Los Angeles-based saxophonist extraordinaire Kamasi Washington has proven himself a veritable force in the jazz, hip-hop and R&B communities with a body of work most of his peers would kill for. Not only can Washington wield a tenor saxophone like nobody’s business, he has already drawn lofty comparisons to such greats as Albert Ayler and even John Coltrane.
Rather than sticking to a style that has worked in the past, Washington’s latest record – ‘Fearless Movement’ – is much, much more than a smart play on words. Elegantly arranged and exquisitely presented, this latest 12-song platter showcases a musician unafraid to stretch the boundaries of contemporary jazz. Taking subtle and possibly not-so-subtle cues from Weather Report, Return To Forever, Mahavishnu Orchestra, Chick Corea, and even Herbie Hancock, the collection is anything but dated or derivative.
Standout tracks – to name just a few – include “Computer Love” and the lovely “Asha The First” featuring bassist Thundercat which, oddly enough, took shape during his daughter’s first piano tinklings. Also of worthy mention is the meandering and purposely spacious “Dream State” featuring Andre 3000 of Outkast fame and my favorite, “Garden State.”
Said Washington about his latest record which is sure to incite multiple body movements upon first listen, “Dance is movement and expression, and in a way it’s the same thing as music—expressing your spirit through your body. That’s what this album is pushing.”
On a slightly more morbid note, Washington also addresses life and his own eventual and inescapable death. “My mortality became more apparent to me, but also my immortality—realizing that my daughter is going to live on and see things that I’m never going to see. I had to become comfortable with this, and that affected the music that I was making” said Kamasi.
As luck would have it, Sacramento will be blessed with yet another Kamasi Washington gathering. And while the largely major market tour already started in early May, it will eventually work its way to the West Coast culminating in a gig at the Hollywood Bowl Jazz Festival (Washington and Herbie Hancock curate the event) along with a slot on the highly coveted Newport Jazz Festival.
For those fortunate enough to have seen him burn down Harlow’s back in 2015, expect the unexpected at the upcoming Crest Theatre show. If you appreciate jazz and all it’s complexities, or you have an adventurous ear, you’ll also want to check out ‘Heaven On Earth’ (2018) and ‘The Epic’ (2015) which landed at No. 5 on the Billboard Jazz Albums chartupon release.
Sean Healy presents an evening with Kamasi Washington at the Crest Theatre located at 1013 K Street in Sacramento, CA. Doors open at 7:30pm and the show starts promptly at 8:30pm. Tickets start at $39.50 and can be purchased at www.crestsacramento.com.
The annual Hangtown MX race on June 1 is the second round of the 11-race Pro Motocross Outdoor Championship Series, an event that is considered the largest of the outdoor season, attracting 25,000-plus spectators and generating more than $10 million to the local Sacramento area economy.
It was a crazy Supercross 2024 season — both in the 250 (West and East) and 450 classes — with podiums changing regularly and awkward crashes taking the most impressive riders out of points contention. While most eyes were on Jett Lawrence (Honda), Eli Tomac (Yamaha), Cooper Webb (Yamaha), and Chase Sexton (KTM) in the 450 class, the real consistency story belonged to 250cc West division rider RJ Hampshire (Husqvarna).
Hudson, Florida product RJ Hampshire was runner-up at both the 2023 Monster Energy AMA Supercross 250SX Western Regional and 2022 Monster Energy AMA Supercross 250SX Eastern Regional aboard a Geico-sponsored factory Honda ride.
Since moving over to the Rockstar Energy Husqvarna team, Hampshire has proven himself most formidable threat no matter what the division. With a season that saw him make the podium a whopping seven times, it was the rainy local San Francisco race in January 2024 that produced his worst results as he placed 9th overall.
CBS SF caught up with Hampshire while preparing for the outdoor season during some rare downtime.
CBS SF: Congratulations on a stellar 250cc Supercross season and taking the #1 plate. Was there ever a doubt in your mind you had this?
RJ Hampshire: No. Over the years, I’ve learned that anything can happen. I knew I had the speed to win, it was just a matter of putting myself in the right position.
CBS SF: How long did it take you to adjust to a Husqvarna motorcycle when you initially signed in 2020?
RJ Hampshire: I adjusted pretty fast, I was happy with where everything was. The steel frame was the big difference, but once I got used to it was really good. Best decision I’ve made of my career.
CBS SF: The Hangtown track is notorious for its uphill section with several U-shaped turns in a row. What do you like most about the track? Any parts more difficult than the rest?
RJ Hampshire: My favorite part is the steep uphill before we get to the finish. We don’t really have a similar section on any other outdoor track. Weather depending on how good the dirt is going to be with moisture. Also, the opening ceremonies with the painted ladies is something we always look forward to.
CBS SF: You’re 28-years-old now and considered a senior in the 250cc class. How much longer do you think you’ll stay there? Have you ridden the 450 in practice sessions lately?
RJ Hampshire: Yeah, I’ve spent some time on the 450 bike and enjoy riding it. I look forward to racing it when the time comes. Hopefully, next year the opportunity will come and I can race it outdoors.
CBS SF: Every rider has one that proves more challenging than the others. Who have been the hardest to pass or stay ahead of?
RJ Hampshire: Late in the motos, Hunter Lawrence was always strong in the past. Seth Hammaker is probably the toughest one to pass.
CBS SF: What are the terms of your Husqvarna contract?
RJ Hampshire: Right now, I’m contracted with another year. But I have a home here, so I am hopeful to finish my career with them.
CBS SF: What advice do you have for budding amateur racers about to go pro?
RJ Hampshire: Learn as much as you can. There’s going to be ups and downs. Never give up!
The 55th Annual Hangtown Motocross Classic goes down at Prairie City SVRA located at 13300 White Road in Rancho Cordova. Adult general admission tickets are just $60, children ages 6-11 are $20, and kids 5 and under are free. Other ticket options are available online at www.hangtownmx.com or at the box office. Gates open at 7am. Practice and qualifying takes place in the morning and opening ceremonies commence at 12:30pm. There will be two motos each for the 250cc and 450cc men’s pro classes.
For more information on the Hangtown Motocross Classic, visit www.promotocross.com.
Serendipity was in the house at Golden 1 Center in Sacramento last Monday night. After all, Pearl Jam was in town promoting their brand new album, Dark Matter, recently released on the band’s own Monkeywrench Records through major label Republic Records.
For those keeping score, the band hadn’t played the city in a quarter century. Locals may remember the band had a previously scheduled show in 2022 at the same venue but bassist Jeff Ament came down with COVID forcing the band to outright cancel.
Fans who are members of Pearl Jam’s “Ten Club” were granted first access to tickets and were out en masse at the concert. With a queue for the band’s merchandise — set up in a trailer outside the venue — that stretched around the block and then some, there was no shortage of eager fans waiting to get their hands on branded items and shirts that were surprisingly affordable at just $40.
Pearl Jam performs at the Golden 1 Center.CONNER SCHUH
Unlike other live acts who spend time building enormous, overblown productions, Pearl Jam have done the polar opposite and constantly challenge its listeners to support myriad causes including — but not limited to — abortion access, climate change and homelessness. They have also raised awareness about debilitating diseases like Crohn’s, ulcerative colitis, and epidermolysis bullosa. To date, the band raised more than $50 million for their charity with a portion of ticket sales (in this case, only $5) to their Vitalogy Foundation.
Thankfully, the five guys in Pearl Jam – original members Eddie Vedder on vocals and guitar, bassist Jeff Ament, rhythm guitarist Stone Gossard, lead guitarist Mike McCready, and ex-Soundgarden drummer Matt Cameron – had a masterfully-planned set list up their collective sleeves that would see them playing much more than a handful of fan favorites along with selections from their latest album.
Pearl Jam performs at the Golden 1 Center.CONNER SCHUH
Rather than opening with a high energy number, the band kicked off the night utilizing a sleek black and white backdrop as they eased into the somber “Pendulum” from 2013’s Lightning Bolt, following it up with “I’m Open” from No Code. It would only take one more song — the awkwardly-named yet compelling “Elderly Woman Behind the Counter in a Small Town” from their second record Vs. — to fully connect with nearly everyone in the capacity arena.
Not unlike a Fugazi show back in the day, singer Eddie Vedder employed his audience as backup singers throughout the night while the lighting and video crew kept their backdrops to a bare minimum throughout the set. During “Faithfull” from Yield, the audience sang their hearts out as the band made good on their promise to return to Sacramento.
But what separates the Seattle band from the horribly-named “grunge” scene and the myriad bands who were signed because of their zip code is their unwavering attention to the song and its thoughtful lyrical content over everything else.
For the uninitiated, the band always play a different set each night, which has inevitably brought even more new fans into the fold who often attend multiple shows during a tour.
And while Vedder at times stole the spotlight with his somber stories from the distant past, his mention of the band’s first time playing Sacramento hit home with a lot of locals. For those not in the know, Pearl Jam first played locally at the now-defunct Cattle Club back in February of 1991 under the moniker Mookie Blaylock — an ex-pro basketball player — which was the band’s original name. The show was booked by longtime independent local promoter Brian McKenna, who was then working with Jerry Perry (a local music scene hero in his own right) when they were partners in their company New View Music Productions.
Cattle Club flyer for Mookie Blaylock showNEW VIEW MUSIC PRODUCTIONS
If there ever was a proper homecoming, the night’s program doubly insured fans this would be a night to remember. And while it was only the fourth show on their Dark Matter U.S. trek, the band played like it was their grand finale of a farewell tour. With standout tracks such as the title track from the new record and “Corduroy” from Vitalogy filling the void, it was hard for longtime fans to ever take a seat during the show.
Other highlights also included “Garden,” “Even Flow,” “Jeremy,” “Black,” Alive” — all from from the Diamond-certified Ten debut from 1991 — as well as a gorgeous cover of Tom Waits’ “Picture in a Frame,” which served as a dedication to a couple the band had known for years.
Left off countless touring bands’ itineraries, Sacramento proved to the band this was and is much more than a secondary market with its passionate response. And the band responded in kind. With a set list that included an 18-songs main set followed by a hefty encore that saw the band tear through seven more tunes, Pearl Jam’s long overdue concert delivered in spades to Sacramento area fans what they deserved after an unnervingly long wait.
Wilmington, North Carolina’s own Weedeater are back in Sacramento yet again and will be delivering their own brand of “weed metal” for unsuspecting ears.
Since then, the band have delivered some of the finest stoner / sludge metal steeped in the traditions of THC, marijuana culture, and strong booze. After delivering both ‘… And Justice for Y’all’ (2001) and ‘Sixteen Tons’ (2003) – both on indie Beserker Records – the trio solidified themselves as one of the most ferocious live bands on the touring
And although the band’s recorded output is scant at best, Weedeater have delivered on their promise of quality over quantity. For those newcomers who haven’t heard ‘God Luck and Good Speed’ (2007) or ‘Jason… The Dragon’ (2011) issued on Southern Lord Records, you are in for an aural treat sure to cause dizziness and bouts of dysphoria. And while ‘Goliathan’ (2015) was released nine years ago on Season Of Mist Records, the band are proven road dogs who don’t need a new release as a reason to tour.
Today, the band is rounded out by founding members Dave “Dixie” Collins (vocals, bass) and Dave “Shep” Shepherd (guitar) along with new (er) member Ramzi Ateyeh (drums).
We caught up with the band’s fearless leader while criss-crossing the US.
Capital Chaos TV: Weedeater have been around for 26 years and only released five full-lengths. Why?
Dixie Dave: We’ve been around even longer that that. So if we haven’t released enough records in that amount of time, you could say we suck even more. Or should I say we suck the best? All good fuckin’ bourbon has to be aged. Good bourbon takes seven years. Great bourbon twelve years or longer. Who’s to say how long it takes to make a record?
Capital Chaos TV: Will we see a new album in 2024/2025?
Dixie Dave: We did have plans to record one very soon, but now we don’t know who we’re gonna do it with. The guy we were gonna be recording with passed away. Rest in peace, Steve Albini. What a great motherf****r. Either way, we will do another record sometime.
Capital Chaos TV: The band have landed numerous support slots for major headliners across the US. Anything after the June 2024 Gwar run?
Dixie Dave: I don’t really know what we’re gonna do after that. We’re gonna go home for a little bit. We are supposed to play some shows with our very good friends King Parrot in Australia. Other than that, we might play some festival in Mexico City.
Capital Chaos TV: You and “Shep” are the band’s originals and you’ve been through a couple of drummers. Sadly, we lost Carlos Denogean back in 2018. What about each of your previous drummers’ styles appealed to you.
Dixie Dave: All of them are pretty bad ass in different ways, but Kiko was the original drummer for Weedeater and he’s the man. He’s a goddamn caveman. He’s fucking brutal and also a jazz-trained drummer. Having both of those traits is the most optimum thing for us. We’ve had some of the best drummers I’ve ever had the pleasure to play with since then.
Capital Chaos TV: Is touring tougher in this economy?
Dixie Dave: Yes. Merch sales are a huge deal these days. Please come out to the show and buy a shit-ton.
Weedeater play the Cafe Colonial located at 3520 Stockton Blvd. in Sacramento on Saturday, May 25th. Rounding out the bill is Rebelmatic and Demonsmoke. Tickets can be purchased in advance for $25 at http://www.cafecolonial916.com. Cafe Colonial is located at 3520 Stockton Blvd.. Doors open at 7pm and the show starts promptly at 8pm. All ages are welcome.
Weedeater also play The Cornerstone in Berkeley located at 2367 Shattuck Avenue in Berkeley on Sunday, May 26th. Support comes from Rebelmatic and Bloodhum. Tickets are $23 advance and $27 at the door. Doors at 7pm and the show starts promptly at 8pm. All ages are welcome.
It’s hard to believe New York’s own The Bogmen are still playing live and releasing new material some 31 years after their inception. Largely an East Coast phenomenon, the band garnered a huge buzz which caught the attention of Arista Records who issued two full-lengths – ‘Life Begins at 40 Million’ (1995) and the greatly under-appreciated and acknowledged ’Closed Captioned Radio’ (1998).
The Bogmen’s debut sold a respectable 50,000 records and helped them land some coveted support slots with national acts such as The Barenaked Ladies, but the latter would get them dropped from the label. Largely a victim of their record company not knowing how and where to market the band, The Bogmen would inevitably break up just a year after their 2nd release.
And although the band would re-unite on different occasions with great results, their newest release – ‘In My Kingdom’ – is just what their fans have been clamoring for. The players live and on the record are: Billy Campion (lead vocals, guitar, ukulele) Brendan Ryan (keyboards, accordion, trumpet) Billy Ryan (guitars, mandolin, banjo, vocals). P.J. O’Connor (percussion, vocals) Paul Frazier (bass, vocals) and Matthias Bossi (drums, omnichord, marxophone), Dave Smoota (trombone), Paula Henderson (baritone sax), and Alicia Rau (trumpet). Original members Mark Wike (bass) and Clive Tucker (drums) added to some album tracks also.
We caught up with Billy and Brendan Ryan while preparing for the big gig.
Capital Chaos TV: It’s been a minute, but what do you remember about your Arista years?
Billy Ryan: At first it was exciting to be signed by Clive Davis and A&R guy Lonn Friend on a major label. They were noticing bands like Nirvana and Pearl Jam explode and wanted in, but we were not easy to market for them as we weren’t grunge and hard to categorize. DJ’s heard Arista (records) and just thought of Whitney Houston and Biggie Smalls. Arista did have catalogues like The Grateful Dead and Patti Smith, but they were self-sufficient artists. In the end, it didn’t work. They wanted us to be something that we weren’t. The price of an education I guess.
Brendan Ryan: We had gone two years full time prior to the deal. Having Lonn Friend was a huge asset, but it became hard for him to drum up label support. We had a hard time making a living and paying rent at these times. They did spend a good amount of money on recordings and tour support. They enabled us to open and tour with bands like Shane McGowan & The Popes, KISS, and The Barenaked Ladies.
Capital Chaos TV: Bill Laswell was an odd choice for a producer. How did that work out for the ‘Closed Captioned Radio’ record?
Billy Ryan: We had the same manager as Laswell and we were intrigued by his eclectic catalogue, especially the world and alternative music such as The Master Musicians of Jajouka, Africa Bambaata, Bernie Worrell, Iggy Pop, and PIL. We weren’t quite satisfied when he thought we were done so we finished the record with Godfrey Diamond (Lou Reed-Coney Island Baby, More, More, More).
Capital Chaos TV: You have a new record after a 25-year wait. Where did you record and who produced it? Any stories about the process? Any songs that were from your Arista years?
Brendan Ryan: The three of us (Billy, Billy and myself) began writing music and pooling our influences during the difficult times of the pandemic and the loss of a close friend. This resulted in a full length album of new songs, as well as some re-recorded oldies that we are really proud of. We recorded drums, bass and horns at The Carriage House in Connecticut which we absolutely loved! We also did some guitars, pianos and a horn section. We recorded overdubs and mixed in my studio as well as Billy Campion’s. I think we used some guitar tracks from Billy’s studio. It helped that each of us has our own recording set up so that we can go home and work on ideas. It was a very collaborative recording process between the three of us. In the end, Billy Campion and I produced it with a lot of input from Billy Ryan. As far as songs from the Arista years, we re-recorded “Raga” for the new record. We’ve added electronic drums, horns, mandolin and accordion.
Capital Chaos TV: Will you guys ever get an agent and do a proper US tour again? You definitely have fans out here in the San Francisco / Bay Area region.
Brendan Ryan: We hope so. It’s like the movie ‘The Blues Brothers.’ We have to do some promotion and be on a mission from God. We are currently looking for an agent or management.
Capital Chaos TV: The Bogmen headlined the Bowery Ballroom in the past. Why Irving Plaza for your comeback show?
Brendan Ryan: It’s a perfect-sized room for where we are at right now and, obviously, there is a history with us playing there. Our fans broke the bar record there several times (not that we advocate drinking heavily at our shows). The post 9/11 shows we did in December 2001 were heavy yet cathartic not only for us, but for our audience as well.
The Bogmen headline Irving Plaza located at 17 Irving Place in New York on Thursday, May 30th. Pan Arcadia open the show. Tickets starts as low as $59 and can be purchased at www.irvingplaza.com. Doors open at 6pm and the show kicks off at 7pm. All ages are welcome.
Old Sacramento, not unlike other regions in the Sacramento Valley, struggled to bounce back after a lengthy shutdown due to COVID restrictions back in March 2020. And while faced with much adversity, it’s places like the California State Railroad Museum which ultimately opened safely and with great results.
One of the latest installments at this area destination are a series of shows dubbed Candlelight Concerts which feature classical twists on pop artists ranging from Pink to Coldplay, Queen to Adele, Imagine Dragons to Beyonce, and more. With two shows a night starting at 7pm and 9pm based on demand, these musical events feature an ensemble who’ll play more of the well-known repertoire from the night’s featured act.
Of worthy mention is the upcoming tribute to Nirvana, an Aberdeen, Washington-based band which took the world by storm with the release of their Diamond-selling ‘Nevermind’ record back in 1991.
Expect such song staples and fan favorites as “Come As You Are,” “In Bloom,” “Heart-Shaped Box,” “About a Girl,” “Smells Like Teen Spirit,” and more.
We caught up with the fine folks at Fever, a group who curate a number of different events in myriad cities and other countries, to get the lowdown on their upcoming Candlelight series.
Rio Linda Online: When and where was your first Fever Candlelight presentation?
Fever: The first Candlelight Concert took place in 2019 in Madrid, Spain when Fever, who was already hosting more traditional classical music concerts, saw a need to make this genre more accessible to its users, aiming to reach a new demographic and create more affordable concerts. The success in Madrid and Europe led to further expansion, including their first US concert in New York. Since then, Candlelight Concerts are present in more than 100 cities worldwide, reaching millions of attendees and featuring a wide variety of themes and genres, from classical music to tributes to contemporary artists like Queen, ABBA, Coldplay, and EdSheeran.
Rio Linda Online: Who is choosing the material for each event?
Fever: Fever develops Candlelight Concerts’ programs based on a combination of recommendations from our in-house music curation team and research that takes into account global metrics and feedback from our audience and musicians. Our in-house music curation team consists of professional talented musicians dedicated to maintaining a globally recognized standard of excellence in Candlelight concert performances. This team meticulously evaluates and selects our musicians while also collaborating with them to tailor arrangements to local preferences.
Rio Linda Online: Where did you find your musicians for the Old Sacramento series of shows?
Fever: We are always hiring talented local musicians who align with our belief that classical music can reach a diverse audience and demonstrate this by performing compositions for all tastes. Candlelight Concerts provide a platform for musicians to connect with people from all over the world and create new opportunities to do what they love. Sacramento concerts will be performed by local string quartet musicians such as Range Ensemble and Listeso String Quartet, who demonstrate a deep passion for music and fit perfectly with our mission to democratize access to classical music.
Rio Linda Online: Do you use the same group in other regions or do you have a Rolodex of revolving players?
Fever: Sometimes when launching in a new city or working in cities very close by, we count on the support of our talented musicians from the region to bring the best musical experience for the audience. Musicians can apply to work with us and the Candlelight concerts’ team – formed by professional music curators – will evaluate the applications and get back to them. The team is also proactively searching for talents to be part of our worldwide network.
Rio Linda Online: Are there any age groups that you haven’t done these concerts for? Plans to do shows for toddlers, etc (ala Baby Einstein)?
Fever: Currently, most attendees at Candlelight concerts are between 18 and 40 years old, although we also attract an older audience. All guests must be at least 8 years old, and anyone under 16 must be accompanied by an adult. We haven’t done concerts specifically for toddlers but in some cities like Barcelona, Glasgow, or Melbourne, we have Candlelight Kids concerts: Songs for Kids and Adults, dedicated to children between 4 and 12 years old, in which a string quartet performs the melodies of the most iconic movies.
Candlelight: Tribute to Nirvana takes place Tuesday, May 28th in Old Sacramento at the California State Railroad Museum located at 125 I St in Sacramento. Tickets can be purchased at https://feverup.com/en/sacramento in advance or at the door for an extra charge. Tickets start at $37 and top out at $55. Eight years old or older only. Guests under the age of 16 must be accompanied by an adult. At press time, advance tickets are already sold out for the early 7pm showing, but the 9pm presentation still has tickets in all price zones.
PLAY My Morning Jacket plays a rare Napa show as part of the 2024 BottleRock Festival on May 25. Photo courtesy of MMJ
The juggernaut music festival BottleRock is back in Napa, bringing with it a cavalcade of bands—old faves and emerging talents alike.
On Friday, May 24, headliners include the legendary Stevie Nicks, dynamic rapper Megan Thee Stallion and the eclectic St. Vincent. Joining them are hip-hop icon Nelly and the indie pop group Miike Snow—and literally dozens of other stellar acts.
Saturday, May 25 promises another day of fantastic music with headliners Pearl Jam and Maná leading the charge. Other acts include Kali Uchis, The Kid LAROI and Louisville, Kentucky’s My Morning Jacket—a band whose trajectory most any touring national act would die for.
Since forming in 1998, the band’s reputation on the live music circuit garnered them praise from audiophiles, concertgoers and press outlets all across the U.S. Fronted by founder/mainstay Jim James, the MMJ collective has released nine studio albums along with a basketful of live offerings, compilations and extended plays.
For the uninitiated, MMJ cut their teeth playing small clubs supporting their indie releases, The Tennessee Fire (1999) and At Dawn—both issued on boutique label Darla Records. Through incessant touring and word-of-mouth, the band caught the attention of New York-based ATO Records, a label the band still calls home today.
Said James after a lengthy MMJ hiatus later in the band’s career that saw him and Broemel release solo records, “We didn’t know if we’d make another record again. For a long time, I was feeling burnt out and unsure if I wanted to do this anymore.” Thankfully, James and the band changed their tune and eventually regrouped to issue The Waterfall II and, eventually, their latest release, 2021’s eponymous My Morning Jacket, to the delight of music lovers.
This gorgeous 11-song affair features some of the band’s best material in recent memory. Starting with the lead track, “Regularly Scheduled Programming,” the collection heads in myriad directions, from contemplative to straight-ahead rockers such as “Complex,” with Jim James and company proving yet again they are as comfortable in the studio as they are on the road.
And while their adoring fans will argue which record is their best, all can agree MMJ hasn’t released a dud yet. From the Grammy Award-nominated The Waterfall record to fan-favorite Z, there is something for every music listener. Once considered an indie rock band, MMJ has appealed to the jam band circuit, southern rock and psychedelic rock geeks.
The band is still anchored by vocalist/guitarist Jim James and rounded out by longtime bassist and co-founding member Tom Blankenship, drummer Patrick Hallahan, guitarist Carl Broemel and keyboardist Bo Koster.
My Morning Jacket plays the BottleRock Festival inside the Napa Valley Expo at 575 3rd St. in Napa on Saturday, May 25. The three-day festival presented by JaM Cellars lasts from May 24 to 26, and a full schedule, along with door times and ticket options, can be found at bottlerocknapavalley.com. Single-day tickets are still available in relative abundance. All ages are welcome.
BottleRock concludes on Sunday, May 26 with a stellar lineup headlined by Ed Sheeran and Queens of the Stone Age. Other top acts include Dominic Fike, Norah Jones and The Offspring.
With a legacy that spans over four decades, The Strawberry Music Festival has been one of the longest-running and most enduring gatherings of its kind. Much more than an outdoor festival, longtime fans and attendees can always count on a stellar, star-studded line-up representing myriad musical genres. This year’s show features a little something for everyone with such disparate musical guests as Aiofe O’Donovan & Hawktail, Robert Randolph, Tim O’Brien Band, Roy Rogers, Goodnight, Texas, Big Richard, Rob Ickes, and a local/regional musical undercard that demands your utmost attention.
With over 20 acts on the Main Stage alone, there are many options to hear new and exciting music. Additionally, there will be Friday and Saturday late-night soirees at Amy’s Orchid Lounge along with workshop performances by Main Stage artists. For those in the campgrounds and/or possibly off-site, a pirate broadcast called Hog Ranch Radio will host live performances and important festival information throughout the day.
Aoife O’Donovan photo by Sascha Israel
Set in the gorgeous backdrop of the Nevada County Fairgrounds surrounded by conifer trees and a large pond nestled just outside of the camping area, this is one concert that prides itself as a safe haven for all ages. In addition to the musical program, there are myriad activities for children dubbed the Strawberry Kids Program which includes (but is most certainly not limited to) games and workshops for different groups based on age. From toddlers to teens, there are many things to see and do from campfire gatherings to bean bag games, a teen dance to mural painting, bubble tables to marble painting, and much more.
For those who’ve never been, don’t expect a bunch of junk food and Budweiser or Coca-Cola signage around the grounds. Instead, expect lots of healthy food options from local food trucks along with craft beers and handfuls of independent vendors selling their wares and offering specialized services.
The Strawberry Festival takes place from May 22nd to May 27th at the Nevada County Fairgrounds located at 11228 McCourtney Road in Grass Valley. Tickets can be purchased at https://strawberrymusic.com in advance or at the door for an extra charge. Single-day adult options are available from Thursday to Sunday. Adult 1-Day tickets start at $70 for a single day and top out at $100. The 4-Day option is already sold out. Teenager tickets (ages 13-19) are $30 for a single day while children (ages 7-12) are just $20 per day. Kids six and under are free. 5-Day camping passes are already sold out, but 4-Day and less are still available for a tiered fee.
For black and thrash metal fans, the latest split EP featuring Atlanta’s Sadistic Ritual and Vancouver’s own Wormwitch couldn’t have come at a better time. Released by underground label, Boris Records, it’s the three tracks from the former that are sure to blow minds.
Photo by Brady Hunter
And while the quartet are not yet a household name on the touring circuit, the songs are the perfect precursor to the band’s forthcoming record on Prosthetic Records. Already darlings of Decibel Magazine, the new music is sure to draw comparisons to such disparate acts as Naglfar, latter era Satyricon, Aura Noir, and even Sodom.
Longtime fans will remember the band issued ‘The Enigma, Boundless’ over two years which solidified the group as a formidable force both in the studio and on the live front. And while many different press outlets have scrambled to pigeonhole the band’s sound – some call it “psychedelic thrash” even – what’s most evident is the group’s songs on the nine-song platter transform the listener to another dimension. Starting with the plodding rhythms of the lead track, “End Of All Roads,” there is no shortage of insane riffs and killer leads. Other standout tracks include “Murmur,” “Area Denial,” and “raving Voyeurism.”
Today the band is rounded out by guitarist /vocalist Charlie Southern, guitarist / producer Alex Parra, bassist / vocalist LaMar George, and drummer Joe Sweat. We caught up with Alex as he was preparing to hit the road for a US tour that will take them from San Diego, California on May 16th to the tour’s inevitable closer in Brooklyn, New York on June 8th.
Capital Chaos TV: You guys formed in 2009 and are still touring. What do you attribute to your longevity as an underground metal band?
Alex Parra: The band formed in 2009 and started touring in 2015 during the ‘Edge of the Knife’ EP. Ever since the band got together, we’ve been through our ups and downs with members changes but never had a good enough reason to split the band up. Today, Charlie writes the majority of the music. I produce the albums and add my ideas and solos during that stage. It’s has been that way for the last nine years and is still going strong.
Capital Chaos TV: The new split EP is one of my favorites of 2024. Do you have more songs from that session that weren’t released? The production is absolutely killer. Tell us about who ran the boards and recording process.
Alex Parra: Thanks! I’m glad you like the production! As mentioned earlier, I produce all the records. The songs are ideas we had shortly after the release of ‘The Enigma, Boundless.’ It’s very much a continuation of the concepts from that record.
Capital Chaos TV: Any plans for new record in latter 2024 / 2025? What label will be releasing?
Alex Parra: We have a list of ideas and working demos for the next album. Writing will resume right after this tour with Masacre. Prosthetic Records will be releasing the next full- length album.
Capital Chaos TV: Do merchandise sales account for a great portion of your tour receipts? What do you guys do to save money on tours in smaller venues?
Alex Parra: Selling merch is the only way we are able to tour. Everything on the tour depends on it. The show guarantees insure we have the gas covered getting from venue to venue, but the rest is dependent on merch sales. Other ways we save money is by having bunk beds in our van to save on hotel rooms. We try to only get a room when we need one. It is a lot of planning and thinking ahead to pull of a tour successfully these days.
Capital Chaos TV: Any offers to tour overseas this year or next? Will we see the band coming back in latter 2024? How did the Masacre tour come about?
Alex Parra: No offers for overseas or for a US tour later this year yet. We know we have some fans overseas so hopefully one day. It is a much bigger risk to tour over there for US bands so it depends on a lot of conditions. The Masacre tour was put together by our booking agent, Amos Rifkin under Heavy Talent, so it was not hard to add us to the tour as we have been looking for the right tour to do so.
Capital Chaos TV: Any great bands from the Georgia scene. Any bands you play with more than others?
Alex Parra: We all play in other killer bands from around Atlanta, so we can start there. We share members with Vimur, a black metal band that l recently completed work on their fourth album. Charlie also plays in Alabama’s Ectovoid which also has a new album I am working on. It’s really good death metal. I play in Paladin a power/thrash band that focuses on infectious riffs, solos, and soaring vocals. Definitely real Guitar Hero kinda stuff. Moonlust, Cemetery Filth, Turn Cold, Cloak, Cauldron Born, Metaphobic, and Shepherds ov the Veil are all bands we’re close friends and associated with.
Sadistic Ritual play the Cafe Colonial located at 3520 Stockton Blvd. in Sacramento on Monday, May 20th. Rounding out the bill is Masacre (from Medellin, Columbia) and locals Abhorrency. Tickets can be purchased in advance for $20 at www.cafecolonial916.com. Cafe Café Colonial is located at 3520 Stockton Blvd.. Doors open at 7pm and the show starts promptly at 7:30pm. As always, all ages are welcome. Get there early to score some fine Cafe Colonial food fare.
Sadistic Ritual also play the DNA Lounge located at 375 11th Street in San Francisco on Tuesday, May 21st. Rounding out the bill is Masacre (from Medellin, Columbia) and locals Hellhunter featuring drummer Will Carroll from Death Angel fame. Tickets can be purchased in advance for $21 advance at www.dnalounge.com. Tickets are $27 at the door. Doors open at 7pm and the show starts promptly at 7:30pm. All ages are welcome.
For the uninitiated, Slayer’s co-founding guitarist Kerry King has been at the forefront of thrash metal for almost four decades. With a style that encapsulates the finer moments of thrash, punk and metal, King’s songs have been the soundtrack to many head-banging youths with such song staples as “Mandatory Suicide,” “Hell Awaits,” and “Raining Blood.”
As the debut his new band’s latest single “Idle Hands” proved, longtime Slayer fans didn’t have to worry if the guitarist softened since Slayer’s farewell tour back in November 2019. Said Kerry — who ceremoniously left his trademark chains behind as he walked offstage at the last Slayer gig — “I knew early on that I wasn’t done, and I had no intention of not continuing to play.”
L-R: Kyle Sanders (bass), Mark Osegueda (vocals), Kerry King (guitar), Paul Bostaph (drums), Phil Demmell (guitar). JIM LOUVAU
With principle tracks recorded at Henson Studios in Los Angeles over the course of only two weeks, From Hell I Rise was finished shortly thereafter. Featuring 13 blistering tracks including standouts “Crucifixation,” “Toxic,” “Residue,” and the highly infectious “Tension,” there isn’t a dud to be found. And with song structures and topics that could only come from Slayer’s axeman, this soundtrack to the apocalypse — available on all formats on May 17th Reigning Phoenix Music — is sure to incite riotous behavior and circle pits wherever the band performs.
Much more than a side project, Kerry King — both the band and the man — are on a mission and putting the group at the forefront of all conversations. While Slayer may have announced reunion appearances at a trio of festivals in the fall (including one at Aftershock 2024 in Sacramento), King and his new band will be on the road as much as humanly possible. Started well before the pandemic, King has been a writing machine and, perhaps, even more prolific than during his full-time Slayer tenure.
And while there is much chatter going on about Slayer returning this year, From Hell I Rise showcases one helluva line-up and is much more than a distraction from current events. Featuring some of Bay Area’s best including longtime Slayer drummer Paul Bostaph (who also once played in Forbidden), guitarist Phil Demmel (formerly with Vio-Lence and Machine Head, who is also a member of the recently unveiled supergroup Category 7 featuring Armored Saint and former Anthrax frontman John Bush), and Death Angel vocalist Mark Osegueda along with bassist Kyle Sanders (Hellyeah), there is more than enough firepower to appease even the most devout Slayer fan.
As luck would have it, the band will be supporting Lamb Of God and Mastodon on a stateside trek dubbed the “Ashes of Leviathan Tour” that sees them crisscrossing the U.S. starting July 19th in Grand Prairie, TX and then ultimately ending in La Vista, Nebraska at the close of August.
CBS SF: Just finally listened to the new album as a whole and it’s a great listen from top to bottom. How long have these songs been ruminating? Were any of these riffs meant for Slayer originally?
Kerry King: There are two complete songs on this album that were left over from ‘Repentless’ and they were even done lyrically then, but I wasn’t thrilled with how they turned out. I put them back in my pocket until the next Slayer record, but there never was a next record, so that became part of my new record. Some of these riffs, like the main body of ‘Residue,’ is probably over 20 years old. I could never find the parts to finish it. This time I was able to. It’s one of those songs that I always knew I wanted to use, but didn’t want to put it out prematurely. There’s tons of stuff I wrote since Slayer was done. There’s also tons of stuff I wrote since ‘From Hell I Arise’ was done, so record number two is shaping up nicely as well.
CBS SF: Your band features a veritable who’s who of the Bay Area metal scene. Why that area in particular?
Kerry King: I didn’t think of it like that, but that’s just how it panned out. I’ve known these guys — especially, everybody from the Bay Area — for decades. All of them except Mark [Osegueda] needed work. Certainly Paul and I were out of work. Phil Demmel was also out of work, but he put his name in the hat very early and worked with us doing demos off and on. Every five or six weeks, he’d come down to play and we’d sound better.
Using the demos we had, Phil would send new ideas whenever had new material. Phil’s an incredible player and Mark’s one of the best singers in thrash metal, without question. The pulse of thrash definitely comes from there. We were a little displaced because we were in Southern California, but at the end of the day, so was Metallica.
I met Kyle in 2015 on the Mayhem Tour and we became friends very quickly. I knew that if I ever wanted a bassist, that’s who I’d be calling. He’s my East Coast connection. Paul’s been working with me on and off since the early 90’s, so the talent and the friendship is there. I’m happy I could help the guys out when they didn’t have work. Right now, I get to go forward and show everybody what we got. Kerry King – Residue (Official Music Video) by Kerry King on YouTube
CBS SF: A full U.S. tour is already on the books. Do you plan to stay as busy with the KKB in 2025?
Kerry King: Absolutely. I would like to get something filled up between October and December 2024, but if the promoters think that’s too early, then it will be soon after the New Year as business picks up again. Five weeks in Europe is very short for any kind of tour, be it festivals, or whatever. We want to go back and do a proper headline tour over there. We’ll probably come to the States and do a proper headline tour or shift gears and put our other record out. We will be busy for sure.
CBS SF: Do you prefer festivals over headlining dates?
Kerry King: That’s difficult. I like both. If I had my choice, I would probably say a headlining date. When you’re doing festivals, you’re just a pawn in a sea of bands that are there to entertain a mass of people, so there’s too many cooks in the kitchen, so to speak.
CBS SF: Any songs that didn’t make the record?
Kerry King: Absolutely. Within three months of Paul and I getting together, we had so many songs. I said, “Hey dude, let’s shift gears and finish the ones I’ve already got lyrics or titles for, or just songs making this record, so we aren’t spinning our wheels and getting burned out.” Before we called those songs, we made demos of them however far along they were at that point, and those are ones I’m going to readdress when I start working on stuff again. Actually, when I finally go on tour, during days off I’m going to really try to finish lyrics and stuff. When I come home and when the tour cycle is over, we can go right back in the studio and get more music out.
CBS SF: Why no Bay Area show scheduled so far? Seems like your biggest market aside from Los Angeles and New York.
Kerry King: I’ll bet that Lamb of God has played the Bay Area recently. There’s no New York City show either, so I’m assuming Lamb of God had shows there awhile ago as well. We’re playing the sheds in some B & C markets, but when we come back we’ll be hitting the other places.
CBS SF: What are your earliest memories of touring alongside Mark Osegueda previous to joining the band? What about Phil Demmel?
Kerry King: My earliest memories are all gone, because that was probably 40 years ago. I’ve known Mark since he was a teenager singing in Death Angel. I remember them opening for us because Mark always reminds me he did when he was not even 18 years old and still a kid. Beyond that, Death Angel did an opening run for us in around 2016 or 2017. Before that, it was basically different circles.
As far as Phil goes, I knew Phil in Vio-Lence, but really I don’t remember that period either. We’d already toured with Machine Head lots and unless we were playing the same festivals and we turned up at the same place, I would never see him. However, every time if I was off and he came through or he was off and I came through, we’d hang to talk music and stuff.
CBS SF: Have you worked with anyone else outside of your band that has music recorded for possible release someday?
Kerry King: No. This isn’t a solo project. Kerry King [the band] happens to have my name on it. This is my band and will be until we decide no longer to be one. Hopefully, that’s when we’re all done and want to hang it up to go sit on our porch and watch a bucket of grass grow. These are my guys now, so get used to them.
Eddie
