11 Sacramento area bars where beer rules all

Intro by Jonathan Carabba

If there is one thing that’s for sure about Sacramento, it’s that we love our beer! The last few years have been an exciting time for regional hop-heads. New breweries and taprooms are opening left and right, it’s becoming the norm for restaurants and bars to up their beer list game, and our palate as a whole is growing with the rising popularity of sours, farmhouse ales and other interesting/experimental brews. Another thing that’s for sure is there is no lack of great bars to enjoy craft beer in the Sacramento region. Throw a rock in any direction and you’re bound to hit a spot with a killer beer list. With the return of Sacramento Beer Week, which runs from Feb. 26 to March 8, 2015, we figured it would be a perfect time to highlight a few of our favorite downtown-area beer bars. This is by no means a “best of” list, it’s simply an attempt to shine some light on bars in or near the heart of the city whose focus is on beer 365 days a year. Honorable mentions could of course include traditional pubs like Fox and Goose, Bonn Lair, and de Vere’s; or other downtown hot spots like Alley Katz, Burgers and Brew and The Rind; brewery taprooms like Track 7, Bike Dog and Berryessa; or even outlying spots like Sam Horne’s and Final Gravity, but then this list would never end… Read on to learn about 11 of Submerge’s favorite beer-focused downtown-area establishments and to get a hint of what to expect for their Beer Week events and offerings.

The Shack
5201 Folsom Boulevard | Sacramento

Humphrey Bogart once said, “The problem with the world is that everyone is a few drinks behind.” The Shack is there to catch you up, East Sac. The Shack location originally opened in 1931 as one of the first drive-ins turned drive-thrus in our area. It was home to the nickel hot dog and dubbed “The root beer king.” Owners Gary and Jen Slaeppy claim that “The Governor of California ‘Sunny Jim’ Rolph was said to have had his first beer after prohibition in our beer garden, which is now the kitchen.” Today, The Shack remains a prime destination for US-made craft beers as well as Belgian ales/sours/lambics with over 100 options on draft and in bottle. The bright green hut used to serve up some of the best breakfast in town, but sadly, they recently discontinued it because it was exhausting the dining quarters. However, their award-winning burgers are still available to devour with a nice Knee Deep IPA, or a malty Belgian dubbel. If you are into the more exciting, foreign beers, they’ve got you covered with trappist specialties, diverse Belgians (from unfiltered whites to heavy quads) and even a couple of sour options. During Beer Week, the location will host the ticketed event, “Shack Fest,” an East Sac rager in celebration of all that is beer and food. In proper homage to their roots, “Shack Fest” (Sunday, March 1, 2015) is an event full of unlimited tastings and an abundance of food as a continuous middle finger to prohibition all these years later.
-Words by Alia Cruz | Photo by Evan E. Duran

Hot City Pizza
5642 J Street | Sacramento

Hot City Pizza is the tiny pizza joint inconspicuously cuddled between a few businesses in a strip mall in deep East Sac. While the Hot City location is visually unimpressive and void of decor, their food and drinks confidently make up for it. Owner Colby Pettenger opened the place more than seven years ago, with the dream of bringing this town the least boring pizza around. It quickly evolved into the natural marriage of good beer with good pizza. Their pizza and beer is literally so good, they can completely rely on it to keep customers loyal and plenty.

The pizza itself is damn good. Notable spicy options, like the spicy veggie and the angry pig pizza, will make a ‘za lover sweat. Also, their vegetarian options are plentiful, and they are generous with toppings. The variety of pizzas gives you the feeling that its creator was somewhat of an evil genius, being completely liberated by the access of toppings and the power to execute them into what he’s always dreamt of.

An experience at this place is always full of unexpected delights. This small, laid-back pizza joint has some of the best beer options in town. The little 7-Up branded fridge in the main dining area has a beer selection that even the town’s most ritzy bottle shops can’t get a hold of. Yes, there are plenty of local offerings like Knee Deep IPAs, but they also have an exciting and unique option from more specialty breweries too. For example, they are bound to have something great from Mikkeller, Prairie Artisan Ales, and you never know who else. This place is the epitome of a hidden gem.

Aside from the bottle choices, they have 14 beers on tap that consistently rotate and keep options fresh and exciting. Spicy meats and peppers on certain pizzas will find a friend in a dank IPA, and a fresh veggie pizza can shine with a pairing of a farmhouse ale or blossoming saison. I think that while pizza has rarely been seen as something culinarily complicated, the pairing of unique beers with pies is a no brainer. If you break down all of the ingredients of a pizza, and think about all of the spices and elements, certain beers can actually help accentuate those things. Hot City Pizza has such a variety of funky and unique brews, that with each bottle you pop or beer you have poured, there are so many flavors waiting to work together to give you a whole new experience.

While Pettenger says he has yet to plan anything for Beer Week, rest assured you can always find something here that consistently respects the craft of the draft.
-Words by Alia Cruz | Photo by Evan E. Duran

University of Beer
1510 16th Street, Suite 300 | Sacramento

The original University of Beer in Davis rose to popularity with a 60-tap system, the sort of beer list undertaking few dare brave. For its Midtown location, University of Beer expanded its curriculum, installing a 100-tap system. We do not advise a latenight cram session of studying the beer list. With campus roots, the ambience follows suit, mixed with the hyperstimulation of a sports bar—seemingly as many flat screens as there are taps. Accommodation is supreme at U of B. The hundred taps are not squandered on appeasing the domestic big brothers of beer. Even the bottle list is home to specialty brews and manufactured in limited runs. Eleven of the taps are locals only, with the remaining flavor profile spanning Belgians, sours, nitros, pales and ciders. For Beer Week, U of B will have its Rare Beer Night on Sunday March 1 (the list still under lock and key), and Tuesday is hosted by Saint Archer Cellar Manager Greg Peters, serving flights and fielding your beer nerd and homebrewer inquiries.
-Words by Blake Gillespie | Photo by Jenny Price

Capitol Beer and Tap Room
2222 Fair Oaks Boulevard | Sacramento

The dogwoods are in bloom in the courtyard adjacent to Capitol Beer and Tap Room’s secluded patio, a picturesque setting for a post-shift pint. Tucked away from the commuter traffic of Howe Avenue and Fair Oaks Boulevard, Capitol Beer exists as a quaint and folksy retreat. Strip malls tend to stifle character (think four corners of taupe), but this nestled neighborhood watering hole created a lived-in look by building a brick arch behind the bar and mounting 20 chalk boards against a hop-print, painted backdrop to display its rotating taps. The 20 boards are for the 20 taps that are ever-rotating with an emphasis on Pacific breweries, but a serious soft-spot for national breweries like Clown Shoes in Massachusetts. The beer rotation is highly curated, but also democratic. Got an elusive brew in mind? Place it on the beer wish list and they’ll do the leg work.

With Beer Week days dedicated to locals only and the surrounding regions like the Bay Area, Oregon and San Diego, Capitol Beer has an inclusive mentality in its schedule. Friday, March 6 is of note though as Hops To Table magazine, a local brewer’s rag, will celebrate its second anniversary. “It’s not only a celebration of the magazine, but it’s a rare beer night,” bar manager Eric Newell said. “The idea [for the magazine] started here, talking about it one day about a love for Sacramento and its beer scene.”
-Words by Blake Gillespie | Photo by Melissa Welliver

Dad’s Kitchen
2968 Freeport Boulevard | Sacramento

Dad’s Kitchen is known for their commitment to showcasing mostly California beers. They designate their 27-draft lineup to these state-proud brews, especially those created here in Sacramento. What makes Dad’s so awesome is that it is a laid-back, totally unpretentious place with a knowledgeable and down to earth staff. This place is beaming with local pride and a reformed surfer dude feel. Year-round beer coordinator Tyson Herzog (who also runs Sac Brew Bus tours) completely submerges himself in the local beer culture, and that definitely reflects in the Dad’s draft list. Yes, they offer brews from local hard-hitters like Track 7 and Bike Dog, but this place also gives the spotlight to smaller breweries like Yolo Brewing Co., Auburn Alehouse and Mraz. One thing that is acceptable here, as should be in most professional beer places, is the right to taste. A place that lets you take a swig of something you are unsure about before you commit is highly appreciated. Not only does this allow you to ensure you like what you get, but it opens up the possibility for beer conversation and enhances the overall drinking experience. This year, Dad’s anticipates a packed Beer Week schedule. They will pay homage to Sacramento beers on Saturday, Feb 28. Other events for the week will include a Lagunitas brunch and Drake’s tap takeover. The one unmissable event is on Wednesday, March 4. This location will be hosting a local IPA tasting competition. Breweries will have guests drink up to determine who has the more superior hopped concoction.
Words by Alia Cruz | Photo by Mallory Moullay

Lowbrau
1050 20th Street | Sacramento

Much like craft beer wasn’t synonymous with Sacramento until the past five years, the Northwest corner of 20th and K was not perceived as a destination stop in Midtown. That is until it transformed in 2012 with the opening of Lowbrau Bierhall, widely regarded as one of the most popular hangouts in town—no matter the day of the week. Pioneered by Clay Nutting and Michael Hargis, the traditional name is not an affront. The bier menu at Lowbrau will challenge your comfort with the German language, always pouring Trappists, Dunkels, Doppelbocks and Hefeweissbiers. Tradition is cool, but this is California. To wit, Lowbrau keeps a steady rotation of experimental breweries both regional and worldwide. While a debut of a barrel-aged, peanut butter infused variation on Ballast Point’s Victory At Sea cannot be missed on Friday February 27, Thursday is Heretic For Homebrewers night, a chance for homebatch hopefuls to pick the brain of Heretic head brewer Jamil Zainasheff.
-Words by Blake Gillespie | Photo by Nicholas Wray

Der Biergarten
2332 K Street | Sacramento

Der Biergarten has some prime offerings in deep pours and a ping pong table, so naturally, I am a fan. Biergarten owner Sean Derfield was one of the first people in our area to put a business in a cargo unit, “an idea that was initially meant to make it so we can literally pick the whole place up and move it to different locations every few weeks,” he said. This idea was immediately shot down by the city, but that’s cool, because Midtown has made Sean feel more than welcome in his little lot on the corner of 23rd and K. Derfield came from a proud German heritage and wanted to give Sacramento a feel for a more casual outdoor environment where one can drink heavy pours of quality German beers and other ales. He wanted to bring the bar (and its patrons) out into the fresh air. “When looking for what to serve, I’m constantly tasting, doing research and listening to beer lovers,” said Derfield. “I’m always talking to beer reps and religiously on Beer Advocate. Being educated in beers seems to be key.” Initially, he came from a traditional bar background (he also owns The River City Saloon in Old Sac), where he says beer was not quite in the spotlight. Then, he became intrigued by the laid-back nature of the traditional biergarten and the beer boom. “I was aiming for a place to feel completely casual and fun, with the quality product to back it up. I want people to drink and be merry.”

The Biergarten is void of TVs, music and antics. Instead, they have corn hole, foosball, ping pong and community tables to meet new friends. Beer also helps with that latter part. In fact, these community tables were even shipped here from the owner’s German relatives to support those hefty steins of beer. The cargo-unit kitchen also serves up some light German grub like sausages, pretzels and salads. The few times that Sacramento’s weather is unsavory is when the business hours for Der Biergarten become murky. If it is raining, they have no choice but to be closed. If it is too hot, business tends to be slow. Sean has been tirelessly working on ways to keep patrons more comfortable in changing conditions. “We are putting in awesome misters for the summer and looking at electric heaters for the winter. We are also looking forward to possibly extending our hours through midnight.” Der Biergarten is a completely unpretentious, fun place to get your money’s worth for quality German beers and beyond. They implement an idea that community is built through drinking beer, as the Germans have religiously believed for years and years. Every week truly is Beer Week at Der Biergarten…. Well, weather permitting.
Words by Alia Cruz | Photo by Melissa Welliver

Firestone Public House
1132 16th Street | Sacramento

Firestone is a great option for the more casual craft beer drinker. It is loud, it is busy, it is haunted with televisions for sports enthusiasts (exactly their targeted audience), but it also has almost 60 draft beers to stumble through with uniquely large-sized pour options on considerably high-alcohol ales. Before Firestone was a restaurant, it was the huge tire company sticking out on the bustling corner of 16th and L streets. When I was a kid, I remember driving with my dad to the Downtown Plaza and always turning my head to watch the Firestone guys rolling and bouncing tires on the grease-stained pavement. About five years ago, The Firestone Tire Co. was gutted and made into the Firestone Restaurant. The restaurant retained the moniker as homage to its shared roots with the Firestone empire. A consistent draft list of everything from IPAs to heavy stouts and refreshing ciders is an option, along with about six handles that are constantly being rehydrated with a fresh option. If you are a hop head, I suggest the IPA flight, which usually includes five four-ounce pours of California style IPA varieties. Though they have very little planned as official Beer Week festivities, they do have a keg of 805 Firestone to offer around that time. Words by Alia Cruz | Photo by Evan E. Duran

Pangaea Bier Cafe
2743 Franklin Boulevard | Sacramento

Rob Archie recognizes that a craft beer cafe is an imperfect business model. As the owner of Pangaea Cafe on the Northeast corner of Franklin Boulevard and 3rd Avenue, he is aware the American way of business is control and consistency; the customer expects experiential repetition and a business is at the mercy of their needs. The American way of service, that “customer is always right” adage, does not translate to craft beer. The customer is at liberty to participate, explore, and if all goes well, enjoy at Pangaea Cafe.

“What’s humbling about beer is you practice a lot of impermanence,” Archie says. His statement applies to the challenge of replicating a recipe with consistency, the ever-looming possibility of a beloved brewery shuttering, and shortages, be it ingredients or competitive batch availability. “One day you have it [on tap], the next day it’s gone,” he says.

We are on the shaded patio at the Curtis Park location on an uncharacteristically warm February afternoon. It’s 4 p.m. and the patronage is steady from retirees with little better to do and businessmen enjoying a late liquid lunch, or perhaps an early day out of the office. Once an unassuming cafe for coffee and beer experts alike, it is now a pillar in the connoisseurial community of beer lovers. Tastings, judgings, and club meetings are a regular occurrence. Now in its sixth, nearly seventh, year of business the Pangaea identity is defined, unified like the supercontinent origin, and like the prehistoric Pangaea it was here before Sacramento became a craft beer city.

Back then, Archie was simply an ex European-basketball player who’d gotten a whiff of the Belgian beers and started plotting ways to bring them back to California. It began with five taps, pouring Birra Moretti (first tasted while playing in Italy), Affligem Blonde, St. Bernardus Belgian Quad, Lagunitas IPA and Blanche De Bruxelles. Bare bones compared to the 20 options now that include a sour-specific section.

“I tell brewers and people that open, to be a part of the culture you have to ask yourself ‘what am I bringing to the culture?’” he says. “In any small business it should be sharing your story and having a soul behind whatever it is you’re doing.”

Archie’s identity is education. First came his own. From traveling as a professional athlete, and then going back to learn more, he got his entry into Belgian beers. As the West Coast movement began to blossom, his travel distance shortened to the outlying brewers of Northern California, brief visits and bottle trades, just to absorb as much as possible. In opening Pangaea, Archie employed his knowledge to accrue customers who became regulars. First comes the flavored hook: “the first time they taste a Belgian quad and they think there’s fruit in there.” He’s got your interest and he counters with “then you tell them it’s all yeast and you get to talking about the magic of yeast.” From there he’s got you deep into the nuances of the process; some brewers refer to yeast as a woman, other brewers discount yeast as merely a fermenting agent and focus on hops, and on and on.

Craft brewing is still an emerging market; the craze is real, and yet, this is its cowboys and pioneers phase. Archie notes Bud Light alone out-sells craft beer. He sees it as millions of people yet to be converted that don’t drink good beer out of being domesticated on flavorless beer. “The people that are in it right now are still pioneers in the grand scheme of enjoying better beer. I just think that riding this wave from 13 percent to 21 percent to 30 percent will be insane. By then it’s like Pliny [the Elder] on tap at your house.”

Archie recalls the early days when most distributors didn’t know their stock beyond the Budweisers, Millers, Coronas and Heinekens.

“We’d have to call them and say ‘there’s this beer, I know you guys have it. It’s in your catalog,” Archie says. “They’d have to send a supervisor out here and it’d become this huge ordeal.” Companies like DBI grew alongside Pangaea, “simply because they were on the forefront of being a craft beer distribution and we were buying up the supply. What’s cool is you see the same thing in customers right now. They’re going out and they are chasing the way we did years back.”

For those deep in the chase, Pangaea’s Beer Week events will include a stouts and oysters day with a specialty Imperial Porter brewed in collaboration with his wife and the wives of Track 7 Brewing; a collaboration with Knee Deep and Altamont called “Hella Deep” and a special visit by David Walker of Firestone Walker Brewing Co. to hand-deliver a special batch sour keg.

“I like the collaborative thing,” Archie says. “Right now, you have to be appreciative of what’s out there. We have really good beers that are readily available that are right here. Everyone is looking for the newest thing, but the newest thing isn’t always the best thing.”

-Words by Blake Gillespie | Photo by Evan E. Duran

Kupros Craft House
1217 21st Street | Sacramento

Kupros Craft House is located in the renovated Victorian house that used to be Cheap Thrills. The restaurant environment feels like the casual dining quarters of a luxury cruise ship, or maybe dinner at your fancy aunt’s house. I always feel like I am in such a different place. Its full bar is absolutely gorgeous because of the signature stained glass ceiling, and the cool second story patio is top-notch to perch and people watch. Kupros often has a diverse draft list, usually consisting of Sculpin, Allagash and Anderson Valley as a few staples, and every now and then they will catch a rare keg. One amazing thing that must absolutely be highlighted here is a little thing called Can Roulette. Can Roulette is when you pay $2.50 for a can of beer that the server randomly and blindly picks out of an ice chest. Craft beer out of a can almost always tastes better and you can fill up on beer for really, really cheap. For Beer Week, Kupros will be hosting many events, including a Drake’s Brewing kickoff party on Friday, Feb. 27 with rare releases and classics on draft. The restaurant will also host breweries from San Diego and Oregon (the home of the country’s more well-known craft beer breweries) in a weekend-long battle to see who blows their kegs quicker. Winner gets bragging rights!
Words by Alia Cruz | Photo by Melissa Welliver

Blackbird Kitchen + Beer Gallery
1015 9th Street | Sacramento

Based downtown, Blackbird Kitchen + Beer Gallery has an urbanite cool, slightly posh feel, acting as an art gallery, but not above the Portlandia-esque irony of “Put a bird on it.” Marginally upscale, yes, but Blackbird is not stuffy or bougie. Just like Budweiser would like you to believe craft beer drinkers are hipster caricatures, do not mistake Blackbird as too chic for the real and rugged of the craft community. The list is extensive and intelligently grouped by house-coined flavor profiles like “utmost drinkability,” “devilishly dark,” “pucker up,” “pales in comparison” and our favorite, “barley there.” For Beer Week, Blackbird is keeping it minimal with a locals night featuring Mraz, Bike Dog and Device on Tuesday, March 3. The following night is dedicated to barrel-aged brews and Thursday is a competition between Socal, Ninkasi, and Green Flash. The winner will be chosen by attendees, so be there, and be heard.
-Words by Blake Gillespie

Sacramento Electronic Music Festival 2012

Day 3 – Saturday, May 5, 2012

The moon was a big deal on Saturday. A full moon, either in lycanthropic blood mysticism or scientific tidal truths, calls into the locked cellars of our primitive impulses to come out and play. Saddle up the supermoon with the tequila abuse of Cinco de Mayo, and night three of the SEMF was a rowdy, depraved playground.

Salva

Weekend warriors that frequent MoMo’s argued with security as to why exactly they were relegated to the patio, while braceleted SEMF attendees roamed about freely. I fielded endless appreciative comments regarding the finely groomed herd of ladies and equally endless queries as to whether or not the Death Grips’ world tour cancellation would spell doom for a scheduled performance around midnight.

I should have been let down by the no-show. We all should have booed the ever-loving hell out of the acts on stage while demanding our Death Grips set, but SEMF was booked to endure a Death Grips no-show. It only stung slightly when Brian Breneman, half of The Master System, dropped the Beastie Boys’ “Looking Down the Barrel of a Gun” remixed over Death Grips’ “Guillotine” (which was goddamn brilliant, by the way) after Shlohmo’s headlining set. Earlier, James and Evander announced before one song they would be blatantly ripping off Daft Punk, and then delivered on their word, but in a respectful manner. Raleigh Moncrief unveiled an unheard archive of EDM meditations that hinted of Watered Lawn being far from a debut fluke.

Raleigh Moncrief

The hype should have fallen on its face, the moon was supposed to have roused our inner villains, but inspired set after inspired set kept the 27th block of J Street from letting the tequila and heat agitate the closing night of the SEMF. In only its third year, the SEMF is official. Now, we count the days until the Launch Festival as Sacramento’s next big power play.

Childish Gambino, Danny Brown

Ace of Spades, Sacramento – Wednesday, April 18, 2012

Childish Gambino’s Camp Gambino Tour sold out Ace of Spades months in advance. The line to get in stretched the length of the R Street block and wrapped down 14th, halfway to S Street. Inside it was a patient wait through one opener to see a young Hollywood actor from NBC’s Community, Donald Glover, take the stage as a rapper.

There’s no use hiding it. The opener was Detroit’s Danny Brown. A recent signee to Fool’s Gold Records and the artist I anointed as Rapper of the Year 2011 in another publication. As for Childish Gambino’s debut record Camp… I gave it a few listens in November and deemed it overrated. Glover’s Camp record is not as painful as Brian Austin Green’s One Stop Carnival album in the ‘90s, but if he’s serious about rapping over acting he’ll live in the shadow of Drake. But what the hell do I know? Danny Brown had a few pockets of fans in the first row shouting his gratuitous lines from his XXX album back at him. Childish Gambino had wall-to-wall admirers reciting every word to a song that shares its title with a TV show, canceled after 12 episodes.

It was his show for the taking and it’s easy to revel in the limelight with such positivity electrifying Ace of Spades. No songs faltered or lulled the set. It was hit, hit, hit for Gambino and even the time lapse for an encore seemed insignificant. He was impressive, but I did not leave converted.

My struggle with Glover/Gambino does not stem from questioning his talent as a performer or even as a songwriter. He’s a clever rhyme writer, interspersing wit culled from his stand-up like, “I sound weird, like nigga with a hard R” and references to Invader Zim. His balance between nerding out and sneaking in sentiment testifies to his mass appeal. He tours with a talented backing band, half of which look as though they toured with Travis McCoy, while the others possibly play violin behind Justin Vernon of Bon Iver. His stage presence is not the issue, and the giant screen displaying lyrics, forest landscapes and scenes from the streets of New York City were not the issue. It lies in not knowing how to perceive his craft.

The name Childish Gambino was conceived through the use of a Wu-Tang name generator, making it difficult to assess it as genuine or satire. The campy name paired with Glover’s notoriety as a stand-up comedian, his far superior talent in my opinion, and presence on a sit-com, lean towards the notion he’s a parody. So why weren’t we all laughing? Why was everyone singing along in earnest?

There were opportunities to laugh–plenty of them. Danny Brown exposed himself as an avid participant in cunnilingus by performing “I Will” and wagging his oblong tongue between his missing front teeth. He earned a few laughs beyond the front row by letting his followers deliver punch lines from “Monopoly” like, “Stank pussy smelling like Cool Ranch Doritos.” Childish Gambino is not short on humor either. He and Brown are contemporaries in rap humor as both love bragging about their sexual virility and their haters’ lack thereof. Guess which line is Danny Brown’s and which Childish Gambino’s is:

“I fuck bad bitches to Stacy Lattisaw, while y’all niggas got blue balls like an Avatar.”

“My dick is like an accent mark, it’s all about the over Es.”

The first quote is Brown on “Adderall Admiral.” The second is Gambino on “Bonfire.” Did you get it correct? I could split fine hairs like this for paragraphs and end up with an even part resembling the top of Crispin Glover’s head, but what’s the use? Danny Brown doesn’t have a television presence, which is still more powerful and influential than being critically lauded on the Internet.

Glover’s an act worth the price of admission. Place him in the recent crest of celebrities like Zooey Deschanel and Scarlett Johansson, who’ve earned successful recording careers. The trend could be gruesome and transparent, were the named figures less talented. It’s undeniable that their recording triumphs are assisted by their TV and film notoriety. Glover is privileged, but his closing statement on “Bonfire” (“Man why does every black actor gotta rap some?/ I don’t know, all I know is I’m the best one.”) hints that he’s aware. It could be worse. The actor/artists could cover Celine Dion instead of Tom Waits, perform alongside Sugar Ray instead of M. Ward, and bring Mac Miller on tour instead of Danny Brown. They should always be commended for their fine taste.

Lagwagon, Cobra Skulls, Nothington

Harlow’s, Sacramento – Wednesday, Feb. 29, 2012

Catering to the working people of the city, Harlow’s hosted an early evening show, promptly starting at 6:30 p.m. with San Francisco’s Nothington. With only a couple dozen early birds in attendance to start, Nothington held little back, providing a solid performance. Bandleader Jay Northington forcefully belted out the mid-tempo “Stop Screaming,” which drew obvious comparison to the gruff vocal styling of Chuck Ragan’s early work in Hot Water Music.

The slightly quicker paced “This Conversation Ends” harked back to familiar pop-punk sounds of the mid-‘90s with straightforward rhythms, but catchy anthemic vocal hooks a la Face to Face or Social Distortion. “A Mistake” was perhaps their best song of the night, which included moments of all three guitarists singing at the same time; a formula that the band thrived on and shined the brightest when doing. At one point in between songs, Northington saluted the crowd with a can of beer, appropriate for the midway point of the third annual Beer Week in Sacramento.

Second on the bill was Cobra Skulls, originally from Reno, Nev., but now calling the Bay Area home. Right out of the gates, Cobra Skulls were ready to roll and brought the rock with them. Drummer Luke Swarm led the way on “The Streets of Cairo” with grooving, danceable beats that grabbed the attention of the ever-increasing crowd. “Cobra Skullifornia” incited several in attendance to dance and mosh in the middle of the room. Adam Beck’s clever single-note guitar leads transitioned well into the chorus of the song, and bassist Devin Peralta legibly shouted disapproving lyrics into the microphone, “You planted seeds in the desert/you stole your water from afar/Southern California stay where you are.”

Other notable songs from the set were the upbeat and driving “Solastalgia” and hip-shaking infectious “Honorary Discharge Under the Influence,” which sparked similarities to AFI and Rancid’s first few albums respectively. Cobra Skulls put forth a ton of energy and charisma with each individual member showcasing their talents as the supporting act.

The legendary Lagwagon graced the stage with much anticipation and adoration from bunches of eager fans in attendance. Though some might argue Lagwagon’s heyday has come and gone, the group still performs with the energy, pizzazz and goofiness of teenagers. Lagwagon quickly riled up diehard fans, old and young, into a moshing frenzy with classics like the stop-and-go “Black Eyes.” Showing their playful side, towering guitarist Chris Flippin took time in the middle of the set to inform the crowd that they were missing American Idol on television. Vocalist Joey Cape also told an entertaining story about a warehouse show the band attended after a Cattle Club performance early in their career, in which Cape recalled seeing an awesome metal band, Crank Lab, whose name he mistook for years as the name of the venue. Prior to playing the catchy “Razorburn,” Cape and Flippin gave praise to an audience member with an impressive mustache. Songs like “Sleep” and “Weak” showed the talent of the band to be simultaneously melodic and aggressive, serving as a reminder as to why Lagwagon reeled us in to begin with and why they remain a relevant punk rock band today.

Mall walkers had reason to pause during their power walks last Sunday at the Westfield Mall. And no, it wasn’t to watch Santa Claus taking photos with crying babies or ice skaters taking falls at the rink. They paused to see the first Non-Drummer Drum-Off. The event is exactly what its name implies, people attempting to drum like Taylor Hawkins from Foo Fighters but they end up sounding like Animal from The Muppets. In fact, the only qualification of the drum-off was that you were supposed to suck. Even the Facebook event page said if someone was caught practicing before the show, then they would have been automatically disqualified.

Just like American Idol, the non-drummers had to face judges, listen to a sarcastic host and battle to win a prize. The eager non-drummers were going head-to-head for a chance to win a new drum set. At around 3 p.m., a small crowd gathered around a mini stage and bleachers on the second floor of K Street mall in Downtown Plaza that stood in-between the retail stores Express and ZuhG Life (organizers and sponsors of the event). When the show got rolling, most of the audience members ended up being random holiday shoppers, curious workers, or mall walkers who wanted to see what all of the ruckus was about.

The judges, including Matt Mingus from Dance Gavin Dance and Kevin Martinez from Tha Dirt Feeling, had to rate the non-drummers on a scale from 1 to 10 (10 being the highest) and on “charisma and performance.”

The bad drumming started off with Charleeé Wheeler from the local band ZuhG and his attempt to hit the drums like a rock star. Most of the contestants were familiar faces because they were from local bands or people who are active in the Sacramento community, such as Steph Rodriguez from Sacramento News & Review, Alexander Ayers from Prieta, a local photographer named Dennis, Michael Sean Flanagan, Dean Haakenson from Be Brave Bold Robot (who accidentally broke a drum stick while playing) and even our own Jonathan Carabba gave his shot behind the drums. After almost every performance, the host of the event (Blake Abbey from Musical Charis) would make funny, sarcastic remarks about their performance such as, “It’s so bad I want it to keep going,” or, “It wasn’t even entertaining to watch.” After Bryan Nichols, owner of the ZuhG Life store, gave his all playing the foreign instrument, Blake said, “I would rather listen to a whole Nickelback album than listen to that again.” Although the show was not exclusively awkward drumming, the audience members got to enjoy riffs from the professionals like Matt Mingus.

But the show stopper went to a small audience member who was eager to get a whack at the drums. When Blake asked if anyone from the audience would like to drum off, a young boy named Liam not only raised his hand to volunteer but stood up on the bleachers to be seen and heard. After he pulled a rampage behind the drums, he received a perfect score from the judges and huge cheers from the audience. And every time the host would mention his name he would stand on top of the bleachers and give an arm wave of victory. When he found out that he won the contest, he told his proud mom that they are going to need a “bigger truck” to carry his new gift home. Although little Liam arrived as a casual mall visitor, he left as a drumming champion.

Dean Haakenson

Wes Davis

The Non-Drummer Drum Off
Westfield Downtown Plaza Mall, Sacramento – Sunday, December 4, 2011

Jesi Naomi

Steph Rodriguez

Dennis “the photographer”

Jonathan Carabba

Doug Riggs

Michael Sean Flanagan

Alexander Ayers

Liam

Blake Abbey

Matt Mingus

Foo Fighters, Cage the Elephant, Mariachi El Bronx

Power Balance Pavilion – Tuesday, Nov. 1, 2011

Twelve red semi trucks lined the northeast corner of the parking lot of Power Balance Pavilion on Tuesday, Nov. 1, offering a glimpse at the amount of gear this monstrous rock tour, featuring one of the world’s biggest bands, had traveled with into town.

Upon walking into the arena just before the opening band started, one couldn’t help but notice a giant runway extending from the stage all the way to the back of the general admission floor area that created a rift between the crowd. And since this wasn’t a fashion show, it was apparent that someone would eventually rock the shit out of that runway and the mini-stage at the end of it. My money was on Dave Grohl. But first, Mariachi El Bronx took to the stage, all eight of them, and dazzled the crowd with their impressive and upbeat set. Mariachi El Bronx is the alter-ego of esteemed Southern California punk band The Bronx, and everything about them is authentic, from their instruments and their sound right down to their charro suits. They played to an ever-growing crowd, maybe two or three thousand (an usher informed Submerge he’d been told to expect 10,000-plus in attendance) scattered throughout the arena, most shoveling nachos or pounding over-priced beers.

Serving as main support to the Foo was Cage the Elephant, best known for radio hits like “Ain’t No Rest for the Wicked” and “Shake Me Down.” Lead singer Matt Shultz convulsed around the stage, shaggy long hair in his face, very Kurt Cobain-esque. He even flung himself off the stage a couple times, clearing the barriers (a solid seven- or eight-foot gap) into the crowd, resulting in some of the most Jesus-like crowd surfing possible. Overall, Cage the Elephant’s set was heavier than one might expect having only been exposed to the band’s more radio-friendly vibe. Their heads were down the whole time as they charged through their surprisingly scream-y and edgy sounding set. Definitely a punk-rock-meets-grunge sort of vibe, and Sacramento was into it.

At 9:03 p.m. the lights dimmed again and Foo Fighters burst into “Bridge Burning” and then “Rope” back-to-back, the first two tracks off of the band’s seventh studio album, Wasting Light, released on April 12 of this year. What followed was an onslaught of songs (over two dozen total, including a five-song encore) delivered with gut-wrenching passion. “My Hero” was played early on in the nearly three-hour set and Foo Fighters’ charismatic frontman Dave Grohl ran up and down the rock runway for the first time, shredding on his guitar and screaming in the faces of fans. During the same song, he incited a massive sing along and slowed the song down, then moments later they finished it off heavy-as-hell again. They had the crowd in their hands, taking the place from rocking and chaotic to mellow and serene, to rocking again in a split second. “I just want to make sure you understand you’re not going home early,” Grohl told the now-entranced crowd. “Get comfortable, you’re gonna be here a long fucking time.” People went apeshit.

After ripping through another 10 or so songs, including crowd favorites “Breakout” and “Monkey Wrench,” as well as a guitar solo-off between Grohl and fellow guitarist Chris Shiflett (during the song “Stacked Actors”), where Grohl was standing on the mini-stage at the end of the runway that had now been lifted a good 15 feet off the ground, the two faced each other down from opposite ends of the arena. It was impressive and fun to watch, but it drew a four-minute song into what felt like half an hour. Drummer Taylor Hawkins also squeezed in an impressive but maybe excessive solo at the tail end of one of the songs. Submerge would have liked to have seen some of the filler cut and replaced with B-sides from old albums. But, it was an amazing performance nonetheless and it’s safe to say the audience got its money’s worth. Grohl even put a local touch on the massive show. “I dated a girl from Sacramento,” he announced at one point, speaking in reference to professional snowboarder Tina Basich, who is from here. The two dated years ago. He apologized for taking so long to make it back to Sacramento, “It’s been eight years?” he said. “I’m sorry. We’ve been practicing for tonight.”

During their encore, Grohl first appeared with just an acoustic guitar to play a song called “Wheels.” “It’s big in Germany,” Grohl exclaimed. “If you’re louder than the Germans…” he said as the crowd sweltered. “OK, we’ll play a bunch more songs.” Grohl played a couple more acoustic songs, “Best of You” and a cover of The Beatles’ “Blackbird.” “Times Like These” started out with just Grohl on stage, asking the crowd to sing along, but halfway through, the full band kicked in, bringing the energy in the building back up to a boiling point. After blazing through the track “Dear Rosemary” and a cover of Tom Petty’s “Breakdown,” Foo Fighters closed the epic set with their smash hit “Everlong.” It was nearly midnight when the last note (more like feedback) rung out, well past most of the crowd’s bedtime, but you won’t find anyone complaining. Unless, that is, they have to wait another eight years to rock ‘til midnight with Foo.

Whether you ride low, got a Dyno with black mags, test your guts on a fixie or cruise casual, if you’ve got a bike and love art, we’ve got an afternoon activity with you in mind. In celebration of May Is Bike Month, Submerge rode through Midtown mapping out a mural tour with eight points of interest. It should be noted this is not a comprehensive listing of Midtown murals, as we could send you down J Street or through seedy alleys on a dangerous mission to enjoy art. Our mural tour is a list of staff favorites that can be viewed safely as you happen to cruise past local businesses we frequent. Please ride carefully, stay hydrated and respect Omri Casspi’s handsome face.

A fairly solid launch point to cruise past the history of Sacramento and some psychedelic butterflies of Laserium, then hang a sharp right before Macy’s to pass the parking garage as it transitions into Metamorphosis by Centro de Artistas Chicanos.

T Street / between 6th & 7th streets
Built in 1934, the Amphitheatre rests on the north side of the park and won’t look like much upon pulling up, but pedal around to the stage and bask in the Chicano-centric art by members of the Royal Chicano Air Force. It’s a great place to rest in the grass or on the stage and hydrate if needed.

915 S Street / between 9th & 10th streets
Painted in 2005 by Stephanie Taylor, the mural on the eastern wall of Beer’s depicts the grandfather of California literature Jack London along with several quotes from the author. Explore Sacramento’s history even further by perusing the stacks of local publications, or just stop in to pet Raffle the bookstore’s furball mascot.

1918 16th Street / between T & S streets
Bikes on 16th require self-assured riding, so if you have the chops for it, make a stop at Constantly Growing on 16th between S and T streets. The graffiti burner is well crafted and wraps around the establishment.

16th Street / between Q & R streets
Painted by Anthony Padilla, the Kings mural might be a bit dated given a few trades, but it’s always nice to cruise by either with hope for another year, to catch a glimpse for the last time ever or just to check on Omri Casspi’s face. Be sure to check out the biker friendly schwag and appetizers at Hot Italian across from Fremont Park.

between 167h & 18th streets
The tremendous 200-foot mural painted in 2009 by John Stuart Berger and Dolan Forcier means you are halfway finished, but given its length, taking it all in will slow you down. The good news: Old Soul Coffee Shop rests in the alley to caffeinate for the remaining trek.

Corner of N & 24th streets
Be mindful of pulling up to the American Market mural by Shaun Turner and Dan Osterhoff. The gorgeous woman stoically watching over the corner of 24th and N is liable to cause accidents. Oh, there’s a peacock too.

Bon Air Deli & Market and First Edition Murals
Corner of J & 26th streets
The corner of 26th and J is an active one for artists. Within a stone’s throw of one another is the graffiti mural by Sam Flores on the side of First Edition, formerly Upper Playground, the mural on the northeast corner of Bon Air Deli by Joshua Silveira and Gabriel Romo and University Art supply store should you be inspired to create your own.

Sister Crayon Steps It Up Further on Debut LP

It was a gray and windy afternoon on the beaches of Malibu. A tidal wave warning was in effect, but there local band Sister Crayon stood, fully-clothed, sharp shoreline rock at their ankles, as photographer Eliot Lee Hazel barked orders to capture the frozen chaos of crashing white caps for the band’s debut album art.

Lead singer Terra Lopez slipped during one shot, cutting her leg, but Hazel ran his shoot like a drill sergeant. “He just said, ‘Get up. Don’t smile. Don’t look at me,’” Lopez said. “Well, he’s a sweetheart, nice guy, you can sit down and talk to him, but when he’s taking photos he is so intense.”

As absurd as it feels to the members of Sister Crayon, Lopez and drummer Nicholas Suhr spoke of the shoot as one of their most memorable music experiences–even though it had little to do with music. Along with Hazel’s artwork, the band has a high-def music video done by celebrity photographer Robert Ascroft. Browsing both photographers’ websites, perusing the tastefully gratuitous images of Devendra Banhart, Usher, Mariah Carey, Edward Sharpe and Brad Pitt, Sister Crayon will be the first to tell you how privileged, yet out of place they feel. Are these the last remaining minor moments of Sister Crayon before they receive Coachella bookings and Japan tour offers?

In the next few weeks, the band is playing humbler venues like Townhouse for the Sacramento Electronic Music Festival and Luigi’s Fungarden for the Bellow album release party. So our indie darlings have yet to grow too big for our sleepy city. Lopez looks like a siren Viking vixen in the video for “(In) Reverse,” but when I met with her and Suhr at Mondo Bizarro (formerly Butch & Nellie’s) for an interview, she was back in her Midtown garb, a second-hand green army jacket and jeans–the Lindsay Weir of Freaks and Geeks look. She’s still the same shy songwriter, fronting a gloomy pop act that seeks inspiration in the lonesome despair of poets like Jean Genet and Fernando Pessoa.

The Bellow sessions scattered across the span of a year and a half. The newly realized lineup of Sister Crayon crammed in 18-hour shifts at The Hangar with engineer Scott McShane, who described the process as “tense” and a “guerilla recording style.” McShane produced the first Sister Crayon EP, Enter Into Holy (Or)ders, and the band never entertained the thought of working with anyone else. “Recording already is a really intimate thing. We bond so well with him. He gets what we’re trying to do, even before we understand it,” Lopez said.

“He’s able to throw out ideas that’s not in an insulting way. It’s just full-on experimenting and you know that it’s for the best. He pushes us to succeed,” Suhr added.

The tension came from the hourglass pressure of paying for studio time and the unfamiliarity of having a new drummer join two weeks prior, writing his parts on the fly. Suhr was not a complete stranger, knowing Lopez from her stint in The Evening Episode, but he and Lopez talked of the anxieties surrounding a debut full length. “We were zombies. We’d spend 18 hours in the studio and you can hear it in the record,” she said.

Originally, Bellows was intended to be a five-song EP, written by Lopez and synth-keyboardist Dani Fernandez, with “I’m Still the Same Person” being the only pre-released song to make the album. But once the band wrapped recording those five songs, creativity was running high and five more songs were written collectively. “Scott kept telling us there was a lot of tension on the record,” Suhr said. “If you know what was going on at the time it makes sense. There was a lot of time spent coming to an agreement on things, but whenever we’re writing together there’s no awkwardness. It was easy to go into the next five songs with an open mindset.”

Indeed, the settling in is brazen and culminates with a spacious piano ballad called “Ixchel, The Lady Rainbow,” in which Lopez’s visceral croon soars over a piece written by former member Genaro Ulloa. “Ixchel” was the last song the band recorded, a one-take recording done well past the midnight hour. “We did it live tracking,” Lopez said. “He was in the other room and I was in the main room singing. We could see each other through a little window, but that was it. It was the first take and it was incredible. I know it sounds corny, but there were tears in everyone’s eyes. We were all exhausted. Even Scott had tears in his eyes.”

Suhr added, “It’s one of those songs. Every other song on the record we did multiple takes because we felt we could do better. At the end of that song, everyone was just like what the fuck. It’s one of those songs where if it didn’t sound like that, with the imperfections left in, it wouldn’t have worked.”

The gloomy pop instrumentation informed by the troubled words of dead poets is an appropriate setting for an album titled Bellow, but Suhr said a lot of the mood is owed to McShane’s guidance. “I heard the five songs written before I joined, but the mood had changed through Scott’s ears.” Lopez said his touch is most prevalent on “Here We Never Die and “(In) Reverse” as he took the band’s ideas and focused them into a cohesive sound.

In addition to McShane, the Sister Crayon sound, most notably the lyrics, is in homage to the writings of Fernando Pessoa, a 20th Century poet and literary critic. Lopez only admitted her obsession with Pessoa’s work. She has a Pessoa tattoo and her Pug’s name is Ophelia, after Pessoa’s secret crush to whom he never confessed his love. “It’s the despair,” she said. “It sounds dramatic, but he was such a lonely individual. He was very mysterious and obviously people are drawn to that.

“I think that is a huge part of Bellow. ‘Here We Never Die’ is my talking to a lover in that way. The despair and sadness that he wrote is so sad that I can’t even finish one of his books. I have to read a sentence a day sometimes because it’s so much. It just floors me. I have no option when it comes to his presence in my music.”

As intense as Sister Crayon is sonically and visually portrayed, Hazel’s insistency that the band stop smiling as the chilly Pacific waves capsized on their heads speaks of the band’s unbridled joy in its work. As arresting as “Ixchel, The Lady Rainbow” is, Bellow closes with “Souls of Gold,” a cheery campfire sing-a-long with a blasting brass section and woozy synths. “We’re always such a serious band and a lot of our songs are really dark,” Lopez said. “I do like that the album ends on a lighter note than what it could have been.”

See Sister Crayon live at their release party for their new album Bellows at Luigi’s Fungarden on Feb. 19.

Helmet, Bison B.C., Will Haven

Harlow’s – Sacramento, Calif. – Wednesday, Sept. 8, 2010
Words by Bobby S. Gulshan

As promised on the flyer, Grady Avenell has indeed returned to vocals, and the local faithful flocked to Harlow’s for Will Haven. Some call it metalcore, or post-hardcore, but Will Haven’s particular brand of bombast proves too elusive for quick categorization. Opening with “I‘ve Seen My Fate,” the dual guitar attack combined with keyboard atmospheres and driving rhythmic breakdowns conspired to create a steady sonic barrage. Avenell’s searing screams hammered the point deeper. With his back often to the audience, Avenell and the rest of Will Haven tore through their set with high-energy physicality, head banging in lockstep with one another. Songs such as “Helena” and “Carpe Diem” displayed the straightforward appeal of Will Haven’s approach.

Their music relies on power and heaviness coupled with a driving rhythmic intensity. Tonally, the riffs were almost monochromatic, with guitarist Jeff Irwin providing occasional hints of color with high-pitched staccato runs. Closing with “Stick up Kid,“ the band displayed its full physical force, finishing up a blistering set of six songs that left the hometown crowd hungry for more.

Hailing from the Great White North, Bison B.C. took the stage in the second slot. On tour with Helmet in support of their new LP, Dark Ages, the Canadian metal outfit added classic thrash-style riffs to a night of hardcore punishment. The guys themselves look like modern primitives, as if they wandered out of the same deep forest as the mythical Wendigo, which they reference in one of their more epic tunes. James Farwell and Dan And provide guitars and vocals, one singing with a characteristic death metal growl, and the other providing a cleaner vocal on more melodic sections. As drummer Brad McKinnon told me after the show, “When I first heard Dio all those years ago, it hit a place, and it’s been metal ever since.” Indeed. Bison B.C. fills their sonic space with complex riffs and blistering solos, as well as hardcore breakdowns. “Slow Hand of Death” displayed Bison’s ability to combine thrashing riffs with off-kilter time signatures, moving seamlessly into a galloping melodic section, and then returning to churning extended breakdowns. “Wendigo Pt.1” featured both guitarists locked in harmonies that evoked one part Slayer, one part Iron Maiden. However, the development of the songs–particularly the ability to transition from a blast beat to an extended break with ease–is signature Bison. The Harlow’s audience seemed a bit unprepared for this metal onslaught, but showed their appreciation nonetheless.

Turning 50 doesn’t seem to have slowed Page Hamilton. By the time Helmet took the stage, Harlow’s was packed and surging, and the seemingly ageless Hamilton did not disappoint. He told the audience that he was supposed to be on a juice diet, and then promptly took a swig from his Corona. Hamilton played to the audience, constantly engaging them with wit and charm. At one point between songs, Hamilton brought up the subject of football, taking a quick shot at the Pittsburgh Steelers by pointing out that “their quarterback is a rapist.”

Helmet’s classic album Meantime was released in 1992. While new tunes still bear the signature of Hamilton’s “glory days,” nothing sounds dated. Helmet has mastered extended breakdowns, utilizing various downtuned and detuned setups to create deep, heavy tones. The almost mechanical rhythms are persistent and stark, while the start-and-stop nature of the riffs keep bodies moving with an internal groove. Hamilton’s clear vocal melodies are somewhat refreshing in an age where the growl has become the lingua franca of hardcore and metal. Yet the riffs and breakdowns are as hard as anything out there. Old tracks like “Ironhead” and “Role Model” blended perfectly with new material, like the title track of the new album, “Seeing Eye Dog” and “So Long.” The show, of course, would not be complete without a performance of “Unsung,” which jolted the crowd into a frenzied sing-along with Hamilton. The back and forth with the audience continued during the encore when Hamilton asked the audience to pick three songs. “Black Top,” “In the Meantime” and “I Know” finished off the show, as requested by the fans. For a band that hasn’t toured in some time, Helmet and Hamilton have not lost a step, and all indications point to a long and hard-hitting future for the hardcore legend.

Smashing Pumpkins

Crest Theatre, Sacramento, Calif.
Monday, Sept. 6, 2010

At 7:30 p.m. the corner of 10th and K streets was littered with hundreds of Smashing Pumpkins fans waiting in line to see Billy Corgan and crew in one of Sacramento’s most beautiful venues, the historic Crest Theatre. As fans poured into the building (and especially into the beer garden), Chicago’s Bad City attempted to get the crowd ignited with their ‘80s hair-metal influenced tunes. SPIN.com called them “a modern day Whitesnake,” and I’d say that’s a pretty spot-on description.

At 9:01 p.m. the lights dimmed and the crowd roared as Corgan and his current lineup, which includes 20-year-old drumming prodigy Mike Byrne, lead guitarist Jeff Schroeder and bassist Nicole Fiorentino, took the stage. The first song they dove into was “Astral Planes,” a newer song from Teargarden by Kaleidyscope, where Corgan sings “Everyone gather, warm your soul,” on top of a grungy, slightly Fuguzi-esque guitar riff. Indeed, everyone had gathered; and rest assured our souls were warming, as did the energy in the room. The song “1979” off the nine-times-platinum album Mellon Collie and the Infinite Sadness had the crowd reciting every lyric back at Corgan, as did songs like “Bullet with Butterfly Wings,” and “Tonight, Tonight,” which sounded fantastic despite the apparent lack of a string section like on the original recording. In the same manner, the song “Eye,” released on the Lost Highway soundtrack in 1996, which is very electronica, translated great into this guitar-driven performance with live drums. Speaking of drums, it needs to be noted that Byrne was an absolute beast all night and at one point soloed for a solid four minutes onstage by himself and left any drummers in the crowd wanting to quit immediately.

At one point about midway through the show, an acoustic guitar was brought out for a change of pace. Corgan even played ukulele on one song. With the change in pace came the first real crowd interaction on Corgan’s behalf. He mentioned how in his hotel room there was a copy of Sactown Magazine. “Sactown!” Corgan yelled. “Isn’t that what they call it?” He poked fun at the term “Sactown” a little more and muttered that maybe it wasn’t a good term to use if our town was looking to attract tourists. People laughed. He also thanked those in the front row who were smoking pot. People laughed more. It was refreshing to see Corgan, now 43 years old, having a little fun with the crowd. After an epic encore, the band left the stage to screeching feedback, waving to the crowd while throwing picks and drumsticks along the way.

At 11 p.m. the crowd was pouring out of the theater, electrified. Every one of us knew we had witnessed something special, something to brag about. It’s not every day Billy Corgan is in town.