ATMOSPHERIC Mitski’s latest video, “Star,” was directed by Maegan Houang.
Quite the prolific artist, 34-year-old Mitski (aka Mitsuki Miyawaki, born Mitsuki Laycock) has released a handful of great records over the past couple of years. Her current tour finds her supporting her latest, The Land Is Inhospitable and So Are We, which has resonated with her adoring fans while also receiving critical acclaim.
She embarked on an ambitious tour at the end of August—an itinerary that includes an all-ages show Sept. 25 show at Frost Amphitheater, with Wyatt Flores opening. The current North American tour was preceded by a successful spring leg along with a Europe and UK run. Strong ticket sales and demand from her fans will keep her on the road for the better part of next month.
I was introduced to Mitski by my daughter, who was already a huge fan and had been listening to her constantly on Spotify and YouTube. And although my daughter had not owned any records to date, I made sure to purchase some for her collection in the last couple of years.
When asked about what makes Mitski special, my kid said she simply liked her vibe. For those not in the know, Mitski produces rather melancholy fare that has become a huge hit with the young female market in particular. And although she doesn’t tour as much as she should or wants to, her adoring fans will always queue up to see her live.
Her latest video, “Star,” was directed by Maegan Houang. “Unlike the more narrative/concept driven videos Mitski and I have done together in the past, I wanted this video to encapsulate the impressionistic circularity we all experience. Our lives oscillate between light and dark repeating itself in an endless cycle where nothing is permanent. The best moments are fleeting, but so are the bad,” Houang has stated.
Mitski is not doing interviews currently and is famously protective about her personal life, As Charlotte Goddu wrote in an article for The Ringer about the new album, “Over the course of her career, Mitski has adapted her performance persona in a way that underlines, rather than obscures, how little her audience truly knows about her, using choreography to make her shows into deliciously alienating spectacles that both parody and mimic the platonic ideal of pop stardom. She’s telling her fans over and over, through her artwork itself, that they’ll never really know her.”
Mitski thinks life would be easier without hope, or a soul, or love. “The best thing I ever did in my life was to love people,” Mitski has said on X. “I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I’ve created onto other people.”
Her end goal, however morbid it may sound, is to continue to shine her love for humanity long after she’s left this mortal coil.
Look for Mitski to shine a good light or two on the crowd at Stanford University. Judging by the set list on the recent tour, everyone is in for a treat. And suddenly for one weekday night, the world will not seem so inhospitable to the people who need it most.
Mitski plays the Frost Amphitheatre at 351 Lasuen Street, Stanford, at 7pm on Sept. 25. Wyatt Flores opens the all-ages show. Tickets: $62.50–$133.74.
BEACH GOTH BINGO Former Growlers frontman Brooks Nielsen rolls into town. Photo: Taylor Bonin
For those looking for a modern-day version of the Doors with the swagger of indie rock greats like the Strokes, consider the Growlers. The band, which started in the beach town of Dana Point in 2006 and later migrated to Costa Mesa, are progenitors of Beach Goth, widely described as a style of music that “somehow combines surf, pop, rock and beat.”
Dating back to 2012, the band organized the annual Beach Goth festival, which featured bands representing a variety of genres. A lawsuit with Noise Group (owner of the festival’s venue) over the Beach Goth trademark led to the 2017 festival taking place at the LA Waterfront under the name the Growlers Six and involving such heavyweights as the Yeah Yeah Yeahs, Modest Mouse, and the Butthole Surfers.
Though the band is no more, they released seven albums, a handful of EPs and a number of singles during their run. Songwriter-singer Brooks Nielsen is out on tour, with a stop Tuesday at the Catalyst. Good Times caught up with Brooks on the road.
Good Times: You’ve been touring promoting the Growlers’ Chinese Fountain, and all the shows have been selling out. Why that album as your first choice?
Brooks Nielsen: The short answer is that it’s the 10-year anniversary of the album’s release, but really, it’s something I’ve always talked about doing. Now that I’ve got a band that shares the love, challenge and excitement of putting a show like this together. I’ve got really special fans who I believe appreciate the extra work we do to make each and every show unique. There are many Growlers recordings, plus a healthy arsenal of solo material to choose from, and that makes it both fun and exciting for the band as well as the fans.
Will you ever do the same with Hung at Heart or Hot Tropics?
I don’t think I need to wait for an anniversary to do another album in full. The response to playing the Growlers’ Chinese Fountain live has been overwhelming. Once more, I know another full album show would also be worth doing. Both of those albums you mentioned are on the shortlist.
One Match Left was a wonderful solo record. How was the recording process?
Recording One Match Left was a life-changing experience. Michael Andrews, who produced the album, is heaven-sent. I sent Michael more than one hundred song ideas and he listened to them all. He understood the real value and importance of making my first solo album. We worked on song selections together and improved upon the songs. Michael put together an all-star band for me to record with. Guys like Robert Walter on keys and Joey Waronker on drums. They came in having never heard my music before. We worked from a complete blank canvas in that respect. It was a very raw and genuine approach. We’d listen to a song’s demo a couple of times and then track it. A few takes later we’d have the foundation and we’d go from there. It was a very different recording experience for me, yet in the best possible way. Also. and for the first time, I was able to relinquish some control over my songs. Throughout the recording process, I was surrounded by smart professionals who love music and, most importantly, believed in me. I’m very grateful for the experience.
Do you still talk with your former bandmates? Any chance of a reunion and a big Beach Goth gathering?
The Growlers is my baby. Blood sweat and tears. It was a warehouse-living, school-bus-driving, soup-kitchen-eating grind, and it was a hell of a ride. I’m very proud of the years spent in that band and I’m continuing to keep the spirit alive in every bit of what I’m doing today. There will be a day when I resurrect The Growlers.
Where did your musicians come from? Any notable bands from Southern California?
It took some serious work to assemble this band. There were many days of auditions with a lot of talented musicians. It’s difficult to make the decision on who will be able to handle the workload, the road and to be a good hang and a responsible human. I’m very blessed to have landed the band that I have. They are fearless and hilarious and I’m proud to call them brothers. These are serious musicians who are always bettering themselves, both in and out of this band. They’re always playing, always gigging. Deen and Cole play several nights a week out in the LA jazz scene and they are able to bring that sensibility to my songs and to what we’re doing in this band. They bring a new sense of cool, improvisation and freshness to the music and I’ve been really enjoying that part of it for a change. It’s a great feeling to know that I’m in good hands.
Brooks Nielsen plays at 7pm on Sept. 17 at the Catalyst, 1101 Pacific Ave., Santa Cruz. Ages 16 and over are welcome. Tickets are $32/adv, $37/door. www.catalystclub.com
Local, regional, national, and international talent buyer continues writing about live music and celebrates his 25th year.
Eddie Jorgensen is rooted deep in the local live entertainment scene. Spanning a career booking shows at venues throughout Northern California since 1988, a drummer in various bands, a music distribution rep at BMG and Sony BMG and former freelance writer for all types of live events including (but not limited to) the Sacramento, San Francisco and Reno-Lake Tahoe regions, Jorgensen knows the pulse of the region’s music climate and is excited to now be in a new chapter.
Born into a family of hard workers, Jorgensen’s father, Kurt Jorgensen Sr., started his career climbing poles installing and maintaining cable but quickly moved his way up through the ranks and became the Senior Vice President of Viacom International at the time of his retirement. His father helped bring the first cable infrastructures to San Francisco and Nashville, Tenn. He learned from his father early that, “If you work hard and shoot straight, you will get where you need to,” said Jorgensen.
In a strange twist of fate, Jorgensen also has ties to Nirvana’s late frontman, Kurt Cobain. His grandfather, John “Jack” Ehrhart, delivered Kurt Cobain at Grays Harbor Community Hospital in Aberdeen, Wash. See the opening scenes of the ‘Montage Of Heck’ documentary released in 2015, the exact time when he found out about his grandfather’s role as a doctor to one of his favorite songwriters ever. And while his younger sister jokes there may be a deeper family connection, just knowing one of his musical idols came into this world via his late grandfather is more than enough.
Jorgensen grew up a drummer — starting on a practice pad at age nine — and then worked closely with manager Tom Gaffey at the young age of 18 to help book sporadic punk/funk/metal all-ages shows at the Phoenix Theater in Petaluma, Calif. He soon moved on to attend University of California, Davis, much at the prodding of his father, where he dug into a communications degree and became the promotion director at KDVS 90.3 FM. It was there that he launched his own Blackfish radio show where he constantly changed show styles, much to the chagrin of indie elitists and the station’s director. From world music to reggae, punk to alternative, indie to spoken word, death metal to an all Pink Floyd radio show, there was no genre of music that was off-limits and Jorgensen spent countless hours listening and taping (via cassette tapes) the station’s records and compact discs any chance he could get. He also booked campus shows for the UCD Entertainment Council and worked at the now-defunct Wherehouse Records in Davis. Additionally, he worked as a backstage security monitor after his record store shifts at the Cattle Club where he saw many great shows, including a Smashing Pumpkins/Hole double bill where he saw Kurt Cobain in the bar with his best friend but opted to leave him alone instead of gushing.
Following graduation, Jorgensen moved to San Francisco and worked at a Wherehouse Records in the Sunset district. It was there me met a cable installer and poised the question, “Do you by chance know my father?” After explaining it was, indeed, Kurt Jorgensen Sr., the man who pretty much built San Francisco’s first cable system and helped bring on tons of new subscribers, the cable installer replied with a resounding “Yes, your father is a hero to all of us out here,” he was overcome with emotion and shook Jorgensen’s hand before leaving.
He later moved to Sacramento and took a job with K&K Music selling drums and accessories while staying rooted in the music scene. Jorgensen then moved on to music distribution at the sadly defunct Valley Media, a one-stop distribution hub and later was hired directly by BMG Distribution to sell and market their records to Tower, Borders, Best Buy, Sam Goody, independent stores with a territory spanning into Nevada and a large portion of California. It allowed him to work at Valley Media in-house, (the only major distributor to do so). It was at Valley Media where he finally used his communications major speaking and presenting new releases in the morning sales meetings and lunchtime presentations with BMG’s distributed labels for Valley Media national and indie sales reps.
BMG soon merged with Sony and Jorgensen worked at Sony BMG until the major tectonic shift to digital music which ultimately spelled the fate of brick and mortar music stores and, ultimately his job. He quickly landed a job at yet another one-stop called Super D based in Woodland (just like Valley Media and featuring some alumni) but the job was short-lived as Jorgensen did not enjoy the environment and had health issues that had him on leave for nearly three months.
All the while, Jorgensen concurrently freelanced for over twelve publications previewing and reviewing live shows and reviewing record releases for local publications such as Sacramento News & Review (since 2001), North Bay Bohemian, Pacific Sun, Metro Silicon Valley, The Sacramento Bee, SF Weekly, Reno/Tahoe Best Bets, Alive & Kicking (local publication), Supreme (Valley Media s in-house urban publication) and many more.
He enjoyed the writing opportunity but to make ends meet he had to carry several part-time jobs including sales, marketing and even demos for store staff and customers at area natural food stores. As if that weren’t enough, he worked as a stagehand for the Local 50 working many in-town and out-of-town concerts as well as trade shows, including the inaugural concert at the Golden 1 Center by Paul McCartney in 2016 where he wrote a preview of the show before working the show’s load-out.
By 2018, Jorgensen was offered a chance to become a talent buyer once again via SBL Entertainment owner and CEO, Scott Brill-Lehn. As the talent buyer for SBL, he booked shows in four states (CA, WA, OR, and ID) as well as programming virtually all the live music at The Sofia (inside the B Street Theatre). He also booked music and comedy and podcasts at the historic Crest Theatre (where he initially saw Kurt Cobain play with Nirvana) as their demographic was considerably older.
Since the outbreak of COVID-19 in early March 2020, beginning with his first postponement of folk legend, Peter Yarrow (of Peter, Paul and Mary fame), Jorgensen rescheduled nearly 350+ shows over the calendar year. Some shows moved a record five times on their own at venues in four states. He spent nights, days and weekends working with agents to move shows based on evolving regulations.
However, he parted ways amicably with now-defunct SBL Entertainment and has now resurrected his own company, Blackfish Productions (started in 1988), to book occasional shows when the need arises. “Artists want to be on the road, on the stage, and with their fans. If Ican’t book an act, at least I can give needy artists some press when possible. It’s not easy out there, so we all gotta do our part in the vaat media world to help the scene in our communities grow.”
NATURAL EROSION Santa Rosa’s Laceration just released a nine-song album on 20 Buck Spin Records. Photo by Bill Batchalor
Some records knock one out at first listen. That is especially the case with Sonoma County’s very own Laceration, who just released I Erode, a nine-song platter on boutique independent metal label 20 Buck Spin records.
At its core, the band consists of Luke Cazares on rhythm guitars and vocals, and lead guitar on “Dreams Of The Formless”; Donnie Small on lead and rhythm guitars; Aerin Johnson on drums; and Eli Small on bass. Before heading out on a short 10-date tour with Molten, the band will play most of their new record at their upcoming local album-release show.
Fans may remember the group issued Demise (2021), which cemented the band as one of the most menacing death-metal quartets around.
Thankfully, their latest platter of splatter crushes anything in its wake. As heard on tracks like “Excised,” “Sadistic Enthrallment,” “Carcerality” and the ridiculously heavy title track, this band has done their homework and upped the ante for the local metal scene in the process. With influences ranging from Morbid Angel to Morgoth and Demolition Hammer to Suffocation, this nauseatingly heavy record is sure to land on many Top 10 year-end lists.
We caught up with Luke Cazares to talk about the scene and all things Laceration.
Bohemian: How did the record deal come together with 20 Buck Spin records?
Luke Cazares: We noticed there was an interest in what we were doing after we put out our 2021 debut, Demise, on Rotted Life Records. We were already huge fans of 20 Buck Spin as a label and for its own affiliated bands, so we quickly recorded a demo track of some new material and sent it to their office. That got the conversations going. Today, we are part of the best death-metal label roster in the world and couldn’t be happier.
Bohemian: Did you pick the bands for your record release party at Arlene Francis?
Cazares: Yes, we normally hand-pick show line-ups, as it’s a collaborative effort between us and Bitter End Booking. We like to bring killer bands through Santa Rosa as much as we can. As opposed to years ago, we now have great underground support that continually needs to be fed and perpetuated.
Bohemian: What other local bands are you also into, from any genre?
Cazares: There are lots of sick bands we love locally here like Vile Rites, Coffin Hunters, Burning Palace, Hexen House, Supplex and New Low, to name but a few.
Bohemian: Will there be more touring, aside from the handful of dates listed so far? Are you getting correspondence from other countries to visit and play?
Cazares: Definitely. We have some cool stuff planned for 2025 already. There has certainly been talk to play abroad. We send merchandise all over the world, and especially in Europe, so touring outside of the U.S. is something we definitely plan to do. It’s only a matter of time.
Bohemian: Were there any songs or riffs that didn’t make the record? Any plans to re-record your earliest stuff in a live setting?
Cazares: We have a lot of riffs on the back burner and will apply what we can as future material. We did initially toy with the idea of re-recording some older tracks from 2010 for this record, but decided to issue all-new music.
Bitter End Booking presents Laceration’s ‘I Erode’ album release show with Hemotoxin, Burning Palace and Aseptic at The Arlene Francis Center, located at 99 6th St. in Santa Rosa. Doors open at 6pm, show at 7pm on Saturday, Aug. 10. Tickets are $15 in advance and available online at bit.ly/laceration-i-erode. All ages are welcome. Listen to ‘I Erode’ at 20buckspin.bandcamp.com/album/i-erode.
Sonoma/Marin exports and purveyors of the Pink Floyd sound, Pete Floyd, have been playing all around these parts lately and have proven themselves a veritable headliner. Fronted by vocalist/guitarist Pete Delaney and the ambidextrous Pete Hale, this is one tribute that delivers on all fronts.
Although only active for a couple of years, it’s their electronic press kit that caught the attention of countless curious in-house talent buyers. At present, the band is rounded out by vocalist Teal Collins (Mother Truckers), veteran Terrapin Crossroads contributor Paige Clem, keyboardist Bob McBain, bassist Toby Tyler, saxophonist Alex Garcia, and drummer Sean England.
For those tired of the countless Pink Floyd tributes who have no soul and play the same set list every night, the band is somewhat of a revelation in the genre. Expect different song choices and selections from nearly every important Pink Floyd era.
We caught up with bandleader Pete Delaney as the band prepared for a handful of live shows in and around the Bay Area and Sonoma County.
Bohemian: How is the tribute scene these days?
Delaney: It’s been proliferating. Locally, we have such an amazing group of talented musicians and we all support each other. Many of our close friends and former band mates play the same venues and we all get along very well. A lot of us have been playing live music for 30 plus years doing both original and cover songs. I can’t describe the tremendous energy that fills the room when hundreds of people come together seeing their favorite songs performed and singing along.
Bohemian: At this stage, are you having regular band practices or are you all pretty much playing the same set each night?
Delaney: We have regular sectionals and rehearse before every weekend run of shows. We feel like we owe it to the fans, venues and, especially Pink Floyd, to do their music justice. It is challenging to present their sound properly as we have eight musicians onstage and a variety of instruments featured at every show. We also mix up the set list and are constantly adding and taking away tunes. Our drummer Sean England is the master of creating these and finely tunes the song list to match the venue and vibe.
Bohemian: Pink Floyd died the minute we lost keyboardist Richard Wright. He was such a force. What is your take?
Delaney: All of the band’s members are incredible, but Richard Wright was the soul of the band. David Gilmour said Wright had “an elusive quality, let’s call it soul, that created a sound that glued the whole Pink Floyd thing together. You notice it when it’s gone.” I imagine ‘’Meddle,’ ‘Dark Side Of The Moon.’ or ‘Wish You Were Here’ wouldn’t be as iconic as they are without him. Once more, the song “Echoes” is a highlight of our set. I always feel Wright’s magic when we play it.
Bohemian: What is your favorite Pink Floyd album?
Delaney: Ha! The never ending conundrum of a favorite album. My favorite is everything from ‘Meddle’ to ‘The Wall.’ I know there are a lot of folks that love the old Syd Barrett (pre- David Gilmour) albums and the post Roger Waters works, but this is my Pink Floyd wheelhouse. ‘Meddle’ encompasses the old Pink Floyd (goofy, odd, psychedelic) and the breakthrough albums that came after (dark and dreamlike). I think my least favorite was ‘The Final Cut.’ It seems like that album signaled the end of that era and was an afterthought.
Bohemian: Your band features some great players and singers. How long has this exact configuration been in existence? Do you ever play shows with a smaller group?
Delaney: We are very blessed to have the folks we have. They are all amazing musicians and have long careers writing, recording and performing. The exact configuration has been in place since November of 2021, but we never play without all the members. Our show is finely tuned and it requires all the pieces to make this music work. This isn’t a tribute band with one or two main members that pull together other players and configurations. We have so much fun together and play so well with each other that, like Richard Wright, it wouldn’t be proper to perform as Pete Floyd without all the pieces.
Doors open at 6pm and the show kicks off at 7pm, at the Rio Nido Roadhouse at 14540 Canyon 2 Road in Rio Nido. All ages are welcome. Advance tickets are $20 and can be found at rionidoroadhouse.com.
SADUS plays Petaluma’s Phoenix Theater on July 27.
Although the Bay Area proper ushered in more great thrash acts than should be humanly allowed (i.e., Exodus, Possessed, Testament, Death Angel, and more), it was the bands on the peripheral, like Antioch’s own Sadus, that played some of the nastiest and most ferocious guitar riffs around.
Today, founding member/vocalist/guitarist Darren Travis and drummer Jon Allen are out playing live after a seemingly never-ending hiatus. Backed by touring members guitarist Claudeous “Scooby” Creamer (Possessed) and bassist Bobby Real (Deconstruct), the band is chomping at the bit to play live for their friends before tackling some of the most prestigious metal festivals abroad.
As luck would have it, Sadus are playing Petaluma’s longest-running and greatest live music venue, The Phoenix Theater, both a home and safe-haven for area teenagers and anyone else that wanders through its always unlocked front doors.
For those not in the know, the band issued its first full-length – “The Shadow Inside” (November 2023), after an unnerving 17-year wait. And while bassist Steve DiGiorgio was noticeably absent from the studio recording this time around, Travis stepped up to the plate playing all instruments but drums and hit yet another thrash metal grand slam. Propelled by songs like “First Blood,” “Scorched and Burnt,” “Ride the Knife,” and The Devil in Me,” it’s wholly evident Sadus has not lost a step.
Numerous accolades and mentions from all over the globe have helped their cause considerably, and the quartet has been yielding countless festival and headlining show offers from some of the world’s most disparate regions.
We caught up with local promoter and all-around nice person Stacy Maisenbach to get the 411.
Stacy Maisenback is the founder of Evil Eye One Promotions.
Bohemian: When did your new (er) company start and why?
Stacy Maisenbach: I started Evil Eye One Promotions about two years ago. I noticed that small music venues were shutting down and there was only one promoter in my area. I wanted to help the music scene and keep it alive. I’ve also been playing music in bands, promoting shows, and hosting various radio, podcast and live-stream video for years.
Bohemian: How many shows have you done to date, and in what cities.?
Maisenbach: I have promoted about ten shows in Ukiah and Petaluma. The Phoenix Theater is my favorite venue. It’s a great place for anyone and everyone to see a show. It’s also a nonprofit. Manager Tom Gaffey keeps it open so locals have something to do during the day and night.
Bohemian: Who are some of your favorite local bands and why?
Stacy Maisenbach: Hellbender is my favorite local band at the moment. They are super fun to work with because they help put up posters and get people out to the shows. Some local bands are easier to work with than others, while some bands just want to get paid and don’t bring anyone out.
Bohemian: Sadus rarely ever play the area and this is their only California show until they head overseas for festival dates and more. How did that come about?
Stacy Maisenbach: I’ve always loved Sadus. I saw them when I was younger and soon became friends with them. They reached out to me and asked me to put on this show. It was that easy.
Doors open at 7:30pm and the show kicks off at 8pm, at the Phoenix Theater located at 201 Washington St., in Petaluma. Sharing the bill are Hellbender and Negative Sixxx. Tickets are just $20 advance and can be purchased at the door or www.thephoenixtheater.com. All ages are welcome.
From left: Will Evankovich, Tommy Shaw, and Terry Gowan during a vocal warm up. Photo by Jason Powell.
Santa Rosa’s Own Will Evankovich on joining Styx
Of the 99.99% of local bands that aspire to be touring national and international acts playing arenas and amphitheaters, only the remaining 0.01% make it through to the big leagues of rock and roll stardom.
While many amazing bands from Sonoma County were destined to break away from the Santa Rosa music scene, one band continually pushed the envelope into uncharted musical territories.
If you went to nightclubs in Sonoma County during the ’90s, chances are you saw the band Mason Lane. Along with other name acts that headlined shows in the area, such as Disciples Of Ed, Victims Family, Grand Junction, and The Louies, the band was a strong headliner who drew countless musicians to its often packed shows.
Unlike much of their contemporaries, Mason Lane — Paul Spina (drums), Joe Shaughnessy (bass), Jason Thwaites (guitar), and Will Evankovich (vocals, guitar) — drew from a mixed bag of influences as evidenced by their frenetic music and well-executed live shows. However, it was ultimately frontman Will Evankovich who recently won a lottery of sorts when he was asked to join classic rock pioneers Styx.
Those who had the great fortune of catching the FM radio giants at the Toyota Pavilion in Concord (also their only Northern California show) a week or so ago with Foreigner and John Waite were treated to an earful and then some. With a set list covering several decades, Styx fans were treated to the band’s biggest hits such as “Lady,” “Too Much Time On My Hands,” “Come Sail Away,” “The Best Of Times,” and Mr. Roboto” in addition to the newer “Crash Of The Crown” and some awe-inspiring ‘Grand Illusion’ album cuts.
For those not in the know, the band played a Monday makeup show for their previously scheduled Saturday gig, which was canceled due to numerous electrical malfunctions during an especially trying heatwave. Rather than outright canceling, Styx made good with their followers and returned just days later and drove through the night from Bend, Oregon, to give the fans exactly what they wanted: A real rock show replete with all the bells and whistles.
And while all eyes were glued to core members Tommy Shaw (vocals/guitar) and James “JY” Young (vocals/guitar) along with ace drummer Todd Sucherman, it was obvious their second guitarist, Will Evankovich, could sing and hang with the best of them even though much younger. Rounding out the band was the newest member, Terry Gowan (bass), and longtime road dog, Lawrence Gowan (keys/guitars).
We caught up with Will, who had just returned home to Nashville mere days after their Concord show.
Local hero Will Evankovich at a recent Styx show.
Bohemian: When did you originally join the band, and how? How long did it take for you to join Styx full-time after that?
Will Evankovich: I began working with Tommy Shaw and Jack Blades in early 2007 to tour and support Shaw Blade’s “Influence” album. I worked on and off for many more years with that ensemble. I eventually formed a writing partnership with Tommy Shaw and, in 2010, I produced his solo bluegrass record “The Great Divide.” That is also when we began writing songs that would end up being part of Styx’s “The Mission” (2017)release. It was a concept album about a journey to space and was the band’s first release in 14 years. As I produced and co-wrote the record, I forged a relationship with the rest of the Styx guys. I worked concurrently with The Guess Who as a vocalist and lead guitar player for seven years. Additionally, I co-produced and co-wrote a record with them titled “The Future Is What It Used To Be” (2018). Styx and I continued to write another record dubbed “The Crash of the Crown,” which debuted at number one on Billboard’s top rock albums of 2021. Post-pandemic, and with the return of Styx touring looming, they finally offered me a full-time position as a guitarist, backing vocalist, and music director. I’ve officially been with Styx for over three years.
Bohemian: How many shows have you been playing fora year now? Is a new Styx record forthcoming?
Will Evankovich: Since I joined Styx, we have averaged about 100 shows a year. We have a vast collection of songs we have been working on and are closing in on officially recording the new album sometime at the end of this year. No working title as of yet.
Bohemian: Are there any other projects you are working on as a producer or musician?
Will Evankovich: Ironically, there is an American Drag album just about finished, we are just waiting on the right time to release it. Also, I occasionally get together with the Mason Lane guys as they are some of my best friends. We have a handful of pieces we never recorded and even some new things we would like to release someday for the sheer prog rock of it!
Instrumental guitar-driven music has been enjoying a resurgence thanks to pioneers such as Joe Satriani, Steve Vai, Plini, Polyphia, Intervals, and more. Unlike the genre’s diaspora which stick to a color-by-numbers formula and rarely deviate, Northern California’s own Points North have been stretching the genre’s boundaries by constantly exploring sounds outside of their collective wheelhouse.
And while the band has not been as prolific as its fans would hope for, they did manage to release two compelling records on boutique label, Magna Carta, their Self-titled offering (2015) and ‘The Road Less Traveled’ (2012). As evidenced on songs like “Child’s Play,” “Ignition,” and “Foxes & Cougars,” the trio are a live force in the studio as much as they are on the road.
Additionally, they’ve been playing all over California and beyond supporting the likes of Eric Johnson, Mr. Big, The Winery Dogs, King’s X, Yngwie Malmsteen, Al Di Meola, Allan Holdsworth (RIP), Steve Morse, Y&T. Paul Gilbert, Marty Friedman (ex-Megadeth), Richie Kotzen, The Aristocrats, UFO, Michael Schenker, Adrenaline Mob, Larry Carlton, Pat Travers (and as a backing band for The Pat Travers Band), Ronnie Montrose (RIP), Tom Keifer (of Cinderella), Gary Hoey, George Lynch (Dokken), Uli Jon Roth (Scorpions, Electric Sun, Sky Academy), Eric Martin Band, Mark Lettieri (from Snarky Puppy), Michael Lee Firkins, and Project N-Fidelikah (George Lynch, Angelo Moore, Pancho Tomaselli, Chris Moore).
Today, the band is rounded out by guitarist Eric Barnett, drummer Kevin Aiello, and bassist extraordinaire Uriah Duffy whose resume includes working with Christina Aguilera, Alicia Keys, Too Short, Sly & the Family Stone, and Starship.
We caught up with guitarist Eric Barnett to find out about their upcoming show at Peri’s Tavern in Fairfax.
Pacific Sun: You guys have been around for a minute. Who thought up the idea and when?
Eric Barnett: Believe it or not, Points North formed on Craigslist. I’m an East Coast transplant and initially moved out here in 2003. I hadn’t been active musically for a few years as I had a young family at the time. Our drummer Kevin Aiello posted an ad on Craigslist looking for folks to play instrumental music just for the joy of creating. I answered much too late and Kevin’s ad had already expired. Soon after, I posted my own looking for the person who made the original. Kevin immediately saw it and replied. He had already connected with Points North’s original bass player, Damien Sisson (current bassist of Death Angel), and we started rehearsing. As a trio, we played on Sunday mornings and never played any cover songs. Instead, we started writing our own music together. Within a few months, we had written a whole set and decided to try to play out. Our first show was at a little venue called the Time Out Tavern in Concord. Back in 2008, I was a finalist in a Guitar Player Magazine national competition which soon led to our record deal with Magna Carta Records (home to Kansas, YES, Liquid Tension Experiment, Steve Morse Band, Steve Stevens, Bozzio-Levin-Stevens, and more). Around that time, Damien was asked to join Death Angel. With their relentless touring schedule, there just wasn’t enough time for him for both bands. Kevin & I asked Uriah Duffy to join who had just recently left Whitesnake and that’s been the band line-up since. We have already put out two records and a third is coming.
Pacific Sun: You guys have opened for a bunch of well-known national acts. What were some of your favorite gigs?
Eric Barnett: The first Michael Schenker show will always be near and dear to my heart because it was our initial springboard. We opened for Eric Johnson who is a personal hero and my all-time favorite guitarist. We also played with Blues Traveler as they are childhood friends of mine and it was such a joy to reconnect with them. Our drummer Kevin would probably say the Steve Morse Band. We were booked as support for the Dixie Dregs, but then they removed all openers.
Pacific Sun: The band has been rather quiet as of late. Do you plan to play more in latter 2024 / 2025?
Eric Barnett: We do. As with many live acts, COVID really set us back. We did a few live streams from my garage and called it the ‘Monterey Garage Festival.’ We started working on new material – possible new album working title is ‘Pulling Some Strings’ – and I upgraded my home recording gear. Uriah and I both tracked guitar, bass, and drums at home, but it was somewhat of an arduous process. We are now in the mixing stage and plan to support some bigger-name artist friends of ours when possible. Additionally, we recently played a co-headline show with Daniele Gottardo and his wife Gretchen Menn (Zepparella) that was very successful. We’re definitely looking forward to doing more of that.
Girlpower Productions presents the ‘Sexy Sundays’ series with headliner Points North who play Peri’s Tavern located at 29 Broadway Blvd. in Fairfax. Doors open at 6pm and the show kicks off at 7pm. Also on the bill are New Earth Farmers, SourFlower, and Daydream Revival. Advance tickets are just $15 and can be purchased at www.peristavern.com or take your chances at the door. 21 and over only.
It’s hard to believe 57 years have passed since guitarist Buck Dharma – a.k.a. Donald Roeser – first formed the band under the moniker of Soft White Underbelly in Long Island, NY. It would only take a couple years to make a much-needed switch to Blue Öyster Cult and hire Eric Bloom as its charismatic front-man and singer.
Led by vocalists/guitarists Donald “Buck Dharma” Roeser and Eric Bloom, Blue Öyster Cult continues to thrive creatively with Richie Castellano on guitar and keyboards, and the longstanding rhythm section of Danny Miranda on bass and Jules Radino on drums. As proudly declared on their website, the band is ‘On Tour Forever’ and are constantly on the road.
Followers of early FM radio immediately took to the group after the release of its first, self-titled record in 1972, which was followed by a flurry of equally strong releases leading into the 80’s. And while the majority of fans know Blue Öyster Cult for its hits – “Godzilla,” “Don’t Fear The Reaper,” “Veteran Of The Psychic Wars,” and “Burnin’ For You” – a cult following continues to keep track of the band’s set-lists and always hope for surprise deep cuts at its live gatherings.
Although the group was not as prolific during the 90’s and on, it did manage to release its 16th and final studio album early this year back in mid-April. Titled ‘Ghost Stories,’ the new 12-song collection was issued on the boutique Frontiers record label just four years after the highly successful ‘The Symbol Remains’ (2020) offering.
This new amalgam of re-imagined and recently completed songs span from 1978-2016 and showcase a band far from ready to pack it in. For the uninitiated, many of the tracks were originally recorded between 1978 and 1983 aside from the sole 2016 song,”If I Fell.” Longtime BOC freaks will be happy to know they’ve also included a studio recording of “Kick Out the Jams” by MC5, a first in their storied catalog.
Audio engineer George Geranios, a huge name during the band’s biggest era, co-produced the original 1978-83 recordings along with the band. And for the music geeks who care (insert any and all hardcore BOC fans), the songs were originally recorded on reel-to-reel analog tape.
Expect a longer-than-normal show replete with their hits, deeper cuts and some new songs thrown in for good measure. As evidenced at their recent show at The Venue inside Thunder Valley Resort, the band is still delivering live and founder/guitarist Buck Dharma hasn’t lost a step.
Blue Öyster Cult play J Resort’s Glow Plaza inside J Resort located at 345 N Arlington Avenue in Reno. Tickets can be purchased at www.jresortreno.com and start at only $20. Doors open at 7pm and the show starts promptly at 8pm. All ages are welcome.
The annual Mosswood Meltdown outdoor festival is returning July 6th and 7th to the East Bay for two special, fun-filled days. Featured Saturday acts include B-52’s, Redd Kross, Hunx & His Punx, Peaches Christ Drag Show, Pansy Division, Go Sailor, Wifey, Trap Girl, and Hot Laundry while Sunday’s festivities showcase The Mummies, Pure Hell, Big Freedia, Egyptian Lover, Gibby Haynes & the Paul Green Rock Academy, Bush Tetras, Die Spitz, Space Lady, and Gumby’s Junk.
And while all of the acts on this year’s docket bring something to the table, Gibby Haynes’ set with the Paul Green Rock Academy is sure to be the gathering’s highlight. Butthole Surfers’ fans will remember Gibby Haynes’ young backing band participated in a highly successful (but short) West Coast tour with Victims Family back in 2022 playing small clubs and mid-sized venues including Oakland’s very own Thee Stork Club.
For those not paying attention, music teacher and tour curator Paul Green runs a school dubbed the Paul Green Rock Academy for budding young musicians. To date, his young prodigies and disciples have toured with the likes of Jon Anderson (YES), Fred Armison, Adrian Belew, Alice Cooper, Stewart Copeland, Gail Ann Dorsey, Dr. Know, Donald Fagan, Perry Farrell, Peter Frampton, Gibby Haynes, Scott Ian, Ed Mann, John Medeski, Kate Pierson, Marky Ramone, Vernon Reid, LeAnn Rimes, John Sebastian, Slash Brendon Small, Sister Sparrow, Ronnie Spector, Eddie Vedder, Denny Walley, Gene Ween, John Wettom, Ike Willis, and Ann Wilson.
Formed in San Antonio, Texas by vocalist Gibby Haynes and guitarist Paul Leary some 43 years ago, The Butthole Surfers were an anomaly on the touring circuit. Known for their crazy shock and awe stage antics, it would only take them another two years to finally issue their first self-titled and seven-song EP on Jello Biafra’s Alternative Tentacles in 1983.
With a moniker that always brought curious new fans into the fold, Butthole Surfers was a fitting and much less offensive choice than some of the earlier band ideas which included Ashtray Babyheads, Ed Asner Is Gay, and The Inalienable Right to Eat Fred Astaire’s Asshole.
Butthole Surfers would later issue eight full-lengths, four extended plays, two live albums, three compilations, and a handful of singles. Starting with the awkwardly titled ‘Psychic… Powerless… Another Man’s Sac’ (1984), Gibby Haynes and company would inevitably release some of the most mind-bending and offensive musical fare ever recorded as evidenced by songs such as “Concubine,” “Cherub,” “Negro Observer,” “Lady Sniff,” and “Mexican Caravan,” to name but a few.
Their run on the Touch and Go indie label was legendary as far as independent record labels go, but was later marred by years of legal disputes. The group would eventually end up winning their lawsuit in 1999 and soon re-issued ‘Psychic… Powerless… Another Man’s Sac, ‘Rembrandt Pussyhorse (plus the Cream Corn… EP),’ ‘Locust Abortion Technician,’ and ‘Hairway to Steven’ on Butthole Surfers’ very own Latino Buggerveil label.
Signed to Capitol Records in the early 90’s during one of the strangest and most unsuccessful signing frenzies in recent memory (insert one awfully-named ‘grunge’ era), their run was short and sweet. With Nirvana front man Kurt Cobain professing his love for the band and name-dropping whenever he could, the band landed a coveted record deal and received a much-needed injection of signing bonus cash and full tour support.
The band’s ‘piouhgd’ (1992) album, originally issued on Rough Trade in 1991, was the band’s first offering for the major label followed by ‘Independent Worm Saloon’ (1993) and ‘Electriclarryland’ (1996). The latter would feature the band’s biggest commercial hit with “Pepper” and was eventually awarded RIAA Gold status (500,000 sales).
Although reunited a couple of times since initially ending the band, they have been on an indefinite break since 2016 with the exception of a sole festival date in Houston, Texas on December 17 and 18. With the Butthole Surfers on hiatus due to Paul Leary’s hatred of touring and the wait time in between shows, Gibby Haynes & the Paul Green Rock Academy’s live set is most certainly the next best thing.
Said emcee John Waters about the punk-influenced soiree, “It’s musical mayhem time for multiple maniacs in Oakland once again, and I’m proud to be hosting from the gutter for the tenth time! Mosswood Meltdown — our days to shine in the punk grime.”
Gibby Haynes plays The Mosswood Meltdown at Mosswood Park located at 3612 Webster Street in Oakland. General admission Tier 3 weekend passes start at $199 and can be purchased at https://mosswoodmeltdown.com. Single day options and special VIP weekend passes are available as well. Saturday shenanigans kick off at 11:30am and the Sunday sermon starts at 12pm. All ages are welcome.
Eddie
