$55.00 – General Admission
*plus applicable service fees
Presale begins Thursday, March 7th at 10am.
(password = heels)
The general on sale begins Friday, March 8th at 10am.
Please note that presale tickets will only be available online.
Tickets are also available service charge free at the following locations:
Fox Theater Box Office – 1807 Telegraph Ave, Oakland CA
located on the 19th Street side of the theater
HOURS: Open during shows & Fridays, noon – 7:00pm
Zellerbach Hall – 101 Zellerbach Hall #4800, Berkeley, CA
located on the UC Berkeley campus
HOURS: Tuesday – Friday, noon – 5:30pm & Saturday – Sunday, 1pm – 5pm
All doors & show times subject to change.
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World leaders, powerful CEOs, and other fat cats could learn a lesson or two from electrofunk duo Chromeo, namely: know thyself, know thy vibe, and stay thy course. The rest of the population will catch up. Indeed, Chromeo is really good at being, well, Chromeo. The mission, the package, the vision — it’s been a straight shot of pure intentionality from the jump. Funk a game plan, Montreal natives Dave 1 and P-Thugg had a ten-year battle strategy: from cult 80s fetishists on 2004’s She’s In Control to indie blog darlings on 2007’s Fancy Footwork, to international touring sensations on 2010’s Business Casual, to bona fide pop stars on 2014’s White Women.
And guess what? Pee (still looking a smooth criminal in a Coogi) and Dave (ever the Semitic/Gallic heartthrob in tight pants) are back. Early 2018 will mark the release of the Funklordz’ fifth studio LP: Head Over Heels. The album not only elevates Chromeo’s blueprint of ass-targeting beats, melodic honey and clever lyrics about the foibles of contemporary love…it augments it with unprecedented conceptual cohesion, booming sonics and more collaborations than ever before. Session legends such as Pino Palladino and Jesse Johnson (The Time, D’Angelo) coexist alongside the likes of DRAM and The-Dream on this intricate and ambitious ode to funk music, orchestrated by modern day masters of the genre.
Consider the first single “Juice”, a hilarious paean to female power set to a buoyant California bop: it’s Chromeo at its biggest and baddest.
Chaz Bear (formerly Bundick) was a musician from birth. Growing up, it was normal to hear music across genres, from Michael Jackson to Elvis Costello to The Specials, in the Bundick household. These influences were quite unique for a biracial kid growing up in South Carolina, contributing to the complexity of Chaz’s self understanding and expression through his own music.
Chaz began playing and recording original compositions in his preteen years, forming multiple indie bands starting in middle school and continuing until his personal project, Toro Y Moi, was signed by Carpark Records in 2009. Before getting signed, he was already an incredibly prolific artist, having released over 10 Toro Y Moi albums on his own (and undoubtedly retaining a vast compendium of unreleased songs). His personal work drew upon a more vast array of influences than did his full band. Early Toro work called upon Chaz’s childhood exposure to 80’s R&B, pop and electronic music, while also evolving with his discoveries of acts like My Bloody Valentine and J Dilla and his burgeoning interest in French house. Just before his graduation from the University of South Carolina, where he earned a degree in graphic design, Chaz caught the attention of music bloggers and record labels with his dreamy, bedroom recordings, eventually compiled into his first album under Carpark Records, Causers of This.
Causers was one of a few albums to kick off the trend of home-recorded, hazy albums relying heavily on samples and production, evoking the feeling of a muggy, Southern summer. While the album did well and broke ground for Chaz’s career as a musician, it resulted in the widespread assumption that Chaz was a one trick pony, able only to write music similar to that of Causers. He immediately made it clear that he is an extremely dynamic musician with the 2011 release of Underneath the Pine, an album recorded between tours that was composed entirely of live instrumentation, moving away from the sample-based aesthetic of Causers. From then on, Chaz released an album every other year (sometimes more frequently), each one a display of his adeptness with different genres. While each album was distinct and sometimes a complete departure from the previous, Chaz’s unique production techniques and melodic sensibilities tie them all together. Whether listening to the psych rock-based What For? or last year’s R&B influenced Boo Boo, it is always clear that it’s a Toro Y Moi album.
The most recent Toro Y Moi album, Outer Peace, was written and recorded in the Bay Area after Chaz’s return from a one year stint in Portland. It is somewhat of a homecoming celebration, filled with features by friends and saturated with a playfulness that had not previously been embraced in past Toro albums. Outer Peacestands in contrast to the more sparse and contemplative Boo Boo, an album recorded while in Portland in relative isolation. With Outer Peace, Chaz showcases his ability to remain on the cutting edge of music’s evolution while not taking himself too seriously. There are contemporary hip hop references mixed in with funk, Eurodance and ambient elements, all interwoven expertly and retaining that quintessential Toro Y Moi aesthetic. Outer Peace is the most recent step along Toro Y Moi’s journey, promising the listener a little slice of insight into the complex and dynamic mind of Chaz Bear.
Noname (born Fatimah Warner) is an American artist from Chicago, Illinois, who blurs the lines of poetry and rap through the music she creates.
Noname grew up in Bronzeville, a historic neighborhood on the southside of Chicago that famously attracted accomplished black artists and intellectuals of all types. Noname first discovered her love for words while taking a creative writing class as a sophmore in highschool.
She became enamored with poetry and spoken word- pouring over Def Poetry Jam clips on YouTube and attending open mics around the city. Noname regularly attended and performed at an open mic at Harold Washington Library- YouMedia’s Lyricist Loft.
After sessions at YouMedia, Noname would participate in cyphers and started getting into freestyling. When she was just a senior in highschool, she placed third in “Louder Than A Bomb”, a poetry competition with 120 Chicago high schools in participation. She remained connected with the artists she met at YouMedia and in 2013, her verse on Chance the Rapper’s “Lost” attracted the beginning of her large fan base, most of whom have been following her every move since.
On July 31st Noname released her debut project entitled Telefone which was 3 years in the making and highly anticipated by fans and media alike. Instantly the project gained critical acclaim with a rave review by Pitchfork and landing her praise from major outlets like Rolling Stones, Complex and Dazed & Confused. Noname has been hailed by The FADER, Complex, and Rolling Stone as one of the most exciting and important new artists of 2016.
Thanks to Telefone’s success, Noname played some shows in support of Ms. Lauryn Hill, who hand-picked Noname to open for her on tour. When first approaching the project, Noname set out to emulate the feeling of talking on the phone with someone for the first time. She describes Telefone as “an introductory conversation with someone you’re interested in”. But as Noname continued to work on the tape, it also transitioned a bit into mortality: the idea of life and death and the duality between those two things.