Category Archives: TVD San Francisco

The “Getting Killed Again” tour arrived in Oakland in support of Geese’s critically acclaimed fourth studio album of the same name. The show was the first of two sold-out nights at the Fox Theater, serving as a quick Bay Area follow-up to their highly lauded performance at Outside Lands back in August. Outside, Telegraph Avenue was abuzz with energy in front of the venue as fans eagerly bustled at the entry, quickly streaming inside, and filling every available inch of the general admission floor.

Opener Bill Orcutt took the stage with nothing more than a folding chair, a Telecaster, and a small mic-ed-up amp. Not even a microphone. Before starting, he shouted, “Here’s the deal, it’s my wife’s birthday.” Someone from the crowd yelled back, “What’s her name?” Bill shouted back, “Rachael,” prompting the entire theater to break into a collective rendition of “Happy Birthday.”

Leaning on the top string for rhythm and the rest for melody, Orcutt plinked through 40 minutes of guitar-only instrumentals that the fully-packed floor absolutely loved. He yelled “Thank you” before wrapping up his set with one final piece, waving, packing up his gear, and exiting the stage.

The stage crew made quick work of the changeover while fans, many fully Geesed-up for the event, packed out the theater in anticipation of the 9:10 p.m. set time. When the band casually strolled out and picked up their instruments, the room erupted. Vocalist Cameron Winter was the last on stage, taking a seat behind his keyboard before launching straight into “Long Island Here I Come.”

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Currently on the road bringing New Order and Joy Division classics to the fans, Peter Hook & The Light hit San Francisco’s Warfield for the first of two Bay Area shows. With no opening act, Hooky implicitly promised all killer and no filler as the band took the stage promptly at 8:15.

While clearly not a sold-out show, the die-hard fans appeared to opt for the general admission floor rather than relegating themselves to what turned out to be a sparsely populated balcony. That made for an incredibly intimate show that fans of the music most surely appreciated as they packed as closely to the stage as possible.

Hook kicked off the evening by celebrating the 25th anniversary of the New Order album, Get Ready, by playing it front to back while keeping the chit-chat to a bare minimum. With hardly a glance at the music stand set up low and to his right, Peter busted out those songs like they were written just yesterday, delivering his signature noodling on the high end of that bass neck while trading vocal duties with guitarist David Potts. But it wasn’t until “Rock The Shack” that it felt like Peter really hit his groove.

A 15-minute intermission allowed the audience to refresh their drinks, but most seemed to stay put, committed to preserving the intimacy of their spot on the floor. What came as a surprise, however, was a familiar face who took the stage to enthusiastically introduce the second portion of the evening—none other than Keanu Reeves.

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Post-punk legends Public Image Ltd (aka PiL) have recently taken to the road on a massive North American tour, including a stop at San Francisco’s historic Fillmore on a balmy Saturday that left few excuses to catch “This Is Not The Last Tour” live.

The mostly middle-aged crowd trickled in slowly, skipping the merch table in favor of the bar, the volume from the gathered crowd gradually rising in proportion to the amount of alcohol poured. Those who were lucky and wise enough to get there in time for the opening act were treated to a riveting set by SoCal’s Plague Vendor.

No stranger to the punk rock tour circuit, Plague Vendor landed the plum opening slot on this massive tour and hit the stage like a ton of bricks, ready to win over an untapped audience. What San Francisco got was a renewed Plague Vendor than they may have seen previously, rejuvenated by the addition of Henri Cash (Starcrawler) on guitar, who did more than his share to contribute to the boot-scootin’ and absolute mayhem on stage.

Admittedly, the older crowd wasn’t quite up for the action that frontman Brandon Blaine was egging for, failing to be goaded out of the balcony or into a circle pit when he hopped into the crowd. Nevertheless, Plague Vendor no doubt made a lasting impression, if not with their searing riffs and swagger, then at least for cramming as many notes as possible into their brief 30-minute James Brown meets Iggy Pop set.

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The Human League is currently on the road, traversing North America on The Generations Tour along with contemporaries Soft Cell and Alison Moyet. The tour kicked off last week in San Diego and is already selling out venues across its 21 tour dates. A Saturday night at The Hard Rock in Wheatland provided the perfect opportunity for fans to turn out en masse. Unlike other ’80s nostalgia tours, The Generations Tour focuses on quality over quantity, providing each of the three bands ample stage time to dive into their respective catalogs while leaving plenty of time for the fan favorites.

Alison Moyet kicked off the evening promptly at 8PM and immediately had the front row on their feet and dancing along as her powerful and soulful vocals soared throughout the now-packed room. Unapologetically mixing her solo songs with Yaz(oo) classics gave little time for the enthusiastic crowd to catch their breath, with a “It Won’t Be Long” (a self-described grim song), providing a brief respite before hitting Wheatland with Yaz banger after banger before ending on “Don’t Go.”

Next up, it was Soft Cell’s turn to bring back the nostalgia machine. Anchored by vocalist Marc Almond, the stripped-down set included Philip Larsen on keyboards/synths as well as a pair of backup vocalists, leaving Almond plenty of room to command the stage and work the eager crowd.

Bucking any suggestion that Soft Cell is strictly a nostalgia act, the opening number “Memorabilia” slid right into “Danceteria,” the title track from a promised 2026 release, and what has been described as the band’s last studio album following the untimely death of original member James Ball late last year. Indeed, the 40-minute set touched on much of the band’s catalog before inevitably finding its way to a massive singalong of fan favorites—“Tainted Love” and “Where Did Our Love Go”—before closing out with “Out Come The Freaks” in a fitting homage to Ball.

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Heavy metal giants Lamb Of God are on the road supporting their tenth studio album, Into Oblivion, including (ironically) a Good Friday night stop at The Masonic in San Francisco with an absolutely stacked lineup, including Sanguisugabogg, Fit For An Autopsy, and Kublai Khan in a wise attempt to expand their fanbase to a younger demographic. No doubt a crushing lineup that had local venues rescheduling shows in fairness to other metal bands who want to play the Bay.

The Masonic was already filling up by the time Sanguisugabogg hit the stage promptly at 7:00 PM, and the general admission floor quickly turned into a broiling pit as crowd surfers began spilling over the barricade. Fit For An Autopsy and Kublai Khan followed suit, each delivering crushing sets for the packed house.

With the sold-out crowd in place and sufficiently warmed up, the road crew set about transforming the stage behind a massive curtain that blocked their view, only heightening the anticipation. When the curtain finally dropped, and the band launched into “Ruin” as frontman Randy Blythe retrieved his mic from the center rise, San Francisco went bananas. Followed quickly by fan favorite “Laid to Rest,” there was no respite for security as crowd surfers continued to surge.

One of the finest frontmen in heavy metal, Blythe absolutely raged on the microphone from atop his risers when he prowled the stage. And while those ankle and knee braces may have hinted at why we weren’t seeing his epic trademark jumps, he was no less a force on stage.

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OAKLAND, CA | The legendary Robert Plant is back with a new project—Saving Grace—which includes a new album and a tour that is absolutely not to be missed. Recorded over the last 5+ years between the pandemic and Plant’s other obligations, Saving Grace was inspired by traditional folk and blues and highlights his collaboration with local musicians Oli Jefferson (drums), Tony Kelsey (guitar), Matt Worley (banjo, other strings), Barney Morse-Brown (cello), and his vocal muse, Suzi Dian.

The Bay Area normally shows up en masse whenever Robert Plant comes to town, so it was no surprise that Oakland’s Fox Theater was sold out for Saving Grace’s “Roar in the Fall” Tour, featuring songs from Plant’s twelfth solo album, which was released a mere two months ago, as well as a few surprises for the long-time fans.

The evening kicked off with a heavy dose of Americana courtesy of Rosie Flores (aka the Rockabilly Filly). With a red flower, a stark contrast against her jet black hair, Rosie and her band tore through 30 minutes of originals and classic covers, including Johnny Kidd and the Pirates’ “Shakin’ All Over” and Dave Alvin’s “Long White Cadillac.” That set the gathering crowd a-rockin’. Flores seemed as down for the party as the rest of the Fox crowd, suggesting post-show drinks at one of her old Bay Area haunts (Larry Blake’s, RIP) after the show and promising, “I’m a good hang!”

The sold-out theater was packed by the time Plant and his band took the stage at 8:40, every seat filled and nearly every hand with a fresh drink. The band took the stage with little fanfare and launched into “The Cuckoo,” immediately highlighting Worley’s mastery of the banjo. But after a cover of Martha Scanlan’s “Higher Rock” and a display of Robert’s skills with a harmonica, the show took an unexpected turn when the stage monitors (the speakers that allow Plant and Dian to hear themselves) went out. What to do?

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The Bay Area’s summer amphitheater season may be coming to a close, but not without a final week of shows punctuated by a crushing trio of rock and roll heavyweights co-headlined by Judas Priest and Alice Cooper on their “Shield of Pain” Tour.

While the previous day’s torrents of rain had subsided leaving a soggy lawn for the general admission folks, that didn’t appear to stop the fans from rolling out for a final outdoors bruhaha. And while the clouds looked a bit ominous leading up to Corrosion of Conformity’s 6:45 set, the evening kicked off as planned even as COC stared out at a lot of empty seats as the crowd maneuvered their way through the after work traffic.

Empty seats or not, COC delivered their swampy version of heavy metal with aplomb, seemingly oblivious to the folks constantly filtering into the amphither. Afterall, it’s rare that this band is playing to a seated venue of this size. That said, the band delivered a crushing set that most certainly upped the humidity on an already unseasonably soggy evening.

A quick change-over and it was time for original shock rocker Alice Cooper to take the stage. A black curtain dropped to reveal Alice’s Attic as he emerged from fog at the back of the stage in his signature top hat and swinging a sword as he made his way to the front of the stage where he joined the rest of his band.

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Hot off their epic set the previous day at the Portola Music Festival, The Prodigy hit San Francisco’s historic Warfield to make up for their April 14 show that suffered a last-minute cancellation due to an illness in the band.

DJ Nitepunk warmed up the eclectic crowd as they crammed every inch of the general admission floor, the 40 minute set doing a remarkable job of getting the San Francisco pumped and loosened up for the mayhem that was set to follow.

The house music blasted Iggy Pop’s “Lust For Life,” teasing an intro for The Prodigy as the clock ticked past the scheduled 9PM set time. The energy waned for a second before the band finally took the stage led by Liam Howlett who flashed his “Bring The Ruckus” forearm tattoo to the crowd in a sign of what was to come. Last out was Maxim, an imposing figure appearing out of the thick fog and wearing a hooded jacket.

Equal parts hypeman and vocalist, Maxim was clearly pumped for some action, calling out his “Warfield Warriors” as the band ripped into “Voodoo People” and the 100+ year old room went absolutely bonkers. Bathed in haze and with strobe lights blazing, Howlett held down the center stage encircled by all forms of electronic music gadgetry while Maxim prowled the stage, getting up close with the crush of the front row. Drummer Leo Crabtree was the perfect foil for Howlett, delivering a torrid tempo that didn’t let up all night.

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SAN JOSE, CA | Since announcing their return in 2023 with their new vocalist Emily Armstrong, Linkin Park has been on a mission to enter a new phase of the band while maintaining their massive legacy. A previously unreleased song from the One More Light recording sessions was followed by a greatest hits album (Papercuts) and their first new album since 2017, From Zero, featuring Armstrong on vocals. From there, obviously world domination with their “From Zero World Tour” which is currently scheduled to run through June of 2026.

With original guitarist Brad Delson opting out of touring, Alex Feder took on lead guitar duties but the fans will recognize some familiar faces on stage including Joe Hahn (buttons and such), Dave Farrell (bass), and of course frontman Mike Shinoda. Rounding up the lineup was Colin Brittain on drums.

JPEGMafia kicked off the night with an energetic 30 minute set of “experimental rap,” but it was clear that the fans that circled the stage planted firmly in the middle of the arena floor were there to witness Linkin Park’s long-anticipated return to the Bay Area. The massive stage that consumed much of the floor was rimmed with lights and had two massive blocks of screens suspended above. With an abundance of lasers, one really needed to have a bit of distance from the action to truly appreciate the production whose scale aptly matched the magnitude of the band’s return to the stage.

As the crowd patiently waited for Linkin Park’s set, a 10 minute countdown clock appeared on the screens suspended above the stage promptly at 8:25 pm. From there the anticipation built until the whole arena was counting down the seconds until the band finally took the stage led by Joe Hahn before kicking off their set with fan favorite, “Somewhere I Belong.”

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Katy Perry’s “The Lifetimes Tour” hit San Francisco’s Chase Center on Friday night with an over-the-top mix of high-energy theatrics, devoted fans of all ages, and one particular moment that nearly stole the show—quite literally.

Rebecca Black kicked the party off promptly at 8:00 PM and Friday night into high gear with her 30-minute set. Dwarfed by the massive stage setup, Black kept things upbeat with a pair of backup dancers that helped keep the energy high and the crowd moving.

The lead up to Perry’s slightly-delayed set found the diverse crowd entertaining themselves by doing “the wave,” cheering for the fans who made it onto the big screen (thankfully no obvious Coldplay incidents) and appreciating the sheer magnitude of the ambitious production that was soon to unfold. The stage was backed by massive digital monitors, and the general admission floor was consumed by an infinity-shaped catwalk with the inside areas packed with eager fans, many in costume or holding signs to vie for Ms. Perry’s attention.

The room erupted with cheers when the lights finally dimmed, the intro video played, and Katy was eventually hoisted from the middle of the figure eight stage as a clad half-human, half-cyborg hero a la C3PO and launched into “Artificial” from her 2024 release, 143. After being lowered back through the stage, she emerged on the mainstage to join her raft of dancers for “Chained to the Rhythm.”

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Refused’s last official press release spelled it all out in inscrutable terms—they’re finally calling it quits—the band’s revolutionary mission becoming inexorably and undesirably conflated with the entertainment.

But they’re not going out without a proper send-off, hitting the road with the mighty Quicksand for one last spin around the globe. The tour, aptly named “Refused Are F**king Dead (and This Time They Really Mean It)” in a not-so-subtle nod to the 2006 documentary chronicling what at the time was to be the band’s last year in existence, hit the historic Warfield for a final jaunt in San Francisco.

Slaughterhouse, one of Los Angeles’ up and coming hardcore bands kicked things off with a 30 minute set that included a generous helping of material from their brand new EP which features the latest addition to the band, vocalist Meriel O’Connell. Loud, brash, energetic, and just plain entertaining, Slaughterhouse is simply impossible to ignore and should be on everyone’s must-see list. They even had the Refused guys rapt attention from side stage.

Post-hardcore three-piece Quicksand has been playing direct support for Refused on the North American run and provided a perfect complement to the chaos that would later ensue. A generous 50-minute set ensured that their fans were sated. It may have been Refused’s tour but clearly there were a ton of folks who had shown up for the coveted Quicksand appearance.

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With Halloween and Daylight Savings Time behind us and fall in full swing, amphitheater season is typically over. Not quite though, as Danny Elfman brought his dead man’s party for the second of two very special career-spanning shows to the Shoreline Amphitheater.

While Elfman has been celebrating his movie and television soundtracks live for the last few years, the idea to expand the setlist to include Oingo Boingo and solo material really only emerged as part of an oddly placed mainstage performance back in April at Sick New World Festival in Las Vegas where he shared the stage amongst headliners Slipknot and other heavy acts. Improbably, the reception was phenomenal.

Following up Sick New World with two headlining shows was no small feat; the Shoreline stage crammed with at least 50 people including a choir, an orchestra, and the “Elf-Band” which included Robin Finck (Guns N’ Roses, Nine Inch Nails) on guitar, Stu Brooks on bass, Nili Brosh on guitar, and Ilan Rubin (Nine Inch Nails) on drums.

The nearly two hour set ran the gamut of Elfman’s diverse career, including soundtrack work from The Simpsons, Batman, Beetlejuice, Mars Attacks, Edward Scissorhands, and of course The Nightmare Before Christmas during which Danny channeled Jack Skellington the “Pumpkin King.” During the instrumentals, Elfman stood in the shadows and the crowd largely stayed seated.

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The Psychedelic Furs and The Jesus and Mary Chain are on the road for a proper co-headlining tour, hitting San Francisco’s Masonic Auditorium on a Saturday night with opener Frankie Rose.

The Masonic was absolutely packed by the time The Jesus and Mary Chain took the stage for their 1 hour and 10 minute set, setting a dramatic mood as frontman Jim Reid tried his best to hide behind the mic stand as he belted classic after classic. A man of few words, Reid apologized in advance for any f***ups but otherwise let the music do the talking, inviting Frankie Rose to join the band on stage for “Sometimes Always” and fan favorite “Just Like Honey.”

The house lights came on after TJAMC’s set revealing a celebratory atmosphere although clearly some folks had over-imbibed in the lead-up to The Psychedelic Furs, at one point some friends carrying a totally limp but still conscious pal into the lobby. Yes, it was going to be one of those nights where the folks that don’t get out much take advantage of leaving the kids alone with the babysitter to let loose.

For those fans, the journey down memory lane continued with The Psychedelic Furs closing set that spanned their 40+ years of music. Original members Richard Butler (vocals) and Tim Butler (bass) ruled the stage as the crowd sang along, fueled by what seemed like a constant flow of alcohol.

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Bay Area metal legends ended their 33-date “Klash Of The Titans Tour” with co-headliner Kreator and opener Possessed with a hometown set at the epicenter of the thrash movement at The Warfield in San Francisco.

Local death metal progenitors Possessed kicked things off early and got the crowd hopping as frontman Jeff Becerra belted out the classics, unencumbered by the wheelchair he’s been confined to since 1989.

Kreator kept the energy high, blasting Iron Maiden’s “The Trooper” for a massive singalong as the crew busied themselves behind a giant curtain that concealed the stage. The curtain finally dropped and the band launched into “Hate Über Alles” off of their most recent release.

Kreator’s crew had obviously been busy in the 30 or so minutes since Possessed wrapped their set. Inflatable demons loomed over the band from the back of the stage and shrouded corpses hung from the rafters, others impaled on pikes on each side of the stage. But the band paid no attention to the gore as they blasted through a career spanning hour and ten minute set.

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Having reemerged in 2023 after a 20-plus year hiatus, Dogstar has hit the road on their “Summer Vacation Tour,” bringing their latest release, Somewhere Between the Power Lines and Palm Trees, to fans across North America including a Sunday night stop at The Catalyst in Santa Cruz, a relatively modest-sized venue compared to their other tour dates with a capacity of around 800. So to say that Santa Cruz turned up for Dogstar would be an understatement—the line to get into the sold out show stretched down the block and around the corner when the doors opened at 7PM.

The evening kicked off with a 30-minute set by Sons of Silver out of Los Angeles. Singer/guitarist Peter Argyropoulos was all smiles as the band crammed in front of Dogstar’s equipment on the tiny Catalyst stage, clearly happy to back in a “proper rock ‘n’ roll club.” The packed general admission floor was another reason for the band to celebrate as they used their opening slot to showcase material off of their upcoming release, Runaway Emotions, clearly gaining some new fans in the process.

The energy in the room ran high, necks craning for any view of the band as Dogstar’s set time approached. To someone unfamiliar with the band, a scan around the room may have been a bit confounding; no doubt there were plenty of Keanu Reeves super fans and curiosity seekers, but the vast majority of the room was stacked with die-hard Dogstar-ers, there for the music. So, when the band took the stage just past 9PM and launched into “Blonde” without fanfare, the place went nuts.

The band appeared deliberate in not riding Reeves’ (who didn’t even have mic) fame, rather letting the music speak for itself. Bret Domrose did double-duty on guitar and vocals with aplomb as drummer Rob Mailhouse held down the beat with Reeves on bass as the set covered a broad swathe of new material punctuated by “How the Story Ends,” “Glimmer,” and “Breach.”

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