Shannon and the Clams to Headline Oakland's Halloween Meltdown
The Best Bay Area Albums of the 2010s
The Jesus and Mary Chain, The Scientists to Headline Burger Boogaloo
The 10 Best Bay Area Albums of 2018: Shannon Shaw, 'Shannon in Nashville'
Shannon Shaw Ascends from the Warehouse to Rock 'n' Roll Greatness
Dan Auerbach Brings a Rippin' Band to the Fillmore
Sponsored
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She also co-produces for KQED's bilingual news hub \u003ca href=\"https://www.instagram.com/kqedenespanol/\">KQED en Español\u003c/a>.\r\n\r\nLina previously worked for \u003ca href=\"https://kqed.org/arts\">KQED Arts\u003c/a> — supporting audience engagement efforts on the weekly \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\">\u003cem>Rightnowish\u003c/em> \u003c/a>podcast, Webby-winning video series \u003ca href=\"https://www.kqed.org/if-cities-could-dance\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a>, and daily Arts & Culture reporting. She won a \u003ca href=\"https://www.kqed.org/pressroom/10884/murrow\">National 2019 Edward R. 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Once again, female artists are set to rule the day with Amyl and the Sniffers and Shannon and the Clams headlining. (Shannon Shaw appears to be going for some kind of record: She also played both days of the Mosswood Meltdown, performing a solo set on Saturday and as part of Hunx and His Punx on Sunday.) John Waters will host, as usual.\u003c/p>\n\u003cp>The Halloween Meltdown will be Amyl & the Sniffers’ first appearance back in the Bay since the Aussie quartet’s sold-out dates at the Great American Music Hall in early May. Legendarily mulletted frontwoman Amy Taylor promises to bring Saturday night to a frenzied and frenetic close.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z–D1flPLnk\u003c/p>\n\u003cp>The Melbourne punks have some hard acts to follow, going on after garage-punk greasers \u003ca href=\"https://www.youtube.com/watch?v=CN42I3oViX8&t=25s\" target=\"_blank\" rel=\"noopener noreferrer\">The Spits\u003c/a> and experimental icon \u003ca href=\"https://www.lydia-lunch.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lydia Lunch\u003c/a>. Opening the day are \u003ca href=\"https://bodydoubleusa.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Body Double\u003c/a>, \u003ca href=\"https://www.instagram.com/kidcongopowers/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kid Congo Powers\u003c/a> and \u003ca href=\"https://pleasekillme.com/demolition-doll-rods/\" target=\"_blank\" rel=\"noopener noreferrer\">Demolition Doll Rods\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YvTTVOYWB44\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Sunday, before Shannon & the Clams croon the weekend to a close, Ty Segall’s ’70s-inspired \u003ca href=\"https://intheredrecords.com/collections/fuzz\" target=\"_blank\" rel=\"noopener noreferrer\">Fuzz\u003c/a> will bring the heavy riffs, \u003ca href=\"https://www.sheer-mag.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sheer Mag\u003c/a> will provide the emotional anthems and \u003ca href=\"https://www.instagram.com/niis.losangeles/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">NIIS\u003c/a> will be offering unfiltered rage. Best of all, \u003ca href=\"https://josiecotton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Josie Cotton\u003c/a> will make an appearance. In case you can’t quite remember where you’ve heard the name before, try a viewing of the 1983 classic \u003cem>Valley Girl\u003c/em>, including the number featured below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E3gzRg-8qD8\u003c/p>\n\u003cp>Those in need of some jump scares not provided by the music on offer will be pleased to hear there will also be a haunted house on site at the festival, as well as a costume contest.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Halloween Meltdown will take place at Oakland’s Mosswood Park on Oct. 8 and 9, 2022. \u003ca href=\"https://wl.seetickets.us/event/Halloween-Meltdown-2022-Hosted-by-John-Waters/493038?afflky=MosswoodMeltdown\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Also on the bill: Amyl and the Sniffers, Lydia Lunch, Josie Cotton and the Spits.","status":"publish","parent":0,"modified":1705006611,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":348},"headData":{"title":"Shannon and the Clams to Headline Oakland's Halloween Meltdown | KQED","description":"Also on the bill: Amyl and the Sniffers, Lydia Lunch, Josie Cotton and the Spits.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Shannon and the Clams to Headline Oakland's Halloween Meltdown","datePublished":"2022-07-15T16:00:11.000Z","dateModified":"2024-01-11T20:56:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","startTime":1665262800,"endTime":1665385140,"startTimeString":"Oct. 8–9, 2022","venueName":"Mosswood Park","venueAddress":"Oakland","eventLink":"https://wl.seetickets.us/event/Halloween-Meltdown-2022-Hosted-by-John-Waters/493038?afflky=MosswoodMeltdown","excludeFromSiteSearch":"Include","path":"/arts/13916142/halloween-meltdown-line-up-mosswood-john-waters-amyl-shannon","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hot on the heels of the rock ‘n’ roll triumph that was \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\" target=\"_blank\" rel=\"noopener noreferrer\">Mosswood Meltdown\u003c/a>, promoter Total Trash Productions has announced details for this October’s Halloween Meltdown, set for Oct. 8 and 9 in Mosswood Park. Once again, female artists are set to rule the day with Amyl and the Sniffers and Shannon and the Clams headlining. (Shannon Shaw appears to be going for some kind of record: She also played both days of the Mosswood Meltdown, performing a solo set on Saturday and as part of Hunx and His Punx on Sunday.) John Waters will host, as usual.\u003c/p>\n\u003cp>The Halloween Meltdown will be Amyl & the Sniffers’ first appearance back in the Bay since the Aussie quartet’s sold-out dates at the Great American Music Hall in early May. Legendarily mulletted frontwoman Amy Taylor promises to bring Saturday night to a frenzied and frenetic close.\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/Z'\n title='//www.youtube.com/embed/Z'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Melbourne punks have some hard acts to follow, going on after garage-punk greasers \u003ca href=\"https://www.youtube.com/watch?v=CN42I3oViX8&t=25s\" target=\"_blank\" rel=\"noopener noreferrer\">The Spits\u003c/a> and experimental icon \u003ca href=\"https://www.lydia-lunch.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lydia Lunch\u003c/a>. Opening the day are \u003ca href=\"https://bodydoubleusa.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Body Double\u003c/a>, \u003ca href=\"https://www.instagram.com/kidcongopowers/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kid Congo Powers\u003c/a> and \u003ca href=\"https://pleasekillme.com/demolition-doll-rods/\" target=\"_blank\" rel=\"noopener noreferrer\">Demolition Doll Rods\u003c/a>.\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/YvTTVOYWB44'\n title='//www.youtube.com/embed/YvTTVOYWB44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>On Sunday, before Shannon & the Clams croon the weekend to a close, Ty Segall’s ’70s-inspired \u003ca href=\"https://intheredrecords.com/collections/fuzz\" target=\"_blank\" rel=\"noopener noreferrer\">Fuzz\u003c/a> will bring the heavy riffs, \u003ca href=\"https://www.sheer-mag.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sheer Mag\u003c/a> will provide the emotional anthems and \u003ca href=\"https://www.instagram.com/niis.losangeles/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">NIIS\u003c/a> will be offering unfiltered rage. Best of all, \u003ca href=\"https://josiecotton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Josie Cotton\u003c/a> will make an appearance. In case you can’t quite remember where you’ve heard the name before, try a viewing of the 1983 classic \u003cem>Valley Girl\u003c/em>, including the number featured below.\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/E3gzRg-8qD8'\n title='//www.youtube.com/embed/E3gzRg-8qD8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those in need of some jump scares not provided by the music on offer will be pleased to hear there will also be a haunted house on site at the festival, as well as a costume contest.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Halloween Meltdown will take place at Oakland’s Mosswood Park on Oct. 8 and 9, 2022. \u003ca href=\"https://wl.seetickets.us/event/Halloween-Meltdown-2022-Hosted-by-John-Waters/493038?afflky=MosswoodMeltdown\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13916142/halloween-meltdown-line-up-mosswood-john-waters-amyl-shannon","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_977","arts_21788","arts_4165","arts_3823","arts_585"],"featImg":"arts_13915763","label":"arts_140"},"arts_13871739":{"type":"posts","id":"arts_13871739","meta":{"index":"posts_1591205157","site":"arts","id":"13871739","score":null,"sort":[1576717114000]},"guestAuthors":[],"slug":"the-best-bay-area-albums-of-the-2010s","title":"The Best Bay Area Albums of the 2010s","publishDate":1576717114,"format":"aside","headTitle":"The Best Bay Area Albums of the 2010s | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n","blocks":[],"excerpt":"Our music editor humbly offers 20 of the most memorable and impactful local albums of the decade.","status":"publish","parent":0,"modified":1705021644,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":44,"wordCount":2078},"headData":{"title":"The Best Bay Area Albums of the 2010s | KQED","description":"Our music editor humbly offers 20 of the most memorable and impactful local albums of the decade.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Bay Area Albums of the 2010s","datePublished":"2019-12-19T00:58:34.000Z","dateModified":"2024-01-12T01:07:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13871739/the-best-bay-area-albums-of-the-2010s","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13871739/the-best-bay-area-albums-of-the-2010s","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_1501","arts_1588","arts_1118","arts_831","arts_21788","arts_1420","arts_1558","arts_1829","arts_2244","arts_1803","arts_1723","arts_3823","arts_2623","arts_2021","arts_9344","arts_3973"],"featImg":"arts_13933782","label":"arts"},"arts_13848767":{"type":"posts","id":"arts_13848767","meta":{"index":"posts_1591205157","site":"arts","id":"13848767","score":null,"sort":[1547568009000]},"guestAuthors":[],"slug":"the-jesus-and-mary-chain-the-scientists-to-headline-burger-boogaloo","title":"The Jesus and Mary Chain, The Scientists to Headline Burger Boogaloo","publishDate":1547568009,"format":"standard","headTitle":"The Jesus and Mary Chain, The Scientists to Headline Burger Boogaloo | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.eventbrite.com/e/2019-burger-boogaloo-tickets-47604699939\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>, the annual fest celebrating all things vintage rock ‘n’ roll, returns to Oakland’s Mosswood Park for its 10th edition on July 6 and 7 with John Waters as host.\u003c/p>\n\u003cp>This year’s event boasts several acts that shaped the course of underground music in the ’60s, ’70s and ’80s, including British shoegaze pioneers \u003ca href=\"https://www.youtube.com/watch?v=7EgB__YratE\" target=\"_blank\" rel=\"noopener\">The Jesus and Mary Chain \u003c/a>and OG punk bands \u003ca href=\"https://www.youtube.com/watch?v=UpE8OIgaokY\" target=\"_blank\" rel=\"noopener\">The Scientists\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=30bv915bDtY\" target=\"_blank\" rel=\"noopener\">Dead Boys\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=e0aEXNelAGM\" target=\"_blank\" rel=\"noopener\">Jayne County & the Electric Chairs\u003c/a>. The lineup also features power pop vet \u003ca href=\"https://www.youtube.com/watch?v=3OWEBzO-La4\" target=\"_blank\" rel=\"noopener\">Nikki Corvette\u003c/a>, surf-rock band \u003ca href=\"https://www.youtube.com/watch?v=-rDQzmeEsr0\" target=\"_blank\" rel=\"noopener\">Phantom Surfers\u003c/a>, prolific interdisciplinary artist \u003ca href=\"https://www.youtube.com/watch?v=_sWHjwJwah8\" target=\"_blank\" rel=\"noopener\">Billy Childish\u003c/a> and Derv Gordon of ’60s anti-racist pop rock band \u003ca href=\"https://www.youtube.com/watch?v=y5B_U8ejClg\" target=\"_blank\" rel=\"noopener\">The Equals\u003c/a>.\u003c/p>\n\u003cp>In addition to shining a spotlight on these influential but oft-overlooked artists, the 2019 festival includes several newer acts: Oakland garage rockers \u003ca href=\"http://shannonandtheclams.com/\" target=\"_blank\" rel=\"noopener\">Shannon and the Clams\u003c/a>, Philly’s explosive \u003ca href=\"https://sheermag.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Sheer Mag\u003c/a>, Australian punks \u003ca href=\"https://amylandthesniffers.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Amyl and the Sniffers\u003c/a> and garage pop duo \u003ca href=\"https://tuffbreak.bandcamp.com/album/terry-louie-can-ya-tell-me-how-life-goes-on-45-single\" target=\"_blank\" rel=\"noopener\">Terry & Louie\u003c/a>, the new-ish project of Terry Six and King Louie Bankston from the \u003ca href=\"https://pitchfork.com/news/56798-the-exploding-hearts-terry-six-and-king-louie-bankston-reunite-share-im-lookin-for-a-heart/\" target=\"_blank\" rel=\"noopener\">Exploding Hearts\u003c/a>.\u003c/p>\n\u003cp>In 2018, Burger Boogaloo encountered backlash online after the City of Oakland forced the 20 or so unsheltered people living in Mosswood Park to relocate just days ahead of the fest. (Assistant City Administrator Joe DeVries \u003ca href=\"https://www.kqed.org/arts/13836097/homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a> that the sweep was to make room for a camp for youth with disabilities.)\u003c/p>\n\u003cp>This year, Burger Boogaloo has partnered with the \u003ca href=\"http://homelessactioncenter.org\" target=\"_blank\" rel=\"noopener\">Homeless Action Center\u003c/a>, a nonprofit that provides free legal assistance to people experiencing homelessness. Showgoers have the option of donating to Homeless Action Center with their ticket purchase or at booths at the fest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“While the dramatic increase in the park’s encampment population prior to last year’s festival caught us off guard, it wasn’t our decision nor our desire to have the park’s residents permanently removed,” writes Burger Boogaloo publicist Jim DeLuca in an email. “The festival was one of many events and programs that factored into the city’s decision to do so; however, this year we’re doing everything we can to make sure that the only impact we have is a positive one.”\u003c/p>\n\u003cp>DeLuca says that this year, the festival is considering downsizing stages so as not to infringe on the homeless encampment in Mosswood Park. “We’re in talks with the parks district about restructuring the festival’s layout in hopes that we can meet legal safety requirements without impacting the park’s new encampments,” he writes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post was updated to include quotes from Jim DeLuca. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"For its 10th anniversary, the garage rock fest partnered with the Homeless Action Center. ","status":"publish","parent":0,"modified":1705026752,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":446},"headData":{"title":"The Jesus and Mary Chain, The Scientists to Headline Burger Boogaloo | KQED","description":"For its 10th anniversary, the garage rock fest partnered with the Homeless Action Center. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Jesus and Mary Chain, The Scientists to Headline Burger Boogaloo","datePublished":"2019-01-15T16:00:09.000Z","dateModified":"2024-01-12T02:32:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13848767/the-jesus-and-mary-chain-the-scientists-to-headline-burger-boogaloo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.eventbrite.com/e/2019-burger-boogaloo-tickets-47604699939\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>, the annual fest celebrating all things vintage rock ‘n’ roll, returns to Oakland’s Mosswood Park for its 10th edition on July 6 and 7 with John Waters as host.\u003c/p>\n\u003cp>This year’s event boasts several acts that shaped the course of underground music in the ’60s, ’70s and ’80s, including British shoegaze pioneers \u003ca href=\"https://www.youtube.com/watch?v=7EgB__YratE\" target=\"_blank\" rel=\"noopener\">The Jesus and Mary Chain \u003c/a>and OG punk bands \u003ca href=\"https://www.youtube.com/watch?v=UpE8OIgaokY\" target=\"_blank\" rel=\"noopener\">The Scientists\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=30bv915bDtY\" target=\"_blank\" rel=\"noopener\">Dead Boys\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=e0aEXNelAGM\" target=\"_blank\" rel=\"noopener\">Jayne County & the Electric Chairs\u003c/a>. The lineup also features power pop vet \u003ca href=\"https://www.youtube.com/watch?v=3OWEBzO-La4\" target=\"_blank\" rel=\"noopener\">Nikki Corvette\u003c/a>, surf-rock band \u003ca href=\"https://www.youtube.com/watch?v=-rDQzmeEsr0\" target=\"_blank\" rel=\"noopener\">Phantom Surfers\u003c/a>, prolific interdisciplinary artist \u003ca href=\"https://www.youtube.com/watch?v=_sWHjwJwah8\" target=\"_blank\" rel=\"noopener\">Billy Childish\u003c/a> and Derv Gordon of ’60s anti-racist pop rock band \u003ca href=\"https://www.youtube.com/watch?v=y5B_U8ejClg\" target=\"_blank\" rel=\"noopener\">The Equals\u003c/a>.\u003c/p>\n\u003cp>In addition to shining a spotlight on these influential but oft-overlooked artists, the 2019 festival includes several newer acts: Oakland garage rockers \u003ca href=\"http://shannonandtheclams.com/\" target=\"_blank\" rel=\"noopener\">Shannon and the Clams\u003c/a>, Philly’s explosive \u003ca href=\"https://sheermag.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Sheer Mag\u003c/a>, Australian punks \u003ca href=\"https://amylandthesniffers.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Amyl and the Sniffers\u003c/a> and garage pop duo \u003ca href=\"https://tuffbreak.bandcamp.com/album/terry-louie-can-ya-tell-me-how-life-goes-on-45-single\" target=\"_blank\" rel=\"noopener\">Terry & Louie\u003c/a>, the new-ish project of Terry Six and King Louie Bankston from the \u003ca href=\"https://pitchfork.com/news/56798-the-exploding-hearts-terry-six-and-king-louie-bankston-reunite-share-im-lookin-for-a-heart/\" target=\"_blank\" rel=\"noopener\">Exploding Hearts\u003c/a>.\u003c/p>\n\u003cp>In 2018, Burger Boogaloo encountered backlash online after the City of Oakland forced the 20 or so unsheltered people living in Mosswood Park to relocate just days ahead of the fest. (Assistant City Administrator Joe DeVries \u003ca href=\"https://www.kqed.org/arts/13836097/homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a> that the sweep was to make room for a camp for youth with disabilities.)\u003c/p>\n\u003cp>This year, Burger Boogaloo has partnered with the \u003ca href=\"http://homelessactioncenter.org\" target=\"_blank\" rel=\"noopener\">Homeless Action Center\u003c/a>, a nonprofit that provides free legal assistance to people experiencing homelessness. Showgoers have the option of donating to Homeless Action Center with their ticket purchase or at booths at the fest.\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>“While the dramatic increase in the park’s encampment population prior to last year’s festival caught us off guard, it wasn’t our decision nor our desire to have the park’s residents permanently removed,” writes Burger Boogaloo publicist Jim DeLuca in an email. “The festival was one of many events and programs that factored into the city’s decision to do so; however, this year we’re doing everything we can to make sure that the only impact we have is a positive one.”\u003c/p>\n\u003cp>DeLuca says that this year, the festival is considering downsizing stages so as not to infringe on the homeless encampment in Mosswood Park. “We’re in talks with the parks district about restructuring the festival’s layout in hopes that we can meet legal safety requirements without impacting the park’s new encampments,” he writes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post was updated to include quotes from Jim DeLuca. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13848767/the-jesus-and-mary-chain-the-scientists-to-headline-burger-boogaloo","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_1693","arts_1355","arts_21788","arts_3823"],"featImg":"arts_13848772","label":"arts"},"arts_13845564":{"type":"posts","id":"arts_13845564","meta":{"index":"posts_1591205157","site":"arts","id":"13845564","score":null,"sort":[1543867205000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2018-shannon-shaw-shannon-in-nashville","title":"The 10 Best Bay Area Albums of 2018: Shannon Shaw, 'Shannon in Nashville'","publishDate":1543867205,"format":"aside","headTitle":"The 10 Best Bay Area Albums of 2018: Shannon Shaw, ‘Shannon in Nashville’ | KQED","labelTerm":{"term":6139,"site":"arts"},"content":"\u003cfigure id=\"attachment_13846215\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville-.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Album art for Shannon Shaw’s ‘Shannon in Nashville.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check back here\u003c/a> to see who else made the list. \u003c/em>\u003c/p>\n\u003cp>With their campy, countercultural take on retro Americana, Shannon and the Clams look like they walked right off a \u003ca href=\"https://www.kqed.org/forum/201406091000/john-waters-guide-to-the-hitchhiking-galaxy\" target=\"_blank\" rel=\"noopener\">John Waters\u003c/a> movie set. And even Waters, the “\u003ca href=\"https://noisey.vice.com/en_us/article/kzaajx/john-waters-is-the-filthy-uncle-of-punk\" target=\"_blank\" rel=\"noopener\">Filthy Uncle of Punk\u003c/a>” himself, is a \u003ca href=\"http://larecord.com/archive/2015/09/15/shannon-and-the-clams-interview-gone-by-the-dawn\" target=\"_blank\" rel=\"noopener\">fan\u003c/a> of the Oakland garage-rock revivalists, who’ve been a mainstay of the East Bay’s underground scene for nearly a decade.\u003c/p>\n\u003cp>2018 marked an evolution for bandleader Shannon Shaw, whose \u003ca href=\"https://www.kqed.org/arts/13823414/dan-auerbach-brings-a-rippin-band-to-the-fillmore\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a>-produced solo debut, \u003cem>Shannon in Nashville \u003c/em>(Easy Eye Sound), showcases a more personal and courageous side to her songwriting. [contextly_sidebar id=”9RhvtDZ8Um4C6kXdKqScOLcJCLLVX83R”]\u003c/p>\n\u003cp>\u003cem>Shannon in Nashville\u003c/em> shimmies into cathartic rock’n’roll about tragic love, self-reflection and heartbreak, with all of the raw emotion of the final wail in Roy Orbison’s “Crying.” Old-school session musicians who played with legends like Elvis and Orbison, Shaw’s hero, assisted on the project, which masterfully blends gut-wrenching blues, doo-wop harmonies, country croons and punk percussion into an album that cuts straight to the heart. But what stands out is the singularity of Shaw’s well-loved rasp and tenacity that lingers with every syllable.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Shannon Shaw - Freddies 'n' Teddies [Official Video]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/cixEFBfYSOQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With a vocal intensity comparable to Motown stalwart Mary Wells, Shaw nails a danceable bop spattered with pangs of sorrow on “Cryin’ My Eyes Out”: “Here I am, cryin’ my eyes out / Wonderin’ when things will change / When will they change?” “Broke My Own,” with its crescendo of crashing cymbals, bursts open like a raw wound, landing on the agonizing realization: “My worst enemy is my own flesh and bone\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>“Leather, Metal, Steel” conjures the liberating feeling of smashing on the gas with the windows down on a solo road trip, belting at the top of one’s lungs. Accompanied by the wail of a loan trumpet, Shaw evokes a rugged independence, her raspy timbre pacing over the lines: “(She’s leavin’) before she forgets how to feel / (She’s leavin’) with leather, metal and steel.”\u003c/p>\n\u003cp>“Freddies ‘n’ Teddies” evokes the soulful rhythm and mystique of Dusty Springfield’s “Spooky,” another one of Shaw’s inspirations (\u003cem>Shannon In Nashville\u003c/em> gets its name from \u003cem>Dusty in Memphis\u003c/em>). The track courses with self-empowerment as Shaw casts off insincere men wasting her time.\u003c/p>\n\u003cp>Nostalgic yet imaginative, \u003cem>Shannon in Nashville\u003c/em> gets its strength from Shaw’s rich arc of storytelling. Resist temptation to tap “shuffle” when you listen to this album: it’s meant to be played like vinyl. A side, flip, B side. Repeat as necessary.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify%3Aalbum%3A4M9uQm7mOVQkwYa2iRP7Tt\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright] \u003c/p>\n","blocks":[],"excerpt":"Shannon Shaw's solo debut captivates with its gut-wrenching croons and rich, personal storytelling.","status":"publish","parent":0,"modified":1705026931,"stats":{"hasAudio":true,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":488},"headData":{"title":"The 10 Best Bay Area Albums of 2018: Shannon Shaw, 'Shannon in Nashville' | KQED","description":"Shannon Shaw's solo debut captivates with its gut-wrenching croons and rich, personal storytelling.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2018: Shannon Shaw, 'Shannon in Nashville'","datePublished":"2018-12-03T20:00:05.000Z","dateModified":"2024-01-12T02:35:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13845564/the-10-best-bay-area-albums-of-2018-shannon-shaw-shannon-in-nashville","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13846215\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville-.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Album art for Shannon Shaw’s ‘Shannon in Nashville.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check back here\u003c/a> to see who else made the list. \u003c/em>\u003c/p>\n\u003cp>With their campy, countercultural take on retro Americana, Shannon and the Clams look like they walked right off a \u003ca href=\"https://www.kqed.org/forum/201406091000/john-waters-guide-to-the-hitchhiking-galaxy\" target=\"_blank\" rel=\"noopener\">John Waters\u003c/a> movie set. And even Waters, the “\u003ca href=\"https://noisey.vice.com/en_us/article/kzaajx/john-waters-is-the-filthy-uncle-of-punk\" target=\"_blank\" rel=\"noopener\">Filthy Uncle of Punk\u003c/a>” himself, is a \u003ca href=\"http://larecord.com/archive/2015/09/15/shannon-and-the-clams-interview-gone-by-the-dawn\" target=\"_blank\" rel=\"noopener\">fan\u003c/a> of the Oakland garage-rock revivalists, who’ve been a mainstay of the East Bay’s underground scene for nearly a decade.\u003c/p>\n\u003cp>2018 marked an evolution for bandleader Shannon Shaw, whose \u003ca href=\"https://www.kqed.org/arts/13823414/dan-auerbach-brings-a-rippin-band-to-the-fillmore\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a>-produced solo debut, \u003cem>Shannon in Nashville \u003c/em>(Easy Eye Sound), showcases a more personal and courageous side to her songwriting. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Shannon in Nashville\u003c/em> shimmies into cathartic rock’n’roll about tragic love, self-reflection and heartbreak, with all of the raw emotion of the final wail in Roy Orbison’s “Crying.” Old-school session musicians who played with legends like Elvis and Orbison, Shaw’s hero, assisted on the project, which masterfully blends gut-wrenching blues, doo-wop harmonies, country croons and punk percussion into an album that cuts straight to the heart. But what stands out is the singularity of Shaw’s well-loved rasp and tenacity that lingers with every syllable.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Shannon Shaw - Freddies 'n' Teddies [Official Video]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/cixEFBfYSOQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With a vocal intensity comparable to Motown stalwart Mary Wells, Shaw nails a danceable bop spattered with pangs of sorrow on “Cryin’ My Eyes Out”: “Here I am, cryin’ my eyes out / Wonderin’ when things will change / When will they change?” “Broke My Own,” with its crescendo of crashing cymbals, bursts open like a raw wound, landing on the agonizing realization: “My worst enemy is my own flesh and bone\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>“Leather, Metal, Steel” conjures the liberating feeling of smashing on the gas with the windows down on a solo road trip, belting at the top of one’s lungs. Accompanied by the wail of a loan trumpet, Shaw evokes a rugged independence, her raspy timbre pacing over the lines: “(She’s leavin’) before she forgets how to feel / (She’s leavin’) with leather, metal and steel.”\u003c/p>\n\u003cp>“Freddies ‘n’ Teddies” evokes the soulful rhythm and mystique of Dusty Springfield’s “Spooky,” another one of Shaw’s inspirations (\u003cem>Shannon In Nashville\u003c/em> gets its name from \u003cem>Dusty in Memphis\u003c/em>). The track courses with self-empowerment as Shaw casts off insincere men wasting her time.\u003c/p>\n\u003cp>Nostalgic yet imaginative, \u003cem>Shannon in Nashville\u003c/em> gets its strength from Shaw’s rich arc of storytelling. Resist temptation to tap “shuffle” when you listen to this album: it’s meant to be played like vinyl. A side, flip, B side. Repeat as necessary.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify%3Aalbum%3A4M9uQm7mOVQkwYa2iRP7Tt\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\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>\u003cbr />\n\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13845564/the-10-best-bay-area-albums-of-2018-shannon-shaw-shannon-in-nashville","authors":["11357"],"series":["arts_6139"],"categories":["arts_69"],"tags":["arts_1118","arts_977","arts_21788","arts_3823","arts_6140"],"featImg":"arts_13845566","label":"arts_6139"},"arts_13834539":{"type":"posts","id":"arts_13834539","meta":{"index":"posts_1591205157","site":"arts","id":"13834539","score":null,"sort":[1528412915000]},"guestAuthors":[],"slug":"shannon-shaw-ascends-from-the-warehouse-to-rock-n-roll-greatness","title":"Shannon Shaw Ascends from the Warehouse to Rock 'n' Roll Greatness","publishDate":1528412915,"format":"standard","headTitle":"Shannon Shaw Ascends from the Warehouse to Rock ‘n’ Roll Greatness | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Shannon Shaw traces her love of oldies back to when her dad gave her a cassette of Roy Orbison’s greatest hits when she was eight years old.\u003c/p>\n\u003cp>“We’d listened to it my whole life, in his truck and stuff. But then it became mine,” she recalls, articulating “mine” as if savoring it on her tongue.\u003c/p>\n\u003cp>Raised in Napa County, Shaw remembers sitting in her room, listening to Orbison’s melancholy croon over and over, so regularly that she memorized the exact time it took to rewind back to her favorite songs. She didn’t care for Orbison’s upbeat tunes; instead, she’d act out the lyrics of his lovelorn stuff, like “Crying,” or “Leah,” about a man who drowns while diving for pearls to make a necklace for his love.\u003c/p>\n\u003cp>“That was definitely so melodramatic and had so much emotion,” says Shaw. “And I was such a dramatic kid.”\u003c/p>\n\u003cp>That fixation on tragic love is a hallmark of Shaw’s songwriting for prolific rock ‘n’ roll revivalists Shannon and the Clams, an East Bay mainstay that rose from Oakland’s gritty warehouse scene over the past decade. And now, Shaw’s ability to evoke emotion with her raw, raspy voice is keener than ever on her debut solo album, \u003cem>Shannon in Nashville\u003c/em>, out June 8 on \u003ca href=\"http://www.easyeyesound.com\" target=\"_blank\" rel=\"noopener\">Easy Eye Sound\u003c/a>, the record label owned by Dan Auerbach of the Black Keys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/cixEFBfYSOQ\u003c/p>\n\u003cp>\u003cem>Shannon in Nashville\u003c/em> gets its name from Dusty Springfield’s \u003cem>Dusty in Memphis\u003c/em>, and it’s steeped in vintage rock ‘n’ roll, blues, soul and pop from the ’50s and ’60s. That time-travel effect is due in large part to the album’s session players, which include drummer Gene Chrisman and keyboardist-percussionist Bobby Wood of the Memphis Boys. (The Memphis Boys were the original house band of the historic American Sound Studio, which hosted recording sessions by many of the era’s stars, like Elvis Presley, Neil Diamond, Orbison and Springfield herself.)\u003c/p>\n\u003cp>Auerbach, who plays guitar on \u003cem>Shannon in Nashville\u003c/em>, orchestrated the ambitious collaboration. After discovering the Clams’ album at a record store, he met Shaw at her show at the Fillmore and invited her to Nashville, Easy Eye Sound’s home base, to record her solo debut. Shaw, who had only recently ascended from playing underground warehouse gigs to headlining clubs and appearing at festivals (Shannon and the Clams are set to perform at \u003ca href=\"https://www.kqed.org/arts/13828518/outside-lands-lineup-announced-janet-jackson-the-weeknd-headline\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in August), was intimidated by the prospect of the pop-star treatment. The label put her up in Nashville and immediately immersed her in songwriting sessions on a level of professionalism and intricacy removed from her D.I.Y. sessions with the Clams.\u003c/p>\n\u003cp>“I didn’t really know everything that goes into creating the whole vibe and buildup. I come from this weird basement scene where people are teaching themselves to play and to record,” she says. “Whereas Dan totally knows; one of his best skills is to be able to hear all the things going on and knowing when something’s missing, and what thing could elevate another thing. It was impressive to watch these demos I brought in be spun into gold.”\u003c/p>\n\u003cp>The stint in Nashville was a confidence-building exercise for Shaw. Never did she dream—as en eight-year-old listening to Orbison’s greatest hits, or as a 24-year-old learning to play bass—that she would one day be in the studio with some of Orbison’s original players. Although she says she sometimes questioned herself as the only woman and youngest person in the sessions, she committed to playing the part of a confident musician—and eventually internalized the idea that she deserved to be there. (Poking fun at this experience, in the video for the album’s lead single, “Cryin’ My Eyes Out,” Shaw gets into drag and plays every member of her band, including the engineer.)\u003c/p>\n\u003cp>https://youtu.be/fvSql0WV3WI\u003c/p>\n\u003cp>“I had this internal dialogue—obsessive dialogue—to keep my head in the game trying to remind myself to be present and take advantage of the opportunity, and remind myself to be excited and stoked,” she says. “It was weird, like I had not had this much internal conflict and dealing with low self-esteem in so long.”\u003c/p>\n\u003cp>Those traces of self-doubt aren’t audible on \u003cem>Shannon in Nashville\u003c/em>, where Shaw bares herself in emotionally affecting vocal arrangements set to sprightly, retro pop instrumentation—a potent combination that sounds like the soundtrack to shedding a tear on the dance floor. On “Cryin’ My Eyes Out,” a song inspired by her parents’ fraught relationship when she was young, bouncy drums and warbly surf guitar bolster Shaw’s passionate wail of frustration about whether the family dynamic will ever change. On “Cold Pillows,” about the fortitude it takes to walk away from a doomed relationship, a slow, cinematic buildup of doo-wop backing vocals gives way to Shaw’s stinging, cathartic hook.\u003c/p>\n\u003cp>Throughout the album, Shaw demonstrates self-awareness and emotional depth, examining not only heartbreak, but the experience of breaking someone else’s heart and taking accountability for the aftermath. Her sorrowful timbre, learned from all those repeated listens of Roy Orbison years ago, is piercing and stirring, cutting to the heart of her subject matter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Shaw borrows from decades past, \u003cem>Shannon in Nashville\u003c/em> is anything but stale and makes a strong case for rock ‘n’ roll’s enduring appeal.\u003c/p>\n\n","blocks":[],"excerpt":"On her solo debut 'Shannon in Nashville,' the Shannon and the Clams bandleader recruits the session musicians of Roy Orbison, Dusty Springfield and Elvis Presley. ","status":"publish","parent":0,"modified":1705027679,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":978},"headData":{"title":"Shannon Shaw Ascends from the Warehouse to Rock 'n' Roll Greatness | KQED","description":"On her solo debut 'Shannon in Nashville,' the Shannon and the Clams bandleader recruits the session musicians of Roy Orbison, Dusty Springfield and Elvis Presley. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Shannon Shaw Ascends from the Warehouse to Rock 'n' Roll Greatness","datePublished":"2018-06-07T23:08:35.000Z","dateModified":"2024-01-12T02:47:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13834539/shannon-shaw-ascends-from-the-warehouse-to-rock-n-roll-greatness","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shannon Shaw traces her love of oldies back to when her dad gave her a cassette of Roy Orbison’s greatest hits when she was eight years old.\u003c/p>\n\u003cp>“We’d listened to it my whole life, in his truck and stuff. But then it became mine,” she recalls, articulating “mine” as if savoring it on her tongue.\u003c/p>\n\u003cp>Raised in Napa County, Shaw remembers sitting in her room, listening to Orbison’s melancholy croon over and over, so regularly that she memorized the exact time it took to rewind back to her favorite songs. She didn’t care for Orbison’s upbeat tunes; instead, she’d act out the lyrics of his lovelorn stuff, like “Crying,” or “Leah,” about a man who drowns while diving for pearls to make a necklace for his love.\u003c/p>\n\u003cp>“That was definitely so melodramatic and had so much emotion,” says Shaw. “And I was such a dramatic kid.”\u003c/p>\n\u003cp>That fixation on tragic love is a hallmark of Shaw’s songwriting for prolific rock ‘n’ roll revivalists Shannon and the Clams, an East Bay mainstay that rose from Oakland’s gritty warehouse scene over the past decade. And now, Shaw’s ability to evoke emotion with her raw, raspy voice is keener than ever on her debut solo album, \u003cem>Shannon in Nashville\u003c/em>, out June 8 on \u003ca href=\"http://www.easyeyesound.com\" target=\"_blank\" rel=\"noopener\">Easy Eye Sound\u003c/a>, the record label owned by Dan Auerbach of the Black Keys.\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/cixEFBfYSOQ'\n title='//www.youtube.com/embed/cixEFBfYSOQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Shannon in Nashville\u003c/em> gets its name from Dusty Springfield’s \u003cem>Dusty in Memphis\u003c/em>, and it’s steeped in vintage rock ‘n’ roll, blues, soul and pop from the ’50s and ’60s. That time-travel effect is due in large part to the album’s session players, which include drummer Gene Chrisman and keyboardist-percussionist Bobby Wood of the Memphis Boys. (The Memphis Boys were the original house band of the historic American Sound Studio, which hosted recording sessions by many of the era’s stars, like Elvis Presley, Neil Diamond, Orbison and Springfield herself.)\u003c/p>\n\u003cp>Auerbach, who plays guitar on \u003cem>Shannon in Nashville\u003c/em>, orchestrated the ambitious collaboration. After discovering the Clams’ album at a record store, he met Shaw at her show at the Fillmore and invited her to Nashville, Easy Eye Sound’s home base, to record her solo debut. Shaw, who had only recently ascended from playing underground warehouse gigs to headlining clubs and appearing at festivals (Shannon and the Clams are set to perform at \u003ca href=\"https://www.kqed.org/arts/13828518/outside-lands-lineup-announced-janet-jackson-the-weeknd-headline\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in August), was intimidated by the prospect of the pop-star treatment. The label put her up in Nashville and immediately immersed her in songwriting sessions on a level of professionalism and intricacy removed from her D.I.Y. sessions with the Clams.\u003c/p>\n\u003cp>“I didn’t really know everything that goes into creating the whole vibe and buildup. I come from this weird basement scene where people are teaching themselves to play and to record,” she says. “Whereas Dan totally knows; one of his best skills is to be able to hear all the things going on and knowing when something’s missing, and what thing could elevate another thing. It was impressive to watch these demos I brought in be spun into gold.”\u003c/p>\n\u003cp>The stint in Nashville was a confidence-building exercise for Shaw. Never did she dream—as en eight-year-old listening to Orbison’s greatest hits, or as a 24-year-old learning to play bass—that she would one day be in the studio with some of Orbison’s original players. Although she says she sometimes questioned herself as the only woman and youngest person in the sessions, she committed to playing the part of a confident musician—and eventually internalized the idea that she deserved to be there. (Poking fun at this experience, in the video for the album’s lead single, “Cryin’ My Eyes Out,” Shaw gets into drag and plays every member of her band, including the engineer.)\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/fvSql0WV3WI'\n title='//www.youtube.com/embed/fvSql0WV3WI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I had this internal dialogue—obsessive dialogue—to keep my head in the game trying to remind myself to be present and take advantage of the opportunity, and remind myself to be excited and stoked,” she says. “It was weird, like I had not had this much internal conflict and dealing with low self-esteem in so long.”\u003c/p>\n\u003cp>Those traces of self-doubt aren’t audible on \u003cem>Shannon in Nashville\u003c/em>, where Shaw bares herself in emotionally affecting vocal arrangements set to sprightly, retro pop instrumentation—a potent combination that sounds like the soundtrack to shedding a tear on the dance floor. On “Cryin’ My Eyes Out,” a song inspired by her parents’ fraught relationship when she was young, bouncy drums and warbly surf guitar bolster Shaw’s passionate wail of frustration about whether the family dynamic will ever change. On “Cold Pillows,” about the fortitude it takes to walk away from a doomed relationship, a slow, cinematic buildup of doo-wop backing vocals gives way to Shaw’s stinging, cathartic hook.\u003c/p>\n\u003cp>Throughout the album, Shaw demonstrates self-awareness and emotional depth, examining not only heartbreak, but the experience of breaking someone else’s heart and taking accountability for the aftermath. Her sorrowful timbre, learned from all those repeated listens of Roy Orbison years ago, is piercing and stirring, cutting to the heart of her subject matter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Shaw borrows from decades past, \u003cem>Shannon in Nashville\u003c/em> is anything but stale and makes a strong case for rock ‘n’ roll’s enduring appeal.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13834539/shannon-shaw-ascends-from-the-warehouse-to-rock-n-roll-greatness","authors":["11387"],"categories":["arts_69"],"tags":["arts_1118","arts_21788","arts_596","arts_3823"],"featImg":"arts_13834612","label":"arts"},"arts_13823414":{"type":"posts","id":"arts_13823414","meta":{"index":"posts_1591205157","site":"arts","id":"13823414","score":null,"sort":[1517446070000]},"guestAuthors":[],"slug":"dan-auerbach-brings-a-rippin-band-to-the-fillmore","title":"Dan Auerbach Brings a Rippin' Band to the Fillmore","publishDate":1517446070,"format":"standard","headTitle":"Dan Auerbach Brings a Rippin’ Band to the Fillmore | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Black Keys guitarist Dan Auerbach likes to put a fine pop shine on pretty much everything he records. He’s got a new album out of original songs, full of seductive pop hooks, and written by songwriter royalty like John Prine. But he’s also producing other artists, including the terrifically funky veteran bluesman Robert Finley, who had been supporting himself as a carpenter in his hometown of Bernice, Louisiana. \u003c/p>\n\u003cp>Auerbach put together a touring show of his most recent works that he calls the Easy Eye Sound Review. It features Finley and top musicians, all with a keen taste for oldies and R&B. They’re loose, and I think they’re better live than on record. Also on the bill is Oakland’s Shannon and the Clams, who mix garage rock, surf, and doo-wop with a hint of the weird. \u003c/p>\n\u003cp>Details for Auerbach’s show at The Fillmore Feb. 14 and 15 are \u003ca href=\"http://thefillmore.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XhTMgEXPKp0}\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=61FcT0T4H6Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Dan Auerbach's Easy Eye Sound Review has a thing for oldies and R&B, and thanks for that","status":"publish","parent":0,"modified":1705028626,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":181},"headData":{"title":"Dan Auerbach Brings a Rippin' Band to the Fillmore | KQED","description":"Dan Auerbach's Easy Eye Sound Review has a thing for oldies and R&B, and thanks for that","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dan Auerbach Brings a Rippin' Band to the Fillmore","datePublished":"2018-02-01T00:47:50.000Z","dateModified":"2024-01-12T03:03:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13823414/dan-auerbach-brings-a-rippin-band-to-the-fillmore","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black Keys guitarist Dan Auerbach likes to put a fine pop shine on pretty much everything he records. He’s got a new album out of original songs, full of seductive pop hooks, and written by songwriter royalty like John Prine. But he’s also producing other artists, including the terrifically funky veteran bluesman Robert Finley, who had been supporting himself as a carpenter in his hometown of Bernice, Louisiana. \u003c/p>\n\u003cp>Auerbach put together a touring show of his most recent works that he calls the Easy Eye Sound Review. It features Finley and top musicians, all with a keen taste for oldies and R&B. They’re loose, and I think they’re better live than on record. Also on the bill is Oakland’s Shannon and the Clams, who mix garage rock, surf, and doo-wop with a hint of the weird. \u003c/p>\n\u003cp>Details for Auerbach’s show at The Fillmore Feb. 14 and 15 are \u003ca href=\"http://thefillmore.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XhTMgEXPKp0}\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/61FcT0T4H6Y'\n title='//www.youtube.com/embed/61FcT0T4H6Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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/13823414/dan-auerbach-brings-a-rippin-band-to-the-fillmore","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1806","arts_1006","arts_596","arts_3823"],"featImg":"arts_13823422","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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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. 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