Listings are in the opposite order of appearance: headliner is listed at the top, next is the support band(s), and the last band listed is the opener.
Saturday April 22 2017
8:00PM doors -- music at 8:30PM ••• ALL AGES
$10 in advance / $12 at the door
R&B / Soul
bro-fi noo wop pop tropicalia
Lydia • Genessa • Sage • Maxx
-from Eagle Rock, CA
-Perfectly imperfect - that’s one way to describe LA based punk act, The Regrettes. Writing songs that proudly bear a brazen and unabashed attitude in the vein of acts Courtney Barnett or Karen O - with a pop aesthetic reminiscent of 50’s and 60’s acts a la the Temptations or Buddy Holly - the LA based four piece create infectious, punk driven tracks.
Lead by outspoken frontwoman, Lydia Night, and comprised of Genessa Gariano on guitar, Sage Nicole on bass and drummer Maxx Morando, the group have left the LA rock scene floored, managing to capture the hearts of jaded rock critics while opening for acts like Kate Nash, Jack Off Jill, Bleached, Pins, Deep Vally and more. With nothing but demos available online, the group are already beginning to generate hype, from outlets like NPR, and with NYLON already heralding them them as a “punk act you should be listening to”.
From the opening moments on a track by The Regrettes, we’re greeted with a wall of guitars, infectious melodies and a wistful nostalgia that continues right until the final notes. Taking cues from acts like Hinds and Hole, there’s a wistful sense of youth and vulnerability that lies at the heart of each song.
A song by The Regrettes is, essentially, a diary entry into Lydia’s life. “My music is a spectrum of every emotion that I have felt in the last year, and you can hear that when you hear the songs. Everything that is happening in my life influences me. It’s everything from boys, to friends, to being pissed off at people, to being really sad. Just everything.”
The most intoxicating draw of The Regrettes is their bashful, heart-on-your-sleeve temperament - writing urgent and fast-paced pop songs with a punk rock mentality. “The way that we write, it’s all based on honesty,” muses Lydia on the group’s punk aesthetic. “If I finish a song, I’ll just leave it - I won’t really go back to it. I like things to feel in the moment and I don’t want it to be perfect. If I work on something too much I lose it and get bored and I want to do the next one.”
First song, “A Living Human Girl,” best showcases the vulnerability of the group’s lyrics. Singing about a less than perfect complexion, a bra size that is considered smaller than most, and those little red bumps you get when you shave, The Regrettes aren’t afraid to embrace their imperfections. “Sometimes I’m pretty and sometimes I’m not”, sings Lydia over 60’s inspired guitar riffs and a kicked back drum beat. “I don’t remember exactly what sparked it, but I remember when I wrote those lyrics, I was just really angry.”
“There are times when you feel really insecure and you really don’t like yourself, so I wrote it for people who feel that and I wrote it for myself. I just felt like there wasn’t a song like that out there. A song that if I was feeling super shitty about myself, that I could listen to. I wanted something that would make girls and boys feel confident,” she explains.
Lydia’s not afraid to have her feelings on display. “I am not scared of anyone judging me, I don’t care. I don’t give a fuck if someone doesn’t like what I have to say. For every person that likes you, there’s a person that doesn’t like you. No matter what, if people can relate to the music then it’s worth it. That’s what is cool for me.” And at the end of the day, isn’t that what punk music is all about?
The Rest of the Crew:
-from San Francisco, CA
-O Presidente casually refers to their genre as all of the following: “noo-wop,” “bro-fi,” “skate folk,” “hyphy”, and “tropicália.” But, the band’s varied roots, including their interest in Brazilian and other Afro-Caribbean influences, doo-wop, and ’50s and early ’60s American and British pop, are patent on Clube de Futebol, an entertaining, rocking, and even sometimes crooning record, replete with beautiful instrumentation and songwriting. Zingg also likes to think that “some of the newer stuff is faster, louder, with more fuzz.”
“Around the time we started playing together as a band too, I was becoming obsessed with Tropicália and Brazilian psychedelic rock from ‘60s and ‘70s,” Zingg said of O Presidente’s sound. He eventually discovered that his grandfather David Drew Zingg was an American photographer who lived the last 40 years of his life in Brazil and took the album cover photographs on some of the iconic Brazilian pop records of the 1960s, including the original Tropicália “manifesto album” and the breakthrough records of Caetano Veloso and Gilberto Gil.