Photo & Review by Sophia Risin
Photos by Nadine Ordaz, review by Walker Price.
On the evening of March 26th, the Regency Ballroom in San Francisco was filled with a crowd adorned in vintage leather jackets, white flowy skirts, and flowers in hair, eagerly waiting for night two of Weyes Blood’s "In Holy Flux" Tour. Weyes Blood (pronounced “wize blood”) is the stage name of Natalie Mering, a California born artist whose musical style has been labeled as psychedelic folk, chamber pop, and soft rock.
By Jeremy Becker. Photos by Emily Evans.
We showed up at The New Parish early and loitered around the courtyard, waiting for the show to start. Karega Bailey took the stage and we walked into the bar which was slowly filling up with patrons. Emily positioned herself near the stage and Karega started performing.
Review and photos by Emily Evans
Review by David Kim, Photos by Olivia Tai.
I had dreamed of going to Edwardian Ball for years. Yearned for the golden ball gowns and the little toupées. For months before the ball this year, I read Brokeassstuart’s updates of the corset making class in preparation, interviews with performers and conversations with the artists who were going.
The ball was the talk of the town — two evenings of magic using the Regency Ballroom as it was originally intended, a conglomeration of all of the Hoop dresses and Cinderella wigs in a 50 mile radius.
Review by Sophia Risin. Photos from Mega Mango.
Review & Photos by Shae Lake
As soon as Tianna Esperanza took the stage, the room froze. Doused in purple lights, her long, dark dress and matching hair wrap made her look regal, otherworldly. She wasted no time, immediately launching into a brief rendition of “Backlash Blues” by Nina Simone. “Do you think all us colored folks are just second-class fools?” she crooned into the microphone, gazing out into the audience. And thus, Tianna Esperanza set the tone for the exquisite and intense performances to follow.
Review by Walker Price, photos by Sophia Risin