Seven years out from Salad Days, and we’re still living in Mac DeMarco’s world. The Canadian normcore icon’s lazy, stoney guitar and fat, cloudy synths on record captivated a generation of hipsters, stoners and dirtbags, and this weekend he’s heading to Stanford to put the next generation of hipsters, stoners and dirtbags—er, leaders—under his spell, too. The dude’s an impish delight on stage, he’s still got the chops on guitar, and still smells like cigarettes almost a decade later—there’s not really any more you can ask from a canon indie rocker.

Mac DeMarco
Sun, 6:30pm, $45
Frost Amphitheater, Palo Alto

After 19 years together, a band can go through a lot of changes. Over the past two decades, LA punks The Bronx went from indie stars to a major label only to go independent again. They’ve lost members, gained a couple more and even started a mariachi side project—Mariachi El Bronx—that has earned the respect of its own dedicated fanbase.

Now, on the cusp of their 20th year together, The Bronx are entering a new phase: maturity.

“I always thought the band was going to implode and break-up or I was going to get kicked out,” explains lead singer and lyricist Matt Caughthran. “It took so long for me to take it and my instrument seriously.” 

On their latest album, VI—on which they are currently touring with fellow punks Rancid and the Dropkick Murphys—the band’s approach is evident. Produced by Joe Baressi (Tool, Queens of the Stone Age, Judas Priest) VI is decidedly more polished, with stadium-sized production, hard rock undertones and even a couple glam rock riffs.

But that doesn’t mean the band is going corporate anytime soon. Since the beginning, each Bronx album has been markedly different, yet with a consistent flavor. Simmering in punk,  their music adds in hard rock spices, chunks of heavy metal, a blend of serious and humorous lyrics, and a smorgasbord of toppings from Latin to garage rock for a hearty sound that is all their own.

It’s a hard recipe to accomplish, even harder while trying to please both fans and critics, which the five-piece consistently manage to do.

“We just try to throw it all against the wall and see what sounds good,” says Caughthran. “We don’t really try to confine what we do, especially when writing for a record. That’s the fun part about it.”

Take “Mexican Summer,” a coming-of-age track with Latin rhythms that Caughthran describes as being about “the death of ego.”

“It’s about saying goodbye to a version of myself that I didn’t like,” he says. “I think I was romanticizing a lot of my bad character traits because I didn’t want to fix them. Shit is just draining when you can’t be honest with yourself or other people.”

While 2020 was the perfect year for anyone to become accountable for their flaws and mistakes, “Mexican Summer”—like the rest of VI—was written in 2019 and originally set to be released last year. As the pandemic raged and America faced itself in the mirror over racial justice issues and law enforcement reform, The Bronx held the material. Avid record collectors, they eventually decided to release a track a month, pressed as limited seven-inch singles, in a nod to the early days of punk.

Today, almost two years out since the beginning of the pandemic, Caughthran says the whole experience has given him a new perspective.

“Music matters,” he states. “I think art matters. It’s a place for people to go when they want to feel or express something when all these bigger problems are happening.”

Problems like the death of 26 year old Breonna Taylor, the Black Louisville woman who was killed by plainclothes police officers in her own apartment while she slept. Bassist Brad Magers, is a Louisville native. When news of Taylor’s death first circulated, the band raised over $20,000 for her family over the course of a weekend. 

“Nobody loves a city more than Brad loves Louisville,” Caughthran explains. “So it really made sense for us with Breonna and everything that was happening.”

It’s an example of The Bronx’s belief that punk rock is still protest music: that it still has power to change minds, attitudes and society at large. All it takes is someone who cares enough to act.

“It’s about standing up and saying ‘fuck you’ to oppressors, or those who are anti-equality or racist,” he states. “Those ideas are important to uphold in the genre.” 

As the big 2-0 approaches, Caughthran says the best is yet to come. However, they’re not giving away any spoilers.

“We’ve got some tricks up our sleeves,” he laughs. “But they’ve got to remain there. The 20th anniversary is going to be really special.”

The Bronx w/ Rancid, Dropkick Murphys
Thu, 6pm, $45
Frost Amphitheatre, Palo Alto

Fans will have less than 24 hours to soak in the new Brandi Carlile album In These Silent Days before the singer-songwriter takes the stage on Friday, but if lead single “Right on Time” is any proof, it’ll be another country-pop-rock powerhouse of cathartic high notes and comforting lows. A virtuoso at swirling together joy, sorrow, longing and hope, Carlile’s ten new tracks crafted during quarantine are sure to deliver the same warm, enchanting harmonies she so effortlessly binds with driving guitars, soaring strings and glittering pianos. Live, new songs will undoubtedly be paired with favorites like the strikingly raw ballad “The Joke,” and the sweetly gut-wrenching “The Story.”

Brandi Carlile
Fri, 6:30pm, $69.95
Frost Amphitheatre, Palo Alto

Perhaps best known for the mid-aughts mega club hit “Changes” featuring the consummate British dance singer Laura V, Chris Lake has proven adept at churning out absolute club bangers and elevating up-and-coming musical talent. Spinning a breezy, highly accessible vision of house music, Lake has several charting club hits and a Grammy-nominated Deadmau5 collab to his name. This is the type of music that’s always playing in the background at those rich kid parties in Gossip Girl; he brings the party to Stanford this Saturday.

Chris Lake
Sat, 6:30pm, $45
Frost Amphitheatre, Stanford

In just a few short years, Oakland musician Xavier Amin Dphrepaulezz, aka Fantastic Negrito, went from busking in a San Francisco BART station to collecting his first, second and then third Grammy for Best Contemporary Blues Album. Among other accomplishments, surely 2020’s Have You Lost Your Mind Yet? was the first Best Contemporary Blues Album winner to feature E-40 on a track. In April, the fantastic Mr. Dphrepaulezz also released “Root City,” a funky new theme song for Oakland Roots Sports Club celebrating soccer’s power to bring people together featuring the inclusive lyric: “I always remember that we’re all from The Town.”

Fantastic Negrito
Thurs, 7:30pm, $30+
Frost Amphitheatre, Palo Alto

Bob Dylan, arguably the greatest songwriter of all time, is fast approaching the sixth decade of his career. In the ’60s and ’70s he was a folk balladeer, an obnoxious rock & roll revolutionary and everything in between. In the ’80s and ’90s he was hit or miss. But at the end of the century he turned a philosophical confrontation with his own mortality into a personal renaissance. Since then he’s released a slew of critically and commercially successful albums, claimed an Academy Award and a Nobel Prize, and appeared in a Super Bowl commercial. Tickets are sold out, but one Metro reader can win a pair at metroactive.com/giveaways.

Bob Dylan
Mon, 7:30pm, Sold Out
Frost Amphitheater, Stanford

Odesza’s arrival at the newly renovated Frost Amphitheatre on Stanford’s campus will showcase the venue’s newly minted facilities and frame the duo’s versatile approach to electronic music. Their use of provocative samples and unconventional production combined with pop-influenced singer-songwriting elements blurs the boundaries between house, techno, electronica and indie rock. The Seattle-based outfit launched into the mainstream spotlight with the underground release of 2012’s Summer’s Gone, and with their 2014 sophomore effort, In Return, they became a household name, topping the Billboard charts and selling out concerts nationwide.

Odesza
Wed & Thurs
6:00pm, $80
Frost Amphitheatre, Palo Alto