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San Francisco: The Musical History Tour: A Guide to Over 200 of the Bay Area's Most Memorable Music Sites Paperback – April 1, 1996

• Print length 176 pages
• Language English
• Publisher Chronicle Books
• Publication date April 1, 1996
• Grade level 8 and up
• Reading age 13 years and up
• Dimensions 1 x 1 x 1 inches
• ISBN-10 0811810070
• ISBN-13 978-0811810074
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• Publisher ‏ : ‎ Chronicle Books (April 1, 1996)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 176 pages
• ISBN-10 ‏ : ‎ 0811810070
• ISBN-13 ‏ : ‎ 978-0811810074
• Reading age ‏ : ‎ 13 years and up
• Grade level ‏ : ‎ 8 and up
• Item Weight ‏ : ‎ 9.7 ounces
• Dimensions ‏ : ‎ 1 x 1 x 1 inches
• #2,061 in Popular Music (Books)
• #3,641 in Pacific West United States Travel Books
• #7,711 in Travel Reference & Tips

About the author

Joel selvin.

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• SF Music Hall of Fame

Visit and learn how the legends of West Coast Hip-Hop, Thrash Metal, and the Psychedelic sounds of the Summer of Love came to be some of the most iconic musicians of the world!

The San Francisco Music Hall of Fame (SFMHOF) 
is comprised of three parts: The Gallery, the Brick Walk, and the Visionar Exhibits.

Together they represent and showcase the rich musical history of San Francisco and the Bay Area artists that helped define many generations.

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The SF Music Hall of Fame Gallery is $12 to visit and explore. Open daily during normal business hours.

Guided Tours are Free to Guests

Reserve your 4PM timeslot with local tour guide, Blandina Farley, and first discover the music history of Polk Street before the full tour of our Hall of Fame.

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San Francisco, CA, 94109

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San Francisco, the musical history tour : a guide to over 200 of the Bay Area's most memorable music sites

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San Francisco’s Music History: Visiting The City’s Famous Music Sites

The Bay Area is rich in musical culture and history. If you’re  traveling to Northern California  with a group, a music-themed tour of San Francisco might be of interest to you – and probably one of the most unique things to do in San Fran! Whether you’re planning a trip for your family, sports team, class, church group, or friends, here’s everything you need to know to personalize a group music-themed tour of San Francisco.

Now that my sister and her husband are living out in San Fran, I can’t wait to get out there to visit and hopefully see some of these incredible music sites around the city. And I might have to check out some of the more  quirky places to stay  too!

A Taste Of San Francisco’s Music History

Choose transportation.

In planning any sort of group trip, one of the first things you need to think about is transportation. To figure out which transportation option is best for you, answer the following questions:

• How large is your group?
• Do you want to do the driving yourself or do you prefer to rent a bus with a driver?

If your group does not exceed 20 people, then a mini bus has enough space for you. It is also relatively easy to drive, so you can operate the vehicle by yourself. Otherwise, you need to find  San Francisco bus rentals with driver  to find school buses, mini coach buses, and coach buses for your trip.

Famous Landmarks in San Francisco

There are several famous music landmarks in San Francisco, including these three spots that you definitely shouldn’t miss:

• The Janis Joplin House

Janis Lyn Joplin (1943-1970) was a singer-songwriter who gave us classic hits such as Me and Bobby McGee, Piece of My Heart, and Maybe. Like some of the greatest musicians of her time, she died of an overdose at age 27. However, you can still celebrate her music and see where she wrote some of her most popular songs when you go to The Janis Joplin House located at 635 Ashbury Street.

• The Jimi Hendrix House

James Marshall “Jimi” Hendrix (1942-1970) was an iconic guitarist, singer, and songwriter. He continues to be one one of the most celebrated musicians in rock history. He died in Notting Hill, London, also of overdose, which makes him part of the Forever 27 Club in music. If you’re a fan of this rock legend, head to 1524A Haight Street to see where he lived in the 1960s.

• Amoeba Records

Amoeba Records is one of the largest independent record stores on the world. Their catalog includes vinyl records, DVDs, and CDs from hundreds of artists. Located at 1855 Haight Street, you can go here to buy records, to hangout for free and to see live shows all in one.

Obscure Sites in San Francisco

If you want to avoid the tourist crowds and experience the true San Franciscan music scene, head to these more obscure sites:

• The Great American Music Hall is an opulent and elegant venue, but they welcome an eclectic lineup of artists to play onstage.
• Slim’s is an 80’s-inspired R&B nightclub for those who want a little funk, a little soul, a little blues, and a little jazz to listen to for the night.
• Lastly, don’t mistake The Chapel for a religious place of worship. It’s the West Coast home for the Preservation Hall Jazz Band who originates from New Orleans. Aside from being a music venue, there’s also a restaurant on site where you can take kids ages 6 and up.

Booking a Private Tours in San Fran

Alternatively, you can book a private tour in San Francisco for your group. Here are two favorites among tourists:

• The City Music Tours San Francisco lets you choose your poison. You can either join the the Hippie Trail or the Punk and Rock Music walking tours. Both of these take about two hours.
• The Haight-Ashbury San Francisco Tour is a musical trip of the 60’s. The tour guide takes you around these famous San Francisco streets while they sing you a song about the most psychedelic decade in music history.

So this has been your guide to the San Franciscan music scene. With these famous landmarks, obscure sites, and private tours, you’ll get to experience the best of the city’s musical history and culture.

Last updated on October 13th, 2023 at 12:50 pm

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Music | Embark on a guided tour through Bay Area rock…

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Music | Embark on a guided tour through Bay Area rock music history

Book covers tupac shakur, grateful dead, green day and more..

If you’re game, all you have to do is pick up a copy of “Rock and Roll Explorer Guide to San Francisco and the Bay Area,” their cool new book detailing where Jerry Garcia, Grace Slick, Tupac Shakur and other music stars lived, walked and worked in the region. It also covers a number of notable nonlocals, from Bob Dylan to Sid Vicious, who spent time in the area. The tome follows “Rock and Roll Explorer Guide to New York City.”

We recently had the opportunity to chat with the two authors, who have both relocated to Northern California from the East Coast — and browse through 10 iconic Bay Area music destinations . Katz now calls Monterey home, while Kott lives in Oakland.

Q: How did the idea for the Explorer books come about?

Mike Katz (MK): I’ve always been fascinated by the history of cities, particularly what makes them culturally unique. I also spent several formative years in New Orleans, where you can visit the actual places where jazz emerged as a distinctly American form of creative expression. Standing in those places and touching those buildings had a profound effect. It’s a powerful experience, not unlike visiting where the Declaration of Independence was signed, or where Lee surrendered to Grant.

Many years later in New York, Crispin and I attended a panel discussion with the surviving members of the Velvet Underground and listened to Lou Reed recount the many unexpected places where he and the others met, worked and essentially re-created themselves. We had talked about writing a book about New York’s rock ‘n’  roll history, but this was a ‘eureka’ moment.

Q: Why did you decide to do the next book on the Bay Area?

Crispin Kott (CK): After New York we knew we either wanted to tackle the Bay Area or Los Angeles. We went with the Bay Area in part because there was so much more to the story than what happened in the second half of the ‘60s. All that is in here too, but the Haight-Ashbury scene wasn’t the beginning of rock music in the Bay Area, and it wasn’t the end, either.

Q: A lot of people know about the S.F. rock landmarks — Fillmore, Haight-Ashbury, etc. But how much rock history exists outside of the 415?

MK: Lots! Oakland’s Blues and R&B roots date back nearly a century, and Berkeley has an extremely diverse history encompassing folk, blues, rock, and R&B, as well as some pioneering record labels. San Jose, Santa Clara, Stanford, Menlo Park, Palo Alto, and various other sites up and down the peninsula were both critical proving grounds and important performance locales for many important artists of the ’60s and beyond.

Q: The biggest city in the Bay Area is, of course, San Jose. Is there a lot of rock history to find in the land that gave us the Doobie Brothers?

MK: Yes indeed. The house that Tom Johnston lived in when he founded the Doobies was recently given historic status. Beyond that, San Jose can also boast the first gig by the Grateful Dead under that name, at one of Ken Kesey’s Acid Tests on December 4, 1965. That event was reportedly attended by Rolling Stones Keith Richards and Brian Jones following their own gig at the Civic Auditorium.

San Jose was a key location in the critically important folk music circuit of the mid-‘60s as well, attracting the young Jerry Garcia, Bob Weir, Ron “Pigpen” McKernan, Janis Joplin, Paul Kantner, and Jorma Kaukonen.

Kantner was a student at San Jose State and worked with Kaukonen at Benner’s, a local music store. Jorma even made extra money teaching guitar lessons there for quite some time. There’s plenty more, but I can’t give it all away here.

CK: I was constantly surprised by how often single locations turned up in seemingly disparate scenes, or how they were touched by important music and nonmusical history. (For example) 330 Grove Street in San Francisco was in 1978 both where the LGBTQ rainbow flag was created and the site of a punk show featuring Dead Kennedys and Avengers. And several years before that it was the home of People’s Press, a crucial underground print shop. Unfortunately where that building once stood is part of a parking garage now. But it’s still fascinating to think about what used to be there.

Q: The title of the book says “Rock and Roll” but there’s actually a lot more than just that genre represented in this book, right?

MK: We make a conscious effort not to create unnecessary boundaries between perceived music genres. Musicians typically don’t, and those appellations are often marketing tools anyway. Following our “inclusion is better than exclusion” rule, for example, we describe blues and R&B in the Bay Area before the so-called Rock ‘n’ Roll Era (roughly 1955 and beyond), because to exclude those artists would rob them of their place in history as the progenitors for so much of which followed and be a gross distortion of history. In those days, blues, rhythm & blues and rock ‘n’ roll were often considered variations of the same thing but for different audiences. The “classic rock” sound of the ’60s is different from the punk sound of later years, but they are part of the same musical continuum and we enthusiastically cover them both. We don’t cover hip-hop extensively, but we do write about Tupac Shakur because he is such a towering figure that has influenced musicians and fans across all demographics. We’ve even got Johnny Mathis in there because he’s one of the most popular singers of all time and is inescapable. He even went to the same high school as Marty Balin.

Q: Crispin, what’s your favorite piece of rock history that you learned from doing this book?

CK: Neal Schon confirmed a hilarious story about an incident with a fire extinguisher when Journey was recording “Infinity” at His Master’s Wheels in San Francisco. And Joel Gion of the Brian Jonestown Massacre’s story about getting hired to work at the Mitchell Brothers’ O’Farrell Theater is great too.

Q: Same question to you, Mike.

MK: One dramatically unpleasant eye-opener I learned is that one can draw a direct line from the forced internment of Japanese Americans at the outbreak of World War II to the rise of the Fillmore Auditorium as the premier venue of the San Francisco sound of the ’60s.

The Black Americans that repopulated the district — one of the very few places that would rent to them — transformed it into an entertainment destination, and impresario Charles Sullivan established the Fillmore as its biggest and best venue in the early ‘50s. When “urban renewal” set in some time later, and many of the Black inhabitants of the area were forced elsewhere, audiences dwindled until Sullivan began to share the space with a young Bill Graham. Sullivan died under tragic circumstances not long after, and the transformation was complete.

Q: I would like to know each of your all-time favorite Bay Area music acts. Give your, let’s say, top 5. And bonus points if you rank them in order.

MK: Not in any order, because that would change on a regular basis: Creedence Clearwater Revival, Sly and the Family Stone, Jefferson Airplane, Etta James, Santana.

CK: In order: Grateful Dead, the Brian Jonestown Massacre, Sly and the Family Stone, Green Day, Dead Kennedys. That’s as of right now and is subject to change, depending upon a variety of factors. Jefferson Airplane and Cool Ghouls are bubbling just under the top five.

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San Francisco Sound: Musical History Tour of the Summer of Love

Article contributed by alan sheckter | published on sunday, july 30, 2017.

Music, imagery, and delightful anecdotes from San Francisco’s so-called Summer of Love intertwined in charming, profound fashion at the city’s newly renovated Nourse Theatre on July 22. The multimedia concert spotlighted Joan Baez , Nicki Bluhm , the T Sisters , and a host of other burgeoning Bay Area players and singers.

Of the many celebrations across the land marking the 50th anniversary of San Francisco’s summer of ’67, this one was undeniably special, exemplified by the elegance of the setting and the performers’ fine, passionate reinterpretations of the beloved sounds of the day. Many of the pieces of music performed on this night first made their indelible marks on music lovers’ psyches back when they tuned into their favorite AM stations on transistor radios.

The event was co-written by in-demand musician, teacher, bandleader, singer-songwriter and musical theater producer Jimmy Dillon as well as longtime music journalist Paul Liberatore, who introduced each song with interesting narratives about each 1967-era San Francisco band and song being highlighted. All the while, iconic images of the day, many by Jim Marshall and Herb Green, were displayed on a giant stage backdrop. Another colorful dimension was Kelli Hill’s occasional frolicking go-go-dancer moves and grooves. The evening’s proceedings moved along at a brisk, seamless pace, with artists smoothly and continuously sidling on and off the stage.

The mostly 50-plus crowd was a genteel group, wearing clothing and accessories that often, at least in some small way, affirmed their affiliation/remembrances of 1960s’ San Francisco. When Liberatore spoke of the 1967 Human Be-In, held in San Francisco, at which Timothy Leary famously urged people to “Turn on, tune in, drop out,” many laughed and clapped when Liberatore suggested “some of you probably did.” With everyone comfortably gathered in the 1,600-seat Nourse, the show began with an Erik Heldfond-created nine-minute movie as the house band conjured up fond memories with a creative overture of iconic melodies of the day. The musical sequence written by Dillon, included The Mamas and the Papas’ “California Dreamin’” and The Beatles’ “Lucy in the Sky With Diamonds.”

Setting the tone for the 2½ show, Liberatore then discussed the Youngbloods’ influential “Get Together,” including the revelation that the song was in fact written by Chet Power, aka Dino Valenti, of Quicksilver Messenger Service. The renowned Oakland-based T Sisters trio entered stage-right and in colorful technique – in fashion and voice – harmoniously sang the tune in three-part harmony to the audible pleasure of the audience.

Next up, banjo virtuoso Tim Weed, who played guitar and banjo with the house band all night, assumed vocal duties of Scott McKenzie’s “San Francisco (Be Sure to Wear Some Flowers in Your Hair).” Written by The Mamas and the Papas John Phillips, this Top 5 single is likely the most iconic of all Summer of Love songs, proclaiming in part, “There’s a whole generation, with a new explanation.”

Soon the presentation included mentions of The Grateful Dead’s Jerry Garcia, including his work on Jefferson Airplane’s 1967 breakthrough record “Surrealistic Pillow.” And The Airplane, arguably the biggest draw of all local bands in 1967, were in excellent vocal-tribute hands as Nicki Bluhm channeled Grace Slick, passionately handling “White Rabbit” and “Somebody to Love” as the band rocked out.

Liberatore then mentioned the tender Marty Balin-penned love song, “Coming Back to Me,” in which Garcia played guitar passages on that Airplane record.  The song itself was presented with poise and reverence by 17-year old Caroline Sky, a Marin County, California-based singer-songwriter who, in addition to experiencing rising demand for her own music and performing solo and collaboratively with other famed players, also was a recent contestant on NBC’s “The Voice.”

When a giant image of Bill Graham, on the phone, came across the screen, Liberatore joked that he was probably yelling at someone on the other end. But to Graham’s credit, Liberatore related a quote attributed to Jerry Garcia, in which Garcia compared Graham to Chet Helm, head of the Family Dog, another San Francisco concert promoter. “Chet,” said Garcia, “never appeared to be doing anything, as opposed to Bill who appeared to be doing everything.”

The ensemble then performed a triad of songs associated with The Grateful Dead, who in 1967 were a very feral version of what they’d become in the 1970s and onward, but still were one of the most popular bands in San Francisco. First was a nice run-through of the traditional “I Know You Rider,” which was one of the band’s earliest performance numbers, with shared vocals by Bluhm, the T Sisters, Liberatore, and Jesse Ray Smith, a Bay Area songwriter, producer, multi-instrumentalist, and studio owner. “Truckin’” followed, The Dead’s biggest hit single till “Touch of Grey,” with musical director Dillon and Jesse Ray Smith handling vocal duties. The T Sisters followed, delivering a gorgeous a capella version of The Dead’s “Attics of My Life” to the spellbound audience.

Making a nice segue, Liberatore said that while The Grateful Dead toured with Bob Dylan in 1986 and ’87, there was a performer who collaborated with Dylan far earlier. Applause and cheers increased as the crowd sensed and then watched as the featured performer, Joan Baez took the stage. Now 76 and with a still strong and uniquely distinguishable voice, Baez launched into a captivating medley of Dylan songs. While slides on the big screen showed images with, and without, Dylan through the years, Baez’s solo acoustic set included “Sad-Eyed Lady of the Lowlands,” “I Pity the Poor Immigrant,” “It’s All Over Now, Baby Blue,” “Blowin’ in the Wind,” and “Don’t Think Twice, It’s All Right.”

With a promise from Libertore that Baez would be back, everyone moved on eagerly to see what would come next – which were images of Carlos Santana and his band, a soft rendering of Santana’s delicate instrumental “Samba Pa Ti,” and a brief oration about their importance in the San Francisco psychedelic music scene. The band then lit up the crowd with a pleasing “Oyo Como Va,” a Top 20 hit in its day, with Smith and Martin Luther McCoy on vocals, which turned into a full rocking rendering of that classic piece.     

Next up, Liberatore reminded the crowd that one week before the famed Monterey Pop Festival of June 1967, the largely overlooked Fantasy Fair and Magic Mountain Music Festival took place in Marin County, and The Doors were one of the participants. Like clockwork, the sounds of “Break on Through” gathered momentum as Smith returned to front-and-center stage to deliver Jim Morrison’s memorable lyrics.

One of the best crowd participation moments came soon after, when McCoy, a San Francisco-based actor and gospel/rock/R&B musician, sang with distinction Otis Redding’s “(Sittin’ On) The Dock of the Bay,” turning the mic out to the audience who collaboratively carried out the classic whistled portion of the much-loved No. 1 hit song.

After additional quick comments from Liberatore, including an acknowledgement of the famed Jim Marshall photo that memorialized the moment that Hendrix set his guitar on fire at Monterey Pop in 1967, two Jimi Hendrix songs followed. McCoy sung powerfully “Little Wing,” and “All Along the Watchtower” followed, with Smith taking on the vocals and the band, particularly guitarist Jimmy Dillon, showing their collective rock muscle.

The featured topic of the moment then quickly turned to Janis Joplin, and local soul star Omega Rae took the mic and gave commanding vocal performances of “Get It While You Can,” which Joplin did as a solo artist, and “Piece of My Heart,” which Joplin made famous with Big Brother and the Holding Company.” Rae sang in front of a big-screen rendering of a Grace Slick caricature of Joplin.

It’s a Beautiful Day’s “White Bird,” a peaceful flowing musical expression from the day, was next, sung sweetly by Caroline Sky.

Liberatore then embraced California’s new recreational marijuana use laws and recalled how Quicksilver Messenger Service sang about the topic back in 1970 on their Top 50, Dino Valenti-penned single, “Fresh Air.” Bluhm and Smith carried the tune, with its oft-repeated lyric, “Have another hit.”

Joan Baez then returned to the stage and the self-effacing singer remarked that yes, she was at Woodstock, but that she wasn’t a large attraction. “I was lecturing about nonviolence and ending the <Vietnam> war,” she said, “and they were all, yawn.” She also regaled the crowd with the tale about meeting Joplin, and Baez, a non-drug user, said she was pleased to meet Janis and perhaps they could have tea sometime, to which Janis replied quizzically, “Tea!?!”

Baez went on to lead the crowd to clap and sway along with the Civil Rights spiritual "Ain't Gonna Let Nobody Turn Me Around,” a song that actually has roots that go back to the 1920s. She followed that up with another spiritual favorite, “Swing Low, Sweet Chariot.”

Then it was finale time, and Baez led the evening’s participants, all of whom came to the stage, to sing Simon and Garfunkel’s “The Boxer,” with Baez, the T Sisters, Bluhm, and others taking vocal turns on each verse.

The house band included the aforementioned Dillon and Weed, as well as keyboardist Frank Martin, bassist Eric McCann, and drummer Kirk Snedeker.

The concert benefited Bread & Roses, the Bay Area-based nonprofit that, with the help of some 1,400 volunteers, tasks itself with “uplifting the human spirit by providing free, live, quality entertainment to people who live in institutions or are otherwise isolated from society.” Bread & Roses was founded by singer-songwriter Mimi Fariña in 1974, and more than coincidentally, Fariña, who died in 2001 was Baez’s sister and Liberatore’s partner when she passed away.

The Nourse Theatre, which opened in 1926 and was generally idle since 1952, was brought back to life largely through the efforts of Sydney Goldstein, founder of City Arts & Lectures, according to the San Francisco Chronicle. Goldstein, upon learning that the city’s Herbst Theatre, which had hosted City Arts and Lectures events for decades, was undertaking a two-year overhaul, decided to lead the Nourse restoration project, thereby creating a new home for City Arts & Lectures.

Check out more photos from the show .

• Nicki Bluhm

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Founded by SFJAZZ in 2004, the SFJAZZ Collective is an all-star ensemble and composer’s workshop that represents what’s happening now in jazz, celebrating its 20th Anniversary in 2024. Since the beginning, the Collective’s mission has been to perform newly commissioned pieces by each member and fresh arrangements of works by modern masters. Through this pioneering approach, simultaneously honoring music’s greatest figures while championing jazz’s up-to-the-minute directions, the SFJAZZ Collective embodies SFJAZZ’s commitment to jazz as a living, ever-relevant art form. To celebrate two decades as a working ensemble, the supergroup will perform a landmark Anniversary program that both honors the history of the group and looks ahead to its future. In tribute to the artists who have been honored by the Collective over its 20-year history, as well as the world-class composers who have been a part of the ensemble, the band will revisit past original compositions and arrangements from its innovative repertoire, updated and re-imagined by this singular lineup of jazz masters. Additionally, the band will emphasize the spirit of its name by collectively composing a new suite dedicated to and inspired by the history of the ensemble.

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The SFJAZZ Collective has gone though numerous line up changes over the years and has featured Bobby Hutcherson, Joshua Redman, Miguel Zenón, Eric Harland, Mark Turner, Matt Penman, Avishai Cohen, Sean Jones, Andre Hayward, Stefon Harris, Dave Douglas, Nicholas Payton, Joe Lovano, Josh Roseman, Renee Rosnes, Jeff Ballard, Robert Hurst, Brian Blade, Martin Luther McCoy, Obed Calvaire, Adam Rogers, and others.

Watch SFJAZZ Collective's recent NPR Tiny Desk (Home) concert  HERE

PERSONNEL Chris Potter music director,   tenor saxophone, winds David Sánchez tenor saxophone Mike Rodriguez trumpet Warren Wolf vibraphone Edward Simon piano Matt Brewer bass Kendrick Scott drums

"Contemporary jazz’s premier all-star band"

- The New York Times

"Boasts as much or more collective talent, firepower and critical acclaim than any other jazz ensemble going."

"As soloists you won't be able to find a finer collection of leaders who have come together in the spirit of communal communication."

- Jazzreviews.com

Each year, the Collective records their arrangements of the music of that season's tribute artist and the accompanying original compositions live during their residency at the SFJAZZ Center. Each numbered, limited edition CD set includes extensive liner notes, photographs, and interviews with the band members about their innovative arrangements. Check them out in our shop.

MEDIA & Booking

To cultivate its distinctive sound, SFJAZZ Collective convenes in San Francisco in the fall of each year for a multi-week residency. Throughout this extended rehearsal period—a rarity in today’s jazz—the octet workshops the season’s new repertoire and interacts with the Bay Area community through SFJAZZ’s education programs for youth and adults. SFJAZZ Collective then takes to performance stages around the world with stops in some of the most prominent clubs and concert halls.

Current Collective Members

Chris Potter | Dávid Sanchez | Mike Rodriguez | Warren Wolf | Edward Simon | Matt Brewer | Kendrick Scott

Watch & Listen

Throw It Away (Abbey Lincoln, arr. Kendrick Scott)

Mutuality (Chris Potter)

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• North America
• A Long Strange Trip Through...

A Long, Strange Trip Through San Francisco's Rock 'N' Roll History

San Francisco ’s star-studded rock ‘n’ roll history is no secret. But what may be a secret, even to some natives, is that many of its iconic music spots dating back to the early 20th century are still around today. Follow Culture Trip’s self-guided tour for the best of rock ‘n’ roll’s venues, recording studios, and the residences of its stars. Start in the heart of the Summer of Love, the birthplace of long-haired, free-spirited hippies: Haight-Ashbury . Unsurprisingly, the former homes of many Woodstock greats are located in what is now an upscale neighborhood. First head over to 710 Ashbury Street , the former residence of The Grateful Dead that is now a private home. But standing outside the magnificent Victorian home, it is easy to imagine the musical genius that was once housed within its walls. Look down at the sidewalk in front of the house for a small portrait of Jerry Garcia.

Walk a few houses down to 635 Ashbury Street , the most famous home of Janis Joplin. The pink, ornate Victorian dates to 1905 and is a private residence. Then turn and you’ll be on the corner of Haight Street and Ashbury Street, the intersection that started it all. Just three buildings down Haight Street is 1524a , or the ‘Red House,’ the former apartment of Jimi Hendrix, located above a tobacco shop. Two beautiful murals are located on the building’s façades, including an all-purple mural of Hendrix, guitar in hand, that was erected by three Bay Area artists ahead of the Summer of Love’s 50th anniversary in 2017.

Walk down Haight Street until it meets Stanyan Street at Golden Gate Park and turn right. In five blocks, you will hit Fulton Street, the location of ‘The Airplane House,’ also known as ‘The Mansion.’ The former home of the psychedelic rock group Jefferson Airplane, located at 2400 Fulton Street , is a sight to behold, with its colonial revival style Roman columns stretching above the entrance. Though it is now a quiet, residential home, The Mansion was legendary for its wild parties with band members, groupies and fans alike.

Drive or take the short Muni Ride to the Fillmore District , the historic entertainment hub of the city. After the 1906 earthquake, this area was quickly established as the entertainment district, and some of the venues built in that era are still standing today. One of these venues is The Fillmore, on the corner of Geary Boulevard and Fillmore Street. Once known as Majestic Hall, the building opened in 1912 as a dance academy and served as a dance hall and a roller rink until finally becoming a premiere venue for African-American rock ‘n’ roll artists in the 1950s, hosting greats like Ike and Tina Turner, James Brown and the Bobby ‘Blue’ Band. Then, as San Francisco became the counterculture capital, it launched the careers of the Grateful Dead, Jefferson Airplane, Big Brother and the Holding Company, Carlos Santana and countless others. To this day, the venue is still a premiere intimate setting to see both up-and-coming and popular acts.

Head east along Geary Street and turn right on Polk Street. On the corner of O’Farrell is the elegant Great American Music Hall. Built in 1907 as a symbol of resilience after the earthquake, the venue feels like a blast from the past, with its ornate, elaborate balconies and columns. Rolling Stone Magazine ranked it 6th in its Best Clubs in America list, and with reasonable prices, it is definitely one of the best venues in the city.

Walk four more blocks down Polk Street and turn left on Eddy Street, where you will find the location of the infamous Phoenix Hotel, popular with some of rock music’s greatest stars. Formerly known as the Caravan Lodge, it was founded in 1960 and has been frequented by Neil Young, Buddy Hackett, David Bowie, REM, the Red Hot Chili Peppers, Pearl Jam, Norah Jones and the Killers, among others. The hotel is filled with strange, psychedelic décor, and the pool is actually a national historic landmark. In the 1990s when the lodge was revitalized and renamed the Phoenix Hotel, the owner, Chip Conley, commissioned artists to paint the pool, but the city informed him halfway through the project that all public pools had to be painted white. So, Conley worked with legislators to devise a bill making the pool a national landmark, meaning its artwork could not be painted over.

Continue down Eddy Street for two more blocks until you reach Hyde Street, then turn right. On your right is Hyde Street Studios, the Bay Area’s longest-running multi-room recording studio. The studio was founded in 1969 as Wally Heider Recording, and Crosby, Stills, Nash & Young recorded their famous album Déjà Vu there shortly after. In its early years, the studio produced recordings by the Grateful Dead , Carlos Santana, Jefferson Airplane, Creedence Clearwater Revival , and others. In the 1980s, it changed ownership and became Hyde Street Studios, which became an epicenter for the flourishing punk and hip-hop scenes, recording albums by the Dead Kennedys, Tupac Shakur, Green Day, Digital Underground and others.

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Walk down Hyde Street and turn right at its end onto Grove Street. Situated in the Civic Center Plaza is the Bill Graham Civic Auditorium, named after the notorious rock promoter Bill Graham, who virtually single-handedly made the psychedelic rock movement flourish in San Francisco. The venue, which seats up to 6,000, was built in 1915 as a part of the Panama-Pacific International Exposition and is one of its only surviving buildings. Originally known as the San Francisco Civic Auditorium, it was named after Bill Graham in 1992 following his death. It has hosted The Grateful Dead, The Red Hot Chili Peppers, The Who, Janis Joplin, Jefferson Airplane and others, but it has more than just concerts in its history – in 1920, it hosted the Democratic National Convention, and it was the home of the Golden State Warriors between 1964 and 1966.

Head back towards Market Street and walk down three blocks to the intersection of Market and 6th Street, the site of another famous theater – the Warfield. Originally built in 1922 as a vaudeville theater, the Warfield became a rock venue in 1979 when Bill Graham Presents booked Bob Dylan to perform there for a set of shows. The theater, which seats 2,250, has an ornate interior similar to other performance venues built during the era.

Finally, either walk 1.2 miles or take the BART or Muni Metro to the Embarcadero stop. At Market Street’s end, you will reach Justin Herman Plaza on your left, across from the Ferry Building . On November 11, 1987, U2 decided that morning to give an impromptu ‘Save the Yuppies’ free concert in this plaza, where about 20,000 people assembled within a few hours. During the band’s performance of the song ‘Pride (In The Name Of Love),’ lead singer Bono painted graffiti on the plaza’s Vaillancourt Fountain reading, ‘Rock ‘n’ Roll Stops Traffic.’ The incident, which was featured in U2’s movie Rattle and Hum, caused a huge controversy, and Bono was issued a citation for misdemeanor malicious mischief. Though the graffiti has since been painted over, standing in the plaza imagining 20,000 spectators cheering for the iconic band is a sight to behold.

From Justin Herman Plaza, it is easy to catch the BART, Muni or ferry to your return destination.

Culture Trips launched in 2011 with a simple yet passionate mission: to inspire people to go beyond their boundaries and experience what makes a place, its people and its culture special and meaningful. We are proud that, for more than a decade, millions like you have trusted our award-winning recommendations by people who deeply understand what makes places and communities so special.

Our immersive trips , led by Local Insiders, are once-in-a-lifetime experiences and an invitation to travel the world with like-minded explorers. Our Travel Experts are on hand to help you make perfect memories. All our Trips are suitable for both solo travelers, couples and friends who want to explore the world together.

All our travel guides are curated by the Culture Trip team working in tandem with local experts. From unique experiences to essential tips on how to make the most of your future travels, we’ve got you covered.

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SF Live (Union Square Takeover: Celebrating 50 Years of The EndUp)

SF Live is a six-month series of free, outdoor music concerts put on as a joint, citywide initiative by esteemed San Francisco arts & music producers Illuminate, San Francisco Parks Alliance, Noise Pop Productions, and Union Square Alliance. Created as a love letter to San Francisco music, SF Live concerts are a coming together of San Francisco’s storied musical history and the city’s promising and developing local talent.

Union Square

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1:00 PM - 2:00 PM : Paul Goodyear

Paul Goodyear is a true house music veteran with a DJ style that encapsulates an incredible range. A child of British immigrants growing up in the Greek neighborhood of Marrickville in Sydney, Australia he absorbed musical influences ranging from Funk, High Energy, Disco and New Wave.

There is no greater musical innovator than Paul Goodyear. He not only entertains audiences, he inspires them. Spend an evening on the master's dance floor and you will see that he is at once both generous and bold - he makes daring choices, while constantly paying attention to the mood of the crowd and the spirit of the event. You will leave knowing that you have witnessed someone very much at the top of his game, doing what he loves and sharing this love with you.

2:00 PM - 3:00 PM: Brian Salazar

"I choose my tracks from a spectator point of view, and not just as a dancer, DJ, or a musician. I want anyone from any musical background to walk into my set and be instantly submerged". Dedicated to music as a whole from jazz, disco, soul, R&B, funk, reggae, old school, rap, local gangsta rap, classical, and salsa, Brian Salazar has fine-tuned his ear to introduce a sound that is refreshing, intellectual, and catchy.  Additionally, the background of being a dancer has elevated his perspective on music selection and solidified his reputation as a crowd pleaser. "A dancer-turned-dj knows what to play to make people dance."

With over 30 years under his belt, Brian has proven that he has a keen sense of diversified soul and a deep understanding that track selection, skills, programming, promotion, and solid people & communication skills, while being honest & humble, are essential.  Considered a sleeping giant, he introduces himself to the world as the next prolific movement to change a culture and uplift a generation.

3:00 PM - 4:00 PM: Hawthorne

4:00 pm - 6:00 pm: marshall jefferson.

Sometimes known as the father of house music, Jefferson was originally a record producer in the Universal Recording Studios in Chicago, where he met the owner of Trax Records , Larry Sherman. Jefferson's 1986 single for Trax, " Move Your Body ", the first house song to use piano, was a popular and influential song in the genre. During the late-1980s heyday of house music, he recorded solo and collaborative material under various names such as Virgo, Jungle Wonz, Truth, and On the House. Jefferson's deep house productions include songs by CeCe Rogers and Sterling Void , and Ten City 's first two albums. In March 1987, the British music magazine NME reported that Jefferson and Frankie Knuckles were in the UK for the first house-music tour .

6:00 PM - 8:00 PM: Oscar G

If you were to get out a map and track the history of house music – with endless lines sprouting from New York, Chicago and Detroit to points all over the world – you’d have to make a big, red circle around Miami, Florida, and start drawing. Miami was never ground zero to a full-fledged subcultural movement. But it is where Oscar Gaetan, better known as Oscar G, has lived every day of his life. And that fact alone makes it a hub on the global underground.

An award-winning songwriter, producer, and DJ, Oscar is one of dance music’s brightest and most enduring stars. As part of seminal production teams Liberty City, Murk, and Funky Green Dogs, he boasts hits – Billboard chart-toppers as well as underground smashes – in every decade, every trend, and every market. “Some Lovin’,” “Fired Up,” and “Dark Beat” are more than just tracks: They are moments, shared by clubbers worldwide. They’re the kind of moments Oscar still creates at Space Miami, his hometown superclub, where he’s been a resident DJ for a staggering eight years – coming full circle after a globetrotting career.

8:00 PM - 9:00 PM: Dean Samaras

DJing for over 20+ years, Dean Samaras utilizes his lengthy experience to craft technical, creative DJ sets known for musical range. At the top of the San Francisco scene for more than decade, Dean has held long standing residences – at award winning Ruby Skye (2003-2011), the legendary after hours club The Endup (2004-Present) and the world renowned Halcyon (2017-Present).

He has played all over the US as well as internationally in Mexico and South America; bringing a raw, old school style of DJing to the contemporary masses. As a Remixer/Producer Dean’s gravitates towards the late night sounds of house and techno, evident on his debut techno banger ‘Calling Me’ on D-Formation’s acclaimed label, BeatFreak Group (Spain).

Drinks bar by the EndUp

Drink responsibly.

ADA Seating Available

Bring your whole crew, family, and an open heart as we unite to celebrate the magic of music and community!

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Welcome! The San Francisco Historical Society exists to uncover, preserve, and present, in engaging ways, the colorful and diverse history of our city from its earliest days to the present.

Our museum at 608 Commercial Street is now OPEN! Thursday, Friday, Saturday 10:00 a.m. to 4:00 p.m.

Click Here to Rent the Museum for private events!

UPCOMING PROGRAMS & TOURS

Walking Tour of Fisherman’s Wharf: A Fishing Heritage and Tourist Mecca

Saturday, june 8 @ 11:00 am - 12:30 pm.

SF History Live! “Coming Out in Time!”

Tuesday, june 11 @ 6:30 pm - 8:00 pm.

Secrets and Stories of San Francisco’s Wall Street of the West

Friday, june 14 @ 11:00 am - 12:30 pm.

1906 Earthquake and Fire: Chinatown’s Devastation and Renewal – Walking Tour

Saturday, june 15 @ 11:00 am - 1:30 pm.

Barbary Coast and Jackson Square: Pleasure Seekers and Merry Makers

Saturday, june 15 @ 11:00 am - 12:30 pm.

Gold Rush and Sunken Ships

Fracchia prize winners.

First Place: Siena Bianchi Convent of the Sacred Heart, grade 10 TOPIC: How San Francisco’s Model of Care for the AIDS Crisis Revolutionized Pandemic Response (essay)

About Sienna: Siena Bianchi is a sophomore at Convent High School in San Francisco. As a wrestler, volleyball player, and runner, she spends most afternoons working out and trying to hit new PRs. On the weekends, she works at local farmer’s markets centered on probiotic and nutritional foods. Siena is a native San Franciscan and has been a Convent student since 6th grade, where she now enjoys studying humanities the most.

Second Place: Niamh Powell Convent of the Sacred Heart, Grade 10 TOPIC: The Sanitary City (how San Francisco faced and overcame health-related challenges related to poor environmental cleanliness) – Multimedia Presentation

About Niamh: My name is Niamh (pronounced Neeve), and I am fairly new to the city, I moved here from the east coast about two years ago right before I started high school. Since I arrived, I have loved every second of being here, and truly believe that it is such an amazing and welcoming city. In my free time I enjoy playing sports. I play tennis, basketball, and lacrosse. I also like to watch sports on tv, including professional basketball and football. While I still love the Baltimore Ravens, I have come to also love the Warriors and 49ers as well. History has always been my favorite subject in school and this project was overall really fun to research and create.

Third-Place Winner: Emily Maremont University High School, Grade 10 TOPIC: The 504 Sit-In: Story of Resilience, Compassion, and Creativity (essay)

About Emily: Emily Maremont is a sophomore at University High School in San Francisco, CA. Her writing has been recognized by the National YoungArts Foundation and The Knights and Daughters of Vartan. In 2022, she was a representative of San Francisco County at California National History Day. Additionally, she is an editor at jGirls+ Magazine.

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How will S.F. Symphony navigate through crisis? Its leaders discuss the future in first interview

T he San Francisco Symphony has experienced a tumultuous period since Music Director Esa-Pekka Salonen announced his decision not to renew his five-year contract. 

“I do not share the same goals for the future of the institution as the Board of Governors does,” Salonen offered as the impetus for stepping down from the role after the 2024-25 season in a statement released on March 14. 

Since then, it has come to light that the 113-year-old orchestra has struggled with budget deficits for more than a decade, with the 2022-23 season expenses at $78.6 million and revenue only at $67.4 million. 

The Symphony’s financial instability, coupled with the uncertainty over artistic leadership, has raised concerns among patrons and musicians.

Salonen has declined to speak publicly about the Symphony or his impending departure. But in a joint interview with the Chronicle, CEO Matt Spivey and Board President Priscilla Geeslin addressed the organization’s challenges and future plans.

“We as an organization have the opportunity to be a major part of the revitalization of this city and its incredible arts and culture ecosystem,” Spivey said at Davies Symphony Hall. “Sometimes the most interesting and creative ideas have been born out of a limitation or a restriction in some way.”

Here is a rundown of what has happened at the San Francisco Symphony since March.

What is the current financial situation at the San Francisco Symphony?

“Last season, we were facing what would have been roughly an $11 million deficit on a roughly $80 million budget,” Spivey said. But thanks to what he called “extraordinary, one-time contributions,” the organization has stayed afloat. Moving forward, the Symphony says it is planning within realistic financial resources and focusing on building a stronger philanthropic base. 

“It’s important going forward as we expand the range of our programming, that we have the opportunity to connect to a broader audience,” Spivey said, highlighting the need to develop relationships with new potential donors. 

Are there projections for future deficits in the 2024-2025 season?

The budget for the 2024-2025 season is still under consideration. 

“We’ve had a lot of conversation internally as we’ve been doing the planning for ’24-’25 and beyond,” Spivey explained, “to make sure we understand what level of resources we have and what we can expect in terms of ticket sales and the philanthropic pipeline going forward.” 

Will essential programs and tours be affected by financial constraints?

Some adjustments are necessary, Spivey and Geeslin said. For example, the Symphony canceled its plan for a European festival tour in 2025 but key programs like SoundBox will continue, supported by dedicated endowment funds. 

Sound Box will still have four performances next season, and the Symphony said that they are committed to maintaining other programs like commissions — although fewer than in previous seasons — and semi-staged productions, which are also supported by a dedicated endowment.

How will the financial situation affect the Symphony Gala on Sept. 25?

Geeslin stated the “biggest departure” during the annual event is the scaling back of the pre-performance reception, and the elimination of the Symphony’s elaborately decorated tent for the dinner and after-party.

The opening night gala will still feature a concert with pianist Lang Lang, with a dinner in Zellerbach Rehearsal Hall. 

Are there efforts to attract new donors from the tech and venture capital sectors?

Yes, the Symphony is actively seeking to build relationships with new donors across the Bay Area. But Spivey noted that what’s “really important to understand is that the time it takes to build a relationship, when they arrive at a place where they’re deeply invested and feel inspired to give philanthropically, is long… it takes anywhere from seven to 14 years for donors to mature in that way.”

Are there plans to expand the board and set minimum trustee-giving levels?

They said the Symphony is always looking to expand its board. 

“Right now, our board sits at about 50 people, and we can go all the way up to 80,” Geeslin said. 

All current board members give at the Maestro Circle level ($15,000 minimum).

“Some people think having a board minimum, you leave money on the table. I’m of the mind that we ask people to give at a certain level when they come in and then, of course, they will hopefully give more,” Spivey said.

What are the plans for renovating Davies Symphony Hall?

Funding to evaluate potential changes to the Symphony’s home venue ahead of its 50th anniversary in 2030 has long been secured, but any plans for the renovation are in the preliminary stages.

The current goal is to get the entitlement from the city that would allow the possibility of renovation ahead of any historic landmark status for Davies that may restrict the process.

“We began working with the architect Mark Cavagnero to imagine what a potential renovation could look like,” said Spivey. 

“There’s no obligation to rush into a renovation project,” added Spivey. 

Why can’t the Symphony use its endowment funds to cover budget deficits?

The Symphony’s endowment is governed by the Uniform Prudent Management of Institutional Funds Act. 

“One of the things I’m incredibly grateful for is that, to help establish long-term financial stability, the board has taken action starting with this season to elevate the percentage of the draw that we take on the endowment to 6.4%-6.5%.” 

Geeslin added, “We don’t want to bankrupt our future… we’re mindful about how much we take out of it and continue to grow it as much as we possibly can.”

Is the departure of Music Director Esa-Pekka Salonen final?

Despite a petition from the Symphony musicians asking the board to find a way to keep Salonen, yes. But Spivey said that while Salonen’s role as music director is ending, his relationship with the Symphony will continue. 

“He will most certainly be a regular guest that comes back and works with the orchestra,” confirmed Spivey.

Has the search for the next music director begun?

No, but the search will commence soon. 

“We will want to ensure that the person that we find not only is passionate about what they do on the stage, but they’re passionate about building this organization,” said Spivey, noting that the new music director will also need to be “a rallying force for continuing to build our audiences and that philanthropic support.”

Geeslin emphasized the collaborative arts environment in San Francisco, noting that the new director will join a vibrant leadership community. 

“It’s an opportunity to really elevate what we have in Civic Center,” she said.

How does the Symphony plan to restore public trust?

Spivey is optimistic. “There are a lot of positive drivers that will enable us to not only overcome those financial challenges but actually land in a very successful place down the road,” he said. “There’s an opportunity to build a philanthropic pipeline in the long term and ultimately, the opportunity to connect deeply to become a really vital part of the arts and culture scene and what makes San Francisco special.”

Reach Tony Bravo: [email protected]; Aidin Vaziri: [email protected]

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‘Hot Fuss’: How The Killers Caused A Scene With Their Debut Album

‘elemental’: tears for fears’ roland orzabal goes it alone, ‘tiger in your tank’: muddy waters’ high-octane blues fuel, ‘fields of gold’: sting’s reflective timeless ballad, sometimes it snows in april: in loving memory of prince, ‘fantasia’: walt disney’s pioneering classic, ‘strictly business’: why epmd’s debut album is the real deal, a new song from johnny cash’s upcoming ‘songwriter’ is here, jadakiss announces vinyl reissue of sophomore album ‘kiss of death’, bob marley’s ‘turn your lights down low’ gets official youtube release, david bowie’s debut self-titled album to receive groundbreaking reissue, john lennon estate shares ‘you are here’ with new footage of john and yoko, pete townshend to release massive live concert compilation set, frank zappa ‘whisky a go go’ series returns with episode three, sylvester’s iconic san francisco opera house performance to be released.

The show is set to be released via Craft Recordings on September 6.

Published on

For the very first time, Sylvester’s legendary concert from the San Francisco War Memorial Opera House can be re-lived in its entirety through Live at the Opera House .

Live at the Opera House arrives September 6 via Craft Recordings on 3-LP, 2-CD, as well as HD and standard digital. Both the 3-LP edition (which is pressed on purple vinyl and housed in a gatefold jacket) as well as the 2-CD set include recently discovered photographs from the evening, plus new liner notes by Joshua Gamson, author of The Fabulous Sylvester: The Legend, The Music, The Seventies in San Francisco (Henry Holt/Picador, 2005). Click here to pre-order Live at the Opera House.

Previously only available in heavily edited excerpts (via 1979’s Living Proof ), the new album presents over two hours of AAA-mastered audio, including all 13 songs from the performance, plus a recording of the mid-concert ceremony where Sylvester was awarded the Key to San Francisco.

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The first single from the album, an extended cut of “Body Strong,” is available to stream on digital platforms now. Check it out below.

On the evening of March 11, 1979, thousands of people lined up outside of the San Francisco War Memorial Opera House to catch one of the year’s hottest shows. Splashed across the marquee for the sold-out concert was one singular name: Sylvester. It would not only be a pivotal moment in the career of the pioneering singer, songwriter, disco diva, and queer icon, but also a historic moment for the city’s LGBTQ+ community.

Sylvester also dreamed of playing the venue. He said in an October 1977 interview with The Advocate : “I have no real projections except I want to play the San Francisco Opera House. I am—and I’m saying this—I am going to play the opera house! It’s going to be a fabulous show with a full orchestra, lots of costumes, lots of lighting and lots of everything. Lots! And whenever you think you have too much, you should put on more, just to be safe.”

While Sylvester had long envisioned his concert at San Francisco’s War Memorial Opera House, nothing could have prepared him for the career-defining moment that it would become. Welcomed home by 3,250 friends, family, and fans, the mononymous singer, songwriter, and disco star was about to deliver one of his greatest live performances.

Pre-order Live at the Opera House .

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Fred again.., Skrillex, Anderson .Paak, & 25K Fans Feel The “Rumble” In Downtown SF [Photos/Videos]

In an unfathomable scene of sorts, Saturday night saw electronic music titans Fred again… and Skrillex team up with the city of San Francisco to throw what they called a “huge rave” in the middle of downtown. Across the road from famed Bill Graham Civic Auditorium and in the shadows of City Hall , these two mavericks hatched and executed a master plan to turn the once-zombified Civic Center Plaza into a delightfully-debauched dance party. And to think, it all started just over a week prior with a simple social media post …

Despite some initial concerns about the event—the first large-scale concert hosted in this location in several years, the soiree seemed to go off rather swimmingly. The performance itself rose above and beyond the show’s massive scale.

Usually, when you go see a DJ, or even a b2b, you get one genre, one era. On Saturday, Fred again.. and Skrillex went no-rules, kitchen-sink, defying the conventions of big-room EDM with a set that traversed countless subgenres—smash hits, cutty white labels, sizzling versions in progress, edits on-the-fly, screwface rap remixes, diabolical dubstep womp, Richter-scale housequakes, singalong pop jams, and stealthy old-school gems, all together a gluttonous gumbo.

As if that weren’t enough, about halfway through their blissful, 200ish-minute b2b, the dynamic duo was joined by surprise guest Anderson .Paak on brand-new Fred again dnb collab “places to be”, a feel-good roller officially released to DSPs the day before the show.

By the time the clock struck ten bells and the soundsystem was abruptly cutoff mid-song, Fred again and Skrillex had thrown down yet another genre-smashing, marathon set for the ages—and even with all the euphoria in the crowd, it was plain to see that those boys had more fun than anyone else.

  View this post on Instagram   A post shared by Fred again.. (@fredagainagainagainagainagain)

Like so many developments these days, this whole she-bang can be traced back to a social media post : “Fred and I have way too much new music we need to test out,” Skrillex wrote on X, “so we’re going to throw a rave in San Francisco next week BRB”.

On May 27th, Fred again poured kerosene on the situation, sharing a photograph of himself wearing a cheeky cheshire grin and pointing to a tee shirt bearing his logo alongside that of Skrillex, plus a date and location. Not long after that, Fred officially let the cat out of the bag. In a matter of minutes, the interwebs were ablaze with anticipation, and within 24-hours, all twenty-five-thousand tickets for this party in the park had been sold.

Though I was not initially one of the lucky fans to score a ticket at the on-sale, something inside me screamed that I just had to be present for this unprecedented center city circus. San Francisco’s spirit has suffered mightily over the years, it has not been extinguished. The existence of this show, set in an area known better for drugs and crime than drum and bass in recent years, was a testament to that fact. I mentally committed to making it happen, and through an fortuitous series of events—too long and complicated to detail here— I found myself inside the gates.

Rave reviews: SF basking in the afterglow of Skrillex, Fred Again.. show – Local News Segment

This pair of yin-yang co-conspirators, fresh off their instant classic pop-up in Mexico City last month, just might be the biggest deal in mainstream EDM today. While Skrillex (the 9-time Grammy-winning, perennial festival headliner, and reformed bro-step pioneer) and Fred again. ., (the white-hot, youthfully-exuberant Brit) positioned Saturday’s concert as a last-minute affair with “fly by the seat of your JNCOs” vibes, official government records show that planning for the event can be traced at least as far back as February.

This show, produced in partnership with local corporate concert overlords Another Planet Entertainment , is just one step of several in a new downtown revitalization plan headed up by Mayor London Breed , who was spied on Saturday enjoying the festivities from her City Hall balcony —arguably the best seat in the house.

Both Fred again and Skrillex dug pretty deep into their respective quivers, yet did not ignore the hits, from Fred’s Swedish House Mafia/Future collab “Turn On the Lights Again” to “Baby Again” (Fred again & Skrillex & Four Tet ft. Lil Baby). Two versions of 2023’s colossal bass “Rumble” (Fred again.. & Skrillex & Four Tet feat. FLOWDAN) were played about an hour apart, the latter packing a particularly tectonic punch. Same for “Badders”, another FLOWDAN collaboration that set the spot ablaze with low-end pyrotechnics and patois grime-growl.

Occasionally Skrillex got cute, whether it was reflecting on his days attending grade school in San Francisco (at West Porter) and walking to the BART station through this very plaza, or when he sampled a local TV news report on the rave into one of his tunes (to the delight of the enormous audience). Often frozen in a perpetual state of shock and awesome, Fred again.. also grabbed the mic between tunes every so often, to exude his trademark childlike enthusiasm with no f—s nor filter.

Halfway through the show, Anderson .Paak appeared out of thin air, hopping atop the DJ decks to spit rhymes on “places to be” and take in the insanity as he flashed his million-dollar smile into the night. Kendrick Lamar’s voice was also well represented throughout the evening via remixes of “Money Trees”, “Vent”, and (a particularly thundering) “Humble”. D12’s druggy “Purple Pills” was a sweet surprise, same for Frank Ocean “Lost” (Pacoussa Remix).

As we neared the end of this pre-summer madness, the sun had set, and the lasers were out in full force. Skrillex uncorked Damian Jr. Gong Marley’s timeless “Welcome to Jamrock”, which he mixed into their collaboration “Make it Bun Den”, chasing that combo with some embryonic dubstep from pioneers Coki & Benga (“Night”), a heart-filling nod to a pair of producers who helped build the foundation upon which Skrillex (and Fred again..) now thrive.

  View this post on Instagram   A post shared by Sonny (@skrillex)

In the tailwind of this rager, everybody wandering out of the plaza seemed to be on Cloud 9. I heard several people exclaim something to the effect of “SF is back, baby! ” as the crowd dispersed. In retrospect, it was kind of wild to be a 46-year old man mixin’ it up with the kiddos on the Bill Graham lawn, but I’m grateful to have participated in this historic party— without question an “all-timer.”

Find the 59-track setlist from Saturday’s San Francisco Skrillex/Fred again.. show here . View photos from the night via Kyle Hotchkiss below.

words: B.Getz

Fred again.. & Skrillex | Civic Center Plaza | San Francisco, CA | 6/1/24 | Photos: Kyle Hotchkiss

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