Article by Jon Bauer | MON, JUL 29, 2019, 8:30PM
Venue: Pier 70, San Francisco, California
Featuring: 2019 Gray Area Festival – ISM Hexadome
From July 25 through August 3, the ISM Hexadome will be presented at Pier 70 in San Francisco in two parts. Each evening we will present the full Exhibition in two distinct Segments, featuring the exhibiting artists as listed. 
Article by Jon Bauer
In a castle in the San Fernando Valley lies the lair of music icon Gary Numan. Outside is an enormous statue of a dragon, inside a St. Bernard (almost as large) greets you on arrival. He’s a new addition to the family – a rescue pup, and huge. The lord of this manor could be as outwardly intimidating as this entire set-up, but he’s a humble presence. Notorious for hits such as ‘Are ‘Friends’ Electric?’ and ‘Cars’, Numan’s early career was too often misconstrued, tainted by a sometimes fraught relationship with the media and challenged by the hostility of the music industry at the time, still deeply committed as it was to the guitar, bass, drums approach of old. Numan, however, stuck to his guns, outlasted his naysayers, and became renowned not just as a pioneer but as an institution. Today, with a career that has spanned nearly four decades, his approach to electronic music remains an inspiration to artists across genres and eras, from stadium goliaths such as Depeche Mode, Prince and Nine Inch Nails to alternative heroes such as Beck, Damon Albarn and Marilyn Manson. Even Kanye West owes him a debt and David Bowie once credited him with ‘ writing two of the finest songs’ in British music. It’s no surprise he recently received the Ivor Novello Award for Inspiration.
Photo: Jon Bauer | Gary Numan Band
Photo: Jon Bauer | Gary Numan Band
Photo: Jon Bauer | Gary Numan Band
Photo: Jon Bauer | Gary Numan Band
Photo: Jon Bauer | Gary Numan
Photo: Jon Bauer | Gary Numan
Photo: Jon Bauer | Gary Numan
Photo: Jon Bauer | Gary Numan
Photo: Jon Bauer | Gary Numan
Photo: Jon Bauer | Gary Numan
Named after a skateboard movie from an 80’s skate film, Los Angeles band Nightmare Air emphasizes sonic momentum, during both live performances and in the studio.
Nightmare Air’s Dave Dupuis, a veteran of L.A. shoegazers Film School (Beggars Banquet Records), and Swaan Miller, whose stark acoustic album on Important Records melted hearts and faces everywhere, meticulously layer boy-girl harmonies, pulsing pop synths, psych noise loops and glam soaked walls of guitars. Add to that Detroit heavy hitter Jimmy Lucido on the drums (The Strays / TVT records) in their combined years of touring, these road veterans have supported heavyweights from Smashing Pumpkins to the The Jesus and Mary Chain. Headlining clubs and playing festivals around the world Nightmare Air have shared stages with The Kills, The Dandy Warhols, Teenage Fanclub, Cat Power, The Black Lips, The Soft Moon, No Age, The Wedding Present, The Buzzcocks, Ringo Deathstarr, Fishbone, The Cult and many more.
Photo: Jon Bauer | Nightmare Air’s Dave Dupuis
Photo: Jon Bauer | Nightmare Air’s Dave Dupuis
Photo: Jon Bauer | Nightmare Air’s Dave Dupuis
Photo: Jon Bauer | Nightmare Air’s Dave Dupuis
Photo: Jon Bauer | Nightmare Air’s Dave Dupuis and Jimmy Lucido
Photo: Jon Bauer | Nightmare Air’s Jimmy Lucido
Photo: Jon Bauer | Nightmare Air’s Jimmy Lucido
Photo: Jon Bauer | Nightmare Air’s Jimmy Lucido
Photo: Jon Bauer | Nightmare Air’s Jimmy Lucido
Photo: Jon Bauer | Nightmare Air’s Swaan Miller
Photo: Jon Bauer | Nightmare Air’s Swaan Miller
Photo: Jon Bauer | Nightmare Air’s Swaan Miller
photos by Jon Bauer | More Information
Leonard Cohen fan Rinus van den Boomen has set up a Leonard Cohen Tribute Band with his local musical friends and walks along the regional stages.
With timeless standards numbering in the dozens, including “Song for My Father,” “Nica’s Dream,” and “The Jody Grind,” the songbook of Horace Silver remains among the richest and most distinctive in jazz.
Tony Bennett performed for San Francisco in Davies Symphony Hall for two nights only on July 17 and 18.
Antonia Bennett was the first act of the night. As the daughter of Tony Bennett, Ms. Bennett’s stage presence is captivating. The way she moves to whatever song she is singing draws you in like a fish towards a shiny lure. There is that Bennett influence to be sure, but she has her own swagger and style that is more sultry and alluring. Before you know it, you’re hooked, and then she hits you with a long, smooth, powerful note. It was a special treat to see her perform before her father.
She got things moving right off the bat with “Teach Me Tonight”, an upbeat, happy song. Some heartfelt emotions sprang to the surface when she said a few words about how much her father has influenced her, and she dedicated her next song to him, “You’re A Lucky Guy”. Her rendition of “From This Moment On” was the most memorable part of her performance. She is a serious performer who breathes emotion into her music with grace and power.
Next up was Tony Bennett. He strode onto stage and the place went wild… I mean, berserk. His arms outstretched, his hair perfect, his gleaming suit with the red pocket square; immaculate. It was Tony Bennett! He hadn’t even started singing yet, but we all knew, this is a star. The grand scale of the Davies Symphony Hall seemed to shrink down to the size of a small jazz club in North Beach back in the day. The whole stage was lit up, but Mr. Bennett shone like a beacon, dimming the rest of the room.
I have to admit that I’m fairly easily moved by good art, but by the 3rd song, there were definitely tears in my eyes. This guy was giving it everything he’s got. Every note was perfect, because Tony Bennett was singing it. There was a force behind the music emanating from his body that was like watching a prize fighter in the ring. It wasn’t physical power. It was artist power. All those years of training, all of the previous performances swirling around in his head were intuitively informing his every move. He is truly a master.
It was familiar and inviting, but simultaneously new and exhilarating. He treads new ground with every performance. Standards? These are not your standard standards. He was like a visiting ambassador of jazz from New York showing us how it’s done. We were humbled. We welcomed him with open arms. He is the real deal.
His iconic smile is infectious. He doesn’t even need to sing. He started out almost every song as if he was starting a conversation with one of his band members. He kept sneaking in little nuances, little improvisations, that flickered and disappeared. In the middle of “I’ve Got Rhythm”, he broke into a little scat. During “One for My Baby” he yells, “Band, take it!” He just has the tools at his disposal. He kept looking up into the balconies sharing his love with the audience and showing his appreciation like everyone in the hall was an old friend.
He is the king of sad songs. “Solitude” is a heartbreaker, but he turned that frown upside down. He somehow transformed it, and by the end, was emanating feelings of intense joy. His phrasing is impeccable. He rearranged his own songs in ways we’ve never heard them. “It Amazes Me” amazed me. He re-told the story of “Steppin’ Out With My Baby” like it was not even the same song.
The quartet is an essential part of the magic of Tony Bennett. There were times when he and his quartet acted as one. They communicated like a hive mind, moving and thinking together. Several times, Mr. Bennett left the lime-light to stand next to each band member in turn as they performed their solos. Billy Stritch on piano, Gray Sargent on guitar, Marshall Wood on bass, Harold Jones on drums are each incredible musicians in their own right and it was a thrill to hear them perform.
Then, Mr. Bennett broke away from the pack in a single bound. It was as if he was up there on stage all alone. Even though the music continued, he was by himself. He was able to convey incredible vulnerability. It was as if he would physically shrink. During the same song, he suddenly burst forth with unbridled power, in joy and laughter, seeming to grow in stature. He was able to penetrate right into our hearts with those golden vocals.
Of course he sang “I Left My Heart In San Francisco”.
But that was not the end of the show. When he put down the microphone and sang “Fly Me to the Moon”, it was a very special moment. He doesn’t need the band or the microphone to connect with the audience.
He received no less than five standing ovations during his performance. He never stopped to take a break. He seemed like he could keep going all night and we all felt like he really wanted to. Performing for a packed theater of a couple thousand people must be stressful for some, but he acts like it’s a walk in the park. Tony Bennett gets the last laugh.
article by Greg Cutler | photos by Jon Bauer – The Soiled Dove Gallery
I am writing this review while the event is still going on (June 23, 2017). My overall review is that you should definitely go see it! (June 30 and July 1, 2017)
First of all, I’m impressed with how many people got dressed up in period costume for this event. Well done. I don’t have 1800’s clothes, but I wore a tuxedo with a long coat and a nice black and white striped tie. You don’t have to get up in your getup, but it was nice that there were many people who did. I will admit, that now, I want an 1800’s outfit for sure. [Historical Emporium]
I have a car and I drove myself to the event. Traffic getting from San Francisco to Alameda was minimal. It took me 35 minutes. There is a HUGE parking lot right in front of the tent. You will see the tent. It is also huge.
The location is not the greatest. I think if it had been in Golden Gate Park or something a little less influenced by the 20th century, it may have leant more to the illusion. Those Naval airstrips were not there in the 1800’s. They are old, but they’re not that old. The old saloon outside is a nice touch. If they had come out to serve us drinks in it, that would have been superb. I’m sure that is because of liquor laws or some other city ordinance. I sat on a chair on the porch when I arrived and talked to some very nice guests. Everyone was in the mood to see an interesting show, that is not in dispute. The anticipation was palpable. We had no idea what to expect. I actually expected it to suck. Boy, was I wrong!
The tent is impressive. I have no idea how tall it is, but it is tall. There is a whole world inside. Around the inner walls are art galleries with fantastic painting and photography for sale. There are little seating areas where one may lounge. The bar is located back there as well. Clockwise from the entrance was a platform with a bandstand, the stage, and a building with doors along the top floor that made up the brothel known as The Soiled Dove.
The first band, Cosa Nostra, plays on the stage until people get their drinks from the bar in the back and get settled into their seats. You can choose to sit anywhere and the servers help you find a good spot. The servers are also the performers and they are all in character.
The next band, Jazz Mafia is phenomenal. I appreciate good jazz and those guys are tight as a tick. And I mean that in a good way. If you believe Jelly Roll Morton who is quoted as the inventor of Jazz in 1902, the periodness is sort of weird at first, but you get over it. The original score to the entire show lends itself to jazz and jazz is related to Dixieland and Dixieland is related to Ragtime and Ragtime was definitely a thing during the Gold Rush, so let’s let it slide for the sake of a really entertaining and rollicking good time. The Lady Gaga, Bad Romance cover was very Westworld-esc. I’m not sure, but I think I was actually craving some actual ragtime. A creative interpretation of the Entertainer might not have hurt. The keyboardist could definitely handle that.
The circus-type acts in the show are like watching America’s Got Talent on Steroids, with a San Francisco Gold Rush theme IN San Francisco. Sorry, Simon. Maybe if you see AGT in person, it makes all the difference. At The Soiled Dove, watching someone fall from 100 feet above your head, end-over-end, suspended only by a piece of fabric is much more impressive in person than it is watching it on TV in the comfort of your living room. If they go “splat”, they will do it live in front of you. And they perform all around you. They are not just on the stage. They are on the sides and suspended in the air. Events take place at the bar behind you. Cowboy Girl the sharpshooter deserves a special mention, as do all the people she shot at (or at balloons that were in close proximity).
If I had not been sitting at the table, I would have missed out on the meal. And oh, what a meal it was. I’m a carnivore, so I had the beef. Emma Nation (get it?) comes out and describes each course in the dinner is not joking around when she describes how they must have cooked that meat for a very long time, because it was delicious. The salad and desert were excellent as well. Work of Art catering did an amazing job.
Monarch did an excellent job of keeping bar. At these types of events, the bar is pretty crucial. The drinks are pre-mixed by the bar and they are all fantastic. I sampled a few. They have beer too, of which I did not partake.
I won’t go into too much detail on the acts. I already talked about the band; phenomenal. The acrobats were amazing. The synchronicity between the dancers, acrobats, and aerialists was perfection itself. The strength, poise, grace, beauty, musicality, and shear athleticism of the aerialists and dancers was a sight to behold; male or female. As they spun above my head, the aerialists looked like they were having the time of their lives and it was infectious. They looked as if they would sprout wings and fly right out of the tent.
I would not want to mess with any of the women on that stage. They are strong!
Oh, and Mz. K. That’s all I gotta say. You have to go see her for yourself to know what I’m talking about.
The costumes are incredible. And there are so many costumes! If you like period costumes, that alone is a reason to go see The Soiled Dove. The sets are also amazing, solid, and accurate to the period.
The actors are always in character. Both Happy Jack (the first main character) and Vegas Trip (the main EmCee) do an excellent job of narrating and keeping the story moving along. Happy Jack is apparently based on a historical figure from the Barbary Coast; Happy Jack Harrington. Pretty much everything that happens to him in the show happened in real life, so pay attention.
All of the actors’ banter (written and improvised) was on constant display. The show is also musical and the actors can also sing. Every little micro-interaction (and they are going on all around, all the time) is captivating. So much fun to watch!
With any live performance, something always goes wrong. Katy Stephan’s microphone didn’t work at first, but the excellent crew resolved it in a matter of minutes and she carried on. I will say that Katy’s piano could have been mic’ed. It was a little hard to hear. Ahhh… Mz. K.
Speaking of Mz K, I was curious how, in this day and age, they would handle the debauchery. There was nothing weird or awkward about any of it. The people performing are beautiful (as I have already said), but they are real. They are right there in front of you. You can talk to them. If you want to eat or drink, you HAVE to talk to them. They are not objects. And they are talented. So the audience expressed such a high level of respect toward the performers that obliterated any weird creepy feelings that may otherwise have been exhibited. It was fun! Go see it!
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