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Join Civic Center Commons for the 2018 Commons Block Party on 3rd Thursdays — June 21, July 19, Aug 16, Sept 20, and Oct 18 — from 5 to 9pm at Civic Center Plaza. Enjoy FREE performances by local bands curated by Another Planet Entertainment and food trucks and bar from Off the Grid.
Also part of the 2018 Commons Block Party series is our 1st Sunday event, happening on on Fulton Street from 11am to 3pm on July 1, Aug 5, Sept 2, Oct 7 and Nov 4.
Claire George is a Seattle-based singer, producer, and multi-instrumentalist who blends her love for electronic production with her affinity for pop melodies to create an emotionally evocative sound. Writing, producing and performing her own work, Claire focuses on creating an emotional connection both in her music and on stage with her fans.
Formerly the front woman for Bay area outfit HEARTWATCH, Claire’s solo venture has already seen her opening for the likes of K Flay, Lower Dens, Elliphant, Computer Magic, Chela, Gavin Turek and more.
Originally formed as a duo between frontman Gregory DiMartino and drummer Rob Mills in 2014, Tino Drima has since solidified into a six-piece — a patchwork of longtime friends that includes members of local mainstays French Cassettes and Spooky Mansion — to help bring their raucous, punk-inflected take on big band doo-wop to life. “It was all pretty close and in the family,” DiMartino says of the groupʼs gradual expansion.
On their debut LP Her Kind of Man, Tino Drima has upped the ante since last yearʼs Smoking EP, finding a more nuanced sound that doesnʼt sacrifice any of their grit or fervent energy. Recorded in a cabin in the Sierra Mountains and later mixed by Dave Vandervelde (Tess & Dave, Father John Misty), Her Kind of Man seamlessly intertwines elaborate string arrangements with frontman Gregory DiMartinoʼs writhing howl. “Itʼs like Iʼm the guy whoʼs out there in a suit, smiling, but whoʼs actually manic inside, battling demons,” DiMartino explains.
“Brutal Earthquake,” for instance, begins with DiMartino playing the consummate crooner, before the band revs into high gear and he replaces his shit-eating grin with a bitter scowl. Later, “Drives Me Crazy” explores the surprising intersection of Frank Sinatraʼs big band charm and Spoonʼs slinky swagger. Constantly shifting between the grandeur of the ballroom and the grime of a back alley, doo-wopʼs charm and punkʼs bitter angst, Tino Drima make it clear that when it comes to heartbreak, things are never quite as they seem