Let It Bleed: A Rock & Roll Tampon Drive feat Dead Sara
Wax Idols play as The Damned, Kera and the Lesbians, The Tambo Rays
Sat, February 11, 2017
Doors: 8:00 pm / Show: 9:00 pm
San Francisco, CA
Let It Bleed is a rock & roll tampon drive designed to empower women, add to the dialogue on the Tampon Tax and The Homeless Period, shatter the period taboo, and most importantly, invite everyone to the conversation! It's also a general educational platform / PSA about and "Tampon Tax," which taxes tampons as a non-essential, luxury items, and the greater issue of The Homeless Period.
This is a celebration of womenkind – promoting women in the arts, fostering solidarity with women among all gender identities, and supporting women in need.
Bring any feminine care items and get a free raffle ticket at the door! All items will be donated to Compass Family Services.
Vendors: The Tidy Shoppe, Popshop60sand70s, Maiden Voyage Jewelry, & Sand Shed – all founded and run by women.
Sponsors: Conscious Period, Green Apple Books on the Park, The Tidy Shoppe, San Franpsycho, Black Magic USA, & Cora.https://www.thechapelsf.com/event/1413907/
One thing astute listeners will notice is the heightened space and detail given to lyrics, like on "Mona Lisa," where there is a pause after Armstrong sings, "I'm so cold and lonely, I could be dead." The silence is fleeting, but enough to make the starkness of her lyrics stand out. That is a band growing more comfortable with themselves. "On this record I've noticed that I'm not hiding behind a lot of delay anymore, whereas the first record I was very self-conscious about singing, I'd never really done a record. And you will hear so much fucking delay and reverb," Armstrong says. "But I've become so much more confident as a singer. And I think, like Siouxsie's saying with her Morrissey, Smiths type stuff, we used a lot more of the twangy guitars on this record, which was rad, because we didn't necessarily overdrive everything and put a shit ton of everything just to get through the record." "This second record I definitely feel more time was put into it and we're much smarter. We're a little bit more grown up," Friday says. The first record was recorded largely in 11 days according to the band. The youth and freshness was definitely part of the appeal for fans, who saw the hunger in songs like "Weatherman," "Lemon Scent" and the powerful "Face To Face." On Pleasure To Meet You though they've mixed that zest with savvier songwriting and production. "Between the first and the second record and even now more on the third we're definitely getting into changing the key and what actually feels the best," Medley says. "'Do we want it dark? Do we want it happier?'" Dead Sara have definitely pushed themselves on Pleasure To Meet You, taking those new tricks to make a unit. "On 'Something Good' or 'Greaser' there are full three-part harmonies now. And that's something we never would've done on the first," Armstrong says. "So with that aspect we've grown into using everything we possibly can as a musician in a band. Because everybody can do their own thing individually, but there's something special about when we can use it all together for one purpose." Null agrees this is more of a band album. "Even though I think it's still varied song wise and the tonality of the record is more cohesive than the first record," he says. All of that cohesion and unity reach their zenith on the epic closer, "For You I Am." "It was a jam that we pressed record when we started jamming on it, just me sitting on one chord singing and then the band chimes in and we fucking finished. And the structure stayed the same. And the lyrics are almost exactly the same, but it was a moment where everything aligned and that's a rare moment," Armstrong says. "It was done so beautifully and Noah really understood that song, where we were coming from on it and how important that song was, especially closing out the record. Everybody in the band put their piece to it and shared it."
This is a band to see live. Kera's passion is tangible, at times bringing the crowd to tears, but most consistently keeping a dancing crowd completely enraptured, hanging onto every word her very expressive being has to sing. She brings heaps of charm to the set, with her joking between songs and her Elvis-like dance moves, it's obvious that she and the whole band live for this. Their range has allowed them to perform with a diverse list of acts including Devendra Banhart, Best Coast, and Crystal Castles.
The band has a definite DIY work ethic, having self released two EPs, and a debut coming out early 2014. They also do their own booking and artwork internally. Their newest single 'NAILBITER' is a manic blues track covering one of Kera's most aggravating habits and instilling in the listener a mounting feeling of tension that it mercifully relieves, while still giving a taste of the madness of obsession.
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San Francisco, CA, 94110