Mike Chouinard

Not many words need to be sung if you know how to make your guitars talk. 

On the second night of their sold out 3-day residency at the Greek Theatre, Khruangbin embellished the already funky and free-spirited Berkeley atmosphere with their upbeat guitar melodies and joyous tunes. Touring their latest album that came out in April of 2024, A LA SALA, the three-person band made an exciting return to the Greek after selling out their Wednesday show. They are veterans of our Greek Theatre, having been here supporting Leon Bridges in 2018, a headlining date 2021, then two nights in 2022.

The openers, Peter Cat Recording Co., jazzed up the crowd before Khruangbin took the stage. I have been a fan of them for quite a while, and I would use their music in the background of my Instagram stories so I would be perceived as someone who has good vibes and epic music taste. Considering this, they did not disappoint. They each wore different colors and stood out on the big stage. The Recording Co. electrified the crowd and got the pit, the stands, and even the light and sound crew to dance along. Hot on the trail of their latest album release BETA on August 9, the band played a mix of new and old, and even though many didn’t recognize the newer songs, people still grooved along in the pit and I heard lots of praise and astonishment from the people around me in the stands. At the end of their set, they gave a shout out to India Independence Day, a touching tribute celebrated by the crowd.

This was the first time I went to a concert by myself, and while I thought I would be lonely, I immediately felt safe and relaxed by the people around me. I could tell we were all just there to chill down to our core. There was a light beaming across the audience and everyone decided to coincide with a big wave, cheering on the following sections, amping each up for their turn. Overall, the crowd was very respectful to the band and we all felt intertwined in the lovely emotions that filled the amphitheater. 

As if an opera, Khruangbin told a whole story with their stunning visuals, light hearted dances, and mesmerizing riffs. Each song seamlessly blended into the other, but it did not seem repetitive nor the same sound. The stage design was an identical display to their newest album cover (A LA SALA), and depicted a changing sky, naturally going from day to night to dawn and dusk all in 2 hours. I found it a surreal musical experience to see this dynamic sky right under the starry night at the Greek. It felt very apropos to the concert because Khruangbin is known for their fusion of psychedelia, dub, jazz, folk, and classic soul genres. Seeing the overlapping visuals, I felt mesmerized by my environment. My favorite song of theirs, “Pon Pón”, was a brilliant amalgamation of light and sounds orchestrated around the band. I was honestly too lost in the moment before I realized they had shifted into a new song entirely.

Towards the end of their set, the lights landed perfectly on the pit, creating a beating heart effect with their drums, strobing, and jazzy guitars. I thought I was hallucinating the pit because it was magical to see how all of these effects combined could lead to a poetic manifestation of the energy felt at the Greek Theatre. The pit is the heart of the amphitheater and it felt like the connecting vessel to the trio and the rest of the crowd. I have no critiques of this concert, and can only attribute the magic to the musicality of Khruangbin, the wonderful lighting design, and the hard work of the entire crew.

Review by Molly Ho
Photos by Slava Starikov

You could feel the buzzing excitement in the air while millennial hipsters and indie kids from all around the Bay Area lined up to see dream pop darlings Alvvays (pronounced ‘always’) at downtown Oakland’s legendary Fox Theater. Hailing from Toronto, Canada, the band has held its place in the indie scene for over a decade. Touring off the back of the two year old record Blue Rev, released to critical acclaim, that earned Alvvays their first Grammy nomination. I was amazed by their set while sitting in the grass at Outside Lands 2023, so I was very much looking forward to seeing the band again in their own headline show.

Once getting into the venue, my party and I stationed ourselves promptly towards the back of the pit on the right side. We had the pleasure of watching New Zealand based indie-rock band The Beths open (who, coincidentally, we also heard at Outside Lands). These guys absolutely captured the audience, as everyone around us were hyped up by the driving power pop rhythms, with the classic slight-head-bob spreading throughout the crowd like wildfire. They also enjoyed a healthy amount of cheeky accented banter, which was fun and lighthearted and added to their personality as a whole. I can’t forget the giant fish head planted on stage, in which the band surveyed the crowd about—being met with moderate applause and admiration. After closing their set with the title track of their latest record, Expert in a Dying Field, we were left pumped and ready to take on the headliner.

I line up at the barricade to take photos of the band and it was almost hard to focus upon the opening songs. There were back to back bangers that I couldn’t help but sing along with the camera up to my eye to the iconic lines “I dropped out / college education’s a dull knife” in the song to start off the set (“Easy On Your Own?”). Hazy yet strong vocals over a blistering indie rock sound; the band had made their grand entrance for sure. Immediately followed by hits like “After The Earthquake” and “In Undertow,” a beautiful pace had been set and I was ready to enjoy the rest of the show from the audience. While the band wasn’t really focused on showmanship, I can say I gladly felt lost in all the glittering guitars and dreamy synths. Songs like “Velveteen” lifted me into a world of 80’s pop rock perfection, swaying with my eyes closed and feeling the sound in my chest.

It’s not lost on me that the single “Belinda Says” was nominated for the Best Alternative Performance Grammy in 2023, as the crowd passionately sang both the lyrics “Paradise / and I find myself paralyzed” and “Gonna move into the country / gonna have that baby.” The fuzzy electric guitars at the end took the performance to an all-time level. While some of the songs blurred together in my memory, that only aided the dreaminess of the overall experience. Floating from song to song while the audience takes it all in can be described with the all encompassing: it was a vibe. Hits sprinkled throughout the setlist, you couldn’t go a couple songs without hearing a melody even a casual Alvvays fan wouldn’t know by heart. Deep cut “Tile by Tile” was a beautiful string-laced surprise with romantic or even vampiric synths that I have since fallen in love with after this show.

At the end of the main setlist, we found ourselves with possibly my favorite Alvvays song, both live and studio version: “Lottery Noises.” The soft intro drifted into, with only lead singer Molly Rankin’s soft vocal and light keyboard synthesizer, an exploding bright, grandiose, psychedelic dream of a closing song to an amazing set. I was genuinely impressed with Rankin’s vocal performance during the whole show, but especially this track. The passionate and soaring ending belt with the lyric “Now that you’re around…” on repeat with whispery background vocals dancing around her powerful voice. It was amazing to witness, and difficult not to feel somewhat emotional hearing this grand ending in a room full of people feeling the same way.

The encore consisted of two more fan favorite tracks: “Pharmacist,” the opening track to Blue Rev, as well as “Next of Kin” to close out the whole thing. A song dating back to their first album released a full decade ago, paired with an epic modern album opener gives us the impression that Alvvays is standing the test of time; a stance firm on a decades long discography that fans still pack into theaters to hear.

Leaving the venue to the smell of a plethora of downtown Oakland’s finest bacon wrapped hot dog carts, Alvvays left me feeling hazy — ready to incorporate “Blue Rev” back into my mix two years after its release. Just in time for fall.

Review & photos by Jaida Berkheimer

The long-awaited August weekend had arrived and I was ready to embark on another foot-aching, mildly chaotic, three day adventure in Golden Gate Park. As a San Francisco native, Outside Lands has slowly crept its way into becoming an annual event for my sister and I. While I don’t consider myself a frequent festival-goer, Outside Lands is the one time of year I permit myself a bit of indulgence, using the festival as a thin excuse to spend way too much money and exhaust our bodies all in the name of live music! Here are some of my thoughts, trials, tribulations, and highlights.

We eased into Day One by watching Real Estate’s set on the main stage. Their surf-rock sound was the perfect entrance into what would be a memorable weekend. Next, we migrated to the Sutro stage to watch a bit of Daði Freyr, an awkwardly charming Icelandic man who brought a unique energy to the stage. We then watched The Last Dinner Party back on the main stage. I was roped in by their renaissance vibe and enthusiasm. I caught a few minutes of Shaboozey simply to put a face to the name. I still have no idea who Shaboozey is but I’m starting to love the mystery of it. Young the Giant were up next and I felt shameful that I could not recognize the majority of their songs. Although the music did not stick with me, I enjoyed their passion and random cover of “Espresso”.

The night was winding down and we only had two sets left on our docket, the second to last being Jungle. They had one or two fun songs, but the rest felt too commercial for my taste. Still, the crowd was loving it. We ended the night with The Killers, a perfectly nostalgic and enjoyable end to the night. The crowd was excitingly receptive and the energy was up, leaving us on a high note as we all stumbled out of the park, doing our best not to slip in the mud.

Day Two started off at the Twin Peaks stage watching Ryan Beatty’s short but sweet set. His folk-pop sound was reminiscent of Faye Webster and his soft vocals smoothed over the park. Next, we watched Australian punk icons Amyl and The Sniffers take the stage, one of my most anticipated acts of the festival. Amy Taylor’s stage presence was electric and grimey in the best way, shaking the grounds of Golden Gate Park so strongly the sun came out for the first time all weekend. It was a luminous performance. Although it was hard to top that set, STRFKR did an excellent job of bringing an eclectic energy to the stage, with dancing astronauts and inflatable dolls surfing the crowd.

Finally, we watched summer pop sensation Sabrina Carpenter take the main stage for her first ever headlining set. It was everything you could ask for from a pop artist: vibrant visuals, intricate choreography, and special guest Kacey Musgraves! We were obviously ecstatic to hear the hits. I had high hopes, and she did not disappoint, ending the day with a performance that left us humming her music all the way home.

Day Three was musically my favorite day. We started the day off strong watching Chappell Roan’s highly anticipated performance. The crowd was abundant, filled with fans sporting pink cowboy hats and camouflage attire, fully embracing her “Midwest Princess” aesthetic. Despite not being a headliner, it was clear that Sunday was her day. As soon as she began her hit “HOT TO GO!”, audience hands shot up immediately, spelling the words “H-O-T T-O G-O” with their arms. It was impressively synchronized. Her vocals were just as impressive, as well as, her liveliness and stamina. This set was undoubtedly a highlight.

A few journeys later, we headed over to TV Girl at Sutro. I’ve been hooked on TV Girl since high school, so I was incredibly excited to see them live for the first time. Brad Petering brought an unserious and quirky energy to the stage, vape in hand as he playfully bounced around (although many did not enjoy his unconventional antics). The set was a nostalgic trip for me and one of my favorites of the weekend.

To conclude the weekend, we remained at Sutro to watch shoegaze pioneers Slowdive take the stage. After an exhausting but exhilarating three days, this set was exactly what I needed to unwind. I could go on and on about how amazing this performance was. The atmosphere was magical: the misty night air complemented the mesmerizing visuals beautifully, and the crowd seemed to drift in perfect harmony with the sound. And speaking of sound, it was PERFECT. It was somehow even more captivating live than on their recordings. It was an electrifying and surreal performance, undoubtedly my favorite of the festival.

As the different crowds began to intersect as I walked out of the park, either coming from Slowdive, Kaytranada, or Sturgil Simpson, I reflected on the genre-defying nature of the festival, blending various musical worlds into one experience. Despite my stubbornly fixed music taste, I found myself enjoying the different array of artists all weekend, even if many did not align with my typical preferences.

Outside Lands is special because it feels like a celebration of the San Francisco culture, community, and charm that make this city so unique. I left the festival with a beautiful reminder of why I love this city, and an eagerness for next year’s adventure. I ♡ U Outside Lands!

Review by Laila Karkori
Photos by Nadine Ordaz