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Show Review: Biffy Clyro at Belly Up Tavern

April 17, 2011 By 1 Comment

Biffy Clyro at Belly Up, presented by FM 94.9

USD Radio’s Chuck Cartwright checks out NME’s “Best Live Act”, Biffy Clyro.  The band headlined an installment of the FM 94.9 “About the Music” concert series at The Belly Up Tavern in Solana Beach on 4/14.

By: Chuck Cartwright

From the very first note that came from Simon Neil’s guitar, it was clear that Biffy Clyro’s sound was too big for The Belly Up Tavern.  Rock anthems typically reserved for stadiums full of adoring fans in Europe, were being played in the sleepy seaside community of Solona Beach for roughly 1,000 lucky patrons.

As I entered the venue, a few folks looking for conversation casually asked if I knew anything about the band who we paid a measly $6 to see.  I told them they were one of the biggest bands in Europe, and how they have over half of a million fans on Facebook, and how they’re currently revered as one of the most energetic touring acts in the world.  How was is possible that there were people in attendance who didn’t even know how privileged they were to see such an acclaimed band, in such an intimate venue?

Luckily everyone understood once the three haggard-looking musicians, hailing from Kilamarnock, Scotland took the stage.  They launched into “The Captain”, the first track off of their new album and never quit for over an hour and a half.  Whenever the crowd began to applaud at the perceived conclusion of a track, the band would catapult into a guitar solo or rock ‘n roll infused jam until they were ready to call it quits.

The three Scots made enough noise to fill a stadium, and quite frankly I think some of the folks at The Belly Up were taken aback by the rapturous musical assault by the ragtag trio.

By the time Biffy Clyro finally relented, I wasn’t sure there was still a roof on The Belly Up Tavern.  My ears rang for at least an hour, all the way back to San Diego.

Once I got home, I added myself to the band’s hundreds of millions of Facebook fans, and continued to ponder why they aren’t more popular on this side of the pond.  Why weren’t they playing the main stage at Coachella this weekend, instead of in Solona Beach?

With the energy they displayed, I don’t think Biffy Clyro will be playing small venues in the U.S. for much longer.  It’s just not possible–the beast needs to be let out of its cage.

Only Revolutions - Biffy Clyro

Biffy Clyro- "Only Revolutions"

 

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Interview: The Hood Internet

April 17, 2011 By Leave a Comment

The Hood Internet

Five Minutes with The Hood Internet’s Steve Reidell:

USD Radio caught up with The Hood Internet’s Steve Reidell before his performance at UCSD’s The Loft on February 22nd.  Who would have thought Dead Prez worked well with Grizzly Bear, or Rusko and Soulja Boy… even DMX and The XX?

By: Jessica Fahey and Marisa Marlowe

So Hood Internet’s 4th Birthday’s coming around the corner?  How’d you get started?

Close to 4 years, yea.  We weren’t really touring when it first started, it was a web only project.  We were in a pop, Beach Boy influenced band together in Chicago, making tracks on the side for fun. It sort of started to take off when the internet grabbed a hold of it, and a friend recommended playing local shows, like some DJ sets, and we had no idea what we were doing.  Our first couple shows were really a mess, but then we started getting a hold of things.

How would you describe your music to someone that’s never listened to it before?

First I would describe the idea of what a mash up is so they can understand the basic concept, and then from there there’s a lot of rap, hip- hop, indie rock, electronic stuff… it’s basically a mess.  And then I would wait for their reaction.

You have an eclectic mix of songs, how do you go about deciding which songs to mash up?

Really stuff that’s in our music collection, stuff that we are listening to, stuff that we’re  feeling.  Sometimes its a little loco and go farther back and grab a Cindi Lauper song that matches up or something. But a lot of it is trying to lend an ear to songs that match together in terms of melody or vocal cadence, just really throwing stuff against the wall.  At this point we’ve made over 400 tracks and some of them are good.

Thinking back to early childhood what was your first experience with music? What song or band do you remember most as a child?

My parents listened to a lot of The Beatles . I also remember really liking the song “Africa” by Toto.  I loved Phil Collins and I still really love Phil Collins. And then I played in band in elementary school- I played the trumpet. In high school I kinda got tired of that and started playing the guitar and bass guitar.  Then I moved on from there and have always been interested in making songs and all kinds of music.

What’s next?

There is touring throughout the rest of the year for sure. It’s something that happens on a lot of the weekends…this is sort of a rare Tuesday night show. Hopefully its not laid back.  The next big thing for us is that we’re making a record that’s not a mash up at all; it’s sort of all of our own original music and production.  We’re working with a bunch of different people from a bunch of different bands- none of whom I’m going to say anything about since its not done- but that’s coming out in the fall.  Me and aaron work in different states now, he lives in north Carolina and I still live in Chicago but the internet makes it easy to work.”

 

 

 

 

 

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Record Store Day at M-Theory Music, 4/16

April 13, 2011 By Leave a Comment

For those of us who procrastinated, NoChella weekend is upon us. This is sad for a number of reasons, though the good news is we can take advantage of Record Store Day!

Record Store Day takes place once a year, on the third Saturday in April. It is a day intended to celebrate independently owned record stores all across the land. Store owners, artists, and labels all partner together to offer special releases, in-store performances, and unique promotional materials. Currently over 700 stores in the U.S. participate.

In San Diego, one can take part in the festivities over at M-Theory Music in North Park. They’ll have a smattering of special/limited releases, along with in-store performances, and a sidewalk sale.

So be sure to support your local record record store this Saturday, add to your vinyl collection, experience the record store culture, and pick up some new vinyl to impress your hipster friends and/or babes.

Details:

Join USD Radio at,

M-Theory Music: 915 West Washington Street (North Park)

Festivities commence at 10 AM, with live tunes starting at 4 PM.

 

 

 

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Show Review: The Belle Brigade at House of Blues

April 11, 2011 By Leave a Comment

Review of The Belle Brigade’s performance opening for G. Love at The House of Blues in downtown San Diego from Friday, April 8th, 2011.

By: Chuck Cartwright

It’s not hard to overhear folks lamenting the state of popular music while strolling on virtually any college campus across the country.  The conversation has gotten so generic and repetitive, I do my best to avoid such exchanges at all costs.

Last Friday at the House of Blues, I had the good fortune of seeing a band which rises above this contemporary mediocrity, with a captivating live performance.  The best part –they weren’t even the main act.  Rather a support act for funky blues hip hop virtuoso G. Love.

The act I’m referring to is The Belle Brigade, hailing from that big city a few hours north with the bad air and the angry drivers.  Strangely enough, The Belle Brigade might be the antithesis to the city of which they hail.

This brother-sister duo rocked the crowd into a frenzy by the end of their 45 minute set.  They opened with a sunny track called “Lucky Guy”, which harkens back to an era where songwriting and musicianship were paramount.  Their set continued with a number of skillfully crafted jams infused with guitar solos, sincere lyrical content, and even an epic tambourine session by the drummer (who looked like a cross between Alan from The Hangover and Tom Hanks in Castaway–after he was on the island for 4 months).

The crowd was loving every minute of it, even breaking out into a rare House of Blues dance sesh partway through the band’s rousing “Where Not To Look For Freedom”.

One should hardly be surprised.  The core of The Belle Brigade is comprised of siblings, Barbara and Ethan Gruska.  Grandchildren of composer extraordinaire John Williams, and offspring of songwriter Jay Gruska.  They cite Fleetwood Mac, Simon & Garfunkel, and The Beatles as chief inspirations, which definitely shined through in the band’s performance.

The band recently signed to Reprise Records, and after positive reviews from their showing at SXSW, and an album set to drop on April 19th, this is a band on the rise.

Check out their anthemic single, “Losers”, or catch the band live this summer.  And next time you hear the whiners on your campus lamenting the state of popular music–tell them to check out The Belle Brigade.

Losers - Single - The Belle Brigade

 

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Interview: G. Love at The House of Blues

April 11, 2011 By Leave a Comment

G. Love, Photo Credit: thekey.xpn.org

The Evolution of G. Love: Justin Marini sits down with Garrett Dutton, better known as the venerable G. Love prior to his 4/8 performance at the House of Blues in downtown San Diego.

By: Justin Marini

When an artist creates an album that is a “departure” from their regular style, it is often a cause for concern for many fans. In the case of G. Love’s 11th record, “Fixin’ to Die,” I would encourage fans to dismiss that notion, and open their ears to what is sure to be one of the most dynamic and fresh sounds of 2011.

I was fortunate enough to sit down with Garret Dutton—aka G. Love—before seeing his April 8th show at the House of Blues.  While hints of hip hop are sparsely tossed into the album, it is clear to see that G. Love’s main inspirations on “Fixin’ to Die” come from the realm of blues, to the likes of Muddy Waters, John Hammond Jr., and Mississippi John Hurt.

“I want to return to my roots,” noted G. Love, who added that this was an album he has wanted to make for a very long time. With the help of his producers—the Avett Brothers–G’s dream became a reality. The “…old-fashioned work ethic…” of the Avett Brothers combined with G. Love’s strong talent and passion for blues makes “Fixin’ to Die” an album that stands out among a generation of increasingly dispassionate musicians.

Although “Fixin’ to Die” is a departure from the classic G. Love sound found on albums such as “Lemonade” or “Philadelphonic,” this is in no way a dismissal of the vintage G. Love sound fans have come to adore. “I want to challenge the audience with my shows,” noted G. Love, who continued by saying that the shows on this tour will be full circle, beginning with new music, integrating the old classics in the middle, and finishing strong with more of his new music.

G. Love, "Fixin' To Die"

G. Love’s show at the House of Blues did just that, beginning with blues jams that left most of the audience jaws on the floor. If that was not enough, as the San Diego local outfit Slightly Stoopid replaced the band Special Sauce on stage and joined G. Love for the middle of his set, the crowd went wild, enjoying classics including Slightly Stoopid’s “Mellow Mood” (with an awesome blues harmonica tossed into the mix). As the show concluded with several strong blues numbers, you could see the trance-like effect G. Love had instilled on the crowd at the House of Blues that night.

Leaving the show, it was a relief to discover that G. Love’s gravitation towards blues is not a rejection of his old hip-hop influenced sound. Instead, “Fixin’ to Die” showcases his evolution into a more versatile musician. When asked about the future of G. Love, he noted, “I want to stay in this direction.” In an effort to delve even deeper into his blues roots, G. Love noted that he yearns to create his own original blues sound based on the Mississippi Delta Blues in the future. All in all, G. Love’s commitment to original, passionate music paves a promising path for the future of blues, and music in general.

Fixin' to Die - G. Love

 

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Show Review: Umphrey’s McGee at House of Blues

April 11, 2011 By Leave a Comment

Photo by Mackenzie Gilchrist

Renowned jam band brings the funk–On March 18th 2011, Sarah Jorgenson & Mackenzie Gilchrist checked out the Umphre’s McGee show at the House of Blues in downtown San Diego.

By: Sarah Jorgenson & Mackenzie Gilchrist

If there is one thing to be said about the performance at the House of Blues on March 18, it is that Umphrey’s McGee brought in the funk and the crowd just loved it. The band had everyone in the packed venue excited and jamming every second from the amped-up opener “Spires” until the second set closer, “Phil’s Farm,” when the people were banging on the walls, clapping and chanting, “we want the Umph, gotta have that Umph!”

Happy to be out of the Chicago cold and into the San Diego sunshine, the band seemed thrilled to be playing for the enthusiastic fans and delivered their awesome performance in true jam band style. Unlike the usual acts that come through the House of Blues, Umphrey’s McGee played two fairly long sets and even went almost thirty minutes past the usually strictly enforced noise curfew. Their extra long jams, phenomenal light show and particularly funky improvisation gave the people exactly what is expected of a jam band show. They played some of their more popular tracks such as “Nemo,” “Partyin Peeps” and “Pay the Snucka,” but also included some new songs and, of course, various teasers—most notably one for “The Triple Wide” thrown into the end of the second set.

Set One remained rather safe territory for the band.  Some of their more well-known songs, like “Words,” came across as rather pop-tinged and canned at first, but were able to transcend this canned sound once the band began to expand into their nuanced and exploratory jams. Like many bands in the jam genre, Umphrey’s McGee seems most at ease while improvising, and some of the songs that serve as the base for the jams fall flat at first.  By the end of the first set, it seemed that the band had really settled into their playing well; the set’s closers “Push the Pig” and “Go to Hell” were two of the show’s highlights.

Set Two brought even more psychedelic improvisation. In particular, the segued series of “Phil’s Farm > Day Nurse > Hangover > Soul Food II > Phil’s Farm” was incredible. The flow from each song to the next was expertly accomplished, even when the mood of the following song was different from the one before. A special treat was the powerful Led Zeppelin cover “The Song Remains the Same” early in the set. Overall, the jamming was extremely funk-inspired and kept the enthusiastic crowd on their feet the entire set.

It is rare that an accomplished jam band like Umphrey’s McGee comes to San Diego, but it should happen more often. It was clear that the packed House of Blues was eager to enjoy the funky jams that the band had to offer, and it was even clearer that the band was having a great time playing for a unique audience of southern Californians. This is one jam band worth seeking out.

 

Photo by Mackenzie Gilchrist

 

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Concert Review: Jessie J at the Dubai World Cup

April 5, 2011 By Leave a Comment

Jessie J performs at the conclusion of the Dubai World Cup on March 26, 2011 (photo by Tom Roth)

On March 26th, Tom Roth covered the the world’s largest horse race, the Dubai World Cup, for the USD Vista. Jessie J’s performance was the culmination of the race day events.

As a man, there are certain things I am not supposed to appreciate. Purses, nail polish, People magazine, and any movie starring Sarah Jessica Parker. Jessie J is also on that list. She typifies all that audiophiles detest about pop music. She came out of nowhere and suddenly has a chart-topping single with a big-name guest appearance. She is on an international tour. She was featured on Saturday Night Live just four weeks after the release of her first single. All of this before her debut album was even released. In sum, she is the archetype of Corporate Pop Music.

So why do I have three of her songs bookmarked on my web browser?

I chalk it up to the “guilty pleasure” factor. Everyone, regardless of musical preference, has those songs hidden away in his or her collection. They are seldom mentioned but often enjoyed, usually through the safety of headphones so as not to attract attention to one’s peculiar musical taste. I admit, Jojo, Kelly Clarkson, and at least three one-and-done “Jerk” artists have made it into my library and after seeing Jessie J perform at the Dubai World Cup, I can confidently say that she has become my newest guilty pleasure.

I take comfort in the fact that Jessie’s performance had the same effect on everyone in attendance. During her set, even the stuffiest of race-goers could be found jumping in time and singing the chorus to a catchy pop-tune they were hearing for the first time in their lives.

When she first pranced out on stage following the conclusion of the day’s races, Jessie was wearing a stylish get-up that screamed “modern pop”. Bangles jangling and outfit billowing, she lightheartedly chatted at the crowd as a performer who hasn’t yet been jaded by the business of touring and performing might do. I took a mental note: extra points for charisma.

As the gargantuan LCD behind Jessie lit up with swirling graphics and shimmering calligraphic styles that dispelled any doubt as to who was performing, she sang her way through one track after another off of her forthcoming album, Who You Are.

Wait.

She what? She sang? Yes, indeed. She sang every note. In today’s world of lip-syncing and cop-out performances (the court will now summon Sean Kingston) I was flabbergasted to hear that Jessie J actually has some pipes. The first comparison that comes to mind is Christina Aguilera. If Jessie J weren’t British, she’d have done well with “X-tina” and friends in the Mickey Mouse Club. Her up-beat pop sound certainly fits the mould nicely.

Between tracks, Jessie petitioned the technicians to light up the crowd. “I want to see you guys!” or “Turn up the lights! I’m scared of the dark!” The crowd laughed. However, the reaction would surely have been different had they known Jessie is susceptible to anxiety attacks and had to duck-out of a show in 2010 when she was forced to perform on a blacked-out stage. Turns out her petitions for more light were sincere.

While Jessie may currently have the number one hit in the UK, her show was unpretentious. For starters, she was the only performer. One microphone on stage says a lot about an artist, even if the rhythm track coming through the speakers is pre-recorded. Her 45 minute set went by quickly and as the who’s-who of Dubai nodded and swayed in their showy dresses and immaculate suits, the chorus of “Price Tag” reverberated through the night air: “It’s not about the money, money, money”. Wrong crowd, Jessie. In Dubai, it is all about the money, money, money.

Jessie kept things short and sweet. Her repertoire is limited (only thirteen tracks on her album) and she performed most of them in a single, 45 minute set. Less to remember, more to retain, is my theory. As I walked away, her catchy tunes stuck in my head the entire ride home. Unsurprising. After all, she is the song-writer responsible for “Party in the USA” and we all know how easily that embeds itself in your brain. Guilty pleasure, anyone?

- by Tom “Wonderboy” Roth

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Cirque du Soleil’s “Quidam” Impresses and Inspires

April 4, 2011 By Leave a Comment

Sarah Pacitti and Drew Howard offer their respective takes on Cirque du Soleil’s “QUIDAM”, during its brief residency at the Valley View Casino Center, in San Diego.

By: Sarah Pacitti

Cirque du Soleil’s Quidam on Friday, April 1st at the Valley View Casino Center, was easily greater than “the greatest show on earth,” as it brought the understanding of what a circus is to whole new heights…really high heights. The performers in this elaborate spectacle took the audience on a wild ride, all through the imaginative mind of a young girl named Zoé, the main character who struggles with the boredom of her everyday life. The journey started with a simple knock on the door of Zoe’s family home. Who from, you ask? A man named Quidam, with no head, carrying nothing but an open umbrella in one hand and a blue bowler cap in the other. And so, the story began.

From start to finish, it was the perfect tale of the desired escape from reality, but a purposeful escape, as the story-line served to teach that, perhaps, imagination can help one to better appreciate and understand real life. This departure from the “real world” included acts of all kinds, as the performers showed off their skills in the arts of contortion, acrobatics, balance, flexibility, and comedy. The flawless and precise movements of each individual performer worked to accentuate and highlight the seamlessness of the show in its entirety.

In Quidam, an artist in a metal hoop circulated the performance space, faster and faster, spinning the audience into a dizzying-state of utter hypnosis. Twenty performers gathered around the stage jumping rope all at the same time, while they rotated positions and flipped over one another in the air. A most impressive male and female performing duo relied on their shared strength and balance in order to create breath-taking sculptural positions from just the movements of their bodies–at one point the female held only by laying flat across the palm of the male’s hand. Need to take breather yet? With all the hula hoops and jump ropes, Quidam appeared to be the Olympics of recess yard-inspired games, but with a whole lot more of technique, energy, and jaw-dropping displays that truly astounded the audience.

But wait, there’s more. MORE? Audience interaction, too? Yes. The use of such audience involvement was incorporated perfectly, giving the spectators a few moments here and there to take that breather that they needed after having just witnessed a series of mind-blowing, gravity-defying acts. Comedic relief at its finest. Members of the audience were pulled onto stage, sometimes against their will, all in order to take part in skits that involved acting in pre-determined story-lines, the use of different props, and responding to the silent cues given to them from the comedic masterminds themselves.

In the tale of Quidam, the imaginative world created by Zoé helps relieve her of her boredom, and sends her on a whimsical ride.  Bored like Zoé? Take part in the escape from reality with the Cirque du Soleil experience, performances in varying parts of California until May 15.

Statue, photo cred.-Al Seib

 

Aerial, photo cred.-Al Seib

By: Drew Howard

When I was around 10, I had the good fortune of attending a Cirque du Soleil performance in San Francisco with my aunt and brother as a Christmas gift.  Since then, I’ve always wanted to go back.  When I read on Travelzoo that Cirque du Soleil’s newest arena show, Quidam would be coming to San Diego I knew I couldn’t miss out.

Over fifty world-class acrobats, magicians, and singers from all corners of the globe, united in one massive spectacle of a show.  If you aren’t familiar with Soleil, it is a Quebec-based organization with humble beginnings as a troupe of passionate street performers .  Last year, Soleil presented 20 shows simultaneously throughout the world.  Their shows have been seen by close to 100 million spectators, in 300 cities, on 5 continents (logistics nightmare?).

How lucky they happened to be in my backyard in sunny San Diego for a brief, eight show stint.

The show took place in the venerated shell of a venue known as the Valley View Casino Center (formerly the San Diego Sports Arena).  Though the venue wasn’t quite the ideal environment to view the show, Quidam could have taken place virtually anywhere and left the same impression on awestricken attendees.

The lighting was incredible, with a roaring band, and innovative stage design.  Each of performers in their elaborate and carefully-designed costumes had equal chance to shine, and none disappointed.

From the opening act, known as the “German Wheel” where an acrobat manipulated his body around a large metal hoop with uncanny grace, to the “Statue-Vice Versa” where a male and female performer displayed unimaginable feats of sheer human strength.  I watched the whole show with my jaw on the floor, as the performance was truly incredible.

The incredible acrobatics displays were interjected with comical character diversions which included audience participation and improv comedy gusto.

This lighting and music-induced sensory overload, coupled with world-renowned acrobatics and a cleverly scripted story forced the question–why was the arena barely half full for a 7PM show on a Friday night?

Was everyone at the Valley View Casino Center’s namesake establishment, playing keno, eating $9.99 prime rib dinners?

Maybe it was a lack of marketing, maybe no one cared to visit pay the prehistoric venue’s exorbitant parking fees, or maybe all of San Diego had too rough of a day at the beach.

Regardless, those who did catch Quidam were pleased with their decision, because it was the best thing to hit SD since daylight savings ended, and I think I might have even impressed my date.

Spanish Web, photo cred. Al Seib

CIRQUE DU SOLEIL — QUIDAM

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Show Review: Wolfgang Gartner at House of Blues

April 3, 2011 By Leave a Comment

Los Angeles based DJ takes priority over studies and sleep

S. Handly, USD Radio

This Thursday, March 31, was an important day in my college career. With a micro-economics midterm on 11:00 a.m. the next day, I had to make a choice. To attend, or not to attend. I’m not talking about whether or not I should take the midterm – I’m talking of course about the Wolfgang Gartner show that took place at the House of Blues that same night. Needless to say, I was up pretty late studying for that midterm since I couldn’t resist my chance to finally see Wolfgang do a show here in San Diego.

The House of Blues was absolutely packed. Since the House of Blues had not announced an opening act, it was a pleasant surprise when Felix Cartal took the stage and absolutely killed it. Dropping some of his famous tracks such as The Joker, and Love, he did a great job setting the stage for Wolfgang. I would venture to say that he nearly outperformed the main act.

An awesome LED set-up awaited Wolfgang’s arrival. He was surrounded by L-shaped lights and fog machines, setting the perfect mood for a show that takes place in the dark House of Blues. When Wolfgang finally took the stage around midnight, he kept the party going until 2 a.m. Well, kind of. The place thinned out around 1:30, but there were still plenty of energetic people dancing away their final ounces of energy up until the final beat.

Throughout the night Gartner brought out a heavy arsenal, dropping track after track on the crowd. Gartner’s track selection was different than I expected. Departing from the Funk Nasty, Illmerica, Heartbreaker, Push & Rise stuff that he does so well, he stuck to his older stuff like Conscindo and Undertaker  which is definitely not his best. I would have loved to hear him spin a couple of those tracks. He played some great songs by other DJ’s though, which definitely saved his act. In my opinion, he did not let himself shine.

Overall, I have to say that my first House of Blues experience was awesome. However, I lost the intimacy I felt at some other DJ sets I’ve seen. Since the House of Blues is so big, Gartner had to be posted high above the crowd on the main floor so that the 21+ area on the balcony could see him as well. It was a tough compromise that the House of Blues had to make to please everyone who attended.

Once the show finally winded down and I ascended from the mysterious House of Blues basement I took a huge breath of fresh air, preparing myself for my inevitable next visit. When I arrived home at  3:45 a.m. in the morning, it was probably just about time to start studying for that micro-economics midterm.

S. Handly, USD Radio

By: Spencer Handly

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Concert Review: 12th Planet shakes things up at El Dorado

March 27, 2011 By Leave a Comment

By: Spencer Handly

For those of you who aren’t aware, there’s a great little venue over on 11th avenue called the El Dorado Cocktail Lounge. Every Wednesday this place transforms into something completely different: Dub Dorado. Dub Dorado is possibly the best dubstep event in San Diego, primarily due to the fact that the lounge brings in stacks of JBL subs to pound the crowd to oblivion.

So now that you have a little background, this past Wednesday (March 23rd) was a local DJ known as Mr. Biggs’ birthday bash, and when I heard there was a special guest performing, I thought almost nothing of it. The entire show was pure energy, with local DJ’s Craig Smoove and Yoshi dropping their first dubstep set ever, Headshake stirring up the crowd and drawing people to the dancefloor, not to mention Austin Speed, Tealong, and the birthday man himself Mr. Biggs, all putting on stellar performances.

With the crowd energy already going through the ceiling, the guest DJ was announced. 12th Planet took the stage, and the crowd went nuts. Fists were thrown in the air and heads started bobbing so hard, I’m suprised nobody broke a neck. Dropping all the best tunes, from his very own remix of “Youth Blood” to the more mainstream “Look At Me Now” by Chris Brown, he kept the crowd going ’till well in the morning. PLUS, he performed El Dorado’s first ever stage dive, and its second, and there was a third, and fourth. Need I say more?

This guy knows how to work a crowd. But of course he couldn’t have done it without the help of El Dorado, with a $5 cover, amazing drinks, a fun-loving crowd who’s there for the music and doesn’t mess around with Kandi (all those crazy rave beads), this is the place to be not only during Dub Dorado, but every night of the week. Don’t miss RAC playing on April 2nd, be sure to RSVP in advance, cause you don’t want to miss this one. It’ll most likely be a chill show, so there’s always Dub Dorado for those looking for that extra injection of adrenaline. Be sure to check out pics from the 12th Planet show at TurboFM

 

Filed Under: Concerts, USD Radio Tagged With: , ,
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