$17.90 – General Admission Early Bird – SOLD OUT
$45.00 – General Admission
*plus applicable service fees
Presale begins Wednesday, February 13th at 10am!
(password = free)
The general on sale begins Thursday, February 14th 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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Fourteen years into an effervescent career, California reggae band and touring juggernaut Rebelution remains abundantly creative. Its members (singer/guitarist/lyricist Eric Rachmany, keyboardist Rory Carey, drummer Wesley Finley, and bassist Marley D. Williams) are as focused and committed as they are easygoing and laid-back. And they haven’t lost a step since Falling Into Place, their 2016 studio album, became the band’s fourth release to top the Billboard reggae chart, earning them their first ever Grammy nomination in the category of Best Reggae Album. Ever expanding and reaching wider audiences, the Rebelution phenomenon continues to spread good vibes on tour, and in the studio.
Free Rein, their sixth studio album, while still rooted in the Jamaican inspiration that Rebelution’s songs and sounds have always paid homage to, takes experimental leaps and new adventures too, welcoming old fans and new audiences alike. The musicians collaborated with Jamaican artists on three of the 12 new tracks. Don Corleon (Sean Paul, Rihanna) produced “Rise On Top,” a pointed reflection on celebrity and ambition; and Winta James, producer for Damian Marley and Chronixx, worked with the band on “Settle Down Easy” and “City Life,” two songs that reflect a more confessional perspective.
“Celebrate,” the new album’s opening track, nods to the classic Rebelution sound. It has special meaning for the band too. In their long months on the road they’ve met fans with health struggles who’ve said that their music has helped them get through tough times. An energizing shout-out to one and all, the song celebrates the oneness of artist and audience.
“Patience,” a reggae-R&B hybrid, is another hymn to human connection, a haunting message from the well of romantic love: “Maybe isn’t good enough / I’m patient, I ain’t giving up…Can I be your everything and more?”
Other tracks take a wider perspective. “City Life” is one that hits home for Rachmany. “There are moments,” he says, speaking for urban dwellers everywhere, “when I just want to get out and find some solitude and find the beauty of mother nature.” The uptempo groove conveys the positive energy of this universal desire.
The band remains in touch with the traditions that it builds on. Much of the style, the songwriting, and the quality of the instrumentals derive from Jamaican roots, says Rachmany, stressing what an honor it is that producers from reggae’s birthplace signed on to work with Rebelution
But every great band is its own life force as well, and the musicians of Rebelution take inspiration from other genres, including soul, r&b, and folk. “A lot of this album has to do with being comfortable in your own skin,” the singer notes. In “Take On Anything,” for example, “what I’m trying to get across is that it’s OK to be different, different is actually a beautiful thing – if you’re comfortable in your own skin every single day then you really can take on anything.”
Manifesting the singer’s love for acoustic guitar are two quieter numbers, one of which, “Healing,” takes the long view: “I wrote that song to remind people that life is always worth living, and to provide some healing energy to a person listening.” Again, always making that connection with the audience.
Rebelution formed in Isla Vista in 2004 when a group of college friends discovered a mutual love for reggae. After their debut album Courage to Grow reached #4 on the Billboard reggae chart, there was no stopping them. Many more releases followed, and in 2012 Peace of Mind debuted at #13 on the Billboard Top 200, hit #1 on both the Reggae and Independent charts, and was the #4 iTunes album overall. 2014’s Count Me In made an even bigger splash than its predecessor, entering the Reggae chart at #1 and the Billboard overall chart at #14. Then came the Grammy-nominated album Falling Into Place and the Rebelution concert experience, Live At Red Rocks.
With Free Rein, Rebelution is poised to continue spreading the joy. The band boasts an impressive 85 million spins on their Top 5 Spotify tracks alone, and will continue playing sold-out shows as well as taking the coveted headlining slots at some of the nation’s top festivals this year. Additionally, Rebelution continues to transcend the world of music and break barriers with their entrepreneurial prowess. They recently launched their own four-night destination event on the beach in Jamaica and released their customized cannabis oil battery pen, herb vaporizer, and oil, which are currently available in select dispensaries in California, Colorado, Nevada, and Oregon. The journey rolls on.
There is an exciting resurgence of conscious, organic music in Jamaica, and industry experts and observers agree that Protoje, born Oje Ken Ollivierre, is playing an important role in what has become known as the “Reggae Revival.”
Leading the militant band – The Indiggnation – this powerful songwriter and philosophical thinker articulates the righteous anger of an emerging generation. Protoje reports for duty, re-establishing the standard for the decaying art of socially responsible, mentally stimulating lyricism.
Protoje has successfully released three studio albums: his debut album THE SEVEN YEAR ITCH (2010), THE 8 YEAR AFFAIR (2013) which spawned the hits Rasta Love * Ky-Mani Marley, and Kingston Be Wise which featured on the soundtrack for the video game Grand TheZ Auto; and ANCIENT FUTURE (2015) which featured the international hit Who Knows * Chronixx which topped charts worldwide and has amassed over 50 million+ views on YouTube.
February 2017 saw the release of Protoje’s hit single Blood Money. The politically-charged track, written by Protoje and produced by Ancient Future collaborator Winta James, dominated the airwaves and dancehalls, and became an instant topic of conversation due to the lyrical potency of the song. Blood Money was selected by Jamaican Radio Personality and Pan African Activist Mutaburuka as the number one reggae song of 2017.
The follow-up single Truths & Rights was delivered in September 2017. The song also produced by Winta James, features up-and- coming Reggae artist Mortimer on the chorus, and similarly expresses their commitment to the activism that remains at the core of reggae music.
Protoje’s visibility has steadily increased. Named on BBC 1xtra’s Hot for 2015 Ar,ste list, he has since appeared on the UK’s biggest music television show – BBC’s Later With Jools Holland; recorded two sessions at BBC Radio 1 Maida Vale, and has featured regularly on numerous BBC Radio 1Xtra shows.
Protoje has sold out headline UK, US, and European tours. He is a firm favourite at festival’s throughout the world, performing at the likes of Glastonbury, Coachella, Reading & Leeds, Boomtown, Summer Jam, Musa, Esperanzah, Afro-Punk, and Canada’s Pemberton Music Festival. Many appearances were broadcast on national television and have set things up for a huge 2018.
Durand Jones & the Indications aren’t looking backwards. Helmed by foil vocalists in Durand Jones and drummer Aaron Frazer, the Indications conjure the dynamism of Jackie Wilson, Curtis Mayfield, AND the Impressions. This young band of twenty-somethings are students of soul, including guitarist Blake Rhein, who moonlights doing research for The Numero Group. Even with that background, and an aesthetic steeped in the golden, strings-infused dreaminess of early ‘70s soul, the Indications are planted firmly in the present, with the urgency of this moment in time.
On American Love Call, Durand Jones & the Indications’ soulful sophomore LP, the band reckons with how to balance love and fury of modern day America. A fierce, fully-formed thesis, American Love Call is as grand and cinematic as it is focused on fleeting details.
Recorded for $452.11, including a case of beer, the Indications’ 2016 self-titled debut was the product of five friends who met as students at Indiana University in Bloomington, Indiana. Having met in 2012, the project was initially intended as a standalone recording project, with vocalist Jones, a native of rural Louisiana, joined by Frazer, Rhein, bassist Kyle Houpt, and keyboardist Steve Okonski. The album was released by renowned Midwest soul label Colemine Records, and quickly picked up steam on the back of the band’s booming live show and the enthusiastic recommendation of independent record store clerks across the country — who moved thousands of copies by simply playing the hell out of the LP in their shops for their discerning customers. The album was given another boost in early 2018 when Dead Oceans teamed up with the band and Colemine to bring the Indications to global audiences.
“Did I expect to do this shit once I got out of college? Hell no,” Jones relays, laughing. “Totally not. But this is what God is telling me to do – move and groove. So I’m gonna stay in my lane.”
American Love Call is the sound of Durand Jones & the Indications arriving. Opener “Morning in America” traverses the bleakest motifs of modern American life, channeled through the band’s own bold vitality: an old-soul croon made new, a glimmer of youth and hope burning at its core. Continuing into American Love Call’s widened scope, “What I Know About You” offers a true-blue, platonic love song while the dreamy, bossa nova groove of “Sea Gets Hotter” is about finding the person you want to be with at the end of the world. “Long Way Home” undulates with a funky bass line, sonics at odds with its somber subject, while “Court of Love” ripples with heartbreak, brooding and swaying. Jones oscillates between high-energy soul, pensive deep ballads, and harmonies, a sharp contrast to Frazer’s falsetto.
A vibrant through-line helping flesh out the Indications’ sound is the band’s love of sonic mish-mashes. Rhein and Frazer initially bonded over a love of crate-digging for rare 45s, and that vast musical appreciation and flexibility injects an accessibility into the veins of American Love Call. Frazer is as quick to point to Nas’ Illmatic and Jay-Z’s Reasonable Doubt as formative listening as he is to gospel, while Rhein is as likely to pull influence from a ‘70s folk-rock song, and Jones has a background in classical music paired with a longtime love of soul, R&B, and pop.
“Soul music’s been a part of my life for as long as I can remember,” Jones says. “I remember being a little kid and being in my dad’s truck, and whenever ‘Devotion’ from Earth, Wind & Fire would come on the radio, he’d swerve into the left lane, then into the right lane.” He laughs, pausing to clarify just how rural the part of Louisiana they’d be driving in was. “I remember that just being the most fun experience, when that song’d come on the radio, because he’d do that every single time. Soul music’s just always been present.”
Rhein explains that the Indications use their inspirations the same way hip-hop producers do, borrowing from the sampling mentality. Rhein and Frazer, along with bassist Houpt, all studied audio engineering at Indiana University’s Jacobs School of Music, and Frazer credits that to how they craft the Indications’ sound: the ability to listen at a component level, to zero in on what makes a record electrify the listener, and synthesize that with their own work.
As much as the diversion in taste is responsible for American Love Call, it’s where the Indications come together that’s just as vital to their songwriting. From a shared Dropbox the band used to circulate music in 2012 to their current Indications Inspiration streaming playlist, that group-think mentality and collective brain trust is what makes the Indications work, with each song proving a collaborative process.
The resulting American Love Call is a record made the way the Indications dreamed it’d sound, a sprawling and limitless equation. Recorded at Brooklyn’s Studio G throughout a few sessions last July and August, the focus here is on vocals as much as it is a newfound confidence in songwriting. The split leads between Jones’ husky howl and Frazer’s dulcet falsetto and a chorus of backing vocals lend a dynamic punch to the sound, fleshed out by the elegance of strings and an ambition to prove and push themselves.
American Love Call may make sprawling strides both stylistically and sonically from its debut, but thematically, the songwriting is a leap, too. Its title harkens back to “Creole Love Call,” a 1927 jazz standard popularized by Duke Ellington.
“We’re in a time when so many in this country romanticize the past – wishing to return to a place of simplicity and former glory. But the reality of our history can be disillusioning,” Frazer explains. “For so many in America, the past represents violence, oppression, fear and colonialism.”
“As America grows more diverse, we have the opportunity to form the strong, interwoven tapestry that we’ve long claimed. When we find a way to unite across our various movements and see the commonalities of our struggles, we can begin to push forward together. We can begin to see the threads connecting our goals as disparate rallying cries blends into a single song. An American Love Call.”