Music For Social Distancing

There’s no such thing as a universal language. Polish ophthalmologist L.L. Zamenhof proposed that Esperanto, the language he constructed, be the shared tongue to help bridge the global gap, but that never caught on despite being used in the 1966 b-movie Incubus, starring William Shatner. But there are a few things that translate easily across distant cultures: emojis, pickled vegetables, and psychedelic rock.

Admittedly, that last one is a little anachronistic, but it’s still true. Back in the ‘60s when artists like The Beatles, Jimi Hendrix and Cream were soundtracking a cultural movement, the sonic elements and chemical additives that fueled their music spread across the globe. Brazil had the tropicália movement, which paired guitar fuzz with samba rhythms and a message of protest against the military-led government. Cambodia had a thriving psych-rock scene in the ‘60s and ‘70s, which met resistance by the Khmer Rouge government, as told in the recent production of Cambodian Rock Band. And Mexico had Los Dug Dug’s, a fiery and exciting band of acid rock iconoclasts—and they’re still going.

Los Dug Dug’s earned their claim to fame by being the first Mexican rock group to sing in English (though they mostly sang in their native Spanish) and to also cover The Beatles. But all it takes is one listen to their fuzzy, epic psych-rock jams to understand their appeal. The best starting point for newcomers to the band is their 1973 album Smog, one of four albums released during their career, all of them well worth exploring. Smog, however, essentially comprises a back-to-back sequence of stellar rock ‘n’ roll songs, vintage in sound but featuring the kind of aesthetics that would no doubt appeal to listeners of contemporary artists like Tame Impala, Ty Segall and King Gizzard and the Lizard Wizard.

Take the title track, for instance, which is loaded with a raw, driving guitar sound but is even more notable for a very un-rock ‘n’ roll element: flute. It’s a delight to listen to, but true to the title, “Smog,” its themes remain relevant today, nearly 50 years later, with fretful lyrics about the state of pollution. There’s a heavier groove to “I Don’t Care (Yo No Sé)” that rivals early Black Sabbath in sheer, raw power, and “Cuál es tu Nombre” is, one of the catchiest rock songs of the era, whether or not you speak the language.

Now in their seventies, the members of Los Dug Dug’s are still stirring up a mighty ruckus, bringing their swirling, wild psychedelia to younger generations and new stages, many of whom weren’t even alive when the first wave of psych-rock drenched the globe in acid. (Like me—I was born in the ‘80s.) There’s no better time than the present to discover another chapter in one of rock music’s most significant stories. But, of course, there’s no reason to stop here. With more labels reissuing hard-to-find records from around the world in the ‘60s and ‘70s, and fewer barriers to finding them, there’s never been a better time to get an education in global psych. Los Dug Dug’s just happen to be an excellent place to start.

Los Dug Dug’s

Soda Bar

January 25

Other Recommended Shows This Week:

Raphael Saadiq, Jamila Woods (January 23, House of Blues): Raphael Saadiq is one of the best R&B artists of our time. Back in the ‘90s, he performed as a member of Tony Toni Toné, later striking a solo career of his own with even more impressive results. Albums like The Way I See It display how seamlessly he combines different eras of pop music—neo-soul with vintage ‘60s and ‘70s aesthetics—and his songs are simply a delight to hear. Get there early for Jamila Woods, who I wrote about in this space last year and who’s making some of the best music of any genre these days.

The Midnight Pine (January 27, The Casbah): If you’ve been going to see shows in San Diego during the past decade and somehow haven’t seen The Midnight Pine yet, you’re missing out. The band’s members are all involved with other projects, and if you’ve heard the upbeat punk-pop of vocalist Shelbi Bennett’s other band The Havnauts, the more spacious and earthy folk and Americana of The Midnight Pine might come as a surprise. But there’s a reason I named their 2014 album Buried as my favorite local album of 2014.

Fistfights With Wolves, Belladon (January 30, Music Box): Belladon is a San Diego band to watch, balancing intoxicating synth-pop songs with gorgeous vocal harmonies. And they’re celebrating the release of their debut album at this show, which also features progressive rock group Fistfights With Wolves. It’s a diverse lineup, but it’s guaranteed to be a thrilling night.

---

The San Diego music scene lost a beloved voice this week. Alberto Jurado, vocalist of Death Eyes, passed away due to heart complications, and his loud, lively presence will be missed. A fundraiser is being held at Small Bar on Sunday, January 26, to help his family with funeral and other unforseen expenses.

I go to a lot of shows. By my count I’ve seen well over 80 bands live in 2019, some of them on my must-see list for years, which made this year feel even more eventful in terms of all the concerts on my list. However, a lot of them were at venues or festivals outside of the city, so I opted to stick to only the best ones I saw in San Diego. Here are my 10 favorites.

Eric Bachmann at a Private Residence

One of the first, and best, shows I saw this year was in someone’s attic. That’s not a weird thing to say if you’ve ever been to DIY punk house shows. And for that matter, the increasing trend of living-room tours has made the practice more common in a constantly changing music industry landscape. Eric Bachmann, vocalist and songwriter in Crooked Fingers and Archers of Loaf, serenaded an audience inside a house in South Park, pulling from throughout his catalog and even taking a few random requests, in what amounted to an intimate and special evening, one unlike any other show I saw this year.

Chameleons Vox at The Casbah

Enough rock reunions have taken place in the past decade that I’m increasingly skeptical anytime another one gets announced. (Until one comes along that I genuinely get excited about, of course—I’m complicated.) This wasn’t necessarily a reunion show for iconic UK post-punk band The Chameleons. The only original member was vocalist and bassist Mark Burgess; regardless, the show was far tighter, more powerful and intense than I could have expected. It’s enough to warm a coastal goth’s heart.

Mike Doughty at Soda Bar

I don’t like to think of myself as the kind of person whose favorite live shows throughout the year are nostalgia trips, but I’m just going to go ahead and lay out my confession: Hearing Soul Coughing frontman Mike Doughty perform the band’s debut album, Ruby Vroom, in its entirety was the best kind of reminder of discovering all kinds of weird, fun and unfamiliar music when I was in junior high. And 25 years later, I’m pleased to say that the album more than holds up—and Doughty himself is a stellar entertainer, not to mention a super funny guy.

Idles at Observatory North Park

I’ve seen Idles three times in one year. That has to be some kind of record for a band that none of my friends are in. But there’s a good reason for it though: The Bristol, UK band is one of the most vital rock acts right now, balancing furious punk and post-hardcore with a magnetic positivity that’s often sadly missing in loud, aggressive music. There’s nothing but love to go around at their incendiary live shows, and I don’t imagine anyone left this one without having an absolute blast.

Bob Mould at The Casbah

While we’re on the subject of getting caught up on legendary bands on my live-music bucket list, I only this year saw Bob Mould—former frontman of Hüsker Dü and Sugar—for the first time. And the show more than lived up to my expectations. The Minneapolis punk legend ripped through more than two-dozen songs from throughout his 40-year career, and seemingly every time he started a new one, I thought to myself, “Oh right, this song is also amazing!” An amazing show, and while we’re on the subject, one of the nicest musicians I’ve ever interviewed.

Angel Olsen at Observatory North Park

I’m always heartened by seeing the progression of an artist firsthand. Back in 2014, I caught Angel Olsen on a rainy night at Soda Bar, and she closed her set with three quiet (and stunning!) solo tracks that managed to hush the entire bar—a rare feat in a rock club. But since then the singer/songwriter has gradually made her way to even bigger rooms. On this tour, she brought a bigger band with her, including a violinist and a cellist, which allowed her to bring the songs from her outstanding new album All Mirrors to life.

Sleater-Kinney at Observatory North Park

As I mentioned in my preview of this show earlier this year, Sleater-Kinney without Janet Weiss is bittersweet, and unfortunate that her departure from the band happened the way it did. That being said, the live version of Sleater-Kinney—expanded to a quintet—sounds phenomenal, and with as much energy and intensity as ever.

Weyes Blood at The Irenic

One of the biggest bummers in San Diego music this year was the closure of North Park venue The Irenic, one of the few places in town that doesn’t have a 21-and-up age limit. But before it closed down, Weyes Blood delivered a gorgeous performance composed mostly of songs from her latest album Titanic Rising. It was a warm night, and the only thing available to drink was canned Guayaki Yerba Mate (which was fine, I guess?), but the thing I’ll remember most was Natalie Mering’s amazing songs.

Jamila Woods at The Casbah

Jamila Woods’ first album HEAVN was an underrated favorite of 2016, but its follow-up, this year’s LEGACY! LEGACY!, is nothing short of a masterpiece. Inspired by the experiences and contributions of artists of color throughout the 20^th century, LEGACY! is a rich listening experience that showcases the range of Woods’ poetic songwriting. It’s also funky as hell, and Woods delivered a smoldering set backed by a band that had more groove than San Diego typically knows what to do with.

Yob at Brick by Brick

I don’t often talk about it on this page, but I believe in full transparency: I’m a metalhead. An unapologetic and enthusiastic metalhead who buys “oxblood” colored vinyl because that’s way more metal than standard black. That said, Yob is not a conventional metal band by any measure. The Eugene, Oregon band usually makes time for San Diego on every tour, and their most recent stop was outstanding. Heavy yet spiritual, colossal yet transcendent. It’s massive music that evokes a deeper, emotional connection, and as much as I appreciate the cathartic aspect of heavy music, sometimes it’s nice when it feels restorative as well.

Charly Bliss’s first album, Guppy, was made for endless summer rotation. It’s a half hour of what drummer Sam Hendricks describes as “100-percent, high octane” power pop. Blending sugary, addictive hooks with a wall of fuzz, Charly Bliss crafted a set of music likely to remind you of the best ’90s alternative rock album you never actually heard.

With their second album, Young Enough, some of that has changed. They’ve embraced synths and bigger pop production that suggests something of a leveling up for the band. Though their songs are as catchy as ever, they’re also more nuanced, more brutally honest, and more grown up. It’s a big album, and yet it feels much more intimate.

I spoke with singer Eva Hendricks and her brother Sam about the album, growing up, and the importance of always challenging themselves.

It’s my understanding that when you wrote the songs for your first album, Guppy, you had lived with them for a while before they were released?

Eva: I think “Percolator” was written four or five years before Guppy actually came out. So by the time it actually did come out, we were so relieved, but I would also say a bit frustrated and just kind of “Grrr, this album needs to come out; we can’t wait any longer!” And we recorded it twice, so it felt like a long road to getting the album out. It’s been a totally different experience with Young Enough.

How soon after the first album was released did you start on Young Enough?

Eva: We had already started writing by the time Guppy was out. The songs, we had them for a while, which I think was a good thing because I felt really aware that once the album was out and people have heard it, it might be kind of scary to feel the pressure of writing something new. So by the time we broke the seal, we were already on our way.

Sam: Also, for Guppy, at least the first iteration, we had only written 10 songs. And I think that was one of the biggest reasons we re-recorded it in the first place, and so we learned from our mistakes and ended up writing way more songs than we needed.

There’s definitely a lot of new and different ideas on Young Enough. How important is it for you as a band to continually be challenging yourselves?

Eva: It was so important for us to not make the same album twice. We didn’t want to make Guppy 2.0. We wanted to make an album that felt like we had grown and experimented with things that didn’t immediately come to us, and that makes for a record that we’re all really proud of. The first 10 songs we wrote would have been a very logical follow-up to Guppy, then it was really exciting to see what happened when we went beyond that and forced ourselves to try new things and get out of old habits. We always want to push ourselves in the right direction. I always want to feel like we’re growing. I’d hate to put out the same album over and over again.

The title Young Enough feels like an unfinished statement, like you’re suggesting a second half of that: “Young enough to be…” fill in the blank.

Eva: Definitely. I was thinking about what it means to get older. But I really like this idea that as you get older, you also get softer, or that’s what I hope for. You get more open, I guess. And I think something I never want to be as a person is stubborn and rigid; I always want to feel like I’m growing, and I think of that as a young mindset. Your perspective is always changing. The title track is about that. It’s a relationship I went through, which I’ve written about before, and I was really frustrated and angry when I first wrote about it. But when I got older, I also felt a lot of peace with the situation, and gratitude in some ways, and the ability to see where it brought me. So I think the idea was kind of like, you’re young enough to be wrong and to prove yourself wrong and have your mind change and to mess up. And I think it’s something that’s not tied to a certain age, it’s just tied to who I am forever.

What is the biggest change the band has undergone as you’ve grown?

Sam: I think we started listening to a lot more new music. When we started, I was the kind of person who found what I liked and would just obsessively listen. I was kind of stuck in a box, like all the ’90s stuff—Nirvana, Foo Fighters, Weezer. Then meeting Spencer and Dan, and traveling around the country multiple times together, I think it’s done a tremendous change in terms of musical taste and has affected my songwriting.

Eva: I would say for me, the biggest change is that being in this band has both forced me to become a lot more self-aware and also a lot more confident. We are around each other so much, and we essentially live together around the world and work together—it’s a lot of time together, and it’s really humbling to have a group of people around you who see you at your absolute worst and best and love you and support you regardless of where you’re at. We’re so close as bandmates, and that’s a really lucky and wonderful thing that I don’t take for granted. This whole band started because Spencer said, “I bet you’ve been secretly writing songs,” and he was totally right! And this band wouldn’t have happened if he didn’t believe in me. I’m lucky enough to have bandmates who ignore me or force me to do things I don’t think I can do. Like, I didn’t think I could play guitar, and I’d say “Don’t give me this part, I’ll mess it up,” and they’d just say, ‘No, you’ll be fine.’ They are always putting me in a position to grow as a person and I feel really lucky.

Sam: That was a way better answer than mine. I think I want to double down on that. [Laughs]

Charly Bliss
June 29
The Casbah

Other Recommended Shows This Week:

Eric B & Rakim (June 20, House of Blues): Two of the best and most influential albums in hip-hop history—Paid in Full and Follow the Leader—have crossed the 30-year mark. And the two men behind them are still bringing those rap Rosetta stones to audiences three decades later.

Mattson 2 (June 20, Belly Up): Twin brothers Jared and Jonathan Mattson make music that blurs the line between indie rock, jazz, and surf rock, and it’s one of the more interesting sounds to come out of San Diego. They recently collaborated with synth-pop artist Toro y Moi, which was a cool combination, but they more than hold their own as an instrumental unit.

Anderson .Paak & the Free Nationals (June 26, Open Air Theatre): This was one of the shows I highlighted in my Summer Concert Preview, in large part because Paak’s 2016 album, Malibu, hasn’t lost its freshness in three years. But do yourself a favor and check out any live videos of Paak on YouTube to witness pure joy in the form of live music.

In hindsight, the ’90s were pretty weird. People tend to remember the decade’s music in terms of its novelties (“Macarena”), its heavily hyped trends (grunge) or the Spice Girls. But a lot of what was happening just under the mainstream radar was a lot more interesting. And big record labels with money to burn certainly thought so as well; in the wake of Nirvana’s massive success with 1991’s Nevermind, every company with seemingly endless A&R resources was snatching up every last indie artist without a contract. There were success stories, of course, but the market only had so much room for an alternative rock hitmaker. So for every Beck or Cake, there were dozens of groups like Royal Trux, Boredoms, or even San Diego’s own Drive Like Jehu, who simply didn’t write radio-ready anthems and likely weren’t all that interested in doing so.

There were some interesting exceptions, however, like Soul Coughing. In 1996, the New York band landed their own hit with “Super Bon Bon,” a sort of nonsensical, bohemian beat-poetry breakdown driven by an upright bass groove and frontman Mike Doughty’s off-kilter Dadaist lyrics: “Too fat, fat, you must cut lean/You gotta take the elevator to the mezzanine.” There’s no question why it was a hit—it’s an incredibly catchy song—but it’s certainly weird. Yet it’s got nothing on the band’s debut album, Ruby Vroom.

Released in the fall of 1994, Ruby Vroom introduced Soul Coughing at a time when samplers and drum machines were starting to supplant guitars in alternative music. The Beastie Boys, a hip-hop group, had become staples of modern rock radio while the breakthrough of Beck’s “Loser” early on in 1994 had spawned a number of soundalikes—Primitive Radio Gods, Forest for the Trees (who actually cowrote “Loser”) and Fun Lovin’ Criminals, to name a few. Soul Coughing emerged more as a parallel, their style a hybrid of beat poetry, jazz, hip-hop, and rock that doesn’t make a lot of sense on paper but is a hell of a lot of fun in your headphones. Take, for instance, the single “Screenwriter’s Blues,” a spoken-word narration of Hollywood clichés and ennui featuring a number of one-liners like “We are all in some way or another going to Reseda, someday, to die” and “I am going to Los Angeles to build a screenplay about lovers who murder each other.” Is it bizarre, perhaps too much so for a mainstream radio audience? Absolutely. But is it an absolute blast to listen to? You bet.

That’s true of the whole of Ruby Vroom, which turns 25 this year. I’m not sure how the album might sound to those who weren’t around the first time to hear it—without the context of the fairly absurd alt-rock explosion of the ’90s, it’s an odd one. But to these ears, it holds up well. The cartoonish Raymond Scott samples on “Bus to Beelzebub,” the free-association absurdities of “Casiotone Nation,” the surprisingly tender ballad “True Dreams of Wichita”—it’s all playful, innovative, and fun. A lot of other albums from the same era haven’t fared so well.

Mike Doughty is playing the album in its entirety on tour for its anniversary, and though I don’t ordinarily go for the album-anniversary concert gimmick, something about this one appeals to me. Perhaps it’s because Soul Coughing hasn’t and will likely never reunite, or that this album just hit me at the right time in my life. Maybe you just had to be there.

Mike Doughty plays Soul Coughing’s Ruby Vroom
Saturday, March 23
Soda Bar

Other Recommended Shows This Week:

Veronica May Band, Ariel Levine, The Havnauts (Casbah, March 22): Three different local artists with three different styles and approaches will be sharing the stage on Friday. The Havnauts just won a handful of San Diego Music Awards, and with good reason—they’re one of the best new bands in town. But headliner Veronica May’s been around awhile, and her bluesy songs about her own mental health struggles are both compelling and deeply affecting.

Stay Strange presents: A Night of Strange Music (Black Cat Bar, March 22): The title isn’t misleading at all. Local curator Sam Lopez has been putting together showcases of truly peculiar sounds for many years, and every time I’ve gone to one, I’ve walked away from them having been exposed to something new and unfamiliar, and had a really fun time. Open your ears and your mind and see what happens.

Foals (The Observatory North Park, March 23): In terms of contemporary alternative rock, well, it’s honestly not that different from the ’90s; you still hear a lot of Foo Fighters, for instance. But Foals is one of the few Big Indie bands that have kept my interest, thanks to songs with big hooks and an even bigger focus on richly layered atmospheric elements.

And just like that … we’ve entered the final third of 2026, where concerts, musicals—both new and old—and several special events await. This week’s live music lineup includes a Guns N’ Roses concert at Snapdragon Stadium and the two-day Pacific Soul Jazz Festival, headlined by Robert Glasper and Kenny Lattimore. For fans of musical theater, the nationwide touring production of The Phantom of the Opera will begin its two-week stay at the Civic Theatre and the world premiere production of Begin Again will debut at The Old Globe. As for other opportunities to go out, there’s the first-ever Anime San Diego convention, Amor y Magia’s bar takeover at the Fairmont Grand Del Mar, and the annual Julian Grape Stomp Festa.

JUMP TO: Food & Drink | Concerts & Festivals | Theater & Art Exhibits | More Fun Things to Do

Food & Drink Events in San Diego This Weekend

Julian Grape Stomp Festa

September 5

Work for your wine in the centuries-old winemaking tradition—in the vein of “I Love Lucy”—during the 29th annual Julian Grape Stomp Festa at Menghini Winery. This Saturday from 11 a.m. to 5 p.m., guests can squish grapes, hang out in the shade and sample tastings or buy bottles and full glass pours from 11 local beverage purveyors. The festivities also include a jumper and games for kids and a Lucy Ricardo look-alike contest with a $100 grand prize. Ticket options include regular admission ($25), which comes with a wine glass and one tasting, and child admission for ages 6-20 ($8); additional tastings are $2 each.

1150 Julian Orchards Drive, Julian

Amor y Magia Bar Takeover at Fairmont Grand Del Mar

September 5

Ahead of Amor y Magia’s upcoming opening in Carlsbad, from the makers of Same Same and Good Enough Cocktail Bar, enjoy a night of curated cocktails in the Lobby Lounge of the Fairmont Grand Del Mar during the Amor y Magia Bar Takeover. This Saturday at 7 p.m., guests can get a sip (or several sips) of what’s to come as bartenders Mike Mayaudon and Shawn Seaman lead a night of love and magic. No reservations are necessary for this event.

5300 Grand Del Mar Court, Del Mar

View this post on Instagram

A post shared by Guns N' Roses (@gunsnroses)

Concerts & Festivals in San Diego This Weekend

Guns N’ Roses at Snapdragon Stadium

September 2

As their debut album Appetite for Destruction approaches its 40th birthday, Guns N’ Roses remain trailblazers, both for their immense popularity and enduring influence on the hard rock genre. Though the mayhem-filled excitement of a Guns N’ Roses record may be difficult to match in theory, the band’s live performances reach for the stratosphere. This Wednesday (6:25 p.m.) at Snapdragon Stadium, fans can head down to “Paradise City” with Axl Rose and company and special guests the Black Crowes. Tickets start at $49 for this concert.

2101 Stadium Way, Mission Valley

Miles Davis, Sonny Rollins, & Dizzy Gillespie: A Night in Tunisia and more at The Rady Shell

September 5

Take a trip through the genre-defying collaborations of jazz titans Dizzy Gillespie, Miles Davis and Sonny Rollins during A Night in Tunisia this Saturday (7:30 p.m.) at The Rady Shell. Named for Gillespie’s famed famed jazz standard, this concert will feature a soundtrack chock full of jazz with Afro-Cuban rhythms played by the 17-piece KSDS Orchestra, helmed by local trumpet aficionado Gilbert Castellanos. Before the main event, there will be a performance by the Young Lions Jazz Conservatory All-Stars at 6:30 p.m. Tickets range from $47-$103 for this concert.

222 Marina Park Way, Embarcadero

Ukrainian Festival + 5K 

September 5 & 6

The House of Ukraine will kick off a weekend of free activities with Saturday’s Ukrainian Festival. The festival showcases traditional music and dance performances (2-4:30 p.m.), plus an international food court (11 a.m. to 5 p.m.), featuring Ukrainian dishes like varenyky and kovbasa, as well as classic sweets like cookies, ice cream, and cotton candy. The following morning at 9:30 a.m., there will be a free 5K run and walk, beginning and ending at the Green Flash installation by the Mission Beach boardwalk; participants are encouraged to dress in the colors of the Ukrainian flag. 

Festival: 667 Pan American Road West, Balboa Park | 5K: 3450 Ocean Front Walk, Mission Beach

Pacific Soul Jazz Festival

September 5 & 6

Spend your Labor Day weekend swaying to jazz, soul, gospel, and R&B during the Pacific Soul Jazz Festival at Epstein Family Amphitheater. This two-day event, put on annually by Mandate Project Impact and the Urban League of San Diego County, starts at noon daily, and will include a vendor village with local businesses. Audiences can expect sets from artists like violinist Karen Briggs, bassist Darryl Williams and saxophonist Mini Abair in addition to headliners Robert Glasper (Saturday) and Kenny Lattimore (Sunday). Single-day tickets range from $40-$250. 

9500 Gilman Drive, La Jolla

Interested in this article? Continue reading here