$59.50 – General Admission
*plus applicable service fees
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.
Add this event to your calendar:
Written largely in New York between Summer 2016 and Winter 2017, Josh Tillman’s fourth Father John Misty LP, God’s Favorite Customer, reflects on the experience of being caught between the vertigo of heartbreak and the manic throes of freedom.God’s Favorite Customer reveals a bittersweetness and directness in Tillman’s songwriting, without sacrificing any of his wit or taste for the absurd. From “Mr. Tillman,” where he trains his lens on his own misadventure, to the cavernous pain of estrangement in “Please Don’t
Die,” Tillman plays with perspective throughout to alternatingly hilarious and devastating effect. “We’re Only People (And There’s Not Much Anyone Can Do About That)” is a meditation on our inner lives and the limitations we experience in our attempts to give and receive love. It stands in solidarity with the title track, which examines the ironic relationship between forgiveness and sin. Together, these are songs that demand to know either real love or what comes after, and as the album progresses, that entreaty leads to discovering the latter’s true stakes.
God’s Favorite Customer was produced by Tillman and recorded with Jonathan Rado, Dave Cerminara, and Trevor Spencer. The album features contributions from Haxan Cloak, Natalie Mering of Weyes Blood, longtime collaborator Jonathan Wilson, and members of Misty’s touring band.
Jason Isbell and the 400 Unit’s new album, The Nashville Sound, is a beautiful piece of American music-making, but watch yourself: it will light a fire under your ass. “You’re still breathing, it’s not too late,” Jason sings.
This album is a call, and the songs on it send sparks flying into a culture that’s already running so hot the needle on the temperature gauge is bouncing erratically in the red. And while it’s understandable that, in this moment, some people want their radio to help them drift away, this finely calibrated set of ten songs is aimed right between the clear eyes of people who prefer to stay present and awake. It’s a call to those who won’t cower no matter how erratically the world turns, and who aren’t afraid of what looks back when they look in the mirror. Bruce Springsteen did that. Neil Young did that. Jason Isbell does that.
As with Isbell’s 2013 breakthrough, Southeastern, and his double-Grammy-winning follow up, 2015’s Something More Than Free, The Nashville Sound was produced by Dave Cobb. Isbell says that he and Cobb created a simple litmus test for the decisions they made in the two weeks they spent at RCA Studios (which was known as “The home of the Nashville Sound” back in the ’60’s and ’70s): they only made sonic moves that their heroes from back in the day could’ve made, but simply never did. It’s a shrewd approach—an honest way to keep the wiz-bang of modern recording technology at arms length, while also leaving the old bag of retro rock ’n’ roll tricks un-rummaged. Lyrically, The Nashville Sound is timely. Musically, it is timeless.