Rain fell heavily on the roof of the Ché Café. Girls with bangs and septum piercings filled the small, wooden room as the aroma of incense with a hint of cinnamon drifted around the space. The rain poured outside. Dreamlike patterns of reflected puddles danced across the foggy windows. Girlpool, Cleo Tucker and Harmony Tividad, stepped on to the low platform stage. They casually greeted the crowd, completed their own mic check, and started the show with “Ideal World.” Their eyes were closed as the two girls cooed softly. Their voices evoked an element of youth. Their humble band of guitar, bass, and vocal created an undeniably minimalist sound. The absence of excess added more emphasis to the untamed roughness of their voices tucked neatly away for precise moments.

Tucker looked up at the crowd and said “Has anyone ever hit their head in the bathroom here?…I guess I just don’t focus enough… I’m just in glee when I’m here.” With the compliment well received, they went into the folky “I Like That You Can See It.” The middle of the song swung with momentum and strained, passionate vocals that filled the room. The crowd was standing calmly but none-the-less adoring as if the show were some sort of art exhibit or poetry slam.

Tucker and Tividad put up no barriers, asking people what they were for Halloween and even drinking out of a water bottle from someone in the audience. The way they sing about life in a relatable way, and the manner in which they interact with the crowd shows that they are comfortable and don’t take themselves too seriously.

The next song was a newer one as the girls disclosed. The core of the song, recently titled “Soup,” was not unlike the previous ones, but with lyrics like “Come over to my house I’ll help find your fix/ You’ve got lots of potential/ Can you feel it?” it was darker, eerier, and more seductive.

They closed with “Cherry Picking” which, starting out slow and deliberate, escalated to a heavier rhythm that led to a small and abrupt mosh. Girlpool stuck around for a two song encore. They played one of their more dynamic songs “Plants And Worms,” then they switched instruments and performed “Paint Me Colors.” Tucker and Tividad took turns on the vocals, energy building all the while, until, at the peak, a mosh pit broke out, spilling onto the stage and causing the musicians to stop abruptly. After a pause, they picked up where they left off and ended the show. In their performance was something naively passionate– a blend of immaturity and insightfulness. The impression that would remain was the image of these two quirky girls, seemingly so sweet but also a touch misunderstood, channeling their agitation into outspokenness.

More on Girlpool? Checkout:




Photo / @sodabarsd / Article / Gabriella Librizzi


Weeknights are usually a dull affair on campus, but Anderson .Paak changed that when he appeared at The Loft this past Thursday. The California native has been on the rise, appearing on Dr. Dre’s album Compton as well as The Game’s double album, The Documentary 2. The multi-talented artist brought his eclectic blend of hip-hop, funk, soul, and R&B together in a diverse set that showcased his range as a musician and showman. Watching him croon on the mic then slide over to a drum set to lay down thick grooves was surprising and enthralling. Backed by The Free Nationals, .Paak was able to energize a small crowd in an intimate setting, a skill many up and coming artists lack.

The crowd made its way from the bar to the front expecting the headlining artist to appear from behind the stage. Anderson .Paak came through the back and slithered his way through the crowd beginning the set with him and his band’s version of “The Makings of You” by Curtis Mayfield, which was sadly not recognized by the young crowd. The unorthodox record “Milk and Honey” followed, as the jarring and distorted 808’s jarring rattled the windows of The Loft and the hectic beat meshed with his effortless flow. Working his way through his most recent album, Venice, .Paak performed “Might Be,” a smooth smoking joint, as well as “Miss Right,” where he lists the characteristics his perfect lady must have. In between the album highlights was a lush and peaceful cover of the Yeah Yeah Yeah’s hit “Maps” off of .Paak’s album Cover Art. The funky track, “Luh You,” turned the crowd into a group of two-steppers, and “Right There” flaunted Anderson’s ability to write infectious and relatable hooks.

The show was capped off with the performance of “Drugs” and two encores for the artist from Oxnard, California. “Drugs” is a medley of rolling traps synths, 32nd note Lex Luger hi-hats, chunky 808’s and piercing crashes providing the foundation for a song about casual sex that flourishes out of .Paak and his companion’s mutual love for drugs. This was the peak of the show and it featured fifty kids mobbing around Anderson as the set climaxed. The rapper was willed back on stage to play “Suede,” a track off of the soon to be released album Nxworries, a collaboration with the producer Knxwledge. This song is the closest thing you will get to musical butter and smooth is the only way to describe this masterpiece. A second encore followed as Paak came onto the stage for the last time and decided how to cap off the set. He settled on “Animals,” a stand-out collaboration with producing legend DJ Premier and Dr. Dre. The raw and truthful chorus was sung throughout the venue and Anderson Paak cracked a smile, presumably surprised by the sheer passion and energy coming from a crowd that barely numbered over 60. Building on the hype he has generated in the past 12 months, Anderson Paak is planning on releasing his new album Malibu before the end of 2015. Be on the lookout for new material from one of the up and coming artists out of Southern California.

More about the artist:

Event: https://www.facebook.com/events/1502222430070147/

Website: https://andersonpaak.com/

Facebook: https://www.facebook.com/AndersonPaak



Photo: @anderson._paak // Review: Quinn Frantzen