That’s neither 1 Chainz nor an Americana Jacob Marley. We’ll explain later. (Ellen Huet/Treeswingers)
The best part of Noise Pop — or, really, any festival — often isn’t the act you come to see but the openers you didn’t even know you were going to love. We headed to Brick and Mortar in the neighborhood of disputed names (is it North-North Mission? The Elbow? Division Heights? Far East Duboce?) Thursday night to see Warm Soda, the local boys about to do to good.
Instead, we found ourselves wooed (and whooped and hollered) off our feet by Miner, a foot-stomping good time of a band from Los Angeles. They’re an adorable family affair — frontman Justin Miner, his wife Kate on various diminutive stringed instruments, cousin on keyboard, brother on guitar and the occasional electro-acoustic banjo — with a genuine joy of being on stage. Sort of like the Lumineers if they took themselves less seriously and were more talented.
Will Sprott opens Treeswingers’ coverage of Noise Pop, your favorite itinerant San Francisco festival. (Kelvin Tse/Treeswingers)
Ed. note: Today’s dispatch from Noise Pop comes from Friend of Treeswingers Kelvin Tse. Everyone, say hi.
On the first day of Noise Pop 2013, we rolled over to Brick and Mortar to check out a set of four bands headlined by Jason Lytle of Grandaddy fame. Michael Stasis kicked it off with extremely danceable beats and catchy melodies including a song about stumbling onto a Goth party in Oakland in “Land of
the Goths.” Although the room still wasn’t quite full yet when Stasis ended his set, he provided a strong start for the night.
But the contrast between Michael Stasis and Will Sprott‘s music was dramatic. Sprott, of the Mumlers, may strike you immediately as the shy boyish type that struggles internally with questions of the existential sort. His music is of a decidedly different tone and stuck to earnest inquiries about love and heartbreak. While fingerpicking his semihollow body guitar, his bassist laid down an easy groove, and two backup dancers (one rocking shoulder pads) thumped a simple beat on the bass drum and tambourines. But what really pulled the whole thing together was his smooth-as-molasses voice as he crooned crooned classic soul lines like “I don’t want to be free / I just want your arms around me.”