulling from ’60s and ’70s soul.” His premiere of the record in Lyon’s Roman Amphitheater was both passionately joyful and overshadowed by melancholy. In album’s hit single, “Black Man in a White World”  Kiwanuka utilizes this musical duality to explore themes of self-identity and racial tension with humbling honesty and beautifully mixed instrumentals. As the lightning storm raged on during his set, and thunder roared in the backdrop of the amphitheater, Kiwanuka’s band and the political message of his lyrics cascaded over us with almost biblical resonance.

By the end of the night, we were soaking wet but grinning with delight, having just enjoyed a myriad of great soul music. After living abroad for two months, the joy of listening to this homegrown genre with my childhood friend felt like the best birthday gift. When we rode the high-speed train back to Paris the next day I knew this catalytic evening of storm fury and soul fusion would stay with me for many years, and for that, I was eternally grateful.

Enjoy my latest playlist  “Beautiful Strangers”. It features Kevin Morby, one of my favorite folk/rock artists for 2017 who will be featured on the next M.O.M. post…

Happy Listening, Kati

 

For the weary traveler a perfect playlist can be the best companion. Through three months and eight countries I have been using my Wanderlust playlist as a faithful companion to punctuate and perfect the constant mood swings of my travels. Anyone who has lived abroad or traveled alone knows how beautifully unpoetic travel can be. Rarely do your adventures turn out like the plans you’ve made, let alone the imagined fantasies. Beyond the Instagram-filtered moments, there are many others where you don’t speak the language, don’t know where you are, and wonder why you did this trip willingly? In those moments, a musical reality check can be quite useful – because in fact it’s never as dire as it seems.  To help keep my travel adventures in perspective this summer I started curating my own personal soundtrack, some songs to match the specific challenges in my path, and others as friendly reminders of my community back home. Along the way I learned that if fantasy fails to become reality, you can at least play sound engineer to curate your own original storyline.

When traveling my first choice of songs tends to come film soundtracks, and I owe this fascination to long standing love of cinematic genius Wes Anderson. I could write a masters thesis on my obsession with Anderson’s film soundtracks, their ability to calibrate the audience’s reaction to beautiful onscreen cinematography and superb acting, is an art form all it’s own. It is perhaps for this reason that I can so easily recall scenes of Anderson’s films and use their acoustic accompaniment to enhance my present experience.

When I planned to travel around Vietnam solo I knew it would be a challenge, but certain aspects were unseen (perhaps blissfully so). One such challenging leg of the journey was a 14 hour overnight train from Hue to Hanoi. I barely made the train, lugging my big suitcases onto the platform (note the 3 foot jump from door to platform above). Once on the train, I spent a sleepless night on a small hard cot, in a bunker with three Vietnamese men. I had to mime to four different train staff members before getting a clean blanket. As my ancient train rumbled North in the darkness I tossed and turned sleeplessly, trying to stay positive and reflect on what an “adventure” this was. Soon I was reminded of the crazy train travel in Anderson’s film the Darjeeling Limited. I smiled and began playing the Kinks through my earbuds and felt instantly soothed. I’ll likely not repeat that disastrous travel and accommodation combo again, but I know the journey would have been much worse had I not been distracted by Anderson’s travel soundtrack.

After my train ride to Hanoi I took a second train, a ferry, then a cab ride to reach my destination – Cat Ba Island, an beautiful forested island on the southern side of Halong Bay. Hoping to see the wilds of Vietnam’s islands untouched I had chosen to stay at a supremely rustic EcoLodge…set in jungle valley, down a long dirt road, on the opposite side of the island from the port city. Oh, and I happened to be the only resident onsite for two days. Talk about a true nature retreat of self-imposed isolation! Ha! The first day I was exhausted from the sleep-less train ride but itching to get outside. So I took off on the trails beyond my cabin to explore, and mostly ponder why I had thought staying in such a remote lodge, on a remote island, was a good idea.

As I hiked the jungle hills behind the Ecolodge and passed the occasional rice patty farmer or local family piled atop a motorbike I remembered to pause. I stood on the trail and inhaled three large deep breaths of clean jungle air. It felt divine. After six weeks in polluted Shanghai I was grateful for clean air in a way I had never been before. That night I saw the stars for the first time in six weeks, pretty amazing stuff. In my earbuds I staved off loneliness on these treks through Eddie Vedder’s Into the Wild soundtrack. While my solo quest was far from the Alaskan wilderness, Vedder’s anthem for traveling to find self actualization fit the mood quite perfectly. If one had to be alone, I told myself, the wilds of Vietnam was a dazzling place to ponder life and my place in it.

Eventually I learned to ride a motorbike around Cat Ba island, as a cheap means of transport and a much needed dose of independence from the island’s meager taxi service. Having never rode a motorbike the learning curve was a bit steep, but once I got a hang of it, it was the most exciting ride of my life! I can’t wait to go again. Left to my own devices I could explore old bunkers, jungle parks, and hidden beaches. On these rides my aptly titled “Cycling Beats” playlist (made for SF bike commuting) was an apt soundtrack. In particular, this song fit my new exhilarating new ride and waterside views well.

While traveling I had a lot of time to reflect, and one such revelation was the irony of how spending time in crowded places can make one feel more isolated, even if surrounded by those we know. Perhaps it’s a lack of strong, intimate connections while abroad that adds to this surreal out of body experience. When I got back to the city life in Europe I noticed this feeling a lot. It felt like I was watching a film of yourself exploring a new land, wondering how others see you. To process this aloof observation process I dove deep into the moody tunes of the Velvet Underground. In particular, their sleeper hit “After Hours”  touches upon these anti-social themes beautifully.

On a more upbeat note,  another favorite album of mine this summer was Alt-J’s new June release, RELAXER. It dropped while I was living in Shanghai and the throbbing base beats, trimmed string instrumentals and wild vocals made it my favorite city slicker backdrop. When I was pushing past crowds of manic Chinese people on the sticky sidewalk it gave me bursts of energy to get home. When I was strutting out to the nightclubs it gave me a dose of gritty goodness. Now I’m based in London, a considerably less populous and dirty city than Shanghai, but this album is still been my favorite go-to. Listening to the breathy vocals on “Deadcrush”, while walking to the tube feels like you’re inside the heartbeat of the metropolises, that your steps are feeding into the living breathing metropolis.

After settling into London for my last few classes in July and August I found myself once again struggling to enjoy my trip. The UK summer was cooler than I’d thought, and the constant dreary rain of July only seemed to add to the foreboding future of unknowns that lay ahead of my travels ending. To keep my chin up during this time of uncertainty, I’d walk the beautiful cobblestone streets of Kensington listening to English folk singer Vashti Bunyan. In particular, her earnest and melancholic song “Diamond Day” could always tint my perspective towards rose colored, a perspective that I was always grateful for at these low moments.  Her entire 1970 album, Just Another Diamond Day, is worth a listen for those looking for a sweet folksy respite from the woes of modern life.

Although new music discoveries are fun while abroad, often it can be those familiar tunes that console us best. When I fell ill in China I eased my homesickness and physical ailment by watching  The Royal Tenanbaums. The scene where Anderson plays the opening notes to  “These Days” by Nico has made it one of my favorite songs. Perhaps it’s because it depicts both beauty and sadness during a reunion meeting, in a way that feels so familiar. Perhaps I love this song, and Anderson’s curated soundtracks while traveling abroad because that’s what I’m looking for in my travels – looking to notice the extraordinary moments shaded behind the ordinary moments buzzing all around me. For when you are a stranger in a strange land it feels much easier to notice these sentimental sparks of life all around.

Now that my return home is imminent, it’s clear that my Wanderlust playlist was an essential element of my journey. It contains many more songs than I’ve recounted above, but all of them share these themes of reflection and elation. As you take on various journeys this summer, I hope these songs brings you a new degree curated delight.

 

It was a whirlwind three days and nights of music in Edinburgh. My hopes of reaching Scotland during a break from classes in London aligned perfectly with Edinburgh’s Jazz and Blues festival. In a city widely celebrated as the cultural capital of Scotland, I was excited for this music-themed vacation that would include New Orleans soul, Scottish folk, and 1920s-era swinging jazz . After a beautiful train ride filled with verdant fields of grazing sheep and rocky coastlines I arrived at a city bursting with medieval architecture, great bands, and bountiful whiskey.  Proving once again that the best way to experience a new city is through the musical performers it attracts.

The New Orleans Swamp Donkeys: West Prince Street Gardens

Upon arriving to Edinburgh, the city was basking in a rare summer heat reaching almost 80 degrees F. It was evident that the local Scots were gleeful at the weather from the myriad of picnic blankets strew across West Prince Street Gardens. The beautiful garden park fills the valley below Castle hill and extends eight blocks creating a beautiful city greenbelt. A myriad of footpaths pass groves of arching willow trees, manicured flower beds, and a plethora of grassy knolls and park benches. It was here that I was fortunate enough to find my first show of the Jazz & Blues festival, The New Orleans Swamp Donkeys. On the north end of the gardens a circular, multi-colored gypsy circus tent had been erected for the show. Inside the festival goers were milling around sipping local gin cocktails and craft beers.

The New Orleans Swamp Donkeys formed in 2012 and describe their sound as “…early Jazz with a modern twist” .  From the beginning this was clearly not their first trip to Edinburgh, as the band swaggered onstage all wearing traditional kilts. James Williams, band founder and lead singer/trumpter sat center stage. As he carefully adjusted his kilt he recounted the last time he had “sat down a bit too quick…and gotten a bit too intimate with the audience”. Tonight’s audience roared with laughter and the evening was set with a jovial tone. The entire New Orleans band was kilt-clad, but the Scottish tendencies ended there, their funky blues sound was all New Orleans.

After traveling outside the States for 2 months I was ecstatic to immense myself into some good ‘ol American roots music. The type of music that makes you proud to be American, something I wasn’t quick to feel as of late.

The band was large, containing tuba player Jon Gross, Drummer Josh “Jams” Marotta, Singer/Front man/Trumpeter James Williams, Sax Player Ricardo Pascal, Trombone Miles Lyon, Banjo Player Joseph Fasion, and Nick Garrison on Trumpet. When Williams led the group with his his raspy, soulful melodies the audience was reminded of the late great Louie Armstrong. The range of the Swamp Donkeys was quite impressive, not only did they knock out typical jazz classics like “Sunnyside of the Street” and “Ain’t Misbehavin'” but they had countless originals about their love for their hometown of New Orleans, plus a medley of pop songs including TLC’s hit “Waterfalls”. The Swamp Donkey’s band had

If you had told me a few weeks ago I’d be sitting in Edinburgh, singing along to TLC with a New Orleans jazz band I’d have said you were crazy. Luckily, I got to experience just that type of musical mash up, only two hours after arriving in Scotland in a sun-dappled circus tent. Quite a wonderful start to a my music-filled week!

Scottish Folk Music: Sandy Bell’s Tavern

The weather the rest of my trip would prove to be much colder than my first day and so by the second evening I was chilled to the bone. I’d spent the blustery day sight seeing and joining a Harry Potter walking tour (duh), so I was in search of a warm drink and some musical delights. Luckily I found both comforts in Sandy Bell’s Tavern, a local Scottish folk venue who served up delicious Hot Toddy’s. I even learned that this favorite cozy cocktail of mine was originally created in Scotland! And after experiencing their frigid rainy nights (even in July) it wasn’t hard to see why they had been so inspired.

After ordering my whisky tea cocktail I had a seat on a bench in the back corner of the bar. Next to me sat five older gentleman, a group of friendly Scotsman happily strumming away at their instruments and pausing every so often to sip their dark ales. Amongst them were two violin players, a flutist, a guitarist, and accordion player. Most of the bar patrons were transfixed on their joyful jigs but the musicians seemed unfazed by the local stardom. Simply playing their improvised folk tunes alongside each other was enjoyment enough. The crowded bar was soon warm and cozy, filled with locals sipping overflowing pints of beer and whiskey drinks while nodding along with great local Scottish tunes. Despite the nasty weather outside, it was hard not to quickly warm up quickly and enjoy the evening. Here’s a sample of Sandy Bell’s local music:

Empatee du Weiss

“When you make plans, god laughs”, or something like that. And thus my well intentioned evening with Empatee du Weiss would prove to be in vein. I mixed up my nights and missed this awesome Italian band. Their self described “Ska Jazz Ensemble” creates quite the range of groovy riffs and soulful interludes. When listening to them before the set I was impressed by how they mixed Balkan instruments with ska melodies to create a unique style of Eastern European reggae, ska, and lounge music. Despite my concert mix-up, they’re a unique band well worth a listen:

The Red Stripe Band: Rose Theater

So on my final night in Edinburgh I saw The Red Stripe Band instead of Empatee du Weiss. This 20-year old traditional jazz band bears no association to the delicious Jamaican craft ale we all enjoy at the beach. Instead, their was sound was similar to Pink Martini but with more British brass and sass, less sultry lounge overtones. They’ve gotten around over the past two decades, having played at a dozen international festivals and for five royal families.

The show was set in the Rose Theater, a Chapel from 1808 that had been converted into a ballroom style music venue for Edinburgh Fringe Festival in 2016. Red Stripe’s swinging classic jazz band sound played well to the audience. When the lights rose for intermission a predominantly silver-tinged crowd revealed themselves. In many ways I wasn’t surprised, I’m sure my late grandparents would’ve have enjoyed these golden oldies. During the second set I joined the youthful whippersnapper crowd of the “Under – 40s” who had taken up to dancing in the back aisles of the auditorium. There were maybe a dozen of us at most, and I’d like to believe our youthful exuberance added to the entertainment for everyone else. At one point in between songs the band founder and, lead singer/pianist Neil Drinkwater announced: “Everyone! Rachel is 87 today, Happy Birthday to you!”. Amid cheers the band proceeded to sing her a jazzy rendition of the “Happy Birthday” song. It was a heartfelt sentiment from the band and a perfect ending to a joyful set of jazzy exuberance. Enjoy their tunes for yourself:

The Edinburgh Jazz & Blues Festival proved to be a delightful way to explore the city’s diverse music venues and discover some new music along the way. With no shows costing more than $20, I’d highly recommend it to travelers looking for an affordable art adventure in the UK. It was a great way to appreciate the city’s cultural charm, no matter your age or music preferences. Cheers!

 

Happy Summer Solstice y’all!

This Spring was a whirlwind of graduate school classes and events, a move abroad to China, and so much more. Luckily I was able to fit in some great Fauxchella shows and compile a new music playlist along the way. Since this is a long overdue retrospective I’ll keep it brief, in hopes that I can spend a bit more time on a new series I’m calling “Music Travel Logs”, stayed tuned 🙂

Fauxchella is the time of year when San Francisco residents benefit from a plethora of shows played by Coachella bands. These musical mavens escape the hipster desert oasis for some less culturally appropriated, authentic California culture. With my crazy class schedule I’d hadn’t planned on attending many shows, but as so often happens in life, sometimes you don’t plan for Fauxchella, but Fauxchella plans for you. In April I saw three shows in six days – and the exhaustion and exhilaration that ensued was worth it all. I finished the week feeling more refreshed and renewed than I had in months, conjuring up a line I had originally written as a joke from my first Music on my Mind Post: “Music is my religion and I’m determined to worship frequently.” Amen. 

April 15th: The XX @ Bill Graham Civic Auditorium

Fauxchella 2017 started with a sold out show by The XX, an effusive British band whose sound has grown in complexity and brilliance with time. Ironically I first fell for these shoegaze rockers at the Coachella 2014 festival. Their heavy breathing melancholic lyrics and pulsating drum beats enveloped the desert and swallowed the audience whole with musical intoxication. Three years later, their set had matured and greatly improved thanks to their newest blockbuster album release, I See You. Pitchfork noted this album “attempts to incorporate every band member’s talents into a new version of their sound, one true to their roots but richer and more varied”. Their set at Bill Graham Civic Center was powerful and moving, here are my two favorites off their new album “On Hold” and “Say Something Loving”.

 

April 17th: Radiohead @ The Greek Theater

Next up was the legendary rock band, Radiohead. They were playing five sold out nights at the Greek Theater, an intimate outdoor amphitheater on the UC Berkeley campus seating only 8.500 people. From the first moment Radiohead came onstage it was clear they were grateful to leave behind the shadows of a huge stadium crowd for this more intimate experience. Their three hour set spanned in time and space touching upon many of their hits – 15 Step, Reckoner, No Surprises . As a soft rain fell from the sky Thom Yorke crooned an acoustic version of Fake Plastic Trees and it felt as if the whole audience held their breath with anticipation and reverence. The intimacy of this show fueled the audience, their hoots and hollers cast out any of the dark damp weather that night.

 

April 20th: Whitney @ The Independent

The last show of Fauxchella, Whitney, was a the only show I’d planned on seeing for months. After a strong breakout album, Whitney had taken indie folk rock audiences by storm. Last July  I extolled the values of their music, both timeless and current in the same pitch. This Chicago band is the perfect road trip companion, I listend to them throughout a backpacking trip in the Desolation Wilderness last summer and their smooth vocals and reverb set the perfect sunset soundtrack. Since the summer it had been hard to listen to this band because their music was tangled up in some painful memories. Luckily I got to rewrite those memories with a fantastic sold out live show that I spent dancing and singing alongside two of my best friends, healing old wounds and reclaiming their sweet melodies for a happier time in my life. Enjoy two of my favorite singles off their debut 2016 album, the title track “Light Upon the Lake,” and  “Golden Days”. 

 

And for your new music wanderings, please enjoy the new music playlist “Cold Sun, Warm Heart”. This playlist is a tribute to the frigid rainy days that chilled the streets of San Francisco this Spring, and the songs that kept us cozy and warm:

 

In 2016 new music was one of the few bright spots in the world. While pain, fear, and grief filled the bylines, one could always gain a sliver of relief by turning down the news and turning up the stereo. In the new year music will continue to bring together advocates of social justice, environmental sustainability, and human rights – at a time when our efforts are needed most. So on this first day of 2017 let’s take a deep breath and reflect on the good music that kept us going and the good people we lost along the way.

Remembering those we lost in 2016:

Over the past twelve months we lost some amazing musicians, to name a few – Prince, avid Bowie, Leonard Cohen, Sharon Jones, and just this week – George Michael. Two of these untimely deaths coincided with paramount album releases:  David Bowie’s “Blackstar” and Leonard Cohen’s “You Want it Darker”. The coincidence between these two unfortunate incidents left many distraught, but Cohen’s lyric in his title track “I’m ready my Lord” seemed to signify his acceptance of his forthcoming fate. To pay homage to these two great artists who shaped rock’n’roll history through the world of UK glam rock and haunting folk melodies, that stirred souls of many generations, listen below to their farewell albums, released in they last days of their influential music careers. As Rolling Stone noted: ” These albums show…just the fearless generosity of musicians determined to get to work and put their art into the world, at a time when they had other worries.” 

Girls run the world:

Despite all the hate crimes against women and people of color this year it was great to see the Knowles sisters top the charts in 2016.  Their lyrics express an element of raw humanity and truth that many artists struggle to authentically express. Beyonce’s star status ensured that her “controversial” Black Lives Matter message resonated across America during the Super Bowl  with her hit “Formation” – stirring an important debate about gun violence in America. Her full album, Lemonade, transformed her marriage’s infidelity struggles into a visual emotional journey that was captivating and relatable to all her fans. The landmark album was a true masterpiece of 2016 that will be lauded for many years to come. While Beyonce got all the attention in the first half of the year, her talented sister Solange dropped her  first album in eight years “A Seat At The Table” on September 30th to much fanfare. The album’s sound is softer and more pensive than Lemonade, taking many listenings to fully absorb in depth, but it’s a hallmark record none the less. Her songs serve as a totem to the strength of female artists to speak their truth in a a beautiful and enchanting way. Her reflective lyrics are refreshing in a sea of female pop musicians who cater solely to the radio-hit formula. Solange’s unique sound commands the listener’s attention in a sparse and assertive way, in a way that leaves us aching for more from this poetic lady. 

https://www.youtube.com/watch?v=hlsbD6XFnW4

To cap off a great year of music and just as many lost musicians whom we loved, I’ll end with my latest compilation of new favorite songs.  I hope this music takes you into 2017 with joy in your heart and hope for a better tomorrow, may we all remember to use music as our guide to reach a soulful purpose.