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Moore","isLoading":false},"byline_arts_13963123":{"type":"authors","id":"byline_arts_13963123","meta":{"override":true},"slug":"byline_arts_13963123","name":"Eric Deggans, NPR","isLoading":false},"gmeline":{"type":"authors","id":"185","meta":{"index":"authors_1716337520","id":"185","found":true},"name":"Gabe Meline","firstName":"Gabe","lastName":"Meline","slug":"gmeline","email":"gmeline@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Senior Editor, KQED Arts & Culture","bio":"Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.","avatar":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twitter":"gmeline","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"artschool","roles":["editor"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"liveblog","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Gabe Meline | KQED","description":"Senior Editor, KQED Arts & Culture","ogImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/gmeline"},"nvoynovskaya":{"type":"authors","id":"11387","meta":{"index":"authors_1716337520","id":"11387","found":true},"name":"Nastia Voynovskaya","firstName":"Nastia","lastName":"Voynovskaya","slug":"nvoynovskaya","email":"nvoynovskaya@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Associate Editor","bio":"Nastia Voynovskaya is a Russian-born journalist raised in the Bay Area and Tampa, Florida. She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"},"ogpenn":{"type":"authors","id":"11491","meta":{"index":"authors_1716337520","id":"11491","found":true},"name":"Pendarvis Harshaw","firstName":"Pendarvis","lastName":"Harshaw","slug":"ogpenn","email":"ogpenn@gmail.com","display_author_email":false,"staff_mastheads":["arts"],"title":"Columnist and Host, Rightnowish","bio":"Pendarvis Harshaw is the host of \u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em>\u003c/a> on KQED-FM, a columnist at KQED Arts, and the author of \u003ci>OG Told Me,\u003c/i> a memoir about growing up in Oakland.","avatar":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twitter":"ogpenn","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"bayareabites","roles":["author"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Pendarvis Harshaw | KQED","description":"Columnist and Host, Rightnowish","ogImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ogpenn"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13962857":{"type":"posts","id":"arts_13962857","meta":{"index":"posts_1716263798","site":"arts","id":"13962857","score":null,"sort":[1725026410000]},"guestAuthors":[],"slug":"best-classical-music-concerts-bay-area-fall-2024","title":"The Best Classical Music Concerts in the Bay Area This Fall","publishDate":1725026410,"format":"aside","headTitle":"The Best Classical Music Concerts in the Bay Area This Fall | KQED","labelTerm":{},"content":"\u003cp>If “\u003ca href=\"https://www.youtube.com/watch?v=u5-SvGAWbVw\">Morgenstemning\u003c/a>” from Grieg’s \u003cem>Peer Gynt Suite\u003c/em> is the eternal soundtrack to spring, then autumn is \u003ca href=\"https://www.youtube.com/watch?v=bYm3tT59qoE\">one long Adagio\u003c/a>. Summertime flings fade, leaves dry out and hot nights of excitement transform into something more reflective.\u003c/p>\n\u003cp>It is, in other words, a perfect season for classical music. Here are 10 exceptional performances coming up in the Bay Area this fall.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">‘The Handmaid’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14–Oct. 1, 2024\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>In a post-\u003cem>Roe v. Wade\u003c/em> America, Margaret Atwood’s story of women living under forced insemination by a far-right theocracy is more relevant than ever. Now, in addition to a film, a radio series, a stage play, a graphic novel and a hit series on Hulu, \u003cem>The Handmaid’s Tale\u003c/em> has been adapted to the opera stage. The haunting, minimalist work by composer Poul Ruders makes its West Coast premiere in San Francisco just a week after San Francisco Opera’s free outdoor event \u003ca href=\"https://www.sfopera.com/seasons/opera-in-the-park/#performances\">Opera in the Park\u003c/a> on Sept. 8.\u003c/p>\n\u003cfigure id=\"attachment_13963213\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piano and percussion quartet Yarn/Wire (above) performs work by composers Annea Lockwood and Jan Martin Smørdal at this year’s Other Minds Festival. \u003ccite>(Mark Sommerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.otherminds.org/other-minds-festival-28/\">Other Minds Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 25-28, 2024\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For adventurous listeners in the Bay Area, the annual festival from the organization Other Minds is a gift of new and experimental sounds. This year’s festival has a new home in the Brava Theater, with a flagship premiere by the Washington-based sound artist Trimpin. Titled \u003cem>The Cello Quartet\u003c/em>, the 70-minute piece involves robot cellos, floating lamp shades, a mechanical piano and a group of dancers choreographed by Margaret Fisher. The inimitable New York quartet Yarn/Wire also performs, along with local favorites like pianist Sarah Cahill and percussionist Marshall Trammell.\u003c/p>\n\u003cfigure id=\"attachment_13954087\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025 at the end of his five-year contract. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/\">Salonen’s Last Season\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>By now, you’ve surely heard the news: this is Esa-Pekka Salonen’s \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">final season as Music Director\u003c/a> for the San Francisco Symphony. This September and October offers several chances to witness Salonen at the podium before he leaves: A \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-nico-muhly\">Nico Muhly world premiere\u003c/a> (Sept. 27 and 28), a concert of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-brahms4\">Brahms’ Symphony No. 4 and Shostakovich’s Violin Concerto No. 1\u003c/a> (Oct. 4–6), and \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-beethoven-pastoral\">Beethoven’s Symphony No. 6 paired with Salonen’s own Cello Concerto\u003c/a> (Oct. 18–20) are among the highlights.\u003c/p>\n\u003cfigure id=\"attachment_13963244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock (at upper left) in Olivier Messiaen’s ‘Harawi,’ with (L–R) Or Schraiber, Bobbi Jene Smith and Conor Hanick. \u003ccite>(Hanne Engwald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2024-25/illuminations-fractured-history/olivier-messiaens-harawi-american-modern-opera-company/\">Olivier Messiaen’s ‘Harawi’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 27, 2024\u003cbr>\nZellerbach Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The star soprano \u003ca href=\"https://www.kqed.org/arts/13889101/julia-bullocks-empathy-is-her-superpower-in-the-classical-music-world\">Julia Bullock\u003c/a> leads this dynamic reinterpretation of Olivier Messiaen’s song cycle. Composed in 1945 with a libretto peppered by surrealism, its performance in Berkeley is augmented by choreography from the dancers Bobbi Jene Smith and Or Schraiber in order to dramatize its themes of inherent loss. (Messiaen wrote \u003cem>Harawi\u003c/em> inspired by the tragedy of Tristan and Isolde.) With Conor Hanick at the piano and directed by Zack Winokur, the production should easily reveal new textures of the music.\u003c/p>\n\u003cfigure id=\"attachment_13963254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963254\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alissa Goretsky. \u003ccite>(Courtesy SFCM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcm.edu/experience/performances/sfcm-orchestra-1/20240928\">Strauss Meets Coltrane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 28, 2024\u003cbr>\nHume Concert Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>A decade since the genesis of the Black Lives Matter movement, John Coltrane’s short composition “Alabama” continues to resonate. Written as a memorial to four young Black girls who died in a 1963 Baptist church bombing in Birmingham, it’s now received a new arrangement by Carlos Simon, performed here on tenor saxophone by Jason Hainsworth. Preceding it is the soprano Alissa Goretsky singing Richard Strauss’ \u003cem>Vier Lieder\u003c/em>, while Stravinsky’s \u003cem>Petrushka\u003c/em> and Strauss’ \u003cem>Don Juan\u003c/em> round out the program.\u003c/p>\n\u003cfigure id=\"attachment_13963246\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jon Nakamatsu. \u003ccite>(Niles Singer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/jon-nakamatsu-and-the-jazz-age/\">‘Jon Nakamatsu and the Jazz Age’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5 and 6, 2024\u003cbr>\nCalifornia Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>I have admittedly taken for granted certain chestnuts of the canon until hearing them performed in the concert hall. Rossini’s William Tell Overture blew my mind at the Royal Albert Hall 15 years ago, and recently, I finally saw a performance of Gershwin’s old standby, \u003cem>Rhapsody in Blue\u003c/em>. Would you believe it — it was thrilling! As part of its centennial that’s seen it added to concert programs nationwide, Symphony San Jose gets Jon Nakamatsu at the piano for a program that also includes Ravel and Copland.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event/kedrick-armstrong-inaugural/\">Armstrong Arrives at the Oakland Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 18, 2024\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>When beloved Oakland Symphony music director Michael Morgan died in 2021, he left very large shoes to fill — and \u003ca href=\"https://www.kqed.org/arts/13955606/kedrick-armstrong-oakland-symphony-new-music-director\">Kedrick Armstrong is entirely up to the challenge\u003c/a>. Born in South Carolina, the orchestra’s new 30-year-old director makes his debut in an inaugural concert of Carl Nielsen’s Symphony No. 4, paired with African American composer Julia Perry’s 1952 work \u003cem>A Short Piece for Orchestra\u003c/em>. Ever community-minded, Armstrong also conducts works by Allison Miller, John Santos and Meklit to celebrate the 40th anniversary of Oakland jazz education nonprofit \u003ca href=\"https://www.livingjazz.org/\">Living Jazz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13963248\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Marketplace’ host Kai Ryssdal: appearing with a symphony orchestra near you. \u003ccite>(American Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/beethoven-copland/\">‘Beethoven & Copland’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19-21, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>On public radio stations like KQED, you’ve heard \u003cem>Marketplace\u003c/em> host Kai Ryssdal analyzing the stock market — but did you know you can also see him live, in person, narrating Aaron Copland’s ‘Lincoln Portrait’ with a full symphony orchestra? Friends, dreams do come true. Ryssdal and his famous voice appear with the Santa Rosa Symphony on this program, which also includes Beethoven’s violin concerto and a West Coast premiere of Katherine Balch’s \u003cem>musica pyralis\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13963249\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emmanuel Ax. \u003ccite>(Nigel Parry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Emmanuel Ax: Beethoven, Schumann, Corigliano\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Oct. 24 at Green Music Center\u003c/a>, Rohnert Park\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/emanuel-ax-recital\">Oct. 27 at Davies Symphony Hall\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>Just about everyone who ever took piano lessons has learned Beethoven’s \u003cem>Moonlight Sonata\u003c/em> — and the parents of those kids learn just how clunky and inelegant it can sound. Want to hear it in the hands of a professional? The pianist Emmanuel Ax is no stranger to contemporary composers like Krzysztof Penderecki and John Adams, but his gossamer touch is unparalleled when performing Beethoven and Schumann, as he does in this program at both Davies and the Green Music Center.\u003c/p>\n\u003cfigure id=\"attachment_13963386\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg\" alt=\"\" width=\"1600\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1536x1084.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jonathan Tetelman and Eve-Maud Hubeaux play Don José and Carmen, respectively, in San Francisco Opera’s ‘Carmen.’ \u003ccite>(Ben Wolf / Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/carmen/\">‘Carmen’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 13–Dec. 1\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>There’s a reason \u003cem>Carmen\u003c/em> has returned to San Francisco Opera more than 30 times: It’s accessible and action-packed, with songs most people don’t realize they know from movies and cartoons. This interpretation by Francesco Zambello was here in 2019, and it \u003ca href=\"https://www.kqed.org/arts/13860265/jnai-bridges-shines-as-carmen-at-san-francisco-opera\">leaned into the story’s indictment of toxic masculinity\u003c/a>. With Eve-Maud Hubeaux as Carmen and Jonathan Tetelman as Don José, this is a perfect “bring a friend who’s never been to the opera” opportunity.\u003c/p>\n\u003cfigure id=\"attachment_13963273\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg\" alt=\"\" width=\"960\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-768x461.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Caroline Shaw and Gabriel Kahane. \u003ccite>(SF Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2425/shaw-kahane.html\">Gabriel Kahane and Caroline Shaw\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 14, 2024\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’ll never forget the sight of Caroline Shaw, just after President Obama spoke, performing onstage with Kanye West at the Warfield in San Francisco in 2015. These days, the contemporary classical artist has a more restrained musical collaborator in Gabriel Kahane, the son of Santa Rosa Symphony Conductor Emeritus Jeffrey Kahane. Here, they premiere new works inspired by Argentine author Jorge Luis Borges’ short story \u003cem>The Library of Babel\u003c/em>.\u003c/p>\n\n","blocks":[],"excerpt":"From an opera of ‘The Handmaid’s Tale’ to a computer-controlled floating piano, this fall’s classical concerts expand and enrich the canon.","status":"publish","parent":0,"modified":1725053259,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1373},"headData":{"title":"The Best Classical Music Concerts in the Bay Area This Fall | KQED","description":"From an opera of ‘The Handmaid’s Tale’ to a computer-controlled floating piano, this fall’s classical concerts expand and enrich the canon.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Classical Music Concerts in the Bay Area This Fall","datePublished":"2024-08-30T07:00:10-07:00","dateModified":"2024-08-30T14:27:39-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/fall-guide-2024","sticky":false,"nprStoryId":"kqed-13962857","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962857/best-classical-music-concerts-bay-area-fall-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If “\u003ca href=\"https://www.youtube.com/watch?v=u5-SvGAWbVw\">Morgenstemning\u003c/a>” from Grieg’s \u003cem>Peer Gynt Suite\u003c/em> is the eternal soundtrack to spring, then autumn is \u003ca href=\"https://www.youtube.com/watch?v=bYm3tT59qoE\">one long Adagio\u003c/a>. Summertime flings fade, leaves dry out and hot nights of excitement transform into something more reflective.\u003c/p>\n\u003cp>It is, in other words, a perfect season for classical music. Here are 10 exceptional performances coming up in the Bay Area this fall.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">‘The Handmaid’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14–Oct. 1, 2024\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>In a post-\u003cem>Roe v. Wade\u003c/em> America, Margaret Atwood’s story of women living under forced insemination by a far-right theocracy is more relevant than ever. Now, in addition to a film, a radio series, a stage play, a graphic novel and a hit series on Hulu, \u003cem>The Handmaid’s Tale\u003c/em> has been adapted to the opera stage. The haunting, minimalist work by composer Poul Ruders makes its West Coast premiere in San Francisco just a week after San Francisco Opera’s free outdoor event \u003ca href=\"https://www.sfopera.com/seasons/opera-in-the-park/#performances\">Opera in the Park\u003c/a> on Sept. 8.\u003c/p>\n\u003cfigure id=\"attachment_13963213\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piano and percussion quartet Yarn/Wire (above) performs work by composers Annea Lockwood and Jan Martin Smørdal at this year’s Other Minds Festival. \u003ccite>(Mark Sommerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.otherminds.org/other-minds-festival-28/\">Other Minds Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 25-28, 2024\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For adventurous listeners in the Bay Area, the annual festival from the organization Other Minds is a gift of new and experimental sounds. This year’s festival has a new home in the Brava Theater, with a flagship premiere by the Washington-based sound artist Trimpin. Titled \u003cem>The Cello Quartet\u003c/em>, the 70-minute piece involves robot cellos, floating lamp shades, a mechanical piano and a group of dancers choreographed by Margaret Fisher. The inimitable New York quartet Yarn/Wire also performs, along with local favorites like pianist Sarah Cahill and percussionist Marshall Trammell.\u003c/p>\n\u003cfigure id=\"attachment_13954087\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025 at the end of his five-year contract. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/\">Salonen’s Last Season\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>By now, you’ve surely heard the news: this is Esa-Pekka Salonen’s \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">final season as Music Director\u003c/a> for the San Francisco Symphony. This September and October offers several chances to witness Salonen at the podium before he leaves: A \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-nico-muhly\">Nico Muhly world premiere\u003c/a> (Sept. 27 and 28), a concert of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-brahms4\">Brahms’ Symphony No. 4 and Shostakovich’s Violin Concerto No. 1\u003c/a> (Oct. 4–6), and \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-beethoven-pastoral\">Beethoven’s Symphony No. 6 paired with Salonen’s own Cello Concerto\u003c/a> (Oct. 18–20) are among the highlights.\u003c/p>\n\u003cfigure id=\"attachment_13963244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock (at upper left) in Olivier Messiaen’s ‘Harawi,’ with (L–R) Or Schraiber, Bobbi Jene Smith and Conor Hanick. \u003ccite>(Hanne Engwald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2024-25/illuminations-fractured-history/olivier-messiaens-harawi-american-modern-opera-company/\">Olivier Messiaen’s ‘Harawi’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 27, 2024\u003cbr>\nZellerbach Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The star soprano \u003ca href=\"https://www.kqed.org/arts/13889101/julia-bullocks-empathy-is-her-superpower-in-the-classical-music-world\">Julia Bullock\u003c/a> leads this dynamic reinterpretation of Olivier Messiaen’s song cycle. Composed in 1945 with a libretto peppered by surrealism, its performance in Berkeley is augmented by choreography from the dancers Bobbi Jene Smith and Or Schraiber in order to dramatize its themes of inherent loss. (Messiaen wrote \u003cem>Harawi\u003c/em> inspired by the tragedy of Tristan and Isolde.) With Conor Hanick at the piano and directed by Zack Winokur, the production should easily reveal new textures of the music.\u003c/p>\n\u003cfigure id=\"attachment_13963254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963254\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alissa Goretsky. \u003ccite>(Courtesy SFCM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcm.edu/experience/performances/sfcm-orchestra-1/20240928\">Strauss Meets Coltrane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 28, 2024\u003cbr>\nHume Concert Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>A decade since the genesis of the Black Lives Matter movement, John Coltrane’s short composition “Alabama” continues to resonate. Written as a memorial to four young Black girls who died in a 1963 Baptist church bombing in Birmingham, it’s now received a new arrangement by Carlos Simon, performed here on tenor saxophone by Jason Hainsworth. Preceding it is the soprano Alissa Goretsky singing Richard Strauss’ \u003cem>Vier Lieder\u003c/em>, while Stravinsky’s \u003cem>Petrushka\u003c/em> and Strauss’ \u003cem>Don Juan\u003c/em> round out the program.\u003c/p>\n\u003cfigure id=\"attachment_13963246\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jon Nakamatsu. \u003ccite>(Niles Singer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/jon-nakamatsu-and-the-jazz-age/\">‘Jon Nakamatsu and the Jazz Age’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5 and 6, 2024\u003cbr>\nCalifornia Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>I have admittedly taken for granted certain chestnuts of the canon until hearing them performed in the concert hall. Rossini’s William Tell Overture blew my mind at the Royal Albert Hall 15 years ago, and recently, I finally saw a performance of Gershwin’s old standby, \u003cem>Rhapsody in Blue\u003c/em>. Would you believe it — it was thrilling! As part of its centennial that’s seen it added to concert programs nationwide, Symphony San Jose gets Jon Nakamatsu at the piano for a program that also includes Ravel and Copland.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event/kedrick-armstrong-inaugural/\">Armstrong Arrives at the Oakland Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 18, 2024\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>When beloved Oakland Symphony music director Michael Morgan died in 2021, he left very large shoes to fill — and \u003ca href=\"https://www.kqed.org/arts/13955606/kedrick-armstrong-oakland-symphony-new-music-director\">Kedrick Armstrong is entirely up to the challenge\u003c/a>. Born in South Carolina, the orchestra’s new 30-year-old director makes his debut in an inaugural concert of Carl Nielsen’s Symphony No. 4, paired with African American composer Julia Perry’s 1952 work \u003cem>A Short Piece for Orchestra\u003c/em>. Ever community-minded, Armstrong also conducts works by Allison Miller, John Santos and Meklit to celebrate the 40th anniversary of Oakland jazz education nonprofit \u003ca href=\"https://www.livingjazz.org/\">Living Jazz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13963248\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Marketplace’ host Kai Ryssdal: appearing with a symphony orchestra near you. \u003ccite>(American Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/beethoven-copland/\">‘Beethoven & Copland’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19-21, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>On public radio stations like KQED, you’ve heard \u003cem>Marketplace\u003c/em> host Kai Ryssdal analyzing the stock market — but did you know you can also see him live, in person, narrating Aaron Copland’s ‘Lincoln Portrait’ with a full symphony orchestra? Friends, dreams do come true. Ryssdal and his famous voice appear with the Santa Rosa Symphony on this program, which also includes Beethoven’s violin concerto and a West Coast premiere of Katherine Balch’s \u003cem>musica pyralis\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13963249\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emmanuel Ax. \u003ccite>(Nigel Parry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Emmanuel Ax: Beethoven, Schumann, Corigliano\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Oct. 24 at Green Music Center\u003c/a>, Rohnert Park\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/emanuel-ax-recital\">Oct. 27 at Davies Symphony Hall\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>Just about everyone who ever took piano lessons has learned Beethoven’s \u003cem>Moonlight Sonata\u003c/em> — and the parents of those kids learn just how clunky and inelegant it can sound. Want to hear it in the hands of a professional? The pianist Emmanuel Ax is no stranger to contemporary composers like Krzysztof Penderecki and John Adams, but his gossamer touch is unparalleled when performing Beethoven and Schumann, as he does in this program at both Davies and the Green Music Center.\u003c/p>\n\u003cfigure id=\"attachment_13963386\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg\" alt=\"\" width=\"1600\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1536x1084.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jonathan Tetelman and Eve-Maud Hubeaux play Don José and Carmen, respectively, in San Francisco Opera’s ‘Carmen.’ \u003ccite>(Ben Wolf / Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/carmen/\">‘Carmen’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 13–Dec. 1\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>There’s a reason \u003cem>Carmen\u003c/em> has returned to San Francisco Opera more than 30 times: It’s accessible and action-packed, with songs most people don’t realize they know from movies and cartoons. This interpretation by Francesco Zambello was here in 2019, and it \u003ca href=\"https://www.kqed.org/arts/13860265/jnai-bridges-shines-as-carmen-at-san-francisco-opera\">leaned into the story’s indictment of toxic masculinity\u003c/a>. With Eve-Maud Hubeaux as Carmen and Jonathan Tetelman as Don José, this is a perfect “bring a friend who’s never been to the opera” opportunity.\u003c/p>\n\u003cfigure id=\"attachment_13963273\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg\" alt=\"\" width=\"960\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-768x461.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Caroline Shaw and Gabriel Kahane. \u003ccite>(SF Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2425/shaw-kahane.html\">Gabriel Kahane and Caroline Shaw\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 14, 2024\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ll never forget the sight of Caroline Shaw, just after President Obama spoke, performing onstage with Kanye West at the Warfield in San Francisco in 2015. These days, the contemporary classical artist has a more restrained musical collaborator in Gabriel Kahane, the son of Santa Rosa Symphony Conductor Emeritus Jeffrey Kahane. Here, they premiere new works inspired by Argentine author Jorge Luis Borges’ short story \u003cem>The Library of Babel\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962857/best-classical-music-concerts-bay-area-fall-2024","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1312","arts_6180","arts_22281","arts_10278","arts_3281","arts_763","arts_1367","arts_2960","arts_22276","arts_585"],"featImg":"arts_13955628","label":"source_arts_13962857"},"arts_13963419":{"type":"posts","id":"arts_13963419","meta":{"index":"posts_1716263798","site":"arts","id":"13963419","score":null,"sort":[1724969776000]},"guestAuthors":[],"slug":"wine-bowties-bazaar-oakland","title":"Wine & Bowties Returns With a One-Day Bazaar in Oakland","publishDate":1724969776,"format":"standard","headTitle":"Wine & Bowties Returns With a One-Day Bazaar in Oakland | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If it \u003cem>feels\u003c/em> like it’s been a while since you’ve heard from \u003ca href=\"https://www.instagram.com/wineandbowties/\">Wine & Bowties\u003c/a>, you’re not wrong. While the East Bay event organizers’ legendary \u003ca href=\"https://www.kqed.org/arts/13835474/photos-and-recap-wine-bowties-feels-vi-at-the-craneway-pavilion\">Feels\u003c/a> parties of the mid-2010s remain firmly imprinted on every attendee’s memory, the group’s been quiet since the pandemic.\u003c/p>\n\u003cp>Until now, that is. On Saturday, the Wine & Bowties Bazaar showcases all the artistic soul of a classic warehouse party, and with slightly more sensible hours for those of us who, let’s face it, are 10 years older now. That’s not the only concession to grown-up self-care: Saturday’s stage headliner, tai chi practicioner \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a>, all but invented the genre of “\u003ca href=\"https://www.passionweiss.com/2024/08/29/seiji-oda-interview-oakland-hyphy-last-summer-a-gentle-gigg/\">hyphy meditation\u003c/a>.”\u003c/p>\n\u003cp>The day’s main attraction is more than 40 multicultural, multidisciplinary exhibitors — think art, clothing, zines, ceramics, handbags, records, herbs, stationery, houseplants and jewelry. Along with Seiji Oda of “\u003ca href=\"https://www.youtube.com/watch?v=OyxxSi8-Q-E\">a gentle gigg\u003c/a>” fame, the stage hosts Oakland School for the Arts’ \u003ca href=\"https://www.instagram.com/p/C4wcxk_PWYq/\">Prospect Band\u003c/a>, lo-fi producer \u003ca href=\"https://cheflee.bandcamp.com/album/fescue-june-2\">Chef Lee\u003c/a>, and DJ sets from Soul Light Collective and 7000coils.\u003c/p>\n\u003cp>And while that’s probably enough enticement — plus food courtesy of Vegan Chula Eats, Tacos El Ultimo Baile and Porchetta — it’s really the attendees that make Wine & Bowties events truly special. As a wise man once said: \u003ca href=\"https://x.com/OGpenn/status/1008260676924477440\">the people are the artwork\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The Wine & Bowties Bazaar takes place on Saturday, Aug. 31, from 2 p.m. to 8 p.m., at 2150 Livingston St. in Oakland. \u003ca href=\"https://www.eventbrite.com/e/the-wine-bowties-bazaar-tickets-964327368117?aff=InstagramProfile\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The Oakland arts platform convenes more than 40 exhibitors, along with live music and food.","status":"publish","parent":0,"modified":1724969776,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":272},"headData":{"title":"Wine & Bowties Returns With a One-Day Bazaar in Oakland | KQED","description":"The Oakland arts platform convenes more than 40 exhibitors, along with live music and food.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Wine & Bowties Returns With a One-Day Bazaar in Oakland","datePublished":"2024-08-29T15:16:16-07:00","dateModified":"2024-08-29T15:16:16-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13963419","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13963419/wine-bowties-bazaar-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If it \u003cem>feels\u003c/em> like it’s been a while since you’ve heard from \u003ca href=\"https://www.instagram.com/wineandbowties/\">Wine & Bowties\u003c/a>, you’re not wrong. While the East Bay event organizers’ legendary \u003ca href=\"https://www.kqed.org/arts/13835474/photos-and-recap-wine-bowties-feels-vi-at-the-craneway-pavilion\">Feels\u003c/a> parties of the mid-2010s remain firmly imprinted on every attendee’s memory, the group’s been quiet since the pandemic.\u003c/p>\n\u003cp>Until now, that is. On Saturday, the Wine & Bowties Bazaar showcases all the artistic soul of a classic warehouse party, and with slightly more sensible hours for those of us who, let’s face it, are 10 years older now. That’s not the only concession to grown-up self-care: Saturday’s stage headliner, tai chi practicioner \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a>, all but invented the genre of “\u003ca href=\"https://www.passionweiss.com/2024/08/29/seiji-oda-interview-oakland-hyphy-last-summer-a-gentle-gigg/\">hyphy meditation\u003c/a>.”\u003c/p>\n\u003cp>The day’s main attraction is more than 40 multicultural, multidisciplinary exhibitors — think art, clothing, zines, ceramics, handbags, records, herbs, stationery, houseplants and jewelry. Along with Seiji Oda of “\u003ca href=\"https://www.youtube.com/watch?v=OyxxSi8-Q-E\">a gentle gigg\u003c/a>” fame, the stage hosts Oakland School for the Arts’ \u003ca href=\"https://www.instagram.com/p/C4wcxk_PWYq/\">Prospect Band\u003c/a>, lo-fi producer \u003ca href=\"https://cheflee.bandcamp.com/album/fescue-june-2\">Chef Lee\u003c/a>, and DJ sets from Soul Light Collective and 7000coils.\u003c/p>\n\u003cp>And while that’s probably enough enticement — plus food courtesy of Vegan Chula Eats, Tacos El Ultimo Baile and Porchetta — it’s really the attendees that make Wine & Bowties events truly special. As a wise man once said: \u003ca href=\"https://x.com/OGpenn/status/1008260676924477440\">the people are the artwork\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The Wine & Bowties Bazaar takes place on Saturday, Aug. 31, from 2 p.m. to 8 p.m., at 2150 Livingston St. in Oakland. \u003ca href=\"https://www.eventbrite.com/e/the-wine-bowties-bazaar-tickets-964327368117?aff=InstagramProfile\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963419/wine-bowties-bazaar-oakland","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_1143","arts_585"],"featImg":"arts_13963427","label":"arts_140"},"arts_13963335":{"type":"posts","id":"arts_13963335","meta":{"index":"posts_1716263798","site":"arts","id":"13963335","score":null,"sort":[1724965799000]},"guestAuthors":[],"slug":"a-thing-to-talk-about-oakland-san-francisco-events-artists","title":"Your New Favorite Bay Area Event Might Be ‘A Thing To Talk About’","publishDate":1724965799,"format":"standard","headTitle":"Your New Favorite Bay Area Event Might Be ‘A Thing To Talk About’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In the Bay Area it’s easier to find a talented artist than a quality parking spot. And platforms that highlight the work of local creatives are even more scarce. Artists might make this region a cultural hub, but it’s hard for them to stay afloat out here.\u003c/p>\n\u003cp>That’s why the event series \u003ca href=\"https://www.instagram.com/athingtotalkabout/\" target=\"_blank\" rel=\"noopener\">A Thing To Talk About\u003c/a> is a necessity.\u003c/p>\n\u003cp>Since its first event in January 2023, A Thing To Talk About has hosted game nights, comedy shows and live music. The group has featured artists, activists and entrepreneurs, supporting people who make up the cultural fabric of the region.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nOFcvZXdWTo\u003c/p>\n\u003cp>Attendees have enjoyed performances from a long list of artists, including Pinole vocalist \u003ca href=\"https://www.kqed.org/arts/13954077/august-lee-stevens-better-places\" target=\"_blank\" rel=\"noopener\">August Lee Stevens \u003c/a>and Oakland poet \u003ca href=\"https://linktr.ee/Iamjrice\" target=\"_blank\" rel=\"noopener\">Jay Rice\u003c/a>\u003ca href=\"https://www.kqed.org/arts/13912744/michael-wayne-turner-iii-satisfied-national-poetry-month\" target=\"_blank\" rel=\"noopener\">. \u003c/a>A Thing To Talk About has also done interviews with folks like San Francisco tattoo artist \u003ca href=\"https://www.instagram.com/inkbysmilezzz/\" target=\"_blank\" rel=\"noopener\">Erica Gonzalez\u003c/a> and Vallejo hip-hop juggernaut\u003ca href=\"https://www.kqed.org/arts/tag/larussell\" target=\"_blank\" rel=\"noopener\"> LaRussell\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Surprisingly enough, the person who created this platform isn’t from the Bay and isn’t an artist. The guy behind the events is actually a San Francisco-based nurse who simply wanted to be a “good actor” in the community.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Widmaer “Wid” Jean was born in Haiti and moved to the U.S. when he was 10 years old. He relocated to the Bay Area for his job in 2020, and h\u003c/span>\u003cspan style=\"font-weight: 400\">is experience as a healthcare worker in San Francisco brought about a few revelations.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13963350\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13963350 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-800x1000.jpg\" alt=\"Every A Thing To Talk About game night is themed, this was 'King and Queen of Oakland' held in September of 2023.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Every A Thing To Talk About game night has a theme. This was ‘King and Queen of Oakland,’ held in September of 2023. \u003ccite>(Tony Pape)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Firstly, Wid noticed that he was treated differently and often excluded because of his Haitian background. \u003c/span>\u003cspan style=\"font-weight: 400\">Secondly, he realized that he’s in a relatively privileged position; his job pays him enough that he can travel to majority-Black places like the Caribbean, where he doesn’t feel othered. \u003c/span>\u003cspan style=\"font-weight: 400\">Lastly, he took account of the fact that there are so many people who can’t just up and leave to escape the -isms of society. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I just wondered,” says Wid, “What would life be like if I had 1% less? I\u003c/span>\u003cspan style=\"font-weight: 400\">magine someone having 50% less, or even \u003c/span>\u003cspan style=\"font-weight: 400\">75% less — and they have to go through these [exclusionary] experiences.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13963383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13963383\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-800x450.jpg\" alt=\"Chef Oli sprinkles a lil flavor on a meal during the pilot episode of Soundbites.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Oli Tomas sprinkles a lil flavor on a meal during the pilot episode of Soundbites. \u003ccite>(Courtesy of Widmaer Jean )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that in mind, Wid decided to take his disposable income and do something for his local community. As people began rebuilding in-person connections after COVID lockdowns, he threw his first event. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It started with a game night at an Ethiopian restaurant and bar in Oakland, \u003ca href=\"https://cafecolucci.com/\" target=\"_blank\" rel=\"noopener\">Cafe Colucci.\u003c/a> As he continued to plan more events, A Thing To Talk About started incorporating live performances. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950392/rob-woods\" target=\"_blank\" rel=\"noopener\">Rob Woods,\u003c/a> one of the performers at an early iteration of the series, explains Wid’s approach as “\u003cspan style=\"font-weight: 400\">nothing more, nothing less than an average dude connecting with the local artists to put together something that highlights creators and other entrepreneurs on a high level — all done with money out of his pockets.” [aside postid='arts_13963258,arts_13962624,arts_13962980']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woods, who now works with Wid and produces an artistic food video series called \u003cem>Soundbites\u003c/em>, emphasizes that Wid uses “every penny, nickel and dime” from his personal paychecks to make this happen. \u003c/span>\u003cspan style=\"font-weight: 400\">“I\u003c/span>\u003cspan style=\"font-weight: 400\">t’s hard to find a person out there that just wants to invest not only in you as an artist, but in the community around you,” says Woods.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Wid has now become a part of this community of artists. He’s recently learned how to DJ, edit video and shoot photos. “And \u003c/span>\u003cspan style=\"font-weight: 400\">I’m slowly building out my presence online,” says Wid, who admits he’s not used to being “out there.” \u003c/span>\u003c/p>\n\u003cp>And he’s got plenty of events brewing.\u003c/p>\n\u003cp>On Sept. 14, A Thing To Talk About is teaming up with \u003ca href=\"https://www.instagram.com/p/C_GbY_aPHAI/\" target=\"_blank\" rel=\"noopener\">The Speed Dating Company\u003c/a> to host \u003ca href=\"https://www.eventbrite.com/e/speed-dating-25-40-first-drink-free-tickets-949111747787\" target=\"_blank\" rel=\"noopener\">an event for those who are single and ready to mingle\u003c/a> at Fluid510 in downtown Oakland.\u003c/p>\n\u003cp>On Sept. 21, A Thing To Talk About and \u003ca href=\"https://www.instagram.com/yourhomiesgram/\" target=\"_blank\" rel=\"noopener\">Your Homies\u003c/a> collective will host a concert with \u003ca href=\"https://www.kqed.org/arts/13953009/loe-gino-berkeley-birkenstocks-and-bars\" target=\"_blank\" rel=\"noopener\">Berkeley rapper LOE Gino\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13959495/shante-r-and-b-smile-east-oakland\" target=\"_blank\" rel=\"noopener\">East Oakland singer Shanté\u003c/a> and a handful of others at Oakland’s Cafe Lakeview.\u003c/p>\n\u003cp>Earlier this month, A Thing To Talk About dropped a pilot episode of \u003cem>Soundbites\u003c/em>. Formatted as a two-way discussion, the interviews pair musicians and spoken word artists with chefs who create meals based on the artists’ work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9DpK8zIKojc\u003c/p>\n\u003cp>By throwing these in-person events and creating content, A Thing To Talk About is creating much-needed connections for audience members and artists alike.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I want to provide a high-production platform,” says Wid. “I\u003c/span>\u003cspan style=\"font-weight: 400\"> want to create a paid opportunity for people who are videographers and editors; I want people within our community to tag on to a project like this one.”\u003c/span>\u003c/p>\n\u003cp>For artists who are interested in getting involved, Rob and Wid suggest reaching out to them directly through their \u003ca href=\"https://www.instagram.com/athingtotalkabout\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> page. \u003cspan style=\"font-weight: 400\">“It’s an incubator for other individuals who might want to do something,” Woods says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it all boils down to it, Wid’s goal is a simple and relatable quest: “I just want to grow community.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Thing to Talk About presents speed dating at Fluid510 in Oakland on Sept. 14. \u003ca href=\"https://www.eventbrite.com/e/speed-dating-25-40-first-drink-free-tickets-949111747787\">Tickets and details here\u003c/a>. On Sept. 21, they team up with Your Homies for a concert featuring LOE Gino, Shanté and more at Cafe Lakeview. \u003ca href=\"https://www.whatstba.com/e/yourhomiesxoakland\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Widmaer Jean, a local nurse, puts on concerts, game nights and events that connect the creative community.","status":"publish","parent":0,"modified":1724980124,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":968},"headData":{"title":"Your Next Bay Area Event Might Be ‘A Thing To Talk About’ | KQED","description":"Widmaer Jean, a local nurse, puts on concerts, game nights and events that connect the creative community.","ogTitle":"Your New Favorite Bay Area Event Might Be ‘A Thing To Talk About’","ogDescription":"","ogImgId":"","twTitle":"Your New Favorite Bay Area Event Might Be ‘A Thing To Talk About’","twDescription":"","twImgId":"","socialTitle":"Your Next Bay Area Event Might Be ‘A Thing To Talk About’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your New Favorite Bay Area Event Might Be ‘A Thing To Talk About’","datePublished":"2024-08-29T14:09:59-07:00","dateModified":"2024-08-29T18:08:44-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13963335","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13963335/a-thing-to-talk-about-oakland-san-francisco-events-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Bay Area it’s easier to find a talented artist than a quality parking spot. And platforms that highlight the work of local creatives are even more scarce. Artists might make this region a cultural hub, but it’s hard for them to stay afloat out here.\u003c/p>\n\u003cp>That’s why the event series \u003ca href=\"https://www.instagram.com/athingtotalkabout/\" target=\"_blank\" rel=\"noopener\">A Thing To Talk About\u003c/a> is a necessity.\u003c/p>\n\u003cp>Since its first event in January 2023, A Thing To Talk About has hosted game nights, comedy shows and live music. The group has featured artists, activists and entrepreneurs, supporting people who make up the cultural fabric of the region.\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/nOFcvZXdWTo'\n title='//www.youtube.com/embed/nOFcvZXdWTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Attendees have enjoyed performances from a long list of artists, including Pinole vocalist \u003ca href=\"https://www.kqed.org/arts/13954077/august-lee-stevens-better-places\" target=\"_blank\" rel=\"noopener\">August Lee Stevens \u003c/a>and Oakland poet \u003ca href=\"https://linktr.ee/Iamjrice\" target=\"_blank\" rel=\"noopener\">Jay Rice\u003c/a>\u003ca href=\"https://www.kqed.org/arts/13912744/michael-wayne-turner-iii-satisfied-national-poetry-month\" target=\"_blank\" rel=\"noopener\">. \u003c/a>A Thing To Talk About has also done interviews with folks like San Francisco tattoo artist \u003ca href=\"https://www.instagram.com/inkbysmilezzz/\" target=\"_blank\" rel=\"noopener\">Erica Gonzalez\u003c/a> and Vallejo hip-hop juggernaut\u003ca href=\"https://www.kqed.org/arts/tag/larussell\" target=\"_blank\" rel=\"noopener\"> LaRussell\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Surprisingly enough, the person who created this platform isn’t from the Bay and isn’t an artist. The guy behind the events is actually a San Francisco-based nurse who simply wanted to be a “good actor” in the community.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Widmaer “Wid” Jean was born in Haiti and moved to the U.S. when he was 10 years old. He relocated to the Bay Area for his job in 2020, and h\u003c/span>\u003cspan style=\"font-weight: 400\">is experience as a healthcare worker in San Francisco brought about a few revelations.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13963350\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13963350 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-800x1000.jpg\" alt=\"Every A Thing To Talk About game night is themed, this was 'King and Queen of Oakland' held in September of 2023.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Every A Thing To Talk About game night has a theme. This was ‘King and Queen of Oakland,’ held in September of 2023. \u003ccite>(Tony Pape)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Firstly, Wid noticed that he was treated differently and often excluded because of his Haitian background. \u003c/span>\u003cspan style=\"font-weight: 400\">Secondly, he realized that he’s in a relatively privileged position; his job pays him enough that he can travel to majority-Black places like the Caribbean, where he doesn’t feel othered. \u003c/span>\u003cspan style=\"font-weight: 400\">Lastly, he took account of the fact that there are so many people who can’t just up and leave to escape the -isms of society. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I just wondered,” says Wid, “What would life be like if I had 1% less? I\u003c/span>\u003cspan style=\"font-weight: 400\">magine someone having 50% less, or even \u003c/span>\u003cspan style=\"font-weight: 400\">75% less — and they have to go through these [exclusionary] experiences.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13963383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13963383\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-800x450.jpg\" alt=\"Chef Oli sprinkles a lil flavor on a meal during the pilot episode of Soundbites.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Oli Tomas sprinkles a lil flavor on a meal during the pilot episode of Soundbites. \u003ccite>(Courtesy of Widmaer Jean )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that in mind, Wid decided to take his disposable income and do something for his local community. As people began rebuilding in-person connections after COVID lockdowns, he threw his first event. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It started with a game night at an Ethiopian restaurant and bar in Oakland, \u003ca href=\"https://cafecolucci.com/\" target=\"_blank\" rel=\"noopener\">Cafe Colucci.\u003c/a> As he continued to plan more events, A Thing To Talk About started incorporating live performances. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950392/rob-woods\" target=\"_blank\" rel=\"noopener\">Rob Woods,\u003c/a> one of the performers at an early iteration of the series, explains Wid’s approach as “\u003cspan style=\"font-weight: 400\">nothing more, nothing less than an average dude connecting with the local artists to put together something that highlights creators and other entrepreneurs on a high level — all done with money out of his pockets.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13963258,arts_13962624,arts_13962980","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woods, who now works with Wid and produces an artistic food video series called \u003cem>Soundbites\u003c/em>, emphasizes that Wid uses “every penny, nickel and dime” from his personal paychecks to make this happen. \u003c/span>\u003cspan style=\"font-weight: 400\">“I\u003c/span>\u003cspan style=\"font-weight: 400\">t’s hard to find a person out there that just wants to invest not only in you as an artist, but in the community around you,” says Woods.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Wid has now become a part of this community of artists. He’s recently learned how to DJ, edit video and shoot photos. “And \u003c/span>\u003cspan style=\"font-weight: 400\">I’m slowly building out my presence online,” says Wid, who admits he’s not used to being “out there.” \u003c/span>\u003c/p>\n\u003cp>And he’s got plenty of events brewing.\u003c/p>\n\u003cp>On Sept. 14, A Thing To Talk About is teaming up with \u003ca href=\"https://www.instagram.com/p/C_GbY_aPHAI/\" target=\"_blank\" rel=\"noopener\">The Speed Dating Company\u003c/a> to host \u003ca href=\"https://www.eventbrite.com/e/speed-dating-25-40-first-drink-free-tickets-949111747787\" target=\"_blank\" rel=\"noopener\">an event for those who are single and ready to mingle\u003c/a> at Fluid510 in downtown Oakland.\u003c/p>\n\u003cp>On Sept. 21, A Thing To Talk About and \u003ca href=\"https://www.instagram.com/yourhomiesgram/\" target=\"_blank\" rel=\"noopener\">Your Homies\u003c/a> collective will host a concert with \u003ca href=\"https://www.kqed.org/arts/13953009/loe-gino-berkeley-birkenstocks-and-bars\" target=\"_blank\" rel=\"noopener\">Berkeley rapper LOE Gino\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13959495/shante-r-and-b-smile-east-oakland\" target=\"_blank\" rel=\"noopener\">East Oakland singer Shanté\u003c/a> and a handful of others at Oakland’s Cafe Lakeview.\u003c/p>\n\u003cp>Earlier this month, A Thing To Talk About dropped a pilot episode of \u003cem>Soundbites\u003c/em>. Formatted as a two-way discussion, the interviews pair musicians and spoken word artists with chefs who create meals based on the artists’ work.\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/9DpK8zIKojc'\n title='//www.youtube.com/embed/9DpK8zIKojc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By throwing these in-person events and creating content, A Thing To Talk About is creating much-needed connections for audience members and artists alike.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I want to provide a high-production platform,” says Wid. “I\u003c/span>\u003cspan style=\"font-weight: 400\"> want to create a paid opportunity for people who are videographers and editors; I want people within our community to tag on to a project like this one.”\u003c/span>\u003c/p>\n\u003cp>For artists who are interested in getting involved, Rob and Wid suggest reaching out to them directly through their \u003ca href=\"https://www.instagram.com/athingtotalkabout\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> page. \u003cspan style=\"font-weight: 400\">“It’s an incubator for other individuals who might want to do something,” Woods says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it all boils down to it, Wid’s goal is a simple and relatable quest: “I just want to grow community.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Thing to Talk About presents speed dating at Fluid510 in Oakland on Sept. 14. \u003ca href=\"https://www.eventbrite.com/e/speed-dating-25-40-first-drink-free-tickets-949111747787\">Tickets and details here\u003c/a>. On Sept. 21, they team up with Your Homies for a concert featuring LOE Gino, Shanté and more at Cafe Lakeview. \u003ca href=\"https://www.whatstba.com/e/yourhomiesxoakland\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963335/a-thing-to-talk-about-oakland-san-francisco-events-artists","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_10278","arts_585"],"featImg":"arts_13963349","label":"arts_140"},"arts_13963325":{"type":"posts","id":"arts_13963325","meta":{"index":"posts_1716263798","site":"arts","id":"13963325","score":null,"sort":[1724868213000]},"guestAuthors":[],"slug":"swifties-for-kamala-harris-trump-taylor-swift-fans","title":"‘Swifties for Kamala’ Think Harris Can Beat Trump — And They Want to Help","publishDate":1724868213,"format":"standard","headTitle":"‘Swifties for Kamala’ Think Harris Can Beat Trump — And They Want to Help | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Decked out in their friendship bracelets and ready with a long list of song-related puns, Taylor Swift fans came together Tuesday night. But they weren’t there for a concert. They were there to organize.\u003c/p>\n\u003cp>“Welcome to the Swifties for Kamala kickoff call. It’s been waiting for you,” Irene Kim, the executive director and co-founder of the group, said with a smile.\u003c/p>\n\u003cp>The grassroots organization, which is affiliated neither with Swift nor the Harris campaign – launched hours after President Biden ended his presidential bid and Vice President Harris took over the ticket, is focused on mobilizing Swift fans to get out the vote for Democrats this fall. It’s the latest in a \u003ca href=\"https://www.latimes.com/politics/story/2024-07-30/2024-election-white-dudes-black-women-identity-groups-harris\">\u003cu>growing list of coalitions\u003c/u>\u003c/a> taking \u003ca href=\"https://www.npr.org/2024/08/08/g-s1-15974/tim-walz-kamala-harris-men-for-harris-dudes-for-harris\">\u003cu>action for Harris\u003c/u>\u003c/a>, including ‘White Dudes for Harris,’ which reported having nearly 200,000 attendees and raising more than $4 million.\u003c/p>\n\u003cp>[aside postID='news_11999092']\u003c/p>\n\u003cp>Swifties for Harris held its first organizing call on Zoom Tuesday night and featured appearances from a handful of progressive political leaders – including Massachusetts Sens. Ed Markey and Elizabeth Warren, along with an appearance from musician and long-time Swift friend Carole King.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the call ended, the group reported raising more than $122,000 for Harris’ campaign, growing to nearly $150,000 by Wednesday.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Swifties4Kamala/status/1828607576382296208\" loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png\" alt=\"\" width=\"1172\" height=\"502\" class=\"aligncenter size-full wp-image-13963329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-800x343.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-1020x437.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-160x69.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-768x329.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003c/a>\u003c/p>\n\u003cp>The gathering of more than 34,000 was another glimpse into the \u003ca href=\"https://www.npr.org/2024/08/26/nx-s1-5080604/democrats-young-voters\">\u003cu>organic enthusiasm\u003c/u>\u003c/a> that Harris has benefited from in the past month since announcing, and while the Swift fan base spans generations, it’s another potentially promising sign for her standing with the youth vote – a critical voting bloc for Democrats this fall.\u003c/p>\n\u003cp>While Swift backed Biden four years ago, she has yet to publicly endorse in the presidential race. Still, her ability to rally her fans to political causes is unquestioned: In 2018, when she endorsed two Democratic congressional candidates in her home state of Tennessee, the voter group Vote.org reported \u003ca href=\"https://www.billboard.com/music/pop/taylor-swift-bump-midterm-elections-analysis-8484000/\">\u003cu>65,000 new voter registrations\u003c/u>\u003c/a> in 24 hours.\u003c/p>\n\u003cp>[aside postID='arts_13955679']\u003c/p>\n\u003cp>Among voters under 30 – who played a critical role in Biden’s win four years ago, Swift is a powerful symbol. She’s massively celebrated among many of this target generation, who have known the country-turned-pop star for most of their lives. Swift’s debut album – which was released in the fall of 2006 – is nearly the same age as an 18-year-old eligible voter today.\u003c/p>\n\u003cp>The group’s co-founders, Kim, 29, and Emerald Medrano, 22, addressed the thousands of attendees while sporting the number 47 written on their hands – a nod to Harris and Swift, who does the same with her lucky number 13.\u003c/p>\n\u003cp>“It was my wish that me and this beautiful movement could help Kamala [Harris] win this election and become our first woman president and the 47th President of the United States,” said Medrano.\u003c/p>\n\u003cp>“Because things will change, and we have the power to do it through the way we bead our friendship bracelets red, white and blue and decorate our debate parties as if they were album [release] parties,” he added. “The way we show others how voting should be celebrated and not tolerated.”\u003c/p>\n\u003cp>Each speaker shared a collective pitch: attendees need to turn their love story for Swift into momentum for Harris and Democrats down the ballot.\u003c/p>\n\u003cp>King, who has long supported Democratic candidates, shared her personal experience canvassing for candidates.\u003c/p>\n\u003cp>“Don’t be afraid because there is nothing to lose and everything to gain … The key is listening,” she said. “Don’t be afraid. There is too much at stake.”\u003c/p>\n\u003cp>Many politicians on the call took their Swift-related mentions seriously.\u003c/p>\n\u003cp>[aside postID='arts_13960424']\u003c/p>\n\u003cp>In his speech, Markey delivered more of a call to action and took jabs at former President and Republican nominee Donald Trump – someone Swift has criticized in \u003ca href=\"https://x.com/taylorswift13/status/1294685437362155522\">\u003cu>the past\u003c/u>\u003c/a>.\u003c/p>\n\u003cp>“There are just five fortnights until Election Day, but we are not out of the woods yet,” he said, “We have our work ahead of us to make sure we defeat this antihero wannabe, or as I like to call him, ‘Mr. Casually Cruel, Mr. Everything Revolves Around You.’”\u003c/p>\n\u003cp>“In the words of Taylor Swift, ‘I never trust a narcissist,’” Markey added. “And this narcissist in chief clearly doesn’t know enough about karma or what I like to call the infinite organizing power of the Swifties on this Zoom call.”\u003c/p>\n\u003cp>The senior Senator from Massachusetts is no stranger to Swift-lyric-easter eggs. After he staved off a primary challenge from former Massachusetts Rep. Joe Kennedy III, supporters of the senator repeatedly referenced the Swift song, “the last great american dynasty,” poking fun at Kennedy, the grandson of Robert F. Kennedy Jr.\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/Students4Markey/status/1286706208003555329\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png\" alt=\"\" width=\"1180\" height=\"902\" class=\"aligncenter size-full wp-image-13963328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-800x612.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-1020x780.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-768x587.png 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/a>\u003c/p>\n\u003cp>Though the speakers on the call tried to weave light-hearted pop culture references into their remarks, the group’s organizers made a point to stress the legitimacy and seriousness of their work.\u003c/p>\n\u003cp>“I think one thing that maybe the media doesn’t always get right is that Swifties are just about making little posts and little bracelets. And we do do those things for sure, but I think you can see with the intentionality of this call that we really have had a lot of thought in making sure everyone is included,” said Annie Wu, the group’s political director. “We are providing opportunities, and we are really giving the resources for people to be involved and civically engage this cycle. ”\u003c/p>\n\u003cp>The call also had an immediate ask of its participants: Register to vote. By the end of the call, 14,000 reported registering.\u003c/p>\n\u003cp>The group also put out an ask with a \u003ca href=\"https://twitter.com/Swifties4Kamala/status/1828614864513966201\">\u003cu>coveted reward\u003c/u>\u003c/a>: Attendees who get people in their community to check their voter registration get entered into a contest to win tickets to a Swift concert.\u003c/p>\n\u003cp>Entries increase in value if the person they reach is a low-frequency voter, unregistered or lives in a swing state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group plans to have additional organizing events as the election continues since there are indeed only five fortnights left.\u003c/p>\n\n","blocks":[],"excerpt":"By the end of their call Tuesday, 14,000 Taylor Swift fans reported registering to vote.","status":"publish","parent":0,"modified":1724868256,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1051},"headData":{"title":"‘Swifties for Kamala’ Think Harris Can Beat Trump — And They Want to Help | KQED","description":"By the end of their call Tuesday, 14,000 Taylor Swift fans reported registering to vote.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Swifties for Kamala’ Think Harris Can Beat Trump — And They Want to Help","datePublished":"2024-08-28T11:03:33-07:00","dateModified":"2024-08-28T11:04:16-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"swifties-for-kamala-think-harris-can-beat-trump-and-they-want-to-help","nprByline":"Elena Moore","nprStoryId":"g-s1-19907","nprHtmlLink":"https://www.npr.org/2024/08/28/g-s1-19907/swifties-for-kamala","nprRetrievedStory":"1","nprPubDate":"2024-08-28T13:17:48.202-04:00","nprStoryDate":"2024-08-28T13:17:48.202-04:00","nprLastModifiedDate":"2024-08-28T13:25:33.734-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13963325/swifties-for-kamala-harris-trump-taylor-swift-fans","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Decked out in their friendship bracelets and ready with a long list of song-related puns, Taylor Swift fans came together Tuesday night. But they weren’t there for a concert. They were there to organize.\u003c/p>\n\u003cp>“Welcome to the Swifties for Kamala kickoff call. It’s been waiting for you,” Irene Kim, the executive director and co-founder of the group, said with a smile.\u003c/p>\n\u003cp>The grassroots organization, which is affiliated neither with Swift nor the Harris campaign – launched hours after President Biden ended his presidential bid and Vice President Harris took over the ticket, is focused on mobilizing Swift fans to get out the vote for Democrats this fall. It’s the latest in a \u003ca href=\"https://www.latimes.com/politics/story/2024-07-30/2024-election-white-dudes-black-women-identity-groups-harris\">\u003cu>growing list of coalitions\u003c/u>\u003c/a> taking \u003ca href=\"https://www.npr.org/2024/08/08/g-s1-15974/tim-walz-kamala-harris-men-for-harris-dudes-for-harris\">\u003cu>action for Harris\u003c/u>\u003c/a>, including ‘White Dudes for Harris,’ which reported having nearly 200,000 attendees and raising more than $4 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11999092","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swifties for Harris held its first organizing call on Zoom Tuesday night and featured appearances from a handful of progressive political leaders – including Massachusetts Sens. Ed Markey and Elizabeth Warren, along with an appearance from musician and long-time Swift friend Carole King.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the call ended, the group reported raising more than $122,000 for Harris’ campaign, growing to nearly $150,000 by Wednesday.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Swifties4Kamala/status/1828607576382296208\" loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png\" alt=\"\" width=\"1172\" height=\"502\" class=\"aligncenter size-full wp-image-13963329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-800x343.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-1020x437.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-160x69.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-768x329.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003c/a>\u003c/p>\n\u003cp>The gathering of more than 34,000 was another glimpse into the \u003ca href=\"https://www.npr.org/2024/08/26/nx-s1-5080604/democrats-young-voters\">\u003cu>organic enthusiasm\u003c/u>\u003c/a> that Harris has benefited from in the past month since announcing, and while the Swift fan base spans generations, it’s another potentially promising sign for her standing with the youth vote – a critical voting bloc for Democrats this fall.\u003c/p>\n\u003cp>While Swift backed Biden four years ago, she has yet to publicly endorse in the presidential race. Still, her ability to rally her fans to political causes is unquestioned: In 2018, when she endorsed two Democratic congressional candidates in her home state of Tennessee, the voter group Vote.org reported \u003ca href=\"https://www.billboard.com/music/pop/taylor-swift-bump-midterm-elections-analysis-8484000/\">\u003cu>65,000 new voter registrations\u003c/u>\u003c/a> in 24 hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955679","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among voters under 30 – who played a critical role in Biden’s win four years ago, Swift is a powerful symbol. She’s massively celebrated among many of this target generation, who have known the country-turned-pop star for most of their lives. Swift’s debut album – which was released in the fall of 2006 – is nearly the same age as an 18-year-old eligible voter today.\u003c/p>\n\u003cp>The group’s co-founders, Kim, 29, and Emerald Medrano, 22, addressed the thousands of attendees while sporting the number 47 written on their hands – a nod to Harris and Swift, who does the same with her lucky number 13.\u003c/p>\n\u003cp>“It was my wish that me and this beautiful movement could help Kamala [Harris] win this election and become our first woman president and the 47th President of the United States,” said Medrano.\u003c/p>\n\u003cp>“Because things will change, and we have the power to do it through the way we bead our friendship bracelets red, white and blue and decorate our debate parties as if they were album [release] parties,” he added. “The way we show others how voting should be celebrated and not tolerated.”\u003c/p>\n\u003cp>Each speaker shared a collective pitch: attendees need to turn their love story for Swift into momentum for Harris and Democrats down the ballot.\u003c/p>\n\u003cp>King, who has long supported Democratic candidates, shared her personal experience canvassing for candidates.\u003c/p>\n\u003cp>“Don’t be afraid because there is nothing to lose and everything to gain … The key is listening,” she said. “Don’t be afraid. There is too much at stake.”\u003c/p>\n\u003cp>Many politicians on the call took their Swift-related mentions seriously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13960424","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his speech, Markey delivered more of a call to action and took jabs at former President and Republican nominee Donald Trump – someone Swift has criticized in \u003ca href=\"https://x.com/taylorswift13/status/1294685437362155522\">\u003cu>the past\u003c/u>\u003c/a>.\u003c/p>\n\u003cp>“There are just five fortnights until Election Day, but we are not out of the woods yet,” he said, “We have our work ahead of us to make sure we defeat this antihero wannabe, or as I like to call him, ‘Mr. Casually Cruel, Mr. Everything Revolves Around You.’”\u003c/p>\n\u003cp>“In the words of Taylor Swift, ‘I never trust a narcissist,’” Markey added. “And this narcissist in chief clearly doesn’t know enough about karma or what I like to call the infinite organizing power of the Swifties on this Zoom call.”\u003c/p>\n\u003cp>The senior Senator from Massachusetts is no stranger to Swift-lyric-easter eggs. After he staved off a primary challenge from former Massachusetts Rep. Joe Kennedy III, supporters of the senator repeatedly referenced the Swift song, “the last great american dynasty,” poking fun at Kennedy, the grandson of Robert F. Kennedy Jr.\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/Students4Markey/status/1286706208003555329\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png\" alt=\"\" width=\"1180\" height=\"902\" class=\"aligncenter size-full wp-image-13963328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-800x612.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-1020x780.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-768x587.png 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/a>\u003c/p>\n\u003cp>Though the speakers on the call tried to weave light-hearted pop culture references into their remarks, the group’s organizers made a point to stress the legitimacy and seriousness of their work.\u003c/p>\n\u003cp>“I think one thing that maybe the media doesn’t always get right is that Swifties are just about making little posts and little bracelets. And we do do those things for sure, but I think you can see with the intentionality of this call that we really have had a lot of thought in making sure everyone is included,” said Annie Wu, the group’s political director. “We are providing opportunities, and we are really giving the resources for people to be involved and civically engage this cycle. ”\u003c/p>\n\u003cp>The call also had an immediate ask of its participants: Register to vote. By the end of the call, 14,000 reported registering.\u003c/p>\n\u003cp>The group also put out an ask with a \u003ca href=\"https://twitter.com/Swifties4Kamala/status/1828614864513966201\">\u003cu>coveted reward\u003c/u>\u003c/a>: Attendees who get people in their community to check their voter registration get entered into a contest to win tickets to a Swift concert.\u003c/p>\n\u003cp>Entries increase in value if the person they reach is a low-frequency voter, unregistered or lives in a swing state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group plans to have additional organizing events as the election continues since there are indeed only five fortnights left.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963325/swifties-for-kamala-harris-trump-taylor-swift-fans","authors":["byline_arts_13963325"],"categories":["arts_1","arts_835","arts_69","arts_235","arts_75"],"tags":["arts_4949","arts_22227","arts_22224","arts_3026"],"featImg":"arts_13963326","label":"arts"},"arts_13963280":{"type":"posts","id":"arts_13963280","meta":{"index":"posts_1716263798","site":"arts","id":"13963280","score":null,"sort":[1724866638000]},"guestAuthors":[],"slug":"porte-blindado-corridos-sierreno-reginal-mexican-music-oakland-bay-area","title":"Porte Blindado Sing Vivid Corridos About Oakland’s Streets","publishDate":1724866638,"format":"standard","headTitle":"Porte Blindado Sing Vivid Corridos About Oakland’s Streets | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.instagram.com/porteblindado/\">Porte Blindado\u003c/a> are locked in. At least three times a week, the four young musicians haul amps, guitars and an upright bass into a small warehouse tucked between window-tinting shops and mechanics’ garages in Deep East Oakland. This is where vocalist Andres “AR” Rosillo, guitarists Pedro “Peaz” Zamora and Jemmiel Moore and upright bassist Luis Hernandez come together to perfect their distinctly Bay Area take on Mexican regional music.\u003c/p>\n\u003cp>“I feel like growing up and being born in the Bay area, we talk a certain way, dress a certain way, so the norm is very different when you go play in a grupo and they see you show up in some T-shirts and sneakers, compared to the traditional sombrero and botas,” says Peaz, who’s sporting Jordans and an A’s hat with a braided rat tail sticking out. “Our version catches a lot of people off guard, like, ‘Who are these kids?’”\u003c/p>\n\u003cp>“But you are who you are at the end of the day,” he adds with a shrug. “Sometimes you gotta let the norm change with you.”\u003c/p>\n\u003cfigure id=\"attachment_13962831\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado practice in a warehouse space in Oakland on August 14, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While high-drama corridos, brass-heavy banda and sierreño ballads have been in heavy rotation in Mexican American households for generations, a new crop of superstars — including Peso Pluma, Natanael Cano, Junior H and \u003ca href=\"https://www.kqed.org/arts/13957038/dannylux-regional-mexican-regency-ballroom-concert-review\">DannyLux\u003c/a> — have reimagined these styles for a younger generation and attracted a global following. Porte Blindado, whose members range from 19 to 23 years old, are following in the footsteps of California bands like Eslabon Armado and Fuerza Regida, who’ve helped bring regional Mexican music into the U.S. mainstream.\u003c/p>\n\u003cp>Before Fuerza Regida got big enough to headline arenas all over the U.S. and Mexico, they were a cover band gigging at private parties in their hometown of San Bernardino. That’s the stage where Porte Blindado currently find themselves: Putting out original material and playing their own shows while sustaining the band financially through quinceñeras, weddings and other privadas.\u003c/p>\n\u003cfigure id=\"attachment_13963281\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963281\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed.jpg\" alt=\"A close-up of a tattooed hand playing upright bass.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado’s bassist Luis Hernandez practices in Oakland on August 14, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Corridos are all about telling a good story, and although Porte Blindado have yet to release a debut album, they’ve built up momentum this year through a \u003ca href=\"https://open.spotify.com/artist/5cZT2KvkWM3z9GC4hMYPlX\">consistent stream of singles\u003c/a> that have a hard edge, with Spanish-language lyrics whose themes often overlap with Bay Area rap. The group’s songwriting is exhilarating on “\u003ca href=\"https://open.spotify.com/track/11WVcyBnWVAnO8u5kQueAg?si=bad08373211c483d\">Es Talento\u003c/a>,” where AR narrates a hair-raising tale of a cannabis warehouse robbery while Moore and Zamora shred on dueling guitars and Hernandez slaps his bass like his life depends on it. Their irreverent and supremely catchy track “\u003ca href=\"https://open.spotify.com/track/28O2oUxDMABNkm9D7GgblB?si=3e80fd1850e24a92\">Mi Madre Dice\u003c/a>” revels in the dark side of street life. Meanwhile, “\u003ca href=\"https://open.spotify.com/track/1kRDuMj6AabVs6L7e6GU5V?si=55f0acedaae340d0\">Gorrita de Fox\u003c/a>” is an anthem about showing out in style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/cg3YtnDUYgk?si=fMQIQ61LW5adp-qL\u003c/p>\n\u003cp>“I feel like a lot of people can relate,” says AR. “We definitely write with that Bay Area vibe.”\u003c/p>\n\u003cp>The band members have a playful, brotherly camaraderie as they joke around and share curly fries before a recent rehearsal, but when they take out their instruments, they’re intensely focused. Like a lot of people who grew up in the multicultural Bay Area, they share an eclectic music taste, name-checking Atlanta trap star Lil Baby and San Francisco guitar god Carlos Santana as influences that push them to keep evolving.\u003c/p>\n\u003cp>“We got closer because of the music,” says bassist Hernandez, the youngest member and unofficial comedian of the group.\u003c/p>\n\u003cfigure id=\"attachment_13963282\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead guitarist Moore, the only band member who isn’t Chicano, found his way to Mexican regional music from jazz and heavy metal. “One day in class, I had some friends come up to me like, ‘Hey, try this genre out.’ First I was like, ‘I don’t even know what they’re saying,’” he says.\u003c/p>\n\u003cp>Despite the language barrier, he fell in love with Mexican regional music and realized his perspective — and nimble solos honed by studying jazz scales — could actually become a strength. “Our style is different. That’s what makes us unique,” says Moore. “Especially for me, I like to try to implement different types of genres into my style.” [aside postid='arts_13953430']\u003c/p>\n\u003cp>As the young regional Mexican music scene continues to grow in the Bay Area, Porte Blindado is collaborating with peers like Reyes Del Trono, who add a tuba bounce to their joint single “\u003ca href=\"https://open.spotify.com/track/2fcY0GqGUyQQkI46ftNKqO?si=b1562980a84e45d2\">Soy y Sere\u003c/a>.” (Reyes Del Trono recently did a live set at the Oakland Ballers’ first-ever Latine heritage night baseball game.) Another local band, Clave 77, recently joined Porte Blindado for the high-energy, guitar- and horn-forward duet “\u003ca href=\"https://open.spotify.com/track/1PYnwflk3YzGnc6tYKXulS?si=da8280354eb349a0\">Pura Calidad\u003c/a>.”\u003c/p>\n\u003cp>The members of Porte Blindado have an intuition for marketing, and a few of their \u003ca href=\"https://www.tiktok.com/@porteblindado\">TikToks\u003c/a> — including one of AR getting kicked out of a mall while playing “Mi Madre Dice” on guitar — have gone viral, helping them expand their following outside the Bay. Their next gig is at the banda festival \u003ca href=\"https://www.instagram.com/gentenueva.promotions/p/C-rFt2Zv6iw/?img_index=1\">Maniaco Fest\u003c/a> in Hollister, just south of Gilroy, on Aug. 30, and in September they plan on making a trip down south for a Los Angeles show.\u003c/p>\n\u003cp>https://youtu.be/FjQfe3jdKz0?si=yZn7HgRkNX6a_Csa\u003c/p>\n\u003cp>East Oakland is where it all started, though, and at a recent free show in Fruitvale put on by Communities United for Restorative Youth Justice, Porte Blindado got to feel the love from their hometown crowd. “Afterwards it was hella cool, all the kids were taking pictures with us,” AR recalls with a smile. “‘Oh, peace sign!’ We had to throw hella peace signs.”\u003c/p>\n\u003cp>It’s moments like those that remind Porte Blindado why they spend countless hours a week practicing. Why they carve out time between their day jobs of working construction and painting houses to perfect a craft that’s rooted in tradition but has forward motion, transcending cultures and generations.\u003c/p>\n\u003cp>“We have so much that we want to get done as a group,” says Peaz. “I feel like we’re hungry for it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We just getting started,” adds AR. “Buckle up, because this gon’ be a ride.”\u003c/p>\n\n","blocks":[],"excerpt":"The young band’s nontraditional take on regional Mexican music is gaining traction beyond the Bay.","status":"publish","parent":0,"modified":1724966652,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1113},"headData":{"title":"Porte Blindado Sing Vivid Corridos About Oakland’s Streets | KQED","description":"The young band’s nontraditional take on regional Mexican music is gaining traction beyond the Bay.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Porte Blindado Sing Vivid Corridos About Oakland’s Streets","datePublished":"2024-08-28T10:37:18-07:00","dateModified":"2024-08-29T14:24:12-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13963280","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13963280/porte-blindado-corridos-sierreno-reginal-mexican-music-oakland-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/porteblindado/\">Porte Blindado\u003c/a> are locked in. At least three times a week, the four young musicians haul amps, guitars and an upright bass into a small warehouse tucked between window-tinting shops and mechanics’ garages in Deep East Oakland. This is where vocalist Andres “AR” Rosillo, guitarists Pedro “Peaz” Zamora and Jemmiel Moore and upright bassist Luis Hernandez come together to perfect their distinctly Bay Area take on Mexican regional music.\u003c/p>\n\u003cp>“I feel like growing up and being born in the Bay area, we talk a certain way, dress a certain way, so the norm is very different when you go play in a grupo and they see you show up in some T-shirts and sneakers, compared to the traditional sombrero and botas,” says Peaz, who’s sporting Jordans and an A’s hat with a braided rat tail sticking out. “Our version catches a lot of people off guard, like, ‘Who are these kids?’”\u003c/p>\n\u003cp>“But you are who you are at the end of the day,” he adds with a shrug. “Sometimes you gotta let the norm change with you.”\u003c/p>\n\u003cfigure id=\"attachment_13962831\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado practice in a warehouse space in Oakland on August 14, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While high-drama corridos, brass-heavy banda and sierreño ballads have been in heavy rotation in Mexican American households for generations, a new crop of superstars — including Peso Pluma, Natanael Cano, Junior H and \u003ca href=\"https://www.kqed.org/arts/13957038/dannylux-regional-mexican-regency-ballroom-concert-review\">DannyLux\u003c/a> — have reimagined these styles for a younger generation and attracted a global following. Porte Blindado, whose members range from 19 to 23 years old, are following in the footsteps of California bands like Eslabon Armado and Fuerza Regida, who’ve helped bring regional Mexican music into the U.S. mainstream.\u003c/p>\n\u003cp>Before Fuerza Regida got big enough to headline arenas all over the U.S. and Mexico, they were a cover band gigging at private parties in their hometown of San Bernardino. That’s the stage where Porte Blindado currently find themselves: Putting out original material and playing their own shows while sustaining the band financially through quinceñeras, weddings and other privadas.\u003c/p>\n\u003cfigure id=\"attachment_13963281\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963281\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed.jpg\" alt=\"A close-up of a tattooed hand playing upright bass.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado’s bassist Luis Hernandez practices in Oakland on August 14, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Corridos are all about telling a good story, and although Porte Blindado have yet to release a debut album, they’ve built up momentum this year through a \u003ca href=\"https://open.spotify.com/artist/5cZT2KvkWM3z9GC4hMYPlX\">consistent stream of singles\u003c/a> that have a hard edge, with Spanish-language lyrics whose themes often overlap with Bay Area rap. The group’s songwriting is exhilarating on “\u003ca href=\"https://open.spotify.com/track/11WVcyBnWVAnO8u5kQueAg?si=bad08373211c483d\">Es Talento\u003c/a>,” where AR narrates a hair-raising tale of a cannabis warehouse robbery while Moore and Zamora shred on dueling guitars and Hernandez slaps his bass like his life depends on it. Their irreverent and supremely catchy track “\u003ca href=\"https://open.spotify.com/track/28O2oUxDMABNkm9D7GgblB?si=3e80fd1850e24a92\">Mi Madre Dice\u003c/a>” revels in the dark side of street life. Meanwhile, “\u003ca href=\"https://open.spotify.com/track/1kRDuMj6AabVs6L7e6GU5V?si=55f0acedaae340d0\">Gorrita de Fox\u003c/a>” is an anthem about showing out in style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cg3YtnDUYgk'\n title='//www.youtube.com/embed/cg3YtnDUYgk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I feel like a lot of people can relate,” says AR. “We definitely write with that Bay Area vibe.”\u003c/p>\n\u003cp>The band members have a playful, brotherly camaraderie as they joke around and share curly fries before a recent rehearsal, but when they take out their instruments, they’re intensely focused. Like a lot of people who grew up in the multicultural Bay Area, they share an eclectic music taste, name-checking Atlanta trap star Lil Baby and San Francisco guitar god Carlos Santana as influences that push them to keep evolving.\u003c/p>\n\u003cp>“We got closer because of the music,” says bassist Hernandez, the youngest member and unofficial comedian of the group.\u003c/p>\n\u003cfigure id=\"attachment_13963282\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead guitarist Moore, the only band member who isn’t Chicano, found his way to Mexican regional music from jazz and heavy metal. “One day in class, I had some friends come up to me like, ‘Hey, try this genre out.’ First I was like, ‘I don’t even know what they’re saying,’” he says.\u003c/p>\n\u003cp>Despite the language barrier, he fell in love with Mexican regional music and realized his perspective — and nimble solos honed by studying jazz scales — could actually become a strength. “Our style is different. That’s what makes us unique,” says Moore. “Especially for me, I like to try to implement different types of genres into my style.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953430","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the young regional Mexican music scene continues to grow in the Bay Area, Porte Blindado is collaborating with peers like Reyes Del Trono, who add a tuba bounce to their joint single “\u003ca href=\"https://open.spotify.com/track/2fcY0GqGUyQQkI46ftNKqO?si=b1562980a84e45d2\">Soy y Sere\u003c/a>.” (Reyes Del Trono recently did a live set at the Oakland Ballers’ first-ever Latine heritage night baseball game.) Another local band, Clave 77, recently joined Porte Blindado for the high-energy, guitar- and horn-forward duet “\u003ca href=\"https://open.spotify.com/track/1PYnwflk3YzGnc6tYKXulS?si=da8280354eb349a0\">Pura Calidad\u003c/a>.”\u003c/p>\n\u003cp>The members of Porte Blindado have an intuition for marketing, and a few of their \u003ca href=\"https://www.tiktok.com/@porteblindado\">TikToks\u003c/a> — including one of AR getting kicked out of a mall while playing “Mi Madre Dice” on guitar — have gone viral, helping them expand their following outside the Bay. Their next gig is at the banda festival \u003ca href=\"https://www.instagram.com/gentenueva.promotions/p/C-rFt2Zv6iw/?img_index=1\">Maniaco Fest\u003c/a> in Hollister, just south of Gilroy, on Aug. 30, and in September they plan on making a trip down south for a Los Angeles show.\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/FjQfe3jdKz0'\n title='//www.youtube.com/embed/FjQfe3jdKz0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>East Oakland is where it all started, though, and at a recent free show in Fruitvale put on by Communities United for Restorative Youth Justice, Porte Blindado got to feel the love from their hometown crowd. “Afterwards it was hella cool, all the kids were taking pictures with us,” AR recalls with a smile. “‘Oh, peace sign!’ We had to throw hella peace signs.”\u003c/p>\n\u003cp>It’s moments like those that remind Porte Blindado why they spend countless hours a week practicing. Why they carve out time between their day jobs of working construction and painting houses to perfect a craft that’s rooted in tradition but has forward motion, transcending cultures and generations.\u003c/p>\n\u003cp>“We have so much that we want to get done as a group,” says Peaz. “I feel like we’re hungry for it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We just getting started,” adds AR. “Buckle up, because this gon’ be a ride.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963280/porte-blindado-corridos-sierreno-reginal-mexican-music-oakland-bay-area","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_5747","arts_21992"],"featImg":"arts_13962830","label":"arts"},"arts_13962843":{"type":"posts","id":"arts_13962843","meta":{"index":"posts_1716263798","site":"arts","id":"13962843","score":null,"sort":[1724770833000]},"guestAuthors":[],"slug":"the-10-best-jazz-shows-in-the-bay-area-this-fall","title":"The 10 Best Jazz Shows in the Bay Area This Fall","publishDate":1724770833,"format":"standard","headTitle":"The 10 Best Jazz Shows in the Bay Area This Fall | KQED","labelTerm":{},"content":"\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n","blocks":[],"excerpt":"Jazz takes over rock clubs, theaters, basements and concert halls in the Bay Area this fall. ","status":"publish","parent":0,"modified":1724799305,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1183},"headData":{"title":"The 10 Best Jazz Shows in the Bay Area This Fall | KQED","description":"Jazz takes over rock clubs, theaters, basements and concert halls in the Bay Area this fall. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Jazz Shows in the Bay Area This Fall","datePublished":"2024-08-27T08:00:33-07:00","dateModified":"2024-08-27T15:55:05-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/fall-guide-2024","sticky":false,"nprStoryId":"kqed-13962843","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962843/the-10-best-jazz-shows-in-the-bay-area-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962843/the-10-best-jazz-shows-in-the-bay-area-this-fall","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_22281","arts_10278","arts_2520","arts_1420","arts_22274","arts_2048","arts_585","arts_2093","arts_4107"],"featImg":"arts_13963177","label":"source_arts_13962843"},"arts_13962948":{"type":"posts","id":"arts_13962948","meta":{"index":"posts_1716263798","site":"arts","id":"13962948","score":null,"sort":[1724684451000]},"guestAuthors":[],"slug":"fall-2024-san-francisco-oakland-san-jose-bay-area-concert-guide","title":"Must-See Concerts in the Bay Area This Fall","publishDate":1724684451,"format":"aside","headTitle":"Must-See Concerts in the Bay Area This Fall | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13962545\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands gather in front of the Twin Peaks Stage as Kaytranada performs at Outside Lands on Sunday, Aug. 11, 2024. He returns to the Bay Area to headline Berkeley’s Greek Theatre on Halloween. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charli XCX fans may have declared 2024 \u003cem>Brat\u003c/em> summer, but since Bay Area weather stays nice through November — and Charli herself is playing San Francisco in October — the party is continuing well into fall.\u003c/p>\n\u003cp>Even if huge arena concerts aren’t your thing, there are plenty of other worthy shows in the autumn months: Smaller club gigs from up-and-coming acts, free outdoor concerts and a waterfront festival. Read on for must-see shows to add to your concert calendar.\u003c/p>\n\u003cfigure id=\"attachment_13962998\" class=\"wp-caption aligncenter\" style=\"max-width: 2399px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962998\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores.jpg\" alt=\"\" width=\"2399\" height=\"1557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores.jpg 2399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1536x997.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-2048x1329.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1920x1246.jpg 1920w\" sizes=\"(max-width: 2399px) 100vw, 2399px\">\u003cfigcaption class=\"wp-caption-text\">The Commodores. \u003ccite>(Courtesy Mare Island Dock of Bay Music Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://dockofbay.com/general-information/\">Dock of the Bay Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 2024\u003cbr>\n12:30-9:30 p.m.\u003cbr>\nMare Island Coal Sheds, Vallejo\u003cbr>\n$120+\u003c/em>\u003c/p>\n\u003cp>The Solano County waterfront, with its mix of natural and industrial terrain, makes for a special setting at Dock of the Bay. The music festival brings together original disco and funk acts like “\u003ca href=\"https://www.youtube.com/watch?v=GTR27qWXGqU\">Boogie Nights\u003c/a>” hitmakers Heatwave, who’ve been sampled by everyone from Michael Jackson to Timbaland and Missy Elliott. They perform alongside The Commodores, who gave us the timeless classic “\u003ca href=\"https://www.youtube.com/watch?v=KzOJaHHlIcQ\">Brick House\u003c/a>;” Average White Band of “\u003ca href=\"https://www.youtube.com/watch?v=3ISLeHByD-I\">Pick Up the Pieces\u003c/a>” fame; and Lenny Williams, the balladeer behind soul classic “\u003ca href=\"https://www.youtube.com/watch?v=QbzkwLWK-Ps\">Cause I Love You\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13962996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">El Alfa (center) performs at Billboard En Vivo Featuring Wisin held at Oasis Wynwood as part of Billboard Latin Music Week on October 3, 2023 in Miami Beach, Florida. \u003ccite>(Christopher Polk/Billboard via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sapcenter.com/events/detail/el-alfa\">El Alfa\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14, 2024\u003cbr>\n8 p.m.\u003cbr>\nSAP Center, San Jose\u003cbr>\n$92+\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s no question that El Alfa is the king of Dominican dembow. With each \u003ca href=\"https://www.youtube.com/watch?v=j0KT4NTZNQo\">new release\u003c/a>, his raps seem to get more hyperactive, weirder and raunchier, with onomatopoeias and \u003ca href=\"https://www.youtube.com/watch?v=s5yRZOQ3EWI\">double entendres\u003c/a> in the pocket of uptempo, percussion-heavy, tropical beats. There’s a reason why Spanish-speaking artists from all over the Western hemisphere — Cardi B, Kali Uchis, Bad Bunny, Wisin & Yandel and Jowell & Randy — have turned to him to inject their tracks with manic energy. Expect nothing less when he arrives stateside for a headlining show at San Jose’s SAP Center.\u003c/p>\n\u003cfigure id=\"attachment_13962994\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1536x1118.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1920x1398.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man. \u003ccite>(Maclay Heriot )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://laylo.com/anotherplanetentertainment/9-20-24\">Portugal. The Man\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Snacktime\u003cbr>\nSept. 20, 2024\u003cbr>\nCivic Center Plaza, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>Continuing San Francisco’s streak of free concerts this year, Portugal. The Man brings their punchy, groove-laden rock to Civic Center Plaza, just outside of City Hall. The Portland band, best known for 2017’s inescapable “\u003ca href=\"https://www.youtube.com/watch?v=F09POwrBn-M\">Feel It Still\u003c/a>,” are currently touring in support of their catchy, psychedelic 2023 album \u003cem>Chris Black Changed My Life\u003c/em>. Philly brass band Snacktime will get the dance party started with their uptempo jazz funk.\u003c/p>\n\u003cfigure id=\"attachment_10618581\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10618581\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain.jpg\" alt=\"\" width=\"1180\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-960x540.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Sleater-Kinney at the Masonic, May 2, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4-6, 2024\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>With concert tickets more expensive than ever, a free major festival like Hardly Strictly is truly a gift. Alternative rockers \u003ca href=\"https://www.youtube.com/watch?v=vZA_7FtttRY\">Sleater-Kinney\u003c/a> are a huge draw at this year’s family-friendly event, which celebrates bluegrass, country, roots music and eclectic array of other genres in Golden Gate Park. Other standout acts include Nigerian-British electronic pop band \u003ca href=\"https://www.youtube.com/watch?v=AVCTy_Qqn5A\">Ibibio Sound Machine\u003c/a>, Ukrainian folk experimentalists \u003ca href=\"https://www.youtube.com/watch?v=AObDpJ6xQMk\">DakhaBrakha\u003c/a>, original bluesman Bobby Rush and powerhouse soul singer Mavis Staples.\u003c/p>\n\u003cfigure id=\"attachment_13962989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599.jpg\" alt=\"Omar Apollo smiles and looks out onto the crowd while holding a microphone and wearing sparkly black pants and a matching top. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omar Apollo performs at Life Is Beautiful on Sept. 23, 2023 in Las Vegas, Nevada. \u003ccite>(Christopher Polk/Billboard via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/omar-apollo-241004/\">Omar Apollo\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Kevin Abstract\u003cbr>\nOct. 4, 2024\u003cbr>\n8 p.m.\u003cbr>\nGreek Theatre, Berkeley\u003cbr>\n$78+\u003c/em>\u003c/p>\n\u003cp>Tender, touching and at times snarky, Omar Apollo’s expansive pop music blends eclectic influences — folk and new wave, R&B and trap — into something shimmeringly beautiful. The singer-songwriter and guitarist’s latest album \u003ca href=\"https://www.youtube.com/watch?v=YTnuRqf5V5Y\">\u003ci>God Said No\u003c/i>\u003c/a> takes us on a ride through desire, pettiness, longing and other complicated emotions that arise during a breakup. Apollo will take the stage at Berkeley’s Greek Theatre with Brockhampton’s Kevin Abstract, another artist pushing queer expression forward.\u003c/p>\n\u003cfigure id=\"attachment_13956732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956732\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED.jpg\" alt=\"Blonde woman in black with bass guitar holds a small white dog\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw, vocalist and bass guitarist of Shannon and the Clams, and her dog Spanky-Joe at a park in the greater Los Angeles area on April 25, 2024. \u003ccite>(Jules Hotz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thefoxoakland.com/events/shannon-and-the-clams-241019\">Shannon and the Clams\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19, 2024\u003cbr>\n8 p.m.\u003cbr>\nFox Theater, Oakland\u003cbr>\n$43+\u003c/em>\u003c/p>\n\u003cp>With \u003ci>The Moon Is in the Wrong Place\u003c/i>, Oakland rockers \u003ca href=\"https://www.youtube.com/watch?v=dvo2yOFb7k0\">Shannon and the Clams\u003c/a> made an album about grief whose exuberance is an affirmation of love and life, written in the aftermath of frontwoman Shannon Shaw’s life-changing loss of her fiance, drummer Joe Haener. While grappling with the tragedy, the band transmuted restlessness, anger, sorrow and confusion into a high-energy blend of garage rock, country and psychedelia that’s made for the stage, especially a gorgeous room like the Fox.\u003c/p>\n\u003cfigure id=\"attachment_13919608\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://chasecenter.com/events/charli-xcx-and-troye-sivan-20241020\">Charli XCX & Troye Sivan\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Shygirl\u003cbr>\nOct. 20, 2024\u003cbr>\n7:30 p.m.\u003cbr>\nChase Center, San Francisco\u003cbr>\n$196+\u003c/em>\u003c/p>\n\u003cp>Charli XCX is so hot this year, even Kamala Harris wants to ride her lime-green \u003ci>Brat\u003c/i> train to the White House. The U.K. pop star reconnected with her raver roots for her sixth studio album, and the result is a hedonistic yet profound listen that managed to explode into the mainstream while maintaining a solidly grimy, underground appeal. Shockingly honest tracks like “\u003ca href=\"https://www.youtube.com/watch?v=0q3K6FPzY18\">Girl, so confusing\u003c/a>” — where Charli and Lorde squashed their beef on record while elucidating how misogyny messes with women’s minds — lend the album its emotional depth. At the Chase Center, Charli will whisk fans away into her 4 a.m. fantasy with “One of Your Girls” hitmaker Troye Sivan and fellow club kid Shygirl.\u003c/p>\n\u003cfigure id=\"attachment_13919616\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kaytranada performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/kaytranada-241031\">Kaytranada\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Channel Tres and Lou Phelps\u003cbr>\nOct. 31, 2024\u003cbr>\n6:30 p.m.\u003cbr>\nGreek Theatre, Berkeley\u003cbr>\n$78+\u003c/em>\u003c/p>\n\u003cp>It’s a shame hip-house only went mainstream for a few years in the mid-’90s — rapping over uptempo club beats just makes sense. Fortunately, Kaytranada and Channel Tres have revived the sound for a new generation. Hot off his new \u003ci>TIMELESS\u003c/i> album (and an extremely lit \u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">Outside Lands\u003c/a> appearance), Kaytranada will spin groove-laden beats that feature some of today’s brightest pop, R&B and rap talents, including \u003ca href=\"https://www.youtube.com/watch?v=vAOzFvVz718\">PinkPantheress\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kQC0S0VYoio\">Tinashe\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=EqfnKrbMZ5w\">Don Toliver\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=ijP_r0f-Mds\">Lou Phelps\u003c/a>, the latter of whom is opening the show. “Top Down” rapper Channel Tres promises a live set of dance-floor ready anthems. If you’re trying to turn up on Halloween, this is the place to be.\u003c/p>\n\u003cfigure id=\"attachment_13962992\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962992\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153.jpg\" alt=\"A large boy band runs down a stage wearing complementary tweed suits. \" width=\"2000\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1536x1003.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1920x1254.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dokyeom, Seungkwan and Hoshi of k-pop boy group SEVENTEEN perform during the 12th Circle Chart Music Awards at the KSPO Dome on February 18, 2023 in Seoul, South Korea. \u003ccite>(The Chosunilbo JNS/Imazins via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theoaklandarena.com/events/detail/seventeen-right-here-world-tour-in-us\">Seventeen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 5 and 6, 2024\u003cbr>\n7:30 p.m.\u003cbr>\nOakland Arena, Oakland\u003cbr>\n$119+\u003c/em>\u003c/p>\n\u003cp>K-pop band Seventeen is a powerhouse. The thirteen-member squad is incredibly versatile: They write and produce much of their own music, and choreograph big, epic live performances that have earned them legions of fans from China to the U.S. Sonically, they have range, too: standout tracks include the vibe-y and mystical R&B track “\u003ca href=\"https://www.youtube.com/watch?v=gbLkxltoD9o\">Spell\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=ThI0pBAbFnk\">Maestro\u003c/a>,” which showcases their hip-hop influence with a futuristic spin. Expect high-energy dance moves and otherworldly visuals two nights in a row at Oakland Arena.\u003c/p>\n\u003cfigure id=\"attachment_13963159\" class=\"wp-caption aligncenter\" style=\"max-width: 2165px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag.jpg\" alt=\"\" width=\"2165\" height=\"1443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag.jpg 2165w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1920x1280.jpg 1920w\" sizes=\"(max-width: 2165px) 100vw, 2165px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag in his music video for ‘Loss as Lessons.’ \u003ccite>(DB.Boutabag on YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/db-boutabag-with-k-flex/\">DB.Boutabag\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 8, 2024\u003cbr>\n8 p.m.\u003cbr>\nThe New Parish, Oakland\u003cbr>\n$30+\u003c/em>\u003c/p>\n\u003cp>The Bay has produced plenty of hip-hop greats, but some of the hottest young rappers out of Northern California currently hail from Stockton and Sacramento. South Sac’s \u003ca href=\"https://www.youtube.com/watch?v=krbGYUEBIFA\">DB.Boutabag\u003c/a> is one of the leaders of that Central Valley scene, and his deadpan punchlines, gems of wisdom and ruthless roasts of his rivals have attracted an avid fan base that raps along bar for bar at his shows, from Salt Lake City to Boise to Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13962991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298.jpg\" alt=\"\" width=\"2000\" height=\"1504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1536x1155.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1920x1444.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Latto performs onstage during Hot 107.9 Birthday Bash 2024 at State Farm Arena on June 22, 2024 in Atlanta, Georgia. \u003ccite>(Prince Williams/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/latto-241129/\">Latto\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 29, 2024\u003c/em>\u003cbr>\n\u003cem>7:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Bill Graham Civic Auditorium, San Francisco\u003c/em>\u003cbr>\n\u003cem>$83+\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When it comes to Gen Z rappers dominating the charts, Atlanta’s Latto is definitely on the short list. After 2022’s roller disco-ready “\u003ca href=\"https://www.youtube.com/watch?v=T8GpG8C0YzA\">Big Energy\u003c/a>,” she followed up with 2023’s thrillingly aggressive diss track “\u003ca href=\"https://www.youtube.com/watch?v=-WtNCR3EDS4\">Put It On the Floor\u003c/a>” and this year’s “\u003ca href=\"https://www.youtube.com/watch?v=skTA4ZkRlyQ\">Sunday Service\u003c/a>,” a cocky and laid-back cruising anthem that got a remix from hot girl-in-chief Megan Thee Stallion and fellow rising star Flo Milli. Yes, she puts her sex appeal out there, and behind her provocative image is a careful attention to craft in the booth and on the stage.\u003c/p>\n\n","blocks":[],"excerpt":"Charli XCX, SEVENTEEN, Kaytranada and Omar Apollo are on our list of artists not to miss. ","status":"publish","parent":0,"modified":1724449046,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1567},"headData":{"title":"Must-See Concerts in the Bay Area This Fall | KQED","description":"Charli XCX, SEVENTEEN, Kaytranada and Omar Apollo are on our list of artists not to miss. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Must-See Concerts in the Bay Area This Fall","datePublished":"2024-08-26T08:00:51-07:00","dateModified":"2024-08-23T14:37:26-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/fall-guide-2024","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962948/fall-2024-san-francisco-oakland-san-jose-bay-area-concert-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13962545\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands gather in front of the Twin Peaks Stage as Kaytranada performs at Outside Lands on Sunday, Aug. 11, 2024. He returns to the Bay Area to headline Berkeley’s Greek Theatre on Halloween. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charli XCX fans may have declared 2024 \u003cem>Brat\u003c/em> summer, but since Bay Area weather stays nice through November — and Charli herself is playing San Francisco in October — the party is continuing well into fall.\u003c/p>\n\u003cp>Even if huge arena concerts aren’t your thing, there are plenty of other worthy shows in the autumn months: Smaller club gigs from up-and-coming acts, free outdoor concerts and a waterfront festival. Read on for must-see shows to add to your concert calendar.\u003c/p>\n\u003cfigure id=\"attachment_13962998\" class=\"wp-caption aligncenter\" style=\"max-width: 2399px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962998\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores.jpg\" alt=\"\" width=\"2399\" height=\"1557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores.jpg 2399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1536x997.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-2048x1329.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1920x1246.jpg 1920w\" sizes=\"(max-width: 2399px) 100vw, 2399px\">\u003cfigcaption class=\"wp-caption-text\">The Commodores. \u003ccite>(Courtesy Mare Island Dock of Bay Music Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://dockofbay.com/general-information/\">Dock of the Bay Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 2024\u003cbr>\n12:30-9:30 p.m.\u003cbr>\nMare Island Coal Sheds, Vallejo\u003cbr>\n$120+\u003c/em>\u003c/p>\n\u003cp>The Solano County waterfront, with its mix of natural and industrial terrain, makes for a special setting at Dock of the Bay. The music festival brings together original disco and funk acts like “\u003ca href=\"https://www.youtube.com/watch?v=GTR27qWXGqU\">Boogie Nights\u003c/a>” hitmakers Heatwave, who’ve been sampled by everyone from Michael Jackson to Timbaland and Missy Elliott. They perform alongside The Commodores, who gave us the timeless classic “\u003ca href=\"https://www.youtube.com/watch?v=KzOJaHHlIcQ\">Brick House\u003c/a>;” Average White Band of “\u003ca href=\"https://www.youtube.com/watch?v=3ISLeHByD-I\">Pick Up the Pieces\u003c/a>” fame; and Lenny Williams, the balladeer behind soul classic “\u003ca href=\"https://www.youtube.com/watch?v=QbzkwLWK-Ps\">Cause I Love You\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13962996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">El Alfa (center) performs at Billboard En Vivo Featuring Wisin held at Oasis Wynwood as part of Billboard Latin Music Week on October 3, 2023 in Miami Beach, Florida. \u003ccite>(Christopher Polk/Billboard via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sapcenter.com/events/detail/el-alfa\">El Alfa\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14, 2024\u003cbr>\n8 p.m.\u003cbr>\nSAP Center, San Jose\u003cbr>\n$92+\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s no question that El Alfa is the king of Dominican dembow. With each \u003ca href=\"https://www.youtube.com/watch?v=j0KT4NTZNQo\">new release\u003c/a>, his raps seem to get more hyperactive, weirder and raunchier, with onomatopoeias and \u003ca href=\"https://www.youtube.com/watch?v=s5yRZOQ3EWI\">double entendres\u003c/a> in the pocket of uptempo, percussion-heavy, tropical beats. There’s a reason why Spanish-speaking artists from all over the Western hemisphere — Cardi B, Kali Uchis, Bad Bunny, Wisin & Yandel and Jowell & Randy — have turned to him to inject their tracks with manic energy. Expect nothing less when he arrives stateside for a headlining show at San Jose’s SAP Center.\u003c/p>\n\u003cfigure id=\"attachment_13962994\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1536x1118.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1920x1398.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man. \u003ccite>(Maclay Heriot )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://laylo.com/anotherplanetentertainment/9-20-24\">Portugal. The Man\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Snacktime\u003cbr>\nSept. 20, 2024\u003cbr>\nCivic Center Plaza, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>Continuing San Francisco’s streak of free concerts this year, Portugal. The Man brings their punchy, groove-laden rock to Civic Center Plaza, just outside of City Hall. The Portland band, best known for 2017’s inescapable “\u003ca href=\"https://www.youtube.com/watch?v=F09POwrBn-M\">Feel It Still\u003c/a>,” are currently touring in support of their catchy, psychedelic 2023 album \u003cem>Chris Black Changed My Life\u003c/em>. Philly brass band Snacktime will get the dance party started with their uptempo jazz funk.\u003c/p>\n\u003cfigure id=\"attachment_10618581\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10618581\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain.jpg\" alt=\"\" width=\"1180\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-960x540.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Sleater-Kinney at the Masonic, May 2, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4-6, 2024\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>With concert tickets more expensive than ever, a free major festival like Hardly Strictly is truly a gift. Alternative rockers \u003ca href=\"https://www.youtube.com/watch?v=vZA_7FtttRY\">Sleater-Kinney\u003c/a> are a huge draw at this year’s family-friendly event, which celebrates bluegrass, country, roots music and eclectic array of other genres in Golden Gate Park. Other standout acts include Nigerian-British electronic pop band \u003ca href=\"https://www.youtube.com/watch?v=AVCTy_Qqn5A\">Ibibio Sound Machine\u003c/a>, Ukrainian folk experimentalists \u003ca href=\"https://www.youtube.com/watch?v=AObDpJ6xQMk\">DakhaBrakha\u003c/a>, original bluesman Bobby Rush and powerhouse soul singer Mavis Staples.\u003c/p>\n\u003cfigure id=\"attachment_13962989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599.jpg\" alt=\"Omar Apollo smiles and looks out onto the crowd while holding a microphone and wearing sparkly black pants and a matching top. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omar Apollo performs at Life Is Beautiful on Sept. 23, 2023 in Las Vegas, Nevada. \u003ccite>(Christopher Polk/Billboard via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/omar-apollo-241004/\">Omar Apollo\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Kevin Abstract\u003cbr>\nOct. 4, 2024\u003cbr>\n8 p.m.\u003cbr>\nGreek Theatre, Berkeley\u003cbr>\n$78+\u003c/em>\u003c/p>\n\u003cp>Tender, touching and at times snarky, Omar Apollo’s expansive pop music blends eclectic influences — folk and new wave, R&B and trap — into something shimmeringly beautiful. The singer-songwriter and guitarist’s latest album \u003ca href=\"https://www.youtube.com/watch?v=YTnuRqf5V5Y\">\u003ci>God Said No\u003c/i>\u003c/a> takes us on a ride through desire, pettiness, longing and other complicated emotions that arise during a breakup. Apollo will take the stage at Berkeley’s Greek Theatre with Brockhampton’s Kevin Abstract, another artist pushing queer expression forward.\u003c/p>\n\u003cfigure id=\"attachment_13956732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956732\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED.jpg\" alt=\"Blonde woman in black with bass guitar holds a small white dog\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw, vocalist and bass guitarist of Shannon and the Clams, and her dog Spanky-Joe at a park in the greater Los Angeles area on April 25, 2024. \u003ccite>(Jules Hotz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thefoxoakland.com/events/shannon-and-the-clams-241019\">Shannon and the Clams\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19, 2024\u003cbr>\n8 p.m.\u003cbr>\nFox Theater, Oakland\u003cbr>\n$43+\u003c/em>\u003c/p>\n\u003cp>With \u003ci>The Moon Is in the Wrong Place\u003c/i>, Oakland rockers \u003ca href=\"https://www.youtube.com/watch?v=dvo2yOFb7k0\">Shannon and the Clams\u003c/a> made an album about grief whose exuberance is an affirmation of love and life, written in the aftermath of frontwoman Shannon Shaw’s life-changing loss of her fiance, drummer Joe Haener. While grappling with the tragedy, the band transmuted restlessness, anger, sorrow and confusion into a high-energy blend of garage rock, country and psychedelia that’s made for the stage, especially a gorgeous room like the Fox.\u003c/p>\n\u003cfigure id=\"attachment_13919608\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://chasecenter.com/events/charli-xcx-and-troye-sivan-20241020\">Charli XCX & Troye Sivan\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Shygirl\u003cbr>\nOct. 20, 2024\u003cbr>\n7:30 p.m.\u003cbr>\nChase Center, San Francisco\u003cbr>\n$196+\u003c/em>\u003c/p>\n\u003cp>Charli XCX is so hot this year, even Kamala Harris wants to ride her lime-green \u003ci>Brat\u003c/i> train to the White House. The U.K. pop star reconnected with her raver roots for her sixth studio album, and the result is a hedonistic yet profound listen that managed to explode into the mainstream while maintaining a solidly grimy, underground appeal. Shockingly honest tracks like “\u003ca href=\"https://www.youtube.com/watch?v=0q3K6FPzY18\">Girl, so confusing\u003c/a>” — where Charli and Lorde squashed their beef on record while elucidating how misogyny messes with women’s minds — lend the album its emotional depth. At the Chase Center, Charli will whisk fans away into her 4 a.m. fantasy with “One of Your Girls” hitmaker Troye Sivan and fellow club kid Shygirl.\u003c/p>\n\u003cfigure id=\"attachment_13919616\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kaytranada performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/kaytranada-241031\">Kaytranada\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Channel Tres and Lou Phelps\u003cbr>\nOct. 31, 2024\u003cbr>\n6:30 p.m.\u003cbr>\nGreek Theatre, Berkeley\u003cbr>\n$78+\u003c/em>\u003c/p>\n\u003cp>It’s a shame hip-house only went mainstream for a few years in the mid-’90s — rapping over uptempo club beats just makes sense. Fortunately, Kaytranada and Channel Tres have revived the sound for a new generation. Hot off his new \u003ci>TIMELESS\u003c/i> album (and an extremely lit \u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">Outside Lands\u003c/a> appearance), Kaytranada will spin groove-laden beats that feature some of today’s brightest pop, R&B and rap talents, including \u003ca href=\"https://www.youtube.com/watch?v=vAOzFvVz718\">PinkPantheress\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kQC0S0VYoio\">Tinashe\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=EqfnKrbMZ5w\">Don Toliver\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=ijP_r0f-Mds\">Lou Phelps\u003c/a>, the latter of whom is opening the show. “Top Down” rapper Channel Tres promises a live set of dance-floor ready anthems. If you’re trying to turn up on Halloween, this is the place to be.\u003c/p>\n\u003cfigure id=\"attachment_13962992\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962992\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153.jpg\" alt=\"A large boy band runs down a stage wearing complementary tweed suits. \" width=\"2000\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1536x1003.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1920x1254.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dokyeom, Seungkwan and Hoshi of k-pop boy group SEVENTEEN perform during the 12th Circle Chart Music Awards at the KSPO Dome on February 18, 2023 in Seoul, South Korea. \u003ccite>(The Chosunilbo JNS/Imazins via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theoaklandarena.com/events/detail/seventeen-right-here-world-tour-in-us\">Seventeen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 5 and 6, 2024\u003cbr>\n7:30 p.m.\u003cbr>\nOakland Arena, Oakland\u003cbr>\n$119+\u003c/em>\u003c/p>\n\u003cp>K-pop band Seventeen is a powerhouse. The thirteen-member squad is incredibly versatile: They write and produce much of their own music, and choreograph big, epic live performances that have earned them legions of fans from China to the U.S. Sonically, they have range, too: standout tracks include the vibe-y and mystical R&B track “\u003ca href=\"https://www.youtube.com/watch?v=gbLkxltoD9o\">Spell\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=ThI0pBAbFnk\">Maestro\u003c/a>,” which showcases their hip-hop influence with a futuristic spin. Expect high-energy dance moves and otherworldly visuals two nights in a row at Oakland Arena.\u003c/p>\n\u003cfigure id=\"attachment_13963159\" class=\"wp-caption aligncenter\" style=\"max-width: 2165px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag.jpg\" alt=\"\" width=\"2165\" height=\"1443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag.jpg 2165w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1920x1280.jpg 1920w\" sizes=\"(max-width: 2165px) 100vw, 2165px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag in his music video for ‘Loss as Lessons.’ \u003ccite>(DB.Boutabag on YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/db-boutabag-with-k-flex/\">DB.Boutabag\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 8, 2024\u003cbr>\n8 p.m.\u003cbr>\nThe New Parish, Oakland\u003cbr>\n$30+\u003c/em>\u003c/p>\n\u003cp>The Bay has produced plenty of hip-hop greats, but some of the hottest young rappers out of Northern California currently hail from Stockton and Sacramento. South Sac’s \u003ca href=\"https://www.youtube.com/watch?v=krbGYUEBIFA\">DB.Boutabag\u003c/a> is one of the leaders of that Central Valley scene, and his deadpan punchlines, gems of wisdom and ruthless roasts of his rivals have attracted an avid fan base that raps along bar for bar at his shows, from Salt Lake City to Boise to Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13962991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298.jpg\" alt=\"\" width=\"2000\" height=\"1504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1536x1155.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1920x1444.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Latto performs onstage during Hot 107.9 Birthday Bash 2024 at State Farm Arena on June 22, 2024 in Atlanta, Georgia. \u003ccite>(Prince Williams/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/latto-241129/\">Latto\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 29, 2024\u003c/em>\u003cbr>\n\u003cem>7:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Bill Graham Civic Auditorium, San Francisco\u003c/em>\u003cbr>\n\u003cem>$83+\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it comes to Gen Z rappers dominating the charts, Atlanta’s Latto is definitely on the short list. After 2022’s roller disco-ready “\u003ca href=\"https://www.youtube.com/watch?v=T8GpG8C0YzA\">Big Energy\u003c/a>,” she followed up with 2023’s thrillingly aggressive diss track “\u003ca href=\"https://www.youtube.com/watch?v=-WtNCR3EDS4\">Put It On the Floor\u003c/a>” and this year’s “\u003ca href=\"https://www.youtube.com/watch?v=skTA4ZkRlyQ\">Sunday Service\u003c/a>,” a cocky and laid-back cruising anthem that got a remix from hot girl-in-chief Megan Thee Stallion and fellow rising star Flo Milli. Yes, she puts her sex appeal out there, and behind her provocative image is a careful attention to craft in the booth and on the stage.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962948/fall-2024-san-francisco-oakland-san-jose-bay-area-concert-guide","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_22281","arts_10278","arts_585"],"featImg":"arts_13962545","label":"source_arts_13962948"},"arts_13963123":{"type":"posts","id":"arts_13963123","meta":{"index":"posts_1716263798","site":"arts","id":"13963123","score":null,"sort":[1724421809000]},"guestAuthors":[{"ID":"13818263","displayName":"Eric Deggans","firstName":"Eric","lastName":"Deggans","userLogin":"eric-deggans","userEmail":"","linkedAccount":"","website":"https://www.npr.org/people/243254424/eric-deggans","description":"","userNicename":"eric-deggans","type":"guest-author","nickname":""}],"slug":"as-late-night-loses-its-band-we-rank-the-best-groups-ever-on-late-night-tv","title":"As ‘Late Night’ Loses Its Band, We Rank the Best Groups Ever on Late Night TV","publishDate":1724421809,"format":"standard","headTitle":"As ‘Late Night’ Loses Its Band, We Rank the Best Groups Ever on Late Night TV | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>When producers at \u003cem>Late Night with Seth Meyers\u003c/em> told keyboardist and associate musical director Eli Janney the show would eliminate its live backing group, The 8G Band, due to budget cuts, he wasn’t all that surprised.\u003c/p>\n\u003cp>“This was a moment, honestly, we all saw coming,” said Janney, who made his name as a bassist and keyboardist for the indie rock band Girls Against Boys — and as a producer with artists like James Blunt — before musical director Fred Armisen asked him to join \u003cem>Late Night\u003c/em>’s backing group in 2014.\u003c/p>\n\u003cp>[aside postid='arts_13912923']Janney says Armisen was looking to bring an indie rock band into the world of late night TV.\u003c/p>\n\u003cp>Along with Janney on keyboards and Armisen on guitar, they had Seth Jabour on guitar, Marnie Stern on guitar, Syd Butler on bass and Kimberly Thompson on drums. But when Armisen’s performing career took off, he wound up leaving Janney in charge — returning for short stints as a guest drummer several times a year.\u003c/p>\n\u003cp>“About six months into the show, [Armisen] was like, ‘Hey I have to go work on the next season of \u003cem>Portlandia\u003c/em>, I should be back in about 30 days,” Janney said, laughing. “And then he just never came back [full time].”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thompson and Stern eventually left the band, and 8G began playing with a succession of guest drummers, including Iron Maiden’s Nicko McBrain, Styx’s Todd Sucherman and Queens of the Stone Age’s Jon Theodore. Janney said they likely performed with over 300 drummers; Taylor Hawkins of the Foo Fighters was on their schedule to appear when he died in 2022.\u003c/p>\n\u003cp>The group’s last appearance in a new episode is Thursday, with Armisen back playing drums for their final week. Ironically, Janney and Armisen were just nominated for an Emmy this year for best musical direction.\u003c/p>\n\u003cp>“I think we knew broadcast TV was shrinking in general…[and] there’s just a limit to how many people are watching after 12:30 [a.m.] at night on broadcast,” he added. “Everybody’s moving to streaming. But I thought we had a couple more years, at least.”\u003c/p>\n\u003cp>When I caught up with Janney on a Zoom call last week, he was philosophical and relatively upbeat, stressing that producers and star Seth Meyers had fought to keep the band. Instead, they’ll pre-record music that the show can use in future episodes.\u003c/p>\n\u003ch3>Looking back on more late-night bands worth remembering\u003c/h3>\n\u003cp>[aside postid='arts_13867505']As a musician and late night TV nerd, I have an accompanying obsession with the bands who back the shows, and I’ve seen lots of them live. Late night bands often embody and amplify the tone of a show — Johnny Carson’s \u003cem>Tonight Show\u003c/em> had a rollicking, old school big band, while Jimmy Fallon’s version has the urbane cool of rap/soul/funk stars The Roots.\u003c/p>\n\u003cp>Now that 8G joins the ranks of bands of the past, I’m reflecting on more late night bands that have — or will one day — go down in history. Here’s a list of the best.\u003c/p>\n\u003ch3>#1: The World’s Most Dangerous Band/CBS Orchestra\u003c/h3>\n\u003cp>\u003cem>Late Night with David Letterman (NBC) and The Late Show with David Letterman (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=RUPSilcJFrQ\u003c/p>\n\u003cp>This group was squarely in my generation — a band I was hooked on from their early days with Letterman on NBC in the mid 1980s, right up until his retirement on CBS in 2015. It began as a hip four piece packed with the best session musicians in New York, including drummer Steve Jordan (now with the Rolling Stones), bassist Will Lee and often-barefoot guitarist Hiram Bullock, led by keyboardist and \u003cem>Saturday Night Live\u003c/em> alum Paul Shaffer. Their stripped-down, funky sound was a welcome change from Carson’s massive, more traditional jazz band.\u003c/p>\n\u003cp>Over the years, the group evolved into a much larger unit with two guitar players and a horn section; P-Funk keyboard legend Bernie Worrell even played with them for a time. And the band was capable of everything from skin-tight backing of James Brown to including guest musicians like David Sanborn and trading quips with Letterman himself.\u003c/p>\n\u003cp>“I watched them all the time … and just felt like they were on another level from what I was doing,” Janney said. “Also, they seemed to be having the best f—ing time. It wasn’t uptight at all.”\u003c/p>\n\u003ch3>#2: The NBC Orchestra\u003c/h3>\n\u003cp>\u003cem>The Tonight Show Starring Johnny Carson (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=1QXdi25469U\u003c/p>\n\u003cp>So many of the traditions we associate with late night TV and music started with Carson’s big band, from a flashy, signature theme song to a group packed with ace musicians — like jazz trumpeters Clark Terry and Snooky Young. Trumpeter Carl “Doc” Severinsen led the group, wearing flashy clothes and bantering with Carson while occasionally leading bits like “Stump the Band,” where audience members tried to name songs they couldn’t play.\u003c/p>\n\u003ch3>#3: The Roots\u003c/h3>\n\u003cp>\u003cem>Late Night with Jimmy Fallon and The Tonight Show with Jimmy Fallon (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=ziwYbVx_-qg\u003c/p>\n\u003cp>It may have seemed odd to some for a rap band from Philadelphia to join \u003cem>Late Night\u003c/em> when \u003cem>SNL\u003c/em> alum Fallon took over the show from Conan O’Brien in 2009. But it made perfect sense to me — bringing a modern, genre-blending attitude to the show while featuring one of the best bands in any category. And their “Slow Jam the News” segments are still a classic. Still, NBC took a little while to agree: bandleader Questlove \u003ca href=\"https://www.npr.org/2014/07/03/328167474/questlove-and-the-roots-how-a-hip-hop-band-conquered-late-night\">\u003cu>told me they were originally signed\u003c/u>\u003c/a> to a succession of 13-week contracts, in case the network decided to make a change quickly.\u003c/p>\n\u003ch3>#4: Jon Batiste and Stay Human\u003c/h3>\n\u003cp>\u003cem>The Late Show with Stephen Colbert (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=1HiBKSOeqvg\u003c/p>\n\u003cp>No shade to current Colbert bandleader/guitarist Louis Cato — an amazing multi-instrumentalist who I first saw playing drums with David Sanborn, George Duke and Marcus Miller years ago — but the first version of Colbert’s band led by piano prodigy Batiste was a breath of fresh, innovative air. The band, which Batiste had put together with classmates from Julliard well before they landed on Colbert‘s show, effortlessly moved from jazz and R&B to pop and even classical — with a cool way of playing while walking through the audience that recalled the Second Line marching bands from Batiste’s native New Orleans.\u003c/p>\n\u003ch3>#5: David Sanborn and friends\u003c/h3>\n\u003cp>\u003cem>Sunday Night/Night Music (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=gwgOUzodS6E\u003c/p>\n\u003cp>Executive produced by \u003cem>SNL \u003c/em>showrunner Lorne Michaels, this show was an offbeat experiment which aired for two seasons beginning in 1988, featuring the late jazz saxophonist Sanborn and co-host Jools Holland with a band of ace backing musicians, performing with a wide array of different artists in one show. Bassist Marcus Miller (Miles Davis/Luther Vandross) was the musical director, with guitarist Hiram Bullock, drummer Omar Hakim (Sting/David Bowie), keyboardist Philippe Saisse and many more.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sanborn loved to bring different types of musicians together, having jazzers Carla Bley and Steve Swallow perform with funk master Bootsy Collins. And the band’s rocking take on “See the Light” with Jeff Healey remains one of my favorite performances by the late guitar god.\u003c/p>\n\n","blocks":[],"excerpt":"8G appears in their last ‘Late Night’ episode on Thursday. It joins the ranks of groundbreaking late night bands.","status":"publish","parent":0,"modified":1724378677,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1286},"headData":{"title":"The 5 Best Bands of Late Night TV | KQED","description":"8G appears in their last ‘Late Night’ episode on Thursday. It joins the ranks of groundbreaking late night bands.","ogTitle":"As ‘Late Night’ Loses Its Band, We Rank the Best Groups Ever on Late Night TV","ogDescription":"","ogImgId":"","twTitle":"As ‘Late Night’ Loses Its Band, We Rank the Best Groups Ever on Late Night TV","twDescription":"","twImgId":"","socialTitle":"The 5 Best Bands of Late Night TV %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"As ‘Late Night’ Loses Its Band, We Rank the Best Groups Ever on Late Night TV","datePublished":"2024-08-23T07:03:29-07:00","dateModified":"2024-08-22T19:04:37-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Eric Deggans, NPR","nprStoryId":"nx-s1-5081255","nprHtmlLink":"https://www.npr.org/2024/08/22/nx-s1-5081255/8g-late-night-with-seth-meyers-late-night-bands","nprRetrievedStory":"1","nprPubDate":"2024-08-22T19:49:46.513-04:00","nprStoryDate":"2024-08-22T19:49:46.513-04:00","nprLastModifiedDate":"2024-08-22T19:49:46.513-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13963123/as-late-night-loses-its-band-we-rank-the-best-groups-ever-on-late-night-tv","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When producers at \u003cem>Late Night with Seth Meyers\u003c/em> told keyboardist and associate musical director Eli Janney the show would eliminate its live backing group, The 8G Band, due to budget cuts, he wasn’t all that surprised.\u003c/p>\n\u003cp>“This was a moment, honestly, we all saw coming,” said Janney, who made his name as a bassist and keyboardist for the indie rock band Girls Against Boys — and as a producer with artists like James Blunt — before musical director Fred Armisen asked him to join \u003cem>Late Night\u003c/em>’s backing group in 2014.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13912923","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Janney says Armisen was looking to bring an indie rock band into the world of late night TV.\u003c/p>\n\u003cp>Along with Janney on keyboards and Armisen on guitar, they had Seth Jabour on guitar, Marnie Stern on guitar, Syd Butler on bass and Kimberly Thompson on drums. But when Armisen’s performing career took off, he wound up leaving Janney in charge — returning for short stints as a guest drummer several times a year.\u003c/p>\n\u003cp>“About six months into the show, [Armisen] was like, ‘Hey I have to go work on the next season of \u003cem>Portlandia\u003c/em>, I should be back in about 30 days,” Janney said, laughing. “And then he just never came back [full time].”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thompson and Stern eventually left the band, and 8G began playing with a succession of guest drummers, including Iron Maiden’s Nicko McBrain, Styx’s Todd Sucherman and Queens of the Stone Age’s Jon Theodore. Janney said they likely performed with over 300 drummers; Taylor Hawkins of the Foo Fighters was on their schedule to appear when he died in 2022.\u003c/p>\n\u003cp>The group’s last appearance in a new episode is Thursday, with Armisen back playing drums for their final week. Ironically, Janney and Armisen were just nominated for an Emmy this year for best musical direction.\u003c/p>\n\u003cp>“I think we knew broadcast TV was shrinking in general…[and] there’s just a limit to how many people are watching after 12:30 [a.m.] at night on broadcast,” he added. “Everybody’s moving to streaming. But I thought we had a couple more years, at least.”\u003c/p>\n\u003cp>When I caught up with Janney on a Zoom call last week, he was philosophical and relatively upbeat, stressing that producers and star Seth Meyers had fought to keep the band. Instead, they’ll pre-record music that the show can use in future episodes.\u003c/p>\n\u003ch3>Looking back on more late-night bands worth remembering\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13867505","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As a musician and late night TV nerd, I have an accompanying obsession with the bands who back the shows, and I’ve seen lots of them live. Late night bands often embody and amplify the tone of a show — Johnny Carson’s \u003cem>Tonight Show\u003c/em> had a rollicking, old school big band, while Jimmy Fallon’s version has the urbane cool of rap/soul/funk stars The Roots.\u003c/p>\n\u003cp>Now that 8G joins the ranks of bands of the past, I’m reflecting on more late night bands that have — or will one day — go down in history. Here’s a list of the best.\u003c/p>\n\u003ch3>#1: The World’s Most Dangerous Band/CBS Orchestra\u003c/h3>\n\u003cp>\u003cem>Late Night with David Letterman (NBC) and The Late Show with David Letterman (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/RUPSilcJFrQ'\n title='//www.youtube.com/embed/RUPSilcJFrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This group was squarely in my generation — a band I was hooked on from their early days with Letterman on NBC in the mid 1980s, right up until his retirement on CBS in 2015. It began as a hip four piece packed with the best session musicians in New York, including drummer Steve Jordan (now with the Rolling Stones), bassist Will Lee and often-barefoot guitarist Hiram Bullock, led by keyboardist and \u003cem>Saturday Night Live\u003c/em> alum Paul Shaffer. Their stripped-down, funky sound was a welcome change from Carson’s massive, more traditional jazz band.\u003c/p>\n\u003cp>Over the years, the group evolved into a much larger unit with two guitar players and a horn section; P-Funk keyboard legend Bernie Worrell even played with them for a time. And the band was capable of everything from skin-tight backing of James Brown to including guest musicians like David Sanborn and trading quips with Letterman himself.\u003c/p>\n\u003cp>“I watched them all the time … and just felt like they were on another level from what I was doing,” Janney said. “Also, they seemed to be having the best f—ing time. It wasn’t uptight at all.”\u003c/p>\n\u003ch3>#2: The NBC Orchestra\u003c/h3>\n\u003cp>\u003cem>The Tonight Show Starring Johnny Carson (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/1QXdi25469U'\n title='//www.youtube.com/embed/1QXdi25469U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So many of the traditions we associate with late night TV and music started with Carson’s big band, from a flashy, signature theme song to a group packed with ace musicians — like jazz trumpeters Clark Terry and Snooky Young. Trumpeter Carl “Doc” Severinsen led the group, wearing flashy clothes and bantering with Carson while occasionally leading bits like “Stump the Band,” where audience members tried to name songs they couldn’t play.\u003c/p>\n\u003ch3>#3: The Roots\u003c/h3>\n\u003cp>\u003cem>Late Night with Jimmy Fallon and The Tonight Show with Jimmy Fallon (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/ziwYbVx_-qg'\n title='//www.youtube.com/embed/ziwYbVx_-qg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It may have seemed odd to some for a rap band from Philadelphia to join \u003cem>Late Night\u003c/em> when \u003cem>SNL\u003c/em> alum Fallon took over the show from Conan O’Brien in 2009. But it made perfect sense to me — bringing a modern, genre-blending attitude to the show while featuring one of the best bands in any category. And their “Slow Jam the News” segments are still a classic. Still, NBC took a little while to agree: bandleader Questlove \u003ca href=\"https://www.npr.org/2014/07/03/328167474/questlove-and-the-roots-how-a-hip-hop-band-conquered-late-night\">\u003cu>told me they were originally signed\u003c/u>\u003c/a> to a succession of 13-week contracts, in case the network decided to make a change quickly.\u003c/p>\n\u003ch3>#4: Jon Batiste and Stay Human\u003c/h3>\n\u003cp>\u003cem>The Late Show with Stephen Colbert (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/1HiBKSOeqvg'\n title='//www.youtube.com/embed/1HiBKSOeqvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>No shade to current Colbert bandleader/guitarist Louis Cato — an amazing multi-instrumentalist who I first saw playing drums with David Sanborn, George Duke and Marcus Miller years ago — but the first version of Colbert’s band led by piano prodigy Batiste was a breath of fresh, innovative air. The band, which Batiste had put together with classmates from Julliard well before they landed on Colbert‘s show, effortlessly moved from jazz and R&B to pop and even classical — with a cool way of playing while walking through the audience that recalled the Second Line marching bands from Batiste’s native New Orleans.\u003c/p>\n\u003ch3>#5: David Sanborn and friends\u003c/h3>\n\u003cp>\u003cem>Sunday Night/Night Music (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/gwgOUzodS6E'\n title='//www.youtube.com/embed/gwgOUzodS6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Executive produced by \u003cem>SNL \u003c/em>showrunner Lorne Michaels, this show was an offbeat experiment which aired for two seasons beginning in 1988, featuring the late jazz saxophonist Sanborn and co-host Jools Holland with a band of ace backing musicians, performing with a wide array of different artists in one show. Bassist Marcus Miller (Miles Davis/Luther Vandross) was the musical director, with guitarist Hiram Bullock, drummer Omar Hakim (Sting/David Bowie), keyboardist Philippe Saisse and many more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sanborn loved to bring different types of musicians together, having jazzers Carla Bley and Steve Swallow perform with funk master Bootsy Collins. And the band’s rocking take on “See the Light” with Jeff Healey remains one of my favorite performances by the late guitar god.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963123/as-late-night-loses-its-band-we-rank-the-best-groups-ever-on-late-night-tv","authors":["byline_arts_13963123"],"categories":["arts_1","arts_69","arts_75","arts_990"],"tags":["arts_8805"],"affiliates":["arts_137"],"featImg":"arts_13963124","label":"arts_137"},"arts_13963029":{"type":"posts","id":"arts_13963029","meta":{"index":"posts_1716263798","site":"arts","id":"13963029","score":null,"sort":[1724366399000]},"guestAuthors":[],"slug":"star-amerasu-never-really-alone-the-stud-san-francisco","title":"Star Amerasu’s New Album Might Make You Cry in the Club","publishDate":1724366399,"format":"standard","headTitle":"Star Amerasu’s New Album Might Make You Cry in the Club | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.instagram.com/staramerasu/\">Star Amerasu\u003c/a> began her career making gorgeous, lo-fi and brutally honest electronic pop, and with her latest album, \u003cem>never, really alone\u003c/em>, she takes us out of her bedroom studio and into the club.\u003c/p>\n\u003cp>The dance music project pairs her ethereal vocals with high-energy tech-house beats that call to mind late ’90s classics by \u003ca href=\"https://www.youtube.com/watch?v=Lgs9QUtWc3M\">Alice Deejay\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=50vKiK5KsBw\">Jocelyn Enriquez\u003c/a>. Amerasu’s pen is sharp as ever, and standout tracks like “way of the doll” and “\u003ca href=\"https://www.youtube.com/watch?v=S1do5AaZzqQ\">not okay( i’ll be fine)\u003c/a>” speak to alienation and darkness she’s experienced as a trans woman, threading the needle between personal and universal. With the hopeful coda of “we’ll b okay,” she pays homage to trans people whose support she credits with saving her life.\u003c/p>\n\u003cp>\u003cem>never, really alone\u003c/em> hit streaming platforms on July 19, and Amerasu celebrates with a release party called Dancing With a Star at legendary queer club \u003ca href=\"https://www.studsf.com/\">The Stud\u003c/a>, which reopened earlier this year. She’s throwing the event in conjunction with mainstay of the San Francisco LGBTQ+ nightlife scene, Hard French, and the trans dance party T4T. DJs Brown Angel, Charles Hawthorne and Papa Xanny will join Amerasu behind the decks, and she’ll also perform tracks from the album live.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4DDgNVUmwOuKbZp8qJHyPA?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Dancing With a Star closes a busy summer for Amerasu. \u003ca href=\"https://www.frameline.org/films/frameline48/after-hours\">\u003cem>After Hours\u003c/em>\u003c/a>, an Elliot Page-produced short film she directed and starred in, premiered at the queer film festival Frameline in June. Ever the multihyphenate, Amerasu also DJed at Outside Lands earlier this month.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Dancing with a Star takes place at The Stud (1123 Folsom St., San Francisco) on Aug. 24, 10 p.m.–2 a.m. \u003ca href=\"https://www.instagram.com/p/C-ivjz-yNqb/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The singer-songwriter celebrates her newest album ‘never, really alone’ with a release show at The Stud.","status":"publish","parent":0,"modified":1724366399,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":290},"headData":{"title":"Star Amerasu’s New Album Might Make You Cry in the Club | KQED","description":"The singer-songwriter celebrates her newest album ‘never, really alone’ with a release show at The Stud.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Star Amerasu’s New Album Might Make You Cry in the Club","datePublished":"2024-08-22T15:39:59-07:00","dateModified":"2024-08-22T15:39:59-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13963029","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13963029/star-amerasu-never-really-alone-the-stud-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/staramerasu/\">Star Amerasu\u003c/a> began her career making gorgeous, lo-fi and brutally honest electronic pop, and with her latest album, \u003cem>never, really alone\u003c/em>, she takes us out of her bedroom studio and into the club.\u003c/p>\n\u003cp>The dance music project pairs her ethereal vocals with high-energy tech-house beats that call to mind late ’90s classics by \u003ca href=\"https://www.youtube.com/watch?v=Lgs9QUtWc3M\">Alice Deejay\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=50vKiK5KsBw\">Jocelyn Enriquez\u003c/a>. Amerasu’s pen is sharp as ever, and standout tracks like “way of the doll” and “\u003ca href=\"https://www.youtube.com/watch?v=S1do5AaZzqQ\">not okay( i’ll be fine)\u003c/a>” speak to alienation and darkness she’s experienced as a trans woman, threading the needle between personal and universal. With the hopeful coda of “we’ll b okay,” she pays homage to trans people whose support she credits with saving her life.\u003c/p>\n\u003cp>\u003cem>never, really alone\u003c/em> hit streaming platforms on July 19, and Amerasu celebrates with a release party called Dancing With a Star at legendary queer club \u003ca href=\"https://www.studsf.com/\">The Stud\u003c/a>, which reopened earlier this year. She’s throwing the event in conjunction with mainstay of the San Francisco LGBTQ+ nightlife scene, Hard French, and the trans dance party T4T. DJs Brown Angel, Charles Hawthorne and Papa Xanny will join Amerasu behind the decks, and she’ll also perform tracks from the album live.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4DDgNVUmwOuKbZp8qJHyPA?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Dancing With a Star closes a busy summer for Amerasu. \u003ca href=\"https://www.frameline.org/films/frameline48/after-hours\">\u003cem>After Hours\u003c/em>\u003c/a>, an Elliot Page-produced short film she directed and starred in, premiered at the queer film festival Frameline in June. Ever the multihyphenate, Amerasu also DJed at Outside Lands earlier this month.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Dancing with a Star takes place at The Stud (1123 Folsom St., San Francisco) on Aug. 24, 10 p.m.–2 a.m. \u003ca href=\"https://www.instagram.com/p/C-ivjz-yNqb/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963029/star-amerasu-never-really-alone-the-stud-san-francisco","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_3226","arts_585"],"featImg":"arts_13963049","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","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.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","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 />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"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. 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