Eight Gigs: Anton Barbeau

Fri., Jan. 23., 8 p.m., Shine, $5

Anton Barbeau has been playing in and around Sacramento longer than the entire lifespans of newer musicians just entering the coffee house and club scene. He’s received considerable accolades overseas from the BBC, been featured in Spin magazine, and is lauded nearly everywhere he plays. His latest album Three Minute Tease: Bite the Hand was released in 2014 almost 21 years after his hard-to-find The Horse’s Tongue full-length hit record store shelves and merch tables at his shows. If you’re a fan of smart, angular, well-crafted pop, Barbeau will never fail you. Also on the bill are Ryan Behling (Chicago) and Erik Spencer. 1400 E Street, www.antonbarbeau.com.
(SN&R)

Eight Gigs: Jucifer

Thurs., Jan. 22, 9 p.m., Press Club, $12

If you’ve never seen Jucifer before and would like your hearing to remain as it is, bring some earplugs. The band played the original Capitol Garage years ago and nearly blew the roof off the building—figuratively. Although Jucifer’s only a drum-and-guitar duo, make no mistake: This band can bring the noise. Gazelle Amber Valentine sings and plays guitar alongside drummer and husband Edgar Livengood. Expect the entire stage to be filled wall to wall with enough amplification to meet the needs of 20 festival bands. Besides, any band named after the combination of O.J. Simpson’s nickname (Juice) and Lucifer deserves attention. Also performing: Cura Cochino, Church and Abominous. 2030 P Street, www.jucifer.net.
(SN&R)

Sweet Leaf Shaking Sonoma County Again

Guitarist Steve Smyth and Lance Ozanix channel Black Sabbath. Photo by Kris McDonald.
Guitarist Steve Smyth and Lance Ozanix channel Black Sabbath.
Photo by Kris McDonald.

It’s been 33 years since Sonoma County’s longest running band, Skitzo, started its reign of sickening, barf-encrusted, thrash metal terror and vocalist/guitarist Lance Ozanix shows no signs of slowing down. Ozanix’s annual side project, Sweet Leaf, an Ozzy Osbourne and Black Sabbath tribute act, will be celebrating their 20th anniversary together and will play one last show in the area before they reconvene again in December.


Sweet Leaf features a veritable who’s who of the metal scene. Guitarist Steve Smyth has done countless national and international tours playing with the likes of Testament, Nevermore, Vicious Rumours, Forbidden, Dragonlord, and currently lives in England with his wife and dog where he teaches guitar to over 60 students. Drummer Chris Newman played with Intense, one of the largest drawing speed / thrash metal bands in the late 80’s and also played with local hard rock outfit, Ariah. The group is rounded out by the ultra-talented bassist, Steven Hoffman, from the defunct Esseness Project.


“Nowadays it’s just one practice and go” said Ozanix in a recent phone interview. “This year because of the 10 year anniversary of Dimebag Darrell’s death, we have added some some Pantera songs into the set. Of course, when we run out of material during shows, we will throw in some Accept, Judas Priest, Dio, or even some AC/DC tunes.”

“I tried in 1989 to get Sweet Leaf going but I couldn’t get my shit together,” said Ozanix of the band’s humble beginnings. “People were in the band for only a couple of months at a time. All the current guys came together in 1994.”
“This will actually be an interesting return to Spancky’s in Cotati, as it’s the first time in nearly twelve years since we’ve been back to play there,” said guitarist Steve Smyth. “The last time we were there, the power surged onstage and blew out Steve Hoffman’s amp so we couldn’t continue from there. We managed to get through nearly an hour set though, so that was a great thing.”
Although Ozanix’s loves the annual Sweet Leaf shows, he made certain to mention the status of Skitzo, his main band. “We just finished our 19th album, ‘Dementia Praecox,’ but have not planned a release date since we don’t have a drummer.”
And while Skitzo may be a bigger name in Sonoma County, Sweet Leaf has quite the following of its own and plays shows in the Bay Area, Sacramento, Fresno, and anywhere else in between.
“We just played Livermore (Pine Street Bar and Grill), Sacramento (On The Y), as well as our hometown area shows in Rohnert Park (Quincy’s Pub) and Santa Rosa (Sprenger’s Taproom). We did our second annual acoustic show there at Sprenger’s. It was a lot of fun!” said Steve. “ We average a handful of shows per year with Sweet Leaf due to the fact I live out of the country now, but we still can manage around eight shows a year.”
Metalheads who love Ozzy Osbourne’s body of work along with the entire heavy metal genre will be thrilled with Saturday’s show however unrehearsed it may be. “ Expect surprise, I would say!” said Steve. “Of course, there are the usual fan favorites one can expect and the songs we love to play as well, but there are songs in those band’s back catalogs that seem to get called out a little more.”
Sweet Leaf (Ozzy Osbourne and Black Sabbath tribute band) play Saturday, January 10th at Spancky’s in Cotati, with Lord Mountain opening. 9:30pm. No cover charge but donations accepted. 8201 Old Redwood Highway, Cotati. 707.664.0169.

(North Bay Bohemian)

Eight Gigs: The Howl

Sun., Jan. 4, 8:30 p.m., The Colony, $7

One of Chicago’s most ambitious young acts, the Howl embarked on a tour the day after Christmas that extends into January. One listen to the band’s magnificent new-ish “Sputter” single should make fans of angular, post-punk and rock smile with glee. The quartet’s first EP, 2012’s 900 Feet Beneath, started a buzz strong enough to warrant a full-fledged tour and now the band is making the rounds again. If you’re a fan of anthemic, harmony-driven fare with wavering time signatures and peaks and valleys, there is no reason this Sunday’s show should be missed. Also on the bill are Mad Judy, Soccer Babes and Simpl3jack. 3512 Stockton Boulevard, www.facebook.com/thehowlchicago.
(SN&R)

Tom Rigney & Flambeau, $35, 9:30 p.m., Dec. 31

Palms Playhouse, 9:30 p.m., $35

This calendar year had its ups and downs much like any other year. For those wishing to kick this year to the curb and get their dancin’ feet moving, look no further: Tom Rigney, one of Northern California’s most talented fiddle and violin players, will be gracing the hallowed Palms Playhouse stage to effectively usher in 2015. If you’re a fan of cajun or zydeco music and like your musical menu on the spicy side, this is one New Year’s event that aims to please. Be prepared: This group knows how to engage audiences and keeps ’em moving for hours on end. 13 Main Street in Winters, www.tomrigney.com.

(SN&R)

Mumbo Gumbo, $40, 9 p.m., Dec. 31

Davis Odd Fellows Hall, 9 p.m., $40

Mumbo Gumbo’s a wondrous stew of different genres. While many bands claim they can’t be pigeonholed into one style, this band proves the task impossible. With dance, cajun, blues, folk, rock and Afro-Cuban ditties, the band has proven itself adept at playing everything well. Propelled by singers and guitarists Chris Webster and Tracy Walton, tethered in by the able rhythm section of drummer Rick Lotter and Lynn Michael Palmer, and aided by the handy work of guitarist Jon Wood, accordionist Steve Stizzo, and saxophonist Reggy Marks, the band fires on multiple cylinders. Tickets to this New Year’s Eve show include gumbo, cornbread and a champagne toast. 415 2nd Street in Davis, www.mumbogumbo.com.
(SN&R)

One-Eyed Doll

7 p.m., Dec. 20, The Boardwalk, $12-$15

One-Eyed Doll is a punk-rock duo from Austin, Texas, that’s achieved headliner status the old-fashioned way: touring the country supporting countless national acts such as Otep and the late Wayne Static. It’s also been a viral sensation as well; the duo’s “You’re a Vampire” video has already received close to 400,000 views and the equally catchy “Be My Friend” fast approaches 275,000. The band comprises vocalist and guitarist Kimberly Freeman and Sacramento native Jason Rufuss Sewell rocking the drums with great effect. If you’re into well-written, short songs and seeing a band that doesn’t stare at its instruments, OED should please. 9426 Greenback Lane in Orangevale, www.oneeyeddoll.com.
(SN&R)

Trans-Siberian Orchestra will bring lasers and holiday-themed orchestral rock to Sleep Train Arena

Yes, the lasers outnumber the musicians.
Yes, the lasers outnumber the musicians.PHOTO BY BOB CAREY

Trans-Siberian Orchestra, 4 p.m. and 8 p.m. Wednesday, November 26; $35.05-$74.95. Sleep Train Arena, 1 Sports Parkway; www.trans-siberian.com.

‘Tis the season for holiday music yet again. Trans-Siberian Orchestra came about in 1996 through the hard efforts of producer and composer Paul O’Neill as well as Jon Oliva and Al Pitrelli—both members of the popular heavy metal band Savatage. During the holidays, this annual event features a full touring band and a light and stage show that takes nearly a full day to set up. If you like your seasonal music with a little operatic rock and, of course, a heavy dose of fog, lasers and moving stage props, you are hereby summoned to attend this awesome spectacle. Because the group has become so wildly popular and has amassed a fan base that spreads across the globe, it has donated more than $10 million since its inception to different charities and continues that tradition to this day. Expect at least a dollar from each ticket to benefit a local charity.
(SN&R)

Portrait of the Mother Hips as a midlife band

Two decades in, the San Francisco band is older, wiser and still jamming

<p><b>“Where are my reading glasses?”</b></p>
“Where are my reading glasses?”PHOTO COURTESY OF RIC D. RUDGERS

The Mother Hips perform at 10 p.m. on Saturday, November 22, at PowerHouse Pub, 614 Sutter Street in Folsom. Tickets are $15. For more, visit www.motherhips.com.

For the better part of 23 years, members of the San Francisco band Mother Hips have churned out some of the best jam band fare in the country. Although often mislabeled as an Americana or country act, make no mistake—this band likes to stretch out its songs and play for hours on end.

The four-piece currently features singer-guitarist Tim Bluhm and guitarist Greg Loiacono—the only original members left. The pair met attending college in Chico. It also includes drummer John Hofer, who lives in Southern California with his wife and daughter and has played with the band since 1997, and former Frank Zappa bassist Scott Thunes; the Marin-based musician joined in 2011.

All those different addresses can make for a difficult touring schedule, but they manage and, in fact, the band’s scheduled to play the PowerHouse Pub Saturday, November 22.

The Hips’ current record, Chronicle Man, was released on the group’s own eponymous label earlier this year and while the band members say they enjoyed putting out two records on Rick Rubin’s American Recordings label back in the day—1995’s Part-Timer Goes Full and 1996’s Shootout—they now prefer running their own business and are in no hurry to work with a bigger label again.

“After being signed to American, there’s definitely some caution from [signing to] major labels,” Bluhm explained in a recent phone interview. “Until something comes along that knocks me out, we are staying put.”

There other projects to keep him busy, too. Bluhm is also a full-time member of his wife’s band, Nicki Bluhm & The Gramblers. Over the last couple of years he’s put aside considerable time to concentrate on her music—and it’s paid off. The Gramblers became Internet celebrities of sorts after their “Van Session” videos went viral, something that pushed the band into filling large music halls.

While the Gramblers’ success has made scheduling Mother Hips shows difficult at times, Bluhm says he’s used to various outside projects causing such delays.

He’s also done extensive solo work, after all, something that prompted the Hip’s four-year hiatus between 2009’s Pacific Dust and 2013’s Behind Beyond.

It was a time for growing pains, Bluhm said.

“It’s kind of shameful as a songwriter. I think the band during that period was adjusting to me being a solo artist and having a lot of things going on with other projects as well,” he said. “These were transitive years.”

These days, however, the band operates at its own speed and the other members also keep busy with other projects.

Still, all those packed schedules haven’t stopped them from making new music together. In fact, they just finished a record at John Baccigaluppi’s new studio in Stinson Beach. Working with the former Hangar producer, Bluhm says, made sense.

“[The studio is in] a beautiful house overlooking the Bay. [Baccigaluppi’s] done so many bands including The Gramblers, My Morning Jacket, Band of Horses and more,” he said.

The upcoming album will feature a mix of songs, Bluhm added. In addition, the band still has some tunes in the vault that may be released at a future date.

Whatever happens next, Bluhm says he’s more committed than ever when it comes to making music. There are benefits, it seems, to pushing past 20 years in the business.

“In some ways, being young is less serious,” he said. “As you get older, you start to understand the significance of art in people’s lives. We were raging partiers during the American [Recordings] years but we now control everything we do and it is work.”
(SN&R)

Big venues, small approaches (and turnout)

Arena blues: When I told friends about my destination last Tuesday night—the Black Keys concert at Sleep Train Arena—I got a lot of initially excited responses. Like, “Awesome! Love the Black Keys!” followed quickly by, “Wait, arena? Really?”

The Ohio-born duo of guitarist Dan Auerbach and drummer Patrick Carney did, indeed, pack Sleep Train on election night. But for some reason, the casual listener doesn’t think of the Keys as being arena-level famous.

It all arguably started with the band’s sixth record, Brothers, which nabbed the Keys three Grammy Awards. The 2011 follow-up, El Camino, went platinum in the United States and double-platinum in Australia, New Zealand and Canada, winning a few Grammys as well. The band’s latest release, Turn Blue, debuted at No. 1 on the Billboard 200.

Many credit this dramatic rise to the Keys’ partnership with producer Danger Mouse, which started in 2008. But the band’s sound hasn’t exactly stayed stagnant since then, either. Turn Blue saw the Keys enter psychedelic territory in a subdued fashion—groove-driven, thematic, cohesive and devoid of any real hit singles. Rolling Stone called it the band’s best yet.

Fans were definitely stoked, and the set was filled with hopelessly catchy, crowd-pleasing hits—“Gold on the Ceiling,” “Howlin’ For You,” “Everlasting Light,” “Tighten Up”—and even brought out the band’s debut album with “Leavin’ Trunk.” My favorite song all night was the grungy, slightly psychedelic “Strange Times” off Attack & Release, a welcomed break in pace. The audience’s favorite was, obviously, the Keys’ smash hit “Lonely Boy.”

It was the perfect high-inducing song to end on. But then the Keys came back for a strange encore with two slow-burning tracks off Turn Blue. The high dissipated, slightly salvaged by an acoustic-to-electric version of “Little Black Submarines.”

Auerbach didn’t say much beyond “Thank you” and “Come on, Sacramento” a couple times. There were lights and some video—mostly blue-tinted, obviously—but the biggest visual effect was merely a curtain falling down. To reveal, ahem, more lights.

Despite achieving that arena level, the Black Keys do not make a great arena band. Arena rock in general is just so boring unless you’re standing front-and-center. No matter how great the music sounded, arena shows require more infectious energy, more spectacle, more production value. Especially when you’re spending $80 for general admission.

The rock band ethos, however, requires a no-frills show. The two don’t line up.

—Janelle Bitker

Energetic piano: Classical music has long proven to be one of the biggest draws at the Mondavi Center since its 2002 opening. Season ticket holders get the first crack at seats, which means many events are often sold out or nearly at capacity before the general public can even attempt to go.

Last Wednesday’s show with Jeremy Denk was his first solo appearance here after accompanying renowned violinist Joshua Bell. The turnout for the event was much less than expected, but those in attendance were treated to a playlist well-worth the price of admission.

Arguably, Denk is already a household name in the classical world for his wonderful interpretations and boundless energy. With little fanfare, he introduced his first number without a microphone and launched headfirst into a set that included classical pieces by the greats, such as Schumann, Mozart and Beethoven, as well as two other equally compelling pieces.

From the opening notes of Joseph Haydn’s “Sonata in C Major, Hob.XVI:50” to his thought-provoking interpretation of Brad Mehldau’s “Sonata,” Denk played with an unmatched fervor that could be felt across the half-empty auditorium.

Sidenote: Jazz pianist and composer Mehldau will also grace the Mondavi Center on Thursday, December 4. Tickets are still available.

Mondavi’s setup for Denk was minimal, though appealing. He was dressed in a sleek black suit, matching the black Steinway & Sons piano with gold trim. The only other visual stimuli on the stage were four sets of plants placed equal distance apart at each corner of the stage.

Even for a Wednesday night and a light turnout, Denk proved he deserves to headline venues as esteemed as the Mondavi Center. His playing was exuberant and exciting; mesmerizing and titillating.

The only thing missing, of course, was you—and maybe a couple hundred more concertgoers.

(SN&R)