Sliding Scale $8 – $10

Dana Buoy

“Akron/Family drummer seeks inner Brian Wilson via breathy, dreamy odes to well-oiled, sunbaked sensuality” – SPIN

“This is your soundtrack for summer.” – CMJ

“the songs seem bathed in sunlight, with a summery warmth fueling their exuberance.” – David Garland, WNYC

“the genuinely happy work of a charmed life” – The Fader

Dana Buoy‘s regular gig is playing percussion for Akron/Family, the indie rock band steeped in rootsy Americana and folk, injected with a heavy dose of electronic psychedelia. On his debut solo release Summer Bodies, Buoy aims for a more tropical musical climate. There are touches of vaguely Caribbean rhythms working their way throughout much of the album, with thick synthesized beats mimicking bass-heavy reggaeton grooves, as on the opening track, “Anatomy of Now”.

Buoy (née Dana Janssen) clearly brought over a handful of Akron/Family tricks. His vocals are often heavily drowned in effects, noise and electronics slither around acoustic instruments, and the focus is always on songcraft, not soundscapes or self-consciously composed music. “Delicate Suitor” is a study in gradually building a track, one note, one instrument at a time, all behind a repetitive vocal melody. With synthesizer chords droning in the background, the song climaxes with a frenzy of crystalline keyboard patterns and, eventually, a house beat.

Despite all this, Buoy never seems to fully achieve what makes his music with Akron/Family so enthralling. These songs lack the homely honesty of “I’ll Be on the Water” from their self-titled 2005 album, or the wild freakouts of “Ed Is a Portal” or “I’ve Got Some Friends” from 2007′s Love is Simple. Instead, he opts for a poppy, feel-good sound that he dubs “Tropicore.” He nails it on a few tracks, like the countrified guitar licks of “Hand Over Hand”. It’s jammy rock, full of good vibes from a steady and smooth bass and tambourine beat. Equally enjoyable is the slow jam “Futures Past”, where Buoy’s normally thin vocals shine over live drums and unexpected harmonic progressions.

Summer Bodies was composed, in large part, using synthesizers, laptops, and iPad apps; yet the best songs, the ones where Buoy’s musicianship really stands out, are those that rely less on electronics, and lean instead on guitars, drums (real ones), and analog synths. It’s that simple grounding in classic song structures and well-played instruments that’s kept his music so fascinating through all his past endeavors.

Essential Tracks: “Delicate Suitor”, “Hand Over Hand”, and “Futures Past

Pitchfork “Call To Be” Premiere:

http://pitchfork.com/reviews/tracks/13139-call-to-be/

Fader “So Lucky” Premiere:

http://www.thefader.com/2012/04/17/dana-buoy-so-lucky-mp3/

WNYC Spinning on Air Session:

http://www.wnyc.org/shows/spinning/2012/apr/29/

Joseph Childress

Songbird presents:

Early Show at Amnesia Music Hall 853 Valencia Street

Doors at 6:30 pm show starts at 7 pm

Sliding Scale $10 – $15

The Ardent Sons

The brain child of Tony Sales and Mike Wolf (both of Misisipi Mike and the Midnight Gamblers), The Ardent Sons began as a shared love of 60′s RnB and Soul by the likes of Joe Tex, Sam and Dave, The Staple Singers and Little Richard. Sales and Wolf recruited Kevin White (Chuck Prophet), and Dave Flores (Midnight Gamblers), and together they found a sound as much rooted in the grind of the MC5 as in the voodoo of Dr. John, a line that connects the legacy of Stax and Muscle Shoals to the blue eyed RnB of the Small Faces and The Box Tops, with that extra touch that only Prince could provide. Its a fresh sound for fresh people. So, get ready.

Wheeler Brothers

 Their sound has been compared to the Avett Brothers, Band of Horses, and Mumford and Sons, and Wheeler says they “have learned a lot from other bands, and we admire bands like Old Crow Medicine Show, Edward Sharp, Radio Head and Arcade Fire.”

 Their artful lyrics resemble fables with veiled but relevant subjects.

“Ghost in the Valley” is woven with instrumental threads of glockenspiel, melodica and accordion, and was inspired by Texas border issues.

“Long Hard Road” is what it implies – the story of a man empty without religion or family and only grainy back roads. “Sleep When I’m Dead” is an easy boot-stomping swing about colorful weekends. And “Portraits,” their title track, lights their fresh motive of simplicity and honesty, as dusty as that truth may be:  -  Southern Pine Pilot

Formed in Austin, Texas, Wheeler Brothers have quickly emerged as one of Austin’s most exciting up-and-coming bands. The five-piece independent folk-rock act combines the indie vibe of Austin with the twang of Texas folk. Brothers Nolan, Tyler and Patick met Danny Matthews at LSU where they spent much of their time picking guitars and swapping stories in the bar rooms of Baton Rouge and New Orleans. Once back in Austin their magnetic sound was completed by the addition of lifelong friend and singer/songwriter A.J. Molyneaux. Each member brings his own ideas and sounds to the group, with styles blending indie rock, blues and folk.

Wheeler Brothers have been selling out major venues and climbing the charts of radio stations in “The live music capital of the world,” Austin, TX. Their first LP is slated for release prior to their Summer 2011 tour

YARN

Since their start in 2007, Yarn’s original Americana sound has developed into music that seekers of the unique see as the soundtrack to their lives. Yarn’s first four albums were recognized by the AMA’s and R&R radio charts, spending time in the top 5 at their highest point. Yarn has become one of the hardest-working and harder-touring bands for this generation’s digital natives and new music folllowers.

 2012 brings this grammy-nominated roots band into the music revolution, inspired by today’s music devotee’s hunger for artists to believe in and follow, they are giving it to the fans everyday in everyway possible. Yarn’s devotion to their fans is realized in online and social sharing of their music, whether it’s daily video posts, premiering fresh songs on local radio, or performing live in small town venues across the country. They are bringing songs to American music lovers, and the music lovers are responding.

 Yarn’s devoted followers, affectionately called the “Yarmy”, answered the band’s request for aid when they funded their new record through Kickstarter. Raising in excess of $5000 of the $15,000 needed, the “Yarmy” proved their allegiance to Yarn and their music being heard in 2012.

 The fans have spoken, and on March 20th, Yarn releases their new album, Almost Home, produced by the multi-Grammy winning, Bil VornDick, who has worked with Alison Krauss, Ralph Stanley, Bob Dylan and many others. VornDick came across a Yarn performance at “Music City Roots”, Nashville’s progessive live music show that showcases some of the best of the Americana music scene. Although they didn’t come together that night, VornDick and his wife heard Yarn on a Virginia radio live remote a few days later as they were traveling. VornDick decided it must be a sign and the rest is Yarn history.

 Yarn’s mojo continues to provide as they will be making their first appearance at SXSW in the New Frontier Showcase, and traveling in the “On the Fly” RV, courtesy of their 2012 sponsorship with Firefly Vodka. “It seems every good connection leads to another,” says Christiana, “our fan following has really put us in a place to get noticed and we want to repay them for the huge faith in us.”  Yarn’s good karma keeps building, being in the right place at the right time. They were recently featured on CNN’s Out Front, during a cover story on Firefly Distilleries. The band just happened to be in town  and their music made a believer out of CNN host, Erin Burnett, who, (as she sings along with the band), proclaims, “They are playing good music and living the American dream. We think Yarn is going to make it big!”

 Yarn is led by singer/songwriter and cult-master, Blake Christiana, who carries the torch for the fan-following that will transport Yarn into the promised land. “Our fans are like family. We are so grateful to people that love music and will help support us in creating it. It’s just remarkable,” Christiana says. “That’s half of my love of the road; we’ve got what feels like family in tons of cities across America.”

 Yarn’s devoted “family” has them following in the fine tradition of The Grateful Dead and Widespread Panic, whose fans will go to any length to see them live, and this year Yarn’s fans will see them plenty. Their rigorous tour schedule has them out on the road for more than 150 dates per year since 2007 and they are not slowing down.

 For Yarn, discussion of life on the road goes right back to the audience and the fan’s benevolence. “They want us to survive and to keep creating music, so they will bring us into their homes, let us sleep in their beds, cook for us…the level of generosity is unbelievable,” says Christiana. The Yarn sextet doesn’t hold back when it comes to rewarding their followers for their loyalty. “We are so exposed to our fans…we don’t sit on the bus or hide in the green room, we are hanging out, drinking beer with them, going out after the show…if anyone wants to get to know us on a more personal level, it’s very easy,” admits Christiana. They also make sure that all their live shows are recorded and online for fans freely. “We have been doing that for a few years, and the fans love it,” says Christiana, “whatever it takes, we want to do for anybody that comes out to our shows.”

 Is there a mark of success for Yarn?  Christiana states it well, “To live comfortably and make music for our fans. I just want to be able to do what I love and eat…so maybe I’m already there,” he laughs, “we want to make good music and hopefully that makes someone else’s life better.” 

 Stay tuned, 2012 looks like Yarn may unravel the American dream.

Mission District – 2781 24th Street
@ York Street San Francisco, CA

Sliding Scale – $15 – $20

Advance tickets sales: http://tinyurl.com/85f8uqu

Early Show – Saturday – April 28th – 5-8 pm
Alex Kelly Solos CD Release Friends and family CD release for the all ages

WOVEN LIVE INSTALLATION by Kate Gibson
Saturday – April 28th – 7 – 10 PM

Later Show 9 – 11 pm – Saturday – 4/28
Janam and Broken Shadows Family Band

Later Show 9 – 11 pm – Sunday – 4/29
Sonya Cotton and Conspiracy of Venus

 

Early Show at Amnesia Music Hall  853 Valencia Street – 5-8:30 pm

$7-10 Cover

Renee de la Prade – www.squeezeboxgoddess.com/

Solo set by Xandra Copra from Con Brio – www.thebandconbrio.com

Hawk and The Girl featuring members of Family Folk Explosion – https://www.facebook.com/#!/FamilyFolkExplosion

Late Show at Amnesia – Saturday, April 7, 2012

Late Show at Amnesia Music Hall  853 Valencia Street – 9 pm – Close

$7-10 Cover

The Disposition – https://www.facebook.com/messages/767464623#!/thedispositionmusic

Slow Motion Cowboys –

https://www.facebook.com/#!/profile.php?id=100000281116784

Betsy and Beau – ~ https://www.facebook.com/BetsyandBeau

Early Show at Amnesia – Saturday, April 15, 2012

Early Show at Amnesia Music Hall  853 Valencia Street – 5-8:30 pm

$7-10 Cover

 
Patsychords

https://www.facebook.com/events/110872742375850/#!/pages/The-Patsychords/159262327443335

The Gold Diggers
https://www.facebook.com/TheGoldDiggersRock?sk=info
The Ps and Qs
http://www.myspace.com/psqsimonit

Late Show at Amnesia – Saturday, April 15, 2012

Late Show at Amnesia Music Hall  853 Valencia Street – 9 pm – Close

$7-10 Cover

Vagabondage – https://www.facebook.com/pages/Face-The-ITCH/284708248240952?ref=ts#!/vagabondageband

The Bodice Rippers – https://www.facebook.com/natalie.ribbons#!/thebodicerippers

The Gomorran Social Aid Pleasure Club – https://www.facebook.com/#!/pages/The-Gomorran-Social-Aid-Pleasure-Club/106797929359839

Early Show at Amnesia – Saturday, April 21, 2012

Early Show at Amnesia Music Hall  853 Valencia Street – 5-8:30 pm

$7-10 Cover

Songbird Presents Early Show at Amnesia – Uni and Her Ukele CD Release Party for Lovers  Cliché + More music from + Jascha Hoffman ++ The Pan Handlers

The Pandhandlers – http://www.facebook.com/panhandlers

Uni and Her Ukele  – https://www.facebook.com/messages/1301661941#!/heather.m.ellison

Jascha Hoffman – https://www.facebook.com/messages/1301661941#!/jaschahoffman

Late Show at Amnesia – Saturday, March 24, 2012

Late Show at Amnesia Music Hall  853 Valencia Street –

10 pm – Close

$7-10 Cover

Makru Musica

Landing in San Francisco from different parts of the world, various characters got together for different motives, goals and because it had to be that way, at the end of 2008 the became Makrú, a musical tool to express their points of view, ideals and support the causes they believe in, chasing equality and unifying people along the way . With influences of anything that can shake it Soul, Makrú sounds like smashing the earth and play it on a record player. Diana Gameros from Mexico, an amazing voice trained in Mexico & U.S, also an incredible composer and guitarist. Raúl Vargas from Madrid, fed by Spanish art and at the age of 20 left to collect music and knowledge around the world learning, guitar, cajón,, different percussions, didjeridoo, and more… with his compadre Javi Monge, from Barcelona who ended up in la Habana, Cuba dedicated to percussion under the wing of Yaroldi Abreu the amazing percussionist for Chucho Valdés among others. Vinicio Peñate raised equally In U.S and El Salvador brings the Cumbia-reggae-rock flavor that fits perfectly with the Californian drum set of Bob Sanders, who didn’t have enough and got himself also into flamenco guitar world. All this highlighted by the magical flute and melódica of, the called “Fantasma”. Issac Weiser, multi instrumentalist, born surrounded by musicians in Washington State U.S

YeYe Suarez
          

Songstress and dancing storyteller Johanna Suarez “YeYe” is first and foremost a living being just like you. Probably with very different characteristics, but in essence one breathing being. What she does is rooted in community leadership and organizing to promote family and youth participation in their communities. As an interdisciplinary artist and arts-educator she incorporates traditional dance and music from the African Diaspora in Latin America, original poetry, theater and lyrical compositions into a performing journey of emotions in search of collective healing and unification.

Her work researches the importance on understanding roots and ancestry while creating history for the generations to come. The inspiration of her work is deeply rooted on women of color, immigrant life stories and the African Diaspora in Latin America and the Caribbean. She collaborates with various artists of all age ranges, musical genres and artistic talents. YeYe’s lyrical and melodical compositions are complemented by the incredible musical arrangements done by prestigious musicians such as Braulio Barrera, Felipe Pumarada, Miguelito Martinez, Diana Gameros, Jeremy Allen, Viviana Guzman and Miton Villeda.

 The Anita Lofton Project

 Anita Lofton
With her former rock trio Sistas In the Pit,  she toured China and Europe, and took an infamous national tour supporting a certain James “Iggy Pop” Osterberg and the Stooges during that band’s reunion in 2007. She claims to have “traded in her Marshall half stack and Epiphone semi hollow body casino for a microphone and an Epiphone acoustic guitar,” yet she’s got the rock in her blood. With Anita’s new minimal and acoustic approach she expresses a new direction in songwriting that is as candid, earnest, cool and assertive while seeking greater understanding of others and cloaking sentiment in attitude. Her newest creation is The Anita Lofton Poject, an all brown girl stringed instrument band that plays Neo-Black-Folk, and they rock!

 Follow Songbird Festival and Songbird Presents on Facebook

THE WELCOME MATT

What does singer/songwriter Matt Langlois, A New England native turned San
Francisco resident, indie rock folk singing song writer poet do after
playing in 5 different bands, wandering the earth, performing in endless
cafés, bars, living rooms, clubs, working construction, setting tile,
surviving the San Francisco underground party scene, releasing seven CD’s
(5 as The Welcome Matt/2 with Hey!Brontosaurus) and investing every dime
into music to the verge of bankruptcy?

He starts a musical project called Members of Sound, releasing a song a
month over 2 years, teams up with hotshot San Francisco music booker KC
Turner and begins collaborating with well established dance choreographer
Christine Cali/CALI & CO dance on a full length dance/music performance
extravaganza called Move Thru Me.

Members of Sound started out as just another late night idea on tour in
West Hollywood. Now over 2 years down that road, the project has more than
fulfilled Matt’s main objective; to stay creative and tell the tale of the
musician’s journey. Members of Sound songs have been downloaded all over
the world and have caught the attention of many, including, Peter Finch’s
“FOG FILES” on KFOG 104.5, San Francisco Bay Area’s biggest radio station.
KFOG has also has included “That I Can Do” a fan favorite and also a
collaboration with choreographer Christine Cali on the stations 2011
summer local scene CD with other local favorites such as The Mother Hips.
The Members of Sound song “Move Thru Me” was the title and theme of a
3-day dance/music performance in San Francisco’s Mission Theatre in
February 2011.

After playing 100 some odd gigs, creating a duet and video for “You Are
The Chords” with singer/songwriter Megan Slankard, working with 20
different musicians and an array of producers who have worked with artists
such as Four Non-Blonds, Dan The Automator, Train and Galactic, The
Welcome Matt’s Members of Sound has neared the finish line, with a sold
out performance at San Francisco’s favorite hipster live music venue Café
Du Nord, yet the endeavor is far from over. In addition to all 24 MEMBERS
OF SOUND singles being released on CD’S VOL 1-13 and VOL 14-24, a
conceptual Members of Sound CD with bonus tracks and special guests is in
the works for 2012, along with new videos, and national tours.

“Matt has found the secret to truly personable songwriting. Evoking the
Beatles circa Rubber Soul with a little Ray Davies and a little Cake as he
drifts somewhere between Wilco’s Jeff Tweedy and Bob Dylan, mastering a
sense of expert lyrical spacing and rasping dreamy opinion.”
Indiemusic.com

“In San Francisco,” a track from his second solo record, “Empire Days,”
was picked up by Triple AAA megastation KFOG and featured on their 2004
Summer Sampler, alongside Michael Franti of Spearhead and Matt Nathanson

FAT OPIE

With four full-length cds, tours, airplay and press, Bay Area band FAT OPIE continues to invent and reinvent what can be termed “Americana”. From the modern, electrified dynamics of their third release Airstream to the acoustic, live-performance record Otis. Their Don’t Want To Be Gay In Texas is now a staple in their set list.

Successes include their song Bullets in My Briefcase winning a national band search sponsored by 7UP/SONICNET(MTV). This included a prize of $15,000. The song Mouth Like a Trucker was featured in the motion picture ALONG THE WAY.

The music stopped for several years when singer/songwriter Scott Mickelson became seriously ill. During that time bassist Robin Hildebrant began building his own recording studio. Inspired by the new possibilities, Mickelson started writing their strongest material to date. Their first new single released New Orleans, led to a distribution deal and a re-release of their growing catalogue.

Both FAT OPIE and Scott Mickelson perform regularly as they finish their upcoming full-length Victoryville.

DISCOGRAPHY

Said + Done (single)

New Orleans (single)
Otis
Airstream
Hipsters, Freaks, Fags & Homeboys

Biscuits
A&R Unlimited’s Special Edition CD

Hurricane Healing Vol. 70

Hurricane Healing Vol. 67

MEDIA QUOTES

 “It’s American folk-Rock with a post punk edge, rustic but scarred.” – Alternative Press Magazine

 “Fat Opie’s music is so catchy and tight, it’s surprising the band is still playing venues as small as this one.” - San Francisco Weekly

 “Fat Opie completes this trio of national-quality acts with a set of tunes that is more overtly rock even if they make use of banjos and mandolin. They successfully translate a modern sensibility.” – Willamette Weekly

3225 22nd Street, SF, CA 94110

Doors at 7:30 pm, $8 Cover

Make Out Room Show Advance Info
Show Date: 3/31/12
Cover $8

SET TIMES
7:50-08:30 Fat Opie
8:50-09:30 Welcome Matt

Early Show at Amnesia – Sunday, February 19, 2012

Early Show at Amnesia Music Hall  853 Valencia Street – 5-8:30 pm

$7-10 Cover

Late Show at Amnesia – Sunday, February 19, 2012

Sioux City Kid Acoustic Set -

The Disposition – https://www.facebook.com/momoscheeskos#!/thedispositionmusic

Late Show at Amnesia Music Hall  853 Valencia Street – 9 pm – Close$7-10 Cover

Late Show at Amnesia – Saturday, February 25, 2012

Brass Menazeri and More  – brassmenazeri.com

Late Show at Amnesia Music Hall  853 Valencia Street – 9 pm – Close$7-10 Cover

Free Event at Amnesia Music Hall  853 Valencia Street – 5-8:30 pm

varioulsy, not then by Travis Ortiz

Featuring Travis Ortiz reading from the new book

And music by San Francisco’s very own

DFTram (Ambisonic, Sound Capsule, dftram.com)

Mike Bee (Vinyl Dreams)

BIO

Travis Ortiz is a writer, visual artist and DJ living in San Francisco, California. He is the author of Geography of Parts (Melodeon Poetry Systems), and his work has been published in Bay Poetics, Chain, Salt, WOOD (www.medusa.org/wood/), Mirage #4/Period[ical], and Poetics Journal. Travis’ new ambient CD compilation with the Ambisonic collective, Chillout, includes his collaboration with Databass (Sean Abreu) featuring text from variously, not then. Travis founded the press ghos-ti, which highlights the visual aspects of poetry. He is also the co-director (with Lyn Hejinian) of Atelos, a literary project commissioning and publishing cross-genre work by poets.

Thoughts On Travis Ortiz: 

“Written, designed and typeset by Travis Ortiz, variously, not then is a confoundingly complex cross-genre work touching upon meaning, loss, memory and return. Part-prose, part-poetry, part-essay, part-aphorism, part-philosophy, part-graphic design, the writing folds in upon itself instantly twisting from one morphology to the next. Vexing and brilliantly beautiful.”

—John Zorn

“This dazzlingly designed book opens up into a linguistic density that holds its weight in thought’s recalcitrant measures, as if poetry once again had substance sufficient to hold its own against all comers and the no-shows too.”

—Charles Bernstein

“Through variously, not then’s mode of elegant abstraction, Travis Ortiz recesses the particulars of what is known to foreground a deontological episteme: here percept is processed as becoming-ethical, becoming-political; watching as witnessing; place as public. As Ortiz obsessively truncates narrative trajectory at the level of the sentence through a nearverbless, uncompleting syntax that nonetheless bears the heft of aphorism, he defines and valorizes experience as the recursive, analytic motion of a mind inventorying and weighing circumstances never fully fleshed for the reader and likewise withholding assessment and practical action from the conscientious consciousness displayed. variously, not then thus trades clean aporia for a suspension that layers the transversal trackings of the mind as it cannily, subtly accounts stakes behind stakes; it portrays a longing for detachment that would make interpretive moral cognition less painful if not for its shadowing of language’s privative disconnect as it fails to touch emergency. Perhaps as Ortiz works to re-invent disinterested humane engagement, he creates a new category of political time, intruding a third term into the duo of chronos and kairos: this temporality of the re-circulation of repeated words is not circular but seems instead to gather folds such that chronos puckers and warps and kairos recedes behind or ahead of the horizon. variously, not then admirably captures a current feeling of unrest and unease at its most vigilant and self-aware, awaiting the disclosures of decisions whose absconded agency, in Ortiz’s treatment, both speaks the complexities that enmire it almost beyond retrieval and eloquently begs its recovery.”

—Judith Goldman