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Another Planet Entertainment

Live music in the Bay Area and beyond

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ADA Accessibility

We believe that music is a universal language that unites all of us and brings people from all walks of life together. We thrive on making people happy from the time we open our doors to the last note of the concert.

We believe whatever your religion, race, culture, education, gender, ability or disability, that everyone should be able to enjoy music as equally as is reasonably possible and plausible.

We strongly believe that if we do everything we can to treat everyone as we ourselves would wish to be treated, we can succeed in our efforts to “turn everyone on” to the magic of the live music experience. That said, everyone’s case is individual and each venue and show has its own unique challenge. We encourage you to reach out to us directly to purchase tickets and make requests for special accommodations or needs for any event at any venue we present. We will do our very best to accommodate you with an ease of service that will exceed all expectations.

Accessible tickets are available for all events that Another Planet Entertainment presents. To purchase accessible tickets, click on the “Request Accessible Tickets” icon on the respective Ticketmaster event page.

We are committed to full website accessibility for all of our fans, including those with disabilities. We strive to maintain WCAG 2.1 Level AA compliance, and to increase the accessibility of our digital content for all. If you are having difficulty accessing this website, please call us at 1-510-548-3010 or email us at contact@anotherplanetent.com so that we can provide you with the services you require through alternative means.

For additional information on our events, assistance purchasing accessible tickets, or for further accessible accommodation requests, please reach out to us directly:

1-510-548-3010 contact@anotherplanetent.com
Vaccination or Negative COVID-19 Test & Masks Required

Pedro The Lion

Charlotte Cornfield
The Independent
San Francisco, CA
Tuesday, May 31, 2022
Doors: 7:30pm | Show: 8:00pm
Buy Tickets
Pedro The Lion

Per the artist’s request, all patrons attending Pedro The Lion at The Independent on May 31, 2022 are required to show proof of full vaccination OR a negative COVID-19 test within 72 hours from the time of entry to the venue. Masks are also required.

* Policy is subject to change

This event is 21 and over.

$27.00 – General Admission (Advance)
$30.00 – General Admission (Doors)

*plus applicable service fees

Proof of full vaccination is one of the following:

  • CDC Vaccination Card or international equivalent (photos will be accepted)
  • CA Digital Vaccine Card
  • Green Health Pass by CLEAR

The following forms of Negative COVID-19 test proof WILL BE ACCEPTED:

  • Test results from any location listed on the Health Pass by CLEAR app
  • Test results from a lab with confirmation of results, including date, time and name matching the ID of the ticket holder
  • A home test that works with an app which supplies verifiable results, with name, date and time

The following forms of Negative COVID-19 test proof WILL NOT BE ACCEPTED:

  • Binax at-home tests
  • Ellume at-home tests
  • At home tests with no digital verification of results displaying name, date and time
  • Rapid tests brought to the venue to be performed on-site
  • Antibody tests

All doors & show times subject to change.

Add this event to your calendar:

Pedro The Lion

Lake Havasu is a community of winding hillside roads, launched in the 1960s alongside a brick-for-brick rebuild of the original London Bridge. “It’s this very synthetic, gimmicky place set in this soulful, desolate landscape,” laughs Pedro the Lion’s David Bazan, who moved to the Arizona city for one year in seventh grade. Bazan collected his earliest childhood experiences for 2019’s Phoenix, the prolific artist’s celebrated return to the Pedro moniker and the first in a planned series of five records chronicling his past homes. To write its sequel, Bazan traveled to Havasu four times over several years, driving past his junior high campus, a magical skating rink, and other nostalgic locations that evoked feelings long suppressed. “An intersection I hadn’t remembered for 30 years would trigger a flood of hidden memories,” he says. “I was there to soak in it as much as possible.”

Driving the inscrutable loops of Havasu’s lakeside, Bazan listened through an audiobook of Tom Petty’s biography, eventually dialoguing with Petty’s voice in his mind. A revelation from the book—that Petty subconsciously wrote the song “Wildflowers” as an act of kindness toward himself—inspired Bazan to approach his own work with radical generosity toward his young self. “I wanted to be there for that kid,” he offers. “That twelve year old still needs parenting, and still needs to process.”

To revisit his past with openness, Bazan modified harmful work habits he’d accepted as necessary. That meant doing away with deadlines, and accumulating moments of play as he felt moved to—“Rather than squeezing stones every single time. I’m on a slow journey away from that,” he clarifies. As he worked through the music that became Havasu, flexibility and curiosity informed the arrangements. Bazan began writing on a simple synthesizer and drum machine setup. He detoured to a more elaborate assortment of analog electronic equipment, then woodshed his original two-handed keyboard arrangements on fingerpicked acoustic guitar.

Concurrently relearning his catalog for a weekly series of livestream concerts also renewed his gratitude toward songwriting. “I was trying to evaluate what I have to show for 20 years of kicking my own ass,” Bazan quips about the strenuousness of full-time touring. “But the garden of my songs is what I’ve been building. It doesn’t have to be an ego test.” Approaching his discography with appreciation reconciled cognitive dissonance about the music of his childhood, which Bazan had dismissed as cheesy. “As a kid, that Richard Marx song would come on and I would swoon. I’ve been working my whole life to pretend that wasn’t there, and I wanted to honor the sappy, emotional kid that I was. It helped me see myself,” he admits.

When he entered the studio with co-producer and engineer Andy D. Park (who worked in the same capacity on Phoenix), Bazan planned to make a desolate, desert-informed record. But the duo quickly realized a rock configuration closer to Pedro’s classic sound would convey the landscape and stories best. Bazan switched to a Les Paul, which brought smoothness and linearity; though he’d planned to use a drum machine, he laid down scratch drum kit and bass as an experiment. Listening back the next day, those initial rhythm section takes had a sense of joy and ease that augmented the record’s themes of psychic healing. “First Drum Set,” which faithfully chronicles Bazan’s lifesaving switch from clarinet to drums, builds the explosive jubilation of musical self-discovery into triumphant fills, like a throbbing heartbeat overflowing with love. “Teenage Sequencer” takes on the rattling anxiety of mind-body disconnect, using trepidatious bass, vacillating guitar slides and hopeful tambourine to evoke the crushed-out ups and downs of the mutable edge of thirteen. “There goes nature, pulling me along like a sequencer,” sings Bazan, wondering: “Will I always be a teenager now?” And on “Making the Most Of It,” stuttering hi-hat adorns downtempo, arpeggiated guitar, adding playfulness to a reckoning with concealed emotion. “I can go along to get along, but let me know when I can quit making the most of it,” Bazan shrugs. Yet the contrasting optimism of the music reflects an imperative to communicate feelings both light and heavy: to break through the scar tissue of tender memory and find peace.

Though Bazan wrote, arranged, and performed most instruments himself—as is characteristic of most of his work, solo and with Pedro the Lion—several key collaborators helped him find the self-accepting tenderness needed for Havasu. Pedro live drummer Sean T. Lane makes appearances on every track, but on a self-constructed noisemaking instrument called “the bike.” It’s composed of various metal objects and strings mounted on a bicycle frame, rigged with contact mics and run through a drone-accentuating pedalboard. “It can be percussive, it can be ambient. It’s a real nightmare machine. It’s just great,” Bazan enthuses, highlighting its crucially menacing counterpoint to the otherwise “wistful, melancholy, guilty pleasure romcom” progression of  “Own Valentine.” A warm moment exploring his synth setup with longtime collaborator Andy Fitts led to the insistent new wave sound of “Too Much.” And on album opener and cinematic scene-setter “Don’t Wanna Move,” a riff appears that was first devised by Pedro guitarist Erik Walters and used on Phoenix’s closer. “I was psyched to open this record with it,” Bazan says. “I’m trying to have a flow between the records, so if people want to engage with that, there’s something there.”

Though the next three albums in the series are not fully written, Bazan currently understands Phoenix and Havasu together as a completed exposition in a traditional three-act structure. “I want to paint a picture of how my family and parents and everyone I love got coopted by nationalistic, authoritarian religion,” he lays out. “I’m planting the seeds for that, and my own culpability is part of it.” Though these careful compositions pave the way for darker stories in later acts, Bazan resolutely emphasizes the curative nature of returning to Havasu, mentally and musically. “It gave me the ability to make vulnerable choices, and connect with a part of my younger self that I didn’t want to turn my back on,” he suggests. “I worked through a lot of self-judgment, and was kinder to myself on this record than I have been before in any songs.” The result is an open-hearted acknowledgment of shame and elation both, spaciously but delicately arranged in affirmation of the nurturing those feelings deserve—even if the kid in need of validation has long since grown up and moved away.

Charlotte Cornfield

Upcoming Events

  • Femi Kuti
    & The Positive Force Fri Jul 01
    The Independent
    San Francisco, CA
  • Kraftwerk 3-D Wed Jul 06
    Bill Graham Civic Auditorium
    San Francisco, CA
  • The Chainsmokers Fri Jul 08
    Lake Tahoe Outdoor Arena at Harveys
    Stateline, NV
  • Cayucas Fri Jul 08
    The Independent
    San Francisco, CA
  • Caamp Sat Jul 09
    Greek Theatre
    Berkeley, CA
  • Fleet Foxes Sun Jul 10
    Greek Theatre
    Berkeley, CA
  • Poliça Mon Jul 11
    The Independent
    San Francisco, CA
  • Kenny Chesney Tue Jul 12
    Lake Tahoe Outdoor Arena at Harveys
    Stateline, NV
  • Des Rocs & The Blue Stones Tue Jul 12
    The Independent
    San Francisco, CA
  • Kenny Chesney Wed Jul 13
    Lake Tahoe Outdoor Arena at Harveys
    Stateline, NV
View All

About

SF Bay Area-based Another Planet Entertainment is the top independent concert promoter in the United States.

APE is the exclusive promoter for the Greek Theatre in Berkeley, the historic Bill Graham Civic Auditorium in San Francisco, the Fox Theater in Oakland, Lake Tahoe Outdoor Arena at Harveys, Oxbow RiverStage in Napa, The Castro in San Francisco, and The Independent in San Francisco. Another Planet also includes Artist Management and Special Events divisions.

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