When a "ghost therapist" and his daughter move into a drafty old mansion to exorcise its otherworldly inhabitants, they meet a friendly but lonely young ghost named Casper (who's just looking for a friend) and his outrageous uncles Stretch, Stinkie and Fatso.

Cinema SF Bay is proud to announce that our Saturday & Sunday morning POPCORN PALACE movie screenings at the 4 STAR will continue to be presented FREE OF CHARGE in 2026!

Thanks to an incredibly generous grant we will be showing you fantastic family-friendly movies every weekend at 10:00 AM! Perfect for everything from birthday get-togethers to casual stop-ins, so bring the whole family over to the 4 STAR THEATER for community movies together.

Reservations will be first-come-first-serve when the box office opens thirty minutes before the screening on the day of the show. Ticket links are below for later screenings of the film that day. We look forward to seeing you at the movies!

For our Annual Pass Members and Loyalty Card Holders:
Tickets for the afternoon screening of this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

In the heart of a violet forest, an old house awaits young girls.

Hoping to find a sense of connection to her late mother, Gorgeous takes a trip with her friends to visit her aunt’s ancestral house in the countryside. The girls soon discover that there is more to the old house than meets the eye.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

Kiss your nerves goodbye!

Ash Williams and his girlfriend Linda find a log cabin in the woods with a voice recording from an archeologist who had recorded himself reciting ancient chants from “The Book of the Dead.” As they play the recording an evil power is unleashed taking over Linda’s body.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

When a "ghost therapist" and his daughter move into a drafty old mansion to exorcise its otherworldly inhabitants, they meet a friendly but lonely young ghost named Casper (who's just looking for a friend) and his outrageous uncles Stretch, Stinkie and Fatso.

Cinema SF Bay is proud to announce that our Saturday & Sunday morning POPCORN PALACE movie screenings at the 4 STAR will continue to be presented FREE OF CHARGE in 2026!

Thanks to an incredibly generous grant we will be showing you fantastic family-friendly movies every weekend at 10:00 AM! Perfect for everything from birthday get-togethers to casual stop-ins, so bring the whole family over to the 4 STAR THEATER for community movies together.

Reservations will be first-come-first-serve when the box office opens thirty minutes before the screening on the day of the show. We look forward to seeing you at the movies!

In the heart of a violet forest, an old house awaits young girls.

Hoping to find a sense of connection to her late mother, Gorgeous takes a trip with her friends to visit her aunt’s ancestral house in the countryside. The girls soon discover that there is more to the old house than meets the eye.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

Kiss your nerves goodbye!

Ash Williams and his girlfriend Linda find a log cabin in the woods with a voice recording from an archeologist who had recorded himself reciting ancient chants from “The Book of the Dead.” As they play the recording an evil power is unleashed taking over Linda’s body.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

Throwin’ Bo’s presents:

Resavoir

Resavoir is the work of Chicago-born and based musician, composer and producer Will Miller.

Miller is a jazz trumpeter and composer by training – first via Chicago Public Schools, then Oberlin Conservatory. As an instrumentalist he’s played on recordings by Chance The Rapper, Lil Wayne, Mac Miller, and for several years was a regular member of the indie band Whitney. But since 2016 he has been moving more and more in the direction of all around “producer” – working with an expanded palette of synths, pianos, live and programmed drums in addition to his MIDI-augmented trumpet, he has developed a signature cinematic soul-jazz sound rooted in hip-hop structures, heard through his work on tracks for Eryn Allen Kane, Whitney, Knox Fortune, and SZA’s recently-released album SOS (which spent 10 weeks as the #1 spot on the Billboard 200 chart).

In 2019 Miller released Resavoir’s debut album Resavoir to high praise, including a glowing 8.2 review in Pitchfork. Later that year, Miller and his live version of the Resavoir band (featuring former Noname musical director Akenya, saxophonist/vocalist/MC Sen Morimoto, and others) did their London debut as part of the first Boiler Room Festival. While they were in London, they did a recording session at Total Refreshment Studios. One of those recordings was a cover of the Charles Tolliver song “Plight,” and the track was released by Blue Note Records as part of the compilation Transmissions from Total Refreshment Centre.

Miller spent much of the pandemic years in his studio, and much of 2022 on tour with Whitney. This Fall, he will release Resavoir’s second self-titled album. The new Resavoir is a more polished and focused presentation of his evolving skills as a studio producer. His compositional touch is more articulate than ever. The short but sweet album is a subtly-radiant symphony interweaving modern-day soul-jazz with bedroom beats, synth serenades and twilight sonatas. The collection’s eleven tracks feature a massive list of contributors including Elton Aura, Whitney, Akenya, Matt Gold, Eddie Burns, Lane Beckstrom, Jeremy Cunningham, Irvin Pierce, Macie Stewart, Peter Manheim and many more.

Bandcamp | IG

Cheflee

cheflee, born in a glen of fescue sometime in june, finds bobs machines and begins to play.

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

(((folkYEAH!))) presents:

The Wildwoods

The Wildwoods, hailing from Lincoln, Nebraska, continue to bring sonic beauty and simplicity to today’s increasingly complicated and cluttered musical landscape. With Dear Meadowlark, the band’s fourth full-length album released on April 11, 2025, The Wildwoods have once again taken the hallmarks of the folk-Americana sound and dressed it in indie sensibilities a la heroes Nickel Creek and Gillian Welch as well as genre mainstays Bon Iver and Mumford & Sons.

And yet, at its core, Dear Meadowlark is about three 20-something musicians celebrating the emotional allure of familiarity and comfort. “The main lyrical theme of the album is the appreciation for our home state of Nebraska and the homesickness that can come with long periods spent on the road,” says Noah Gose.

The Wildwoods are Noah Gose on vocals, acoustic and electric guitar; his wife, Chloe Gose on vocals and violin; and longtime friend Andrew Vaggalis on vocals and upright bass. Their delicate embrace of the past, present, and future has transformed The Wildwoods into a potent entity. Recently, The Wildwoods were finalists in the 2024 Rocky Mountain Songwriter Contest in Red Lodge, Montana. In 2023, the trio enjoyed being finalists in two high-profile band competitions – FreshGrass Music Festival and VHS “Gems in the Rough.” Also, their songwriting strengths have been recognized by semi-final placements in the International Songwriting competition with tracks such as “Untitled” and “Way of Train.”

Bandcamp | IG

Support to be announced

DOORS at 7:00PM | MUSIC at 8:00 PM

TRASH & TREASURES presents:
DEADBEAT AT DAWN
(with Live Opening Set from Meat Hook & the Vital Organs)

He quit the gangs. They killed his girl. He became…

Goose leaves the gang life behind after pleas from his girlfriend. But it isn’t long before he’s pulled back into the world of violence.

MEAT HOOK AND THE VITAL ORGANS
"Meat Hook And The Vital Organs" Originated in Oakland California in 2007 and relocated to Austin Texas in 2015. We are ripped from the same cloth as 'Motorhead", 'The Cramps ' and 'The Damned'. We continue to hold the torch for theatrical Rock N'Roll. Influenced by intense in your face Raw Rock N' Roll greats like 'Iggy Pop' from 'The Stooges" and "Darby Crash" from "The Germs". with a Horrific live show only to be compared to theatrical icons like "The Plasmatics" "Alice Cooper" and "Screaming Lord Sutch". "Meat Hook And The Vital Organs" is a theatrical death rock horror punk project with an original sound and live show yet modest enough to pay homage to classic intense traditional Rock N' Roll which we like to call Rot N' Roll Or Death Glam.

Bandcamp | IG

DOORS at 7:00 PM | MUSIC at 7:30 PM | FILM at 8:15 PM

Co-presented by Special Guest Horror Host Lance Von MeatHook.

Every year he rises from the pumpkin patch…

Join the Peanuts gang for a timeless adventure as Charlie Brown preps for a party, Snoopy sets his sights on the Red Baron, and Linus patiently awaits a pumpkin patch miracle.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

Basement VHS presents:
POPCORN ON VHS

Buy a bag… Go home in a box.

While holding a horror film festival, a group of film students find themselves stalked by a madman who may have a sinister connection to a cult leader.

Costumes highly encouraged!

Due to unforeseen circumstances, our previously scheduled screening of It (1990) has been postponed to November 21st.

Basement is an art collective and VHS archive in the Mission District of San Francisco, CA. They host a weekly film screening and radio show on Radio Valencia.

David Bowie and Jennifer Connelly invite you into a magical universe where nothing is what it seems! Babysitting infant stepbrother Toby on a weekend night isn't young Sarah's (Connelly) idea of fun. Frustrated by his crying, she secretly imagines the Goblins from her favorite book, LABYRINTH, carrying Toby away. When her fantasy comes true, a distraught Sarah must enter a maze of illusion to bring Toby back from a kingdom inhabited by mystical creatures and governed by the wicked Goblin King (Bowie).

Cinema SF Bay is proud to announce that our Saturday & Sunday morning POPCORN PALACE movie screenings at the 4 STAR will continue to be presented FREE OF CHARGE in 2026!

Thanks to an incredibly generous grant we will be showing you fantastic family-friendly movies every weekend at 10:00 AM! Perfect for everything from birthday get-togethers to casual stop-ins, so bring the whole family over to the 4 STAR THEATER for community movies together.

Reservations will be first-come-first-serve when the box office opens thirty minutes before the screening on the day of the show. Ticket links are below for later screenings of the film that day. We look forward to seeing you at the movies!

For our Annual Pass Members and Loyalty Card Holders:
Tickets for the afternoon screening of this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

Every year he rises from the pumpkin patch…

Join the Peanuts gang for a timeless adventure as Charlie Brown preps for a party, Snoopy sets his sights on the Red Baron, and Linus patiently awaits a pumpkin patch miracle.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

A masterpiece of modern horror.

Jack Torrance accepts a caretaker job at the Overlook Hotel, where he, along with his wife Wendy and their son Danny, must live isolated from the rest of the world for the winter. But they aren’t prepared for the madness that lurks within.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

David Bowie and Jennifer Connelly invite you into a magical universe where nothing is what it seems! Babysitting infant stepbrother Toby on a weekend night isn't young Sarah's (Connelly) idea of fun. Frustrated by his crying, she secretly imagines the Goblins from her favorite book, LABYRINTH, carrying Toby away. When her fantasy comes true, a distraught Sarah must enter a maze of illusion to bring Toby back from a kingdom inhabited by mystical creatures and governed by the wicked Goblin King (Bowie).

Cinema SF Bay is proud to announce that our Saturday & Sunday morning POPCORN PALACE movie screenings at the 4 STAR will continue to be presented FREE OF CHARGE in 2026!

Thanks to an incredibly generous grant we will be showing you fantastic family-friendly movies every weekend at 10:00 AM! Perfect for everything from birthday get-togethers to casual stop-ins, so bring the whole family over to the 4 STAR THEATER for community movies together.

Reservations will be first-come-first-serve when the box office opens thirty minutes before the screening on the day of the show. Ticket links are below for later screenings of the film that day. We look forward to seeing you at the movies!

For our Annual Pass Members and Loyalty Card Holders:
Tickets for the afternoon screening of this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

A masterpiece of modern horror.

Jack Torrance accepts a caretaker job at the Overlook Hotel, where he, along with his wife Wendy and their son Danny, must live isolated from the rest of the world for the winter. But they aren’t prepared for the madness that lurks within.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

LOCAL CRITIQUE

Local Critique is a free, community event with an open format that brings together a diverse group - of artists, researchers, writers, musicians, farmers, scientists - to show a work in progress. Work can be in very early stages or in a more mature stage. The goal is to create an intimate, community-driven setting for real sharing.

Filmlab Palestine presents Palestine Cinema Days Around the World:

RETURN TO HAIFA

On April 21, 1948, the quiet life in the Palestinian city of Haifa turned into something resembling hell, amid mortar shelling, and the people of Haifa were forced to leave their city and thus emigrate from their homeland. A Palestinian family left their child, Khaldoun, and immigrated without being able to reach home to carry him with them on their migration journey, and their obsession with searching for him remains for 20 years.

This screening is presented for free thanks to Filmlab Palestine as part of Palestine Cinema Days Around the World:

“Palestine Cinema Days Around the World is a global platform that transcends borders to bring Palestinian stories to the forefront of the world’s conscience. A fragile ceasefire may quiet the headlines, but it does not stop the genocide. In Gaza, death continues through siege, starvation, displacement, and abandonment. As the world slowly looks away, we are reminded how easily Palestine can disappear from the news while its people continue to endure unimaginable loss. That is precisely why our stories must travel further and louder this year. At a time when silence is imposed on our existence, and our grief is treated as background noise, cinema becomes more than art; it becomes presence, memory, and resistance. Through Palestine Cinema Days Around the World 2026, we gather not only to screen films but to affirm that the Palestinian narrative cannot be erased.”

Reservations will be first-come-first-serve when the box office opens thirty minutes before the screening on the day of the show.

CiNEOLA presents:
RUNA SIMI

“Fernando, a Peruvian single father, sits in an audio-recording room with his young son Dylan, recording voices together from Spanish into Quechua — their indigenous language. Fernando provides careful but spirited direction to Dylan, who nails the specific intonation. What seems as a playful game between a father and son is actually a treasured creative hobby for Fernando, who has dubbed online clips of many animated movies into Quechua. As a voice actor who’s always had an interest in crafting voices and dialects, Fernando uses his platform as a radio host in his native Cusco to create content in Quechua, enabling this language to thrive and not be forgotten. “Our language Quechua,” affirms Fernando, “is like life itself.” All too quickly, Fernando’s online hobby of dubbing film clips goes viral — and it spurs him to pursue his most ambitious goal yet: fully dub Disney’s animated “The Lion King” into Quechua. The creative hobby now becomes a real cultural endeavor.

Augusto Zegarra’s buoyant first feature Runa Simi delivers a big-hearted and emotionally-resonant story, anchored by a captivating exploration of fatherhood and cultural appreciation.” —Jose Rodriguez

Q&A with Director Augusto Zegarra, Producer Paloma Iturriaga, and star Fernando Valencia to follow the screening.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

Throwin’ Bo’s presents:

Green-House

Green-House is a project birthed by Olive Ardizoni and now officially a duo project featuring long-time collaborator and confidant, Michael Flanagan. Approaching the project with an intentional naivety, they craft songs that find freedom through simplicity. They hope to create a space with fewer barriers as both a performer and a listener.

Bandcamp | IG

Cool Maritime

cool maritime is immersive music and sound design by sean hellfritsch

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

Good Friends

Good Friends is a folk/americana band from Point Reyes, CA, centered around sweet vocal harmony, big feelings, vibrating strings, and good ol’ fashioned humor. Satisfied customers have likened their music to “a warm hug from a good friend”

Bandcamp | IG

The Lowtimers

Evolution may leave a lot on the cutting room floor, but it always preserves what is essential—not just for survival, but for the self.

For nearly a decade, two dueling guitarists and songwriters, Austin Smith and Mark Tegio, built the backbone of their namesake outfit, honing their hard-worn Americana songwriting. Their music shaped by years of troubadouring up and down I-5, from San Diego to Seattle.

Over time, their sound evolved from its more folk roots, inspired by the likes of Doc & Merle Watson and their guitar interplay, as well as mining the lines left by Townes Van Zandt and Blaze Foley, trying to learn the lessons those broken heroes left behind. As Smith and Tegio split their time between Portland and Santa Cruz, a new crew of musicians entered the Central California mix, expanding their sound in ways the duo perhaps didn’t know they needed—until they knew they did.

Enter The Lowtimers. This new 5-piece band—Tegio (guitar and vocals), Smith (guitar, vocals and harmonica), Tim Kelso (drums), Andrew Dreher (bass and harmonies), and Payton Vermeesch (pedal steel)—remain rooted in soulful Americana, but they now lay it over a new sonic landscape, injecting fresh empathy and drive into songs that paint wise western portraits of lives and loves on the road to redemption, where the goal is less about prosperity and more about peace of mind.

We may remember the past, but we should never forget what the future may hold. To be open and honest with art, it’s evolve or creatively die. And often, evolution delivers an entirely new animal.

Bandcamp | IG

Red McAdam

Although he was born in the industrial heart of New Jersey, Red McAdam’s mother Maggie made damn sure to rear him on country and folk music. She served up a steady diet of celebrated songwriters and singers on their kitchen radio day after day, from classics like Patsy Cline and Ernest Tubb to burgeoning legends like Lucinda Williams and Brad Paisley. Red’s father Bartholomew, a lifelong bass player, took it from there, teaching him banjo, mandolin, bass, and guitar.

A self-proclaimed ‘Western fraud,’ Red makes no effort to fit the country mold, but rather draws from the unique and largely unsung landscape of his world. Stranger-than-fiction episodes from his time on the road, preposterous characters with bizarre motives, and plain old bullshit mingle with vulnerable expressions of a tumultuous life and a threadbare heart. A first responder, passionate outdoorsman, recovering alcoholic, and heartbroken songwriter—Red earned whatever authenticity the country audience craves through his life, not place of birth.

McAdam’s playful outsider country music presents an inventive vision of what the genre can be. His rich, risky blend of traditional honky-tonk and Western swing draws on indie rock, R&B, and beyond, reflecting a lifelong love of all music and disdain for genres and rules of any kind. A consummate road dog, he brings his frenetic, dynamic, and occasionally delirious performances to dives, dancehalls, clubs, and theaters across the country. Listeners will recognize the Lone Star eccentricities of Terry Allen and Guy Clark, forlorn folk sensibilities of Elizabeth Cotton and Karen Dalton, and the driving genre-bending of The Band and Bob Dylan.

Over the past several years, he spent time working in National Parks and schools, bars and the backwoods, and most recently between emergency departments and ambulances across the country. After a spell hidden away in his high desert Arizona home, Red hit the road full tilt. In two barnstorming years, he and his band played 37 states over 13 tours, logging 90,000 miles and averaging over 200 shows a year. Red now lives outside of Austin in his 1976 Dodge Jamboree as the newest resident of the storied hill country and absolute greenest in a hallowed lineage of Texas songwriters.

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

Studio 8 Film Festival presents:
JUROR FILMS

Experimental and personal documentary shorts from Ed Jones, Michael LaRocco, and Jacalyn White, this year's open call jurors. This program includes films by this year's open call jurors: Nine Years Behind the Wheel (Ed Jones, 1986), Lullaby To My Father and Lullaby To My Father: Redux (Michael LaRocco, 2019), and Lost or Found (Jacalyn White and Joell Hallowell, 2020).

Screening will be followed by a conversation with all three jurors, moderated by V. Vale of RE/Search.

Poster Artwork: Cristina Victor

Studio 8 Film Festival presents:
JURIED SHOW: PERSONAL VISIONS

Personal Visions: a juried screening of experimental and personal documentary shorts at Studio 8 Film Festival 2026. Films include:

3D Graffiti by Jack Bowers
ALIENATOR by Texas Tomboy Brand Prod
American Language by WE DA PEPO
Babuba by Rock Ross
bookshelf (study) by Denah Johnston
Bridge Drawings by JD Beltran
Built to Spill (Homage to Bruce Nauman) by Peter Foucault
Catastrophe and Convenience by Tommy Becker
Chasing the Light: Dreamscape of the Erotized Body (Director's Cut) by Colette Standish
Chop by Scott Stark
Dear Erica by Rachael Guma (née Abernathy)
Hello Susan by Susan Weiss
Metallic Dreams by Ryan Wicks
Mounds Along the Waves by Kavena Hambira
Parallel Owls by Lanford Weingrod
Post-SIDA by Lothar Muller
Secret Pastime by Ivy Something
Vanishing Act by Holly Wong

Screening will be followed by a conversation with filmmakers in attendance.

Poster Artwork: Cristina Victor

essence/universe presents:

IDAHO

Led by Laurel-Canyon based singer-songwriter Jeff Martin, IDAHO are the unsung cult heroes of 90s slowcore. Founded in 1992 by Martin and the late John Barry, IDAHO exemplify an adventurous and original take on the American underground, fusing fuzzed-chord grunge rock, pedal-pushing shoegaze, and post-rock experimentalism with an overall ambience of beautiful despondency. 

Bandcamp | IG

Reed

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

Society of Rockets

Pack your psychedelic psuitcase for a journey to the center of The Society of Rockets' latest brain-melting blowpop confection: A Pocketful of Phables. The veteran San Francisco indie band's new double-LP is an 18-track wunderground soundseeing tour that starts in orbit around the moon and spirals down through the woods, past haunted houses and halls of mirrors, all the way to the bottom of the sea. Inspired by the lengthy lineage that stretches from the Beatles, Syd Barrett, and the Kinks through XTC, Robyn Hitchcock, and the Cleaners from Venus, to the Lilys, Guided by Voices, and the Elephant 6 Recording Company, the Rockets' 9th full-length release is stuffed with buzzing melodies, exploding rhythms and bewildering twists. Buckle up, lay back, and leave this world behind for a better one.

Bandcamp | IG

Amores Vigilantes

If You Would’ve Ever Read This, I’d Want You To Know— the new album out in Spring of 2026 —is a collection of songs based on material that dates back to the inception of the band, including elements taken from original Tascam 4-track cassette recordings when Amores Vigilantes formed in a San Francisco Bay Area garage in the ‘90s.

Like a love letter nearly never opened, If You Would’ve Ever Read This, I’d Want You To Know finally reaches its audience with a songwriting message that transcends time or trends.

Bandcamp | IG

Kitten on the Keys

San Francisco Cabaret Performer: Piano, Accordion, Vocals, Ukulele

IG

DOORS at 7:00PM | MUSIC at 8:00 PM

Throwin’ Bo’s presents:

School Fair

School Fair (Findlay Buchanan, Semisi Ma’ia’i, Hamish Morgan, De Stevens and Rose Pickernell) make music embedded in the human experience.  It’s a product of the band’s native New Zealand, a place that remains intimate and remote, where emotion is magnified over both distance and familiarity.  The five band members began the project renting out a factory-sized, sub-zero degree Celsius room normally operated by construction workers in the industrial area of Ōtepoti, Dunedin, New Zealand in 2021, recording music on the 4-track tape recorder that would become debut Gorse on a Hill.  The album remained the only trace of the band online for a few years, an artifact for those who know where to look.  School Fair’s music has this sense of self-discovery when you find it, a sound that feels both recognizable and like the vacant expanse of a country whirring by on a train.  Still with little to no self-promotion, the appearance of sophomore effort Bird the Kid online in early 2025 was a new portal to their world of melodic and intricate indie music that retains a kind of atmospheric beauty.  

Unexpected Violence (Mutual, 2026) is the first record made between geographical places, with the band now split in between London and New Zealand.  You can hear this fragmented approach in the patchwork quality and inherent connective tissue of the album.  Recorded initially in a studio in East London, it was the first time the band brought in an outside engineer (Syd Kemp?), as opposed to the band’s prior live recordings, where the tendency was to “feed back off each other in quite a messy abstract and complicated way that works for us but isn’t typically structured.”  The band then took these recordings and evolved them back home in Dunedin, with the addition of vocals on some tracks by Pickernell adding to the cohesive energy and collective, dialed-in synergy of the quintet.  

School Fair is built upon the many eclectic mediums from which the band members individually create: time spent repairing old machines, making short films, metalworking and jewelry-making, writing and engineering.  All these counterparts bring a kind of industrial electricity to the music where each part feels necessary and agile, as well as perfectly in conjunction.  It’s these points beneath the surface where the songs really bloom.  The moody transference of guitar lick to guttural vocal and back again, where melody conjoins with surprising inflection and sharp-hued ambiance, littered with both poetic spoken-word and a self-referentiality of clues and repetition that rewards close listening yet remains accessible and immediate.

Transportive lyrics shine with the lore and mythology of a world that is both deeply specific and transcendent in its curiosity toward the surrounding environment.  Unexpected Violence is filled with resounding descriptors: from “cat runs blind in the smoke / birds slap their wings away / trees thrash and crash / each lonely in their chosen way” (the meandering “Angelika”) or the consequently spellbinding phrasing of “come out to your dead animal river gushing hard / come out to your heart split open and lit up with stars” of “In Boredom You Shoot Your Gun”.  It’s a starkly poetic snapshot into the band’s own universe and a showcase in the thoroughfare of language, where the specificity of one person’s memory counteracts with a landscape that blurs and unravels with the passage of time.  Unexpected Violence a record that could only be made in a place like New Zealand, yet its vantage point expands far beyond to the vast unwieldiness of human sentiment.  “There’s a sense of remoteness to the record, both emotionally but also in the sense of place, broken farms, cast iron beaches, blank midday fires, lost friends.”  Or as the band recites in the austere glimmer of “Spirally Staircase Memory”: “memories are just stories that can’t be found.”  But School Fair reaches some sort of access point, a way for them to live on.  

The name Unexpected Violence was born out of Buchanan and Ma’ia’i coming across the genre title in a bookstore in Berlin, and is a fitting discernment of the heartbreak that often comes with the realities of existence.   In album highlight “Gussied Up,” the band intones: “I never never never ever / wanna hear you / see you, feel you or touch you.”  It’s a harsh statement that feels swept up in the parallel admission that these are relationships you may never fully escape; they have left their mark.  We still pass the places they inhabit, and feel the uncanny emptiness even after moving on.  It’s fitting that the record ends on a similar contradiction.  Just discernable above spirals of drummed up, ambient noise: “I miss you now you’re gone.”  For all things can be true at once.

Bandcamp | IG

goldenstar

Montreal’s goldenstar operate within a distinctly fraught strain of the North American musical canon, dancing in (and emerging from) the shadow of beloved forebears like Duster, Sonic Youth, and Sparklehorse. Their self-released 2025 debut EP alongside a sophomore release on OST have established the band as an essential voice on the contemporary slowcore-noise rock continuum.

Bandcamp | IG

Poor Image

Poor Image is a 7 piece emo/americana tinged slowcore band based in the Bay Area. The project came to fruition when members Reid Devereaux, Nick Ferguson, Keenan Lewis, Declan Lewis, Patrick Madden, Tammer Bagdasarian and Nick Ross, who spent their formative years between Silicon Valley, San Francisco, and San Jose participating in the broader bay area music scene, decided to join forces. Poor Image’s recent debut self titled album out on American Death Records is about coming of age strife and trying to “make it” in the age of supersaturation.

As written by Nina Protocol, Poor Image’s debut album “...refers back to a micro-glory age of low-stakes indie music in a way that could only come from a band a few generations removed from the source material. It finds a perfect balance between slowcore and Americana; it incorporates a variety of roots-leaning instrumental flourishes when it needs to; it rocks when it needs to”. Featured on Perfectly Imperfect as ones to watch, Poor Image has recently come off national tours opening for Horse Vision & Dutch Interior and are currently recording their second album.

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

The San Francisco Underground Short Film Festival returns to the Bay Area to celebrate locally-made cinematic mayhem!

Founded by Peaches Christ & Vinsantos in 2003 at the Bridge Theatre, partially as a showcase for their own short films that weren’t getting traction at “legitimate” festivals, the SFUSFF ran under their care for six years until 2008. After Vinsantos moved to New Orleans, Peaches and fellow film programmer Sam Sharkland wanted to see the fest continue and so revived it in 2011 at the Victoria Theatre where it ran until 2015. Now, after 10 years, the festival has found a new home at the 4 Star Theater under the care of Piranha Psychotronica and Kafka X, the maniacal minds behind Media Meltdown Movie Madhouse.

The San Francisco Underground Short Film Festival exists to celebrate local, independent filmmaking. We proudly champion the overlooked and underrated, the avant-garde and the alternative, the outrageous, the oddball, and the outlandish. We'll be presenting the silly, subversive, surreal, and strange from all Bay Area filmmakers! From bizarro B-films to midnight movie trash, expect the weirdest and wildest the Bay has to offer, with the night kicking off with our lighter fare and getting darker and more freaky as the evening goes on. Cinematic weirdos - you have found the festival for you!

Festival Pass tickets can be selected under any time slot!

2:15 PM - 4:15 PM: Program 1
5:00 PM - 6:45 PM: Program 2
8:00 PM - 10:00 PM: Program 3
10:45 PM - 12:00 AM: Program 4 (18+ Only)

Parking is limited so plan to arrive early, take a car, or ride public transit! There are plenty of excellent restaurants within a few blocks of the theater. Questions or accessibility needs? Email us at MediaMeltdownSF@gmail.com!

The San Francisco Underground Short Film Festival returns to the Bay Area to celebrate locally-made cinematic mayhem!

Founded by Peaches Christ & Vinsantos in 2003 at the Bridge Theatre, partially as a showcase for their own short films that weren’t getting traction at “legitimate” festivals, the SFUSFF ran under their care for six years until 2008. After Vinsantos moved to New Orleans, Peaches and fellow film programmer Sam Sharkland wanted to see the fest continue and so revived it in 2011 at the Victoria Theatre where it ran until 2015. Now, after 10 years, the festival has found a new home at the 4 Star Theater under the care of Piranha Psychotronica and Kafka X, the maniacal minds behind Media Meltdown Movie Madhouse.

The San Francisco Underground Short Film Festival exists to celebrate local, independent filmmaking. We proudly champion the overlooked and underrated, the avant-garde and the alternative, the outrageous, the oddball, and the outlandish. We'll be presenting the silly, subversive, surreal, and strange from all Bay Area filmmakers! From bizarro B-films to midnight movie trash, expect the weirdest and wildest the Bay has to offer, with the night kicking off with our lighter fare and getting darker and more freaky as the evening goes on. Cinematic weirdos - you have found the festival for you!

Festival Pass tickets can be selected under any time slot!

2:15 PM - 4:15 PM: Program 1
5:00 PM - 6:45 PM: Program 2
8:00 PM - 10:00 PM: Program 3
10:45 PM - 12:00 AM: Program 4 (18+ Only)

Parking is limited so plan to arrive early, take a car, or ride public transit! There are plenty of excellent restaurants within a few blocks of the theater. Questions or accessibility needs? Email us at MediaMeltdownSF@gmail.com!

The San Francisco Underground Short Film Festival returns to the Bay Area to celebrate locally-made cinematic mayhem!

Founded by Peaches Christ & Vinsantos in 2003 at the Bridge Theatre, partially as a showcase for their own short films that weren’t getting traction at “legitimate” festivals, the SFUSFF ran under their care for six years until 2008. After Vinsantos moved to New Orleans, Peaches and fellow film programmer Sam Sharkland wanted to see the fest continue and so revived it in 2011 at the Victoria Theatre where it ran until 2015. Now, after 10 years, the festival has found a new home at the 4 Star Theater under the care of Piranha Psychotronica and Kafka X, the maniacal minds behind Media Meltdown Movie Madhouse.

The San Francisco Underground Short Film Festival exists to celebrate local, independent filmmaking. We proudly champion the overlooked and underrated, the avant-garde and the alternative, the outrageous, the oddball, and the outlandish. We'll be presenting the silly, subversive, surreal, and strange from all Bay Area filmmakers! From bizarro B-films to midnight movie trash, expect the weirdest and wildest the Bay has to offer, with the night kicking off with our lighter fare and getting darker and more freaky as the evening goes on. Cinematic weirdos - you have found the festival for you!

Festival Pass tickets can be selected under any time slot!

2:15 PM - 4:15 PM: Program 1
5:00 PM - 6:45 PM: Program 2
8:00 PM - 10:00 PM: Program 3
10:45 PM - 12:00 AM: Program 4 (18+ Only)

Parking is limited so plan to arrive early, take a car, or ride public transit! There are plenty of excellent restaurants within a few blocks of the theater. Questions or accessibility needs? Email us at MediaMeltdownSF@gmail.com!

The San Francisco Underground Short Film Festival returns to the Bay Area to celebrate locally-made cinematic mayhem!

Founded by Peaches Christ & Vinsantos in 2003 at the Bridge Theatre, partially as a showcase for their own short films that weren’t getting traction at “legitimate” festivals, the SFUSFF ran under their care for six years until 2008. After Vinsantos moved to New Orleans, Peaches and fellow film programmer Sam Sharkland wanted to see the fest continue and so revived it in 2011 at the Victoria Theatre where it ran until 2015. Now, after 10 years, the festival has found a new home at the 4 Star Theater under the care of Piranha Psychotronica and Kafka X, the maniacal minds behind Media Meltdown Movie Madhouse.

The San Francisco Underground Short Film Festival exists to celebrate local, independent filmmaking. We proudly champion the overlooked and underrated, the avant-garde and the alternative, the outrageous, the oddball, and the outlandish. We'll be presenting the silly, subversive, surreal, and strange from all Bay Area filmmakers! From bizarro B-films to midnight movie trash, expect the weirdest and wildest the Bay has to offer, with the night kicking off with our lighter fare and getting darker and more freaky as the evening goes on. Cinematic weirdos - you have found the festival for you!

Festival Pass tickets can be selected under any time slot!

2:15 PM - 4:15 PM: Program 1
5:00 PM - 6:45 PM: Program 2
8:00 PM - 10:00 PM: Program 3
10:45 PM - 12:00 AM: Program 4 (18+ Only)

Parking is limited so plan to arrive early, take a car, or ride public transit! There are plenty of excellent restaurants within a few blocks of the theater. Questions or accessibility needs? Email us at MediaMeltdownSF@gmail.com!

CLOSED FOR A PRIVATE EVENT

Curious about hosting your own private event with us? Contact and more details can be found here.

Todd Day Wait

Todd Day Wait is one of the last real American Workhorse, pedal to the metal, Troubadours by way of Missouri, to California, to New Orleans and now Nashville. The original material of Todd Day Wait, is highly influenced by early American folk, country and blues music from the 1920's through the 1960's, embodying the spirit and authenticity of traditional American music.

Todd Day Wait, whom you may have heard of from his millions of spins on GemsOnVHS or WesternAF writes and performs his own style of timeless country music. Harking back to Jimmie Rodgers, Willie Nelson, Wynn Stewart and Kris Kristofferson he keeps the spirit of country music alive. In 2009 he put all his earthly belongings on the curb and hit the road, in his diesel shuttle bus fueled by vegetable oil, for a never ending tour. From busking the streets of New Orleans, to playing in the shadow of European castles, to lighting up the honky-tonk dance floors in Nashville, Todd keeps it 60/50.

Bandcamp | IG

Mac Cornish

Growing up in the shadow of the Santa Cruz mountains in Northern California, Mac spent her days strolling through the redwoods and tracing her footsteps on the grounds of her grandfather's cattle ranch in the North Bay. Such a setting that would provide her with an undying appreciation and respect for all things old in age and of the earth. Mac discovered her love for music digging through her parents' record collection, emerging and adorning herself with not just the tunes, but the entire look and aesthetic of the music Mecca, Laurel Canyon. Drawing inspiration from Linda Ronstadt, Gram Parsons, Jackson Browne and Buffalo Springfield, she began forging her own songs and style from her bouts with love, loss, tragedy and tranquillity.

After years away spent in Portland, OR and Nashville, TN, Mac has made her way back to California, where she can be found on the stages of dives and honky tonks, warming the hearts of locals with tales of old pickup trucks and summer drives forever. Inspiring crowds to grab hold of their neighbor, dance and twirl and stomp their feet. When she performs, she pins her heart to her collar and shares her wit and charms that transcend the stage and grab hold of the hearts of all who bear witness. A true gem of the west, heart, mind, body, and soul.

Bandcamp | IG

Josiah Flores

Part-time poet turned melodic storyteller, Chicano singer/songwriter Josiah Flores puts music to the parts of life most tend to hide from. From the foothills of south San Jose to the foggy avenues of San Francisco, he calls the Bay Area his home. Influenced by the likes of Stoney Edwards, Freddy Fender, Willie Dunn, and Waylon Jennings, if one were to sit in a dimly-lit corner of their local watering hole, hunched over a beer, they would find Josiah’s songs sitting down next to them.

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

Throwin’ Bo’s presents:

Computerwife

New York City-based Addie Warncke began Computerwife in 2018 at the beginning of her college career, using SoundCloud as a diary to chronicle her emotions. When the pandemic hit, Warncke released the five songs she was proudest of as her self-titled debut EP, and the strength of those tracks led to a signing with Danger Collective Records. Now, she’s poised to release her debut self-titled full-length: a raw and intimate portrait of her experiences processing the small but poignant moments that shape a life. Computerwife’s sound is captivating and nuanced, pushing the boundaries between analog and digital. “The main theme that ties this album together is an interest in the deep web and an attempt to combine existing media to make something new,” she explains. With her seamless blend of shoegaze, emo, and lo-fi noise pop, Computerwife speaks directly to the disquiet experienced by every 21st century digital girl with a tenuous grip on life and identity.

Without any prior production knowledge or a band to work with, expanding her songs beyond the writing stage was a challenge Warncke sought to overcome. A Song Exploder episode about Grimes inspired her to download a free trial of Ableton so she could flesh out tracks and learn more about electronic production. On her dorm room bed, she began to record with her dad’s guitar and bass, a Fender deluxe amp, and a focusrite to Ableton. Her first EP and forthcoming debut LP are pulled from these 3 years of exploring music production on her computer, made with limited, portable equipment. Computerwife ultimately reflects Warncke’s very core; it was inspired by internet rabbit holes, books, films, albums, and bands that have shaped her: from Coney Island to My Bloody Valentine, Alex G, The Flaming Lips and Texas Chainsaw Massacre. Lyrically, Computerwife grapples with the psychological state Warncke was in when she, in her own words, “went crazy, deleted all my music, and ran back home.” Created out of rediscovered mp3 files, scraps of almost-forgotten melodies and re-recorded instrumentals, the album is a hard-hitting digital collage that mirrors her disparate influences and a tangle of raw emotions.

Lead single “Lexapro” teeters between pop and shoegaze and finds Warncke drawing inspiration from Sonic Youth as she grapples with feelings of failure and stasis. Driving standout “I Get Better Everyday,” influenced by Alex G’s production, sees her turn a corner: “When I made it, I thought I was gaining control of my life and building self-confidence. I wanted to write about a friend I had grown up with who kept telling me she hated how I changed, because to me I felt like I was finally doing what I wanted to do instead of living for other people,” Warncke explains. “This song is one of the first songs that taught me how to write lyrics. I was reading Annihilation (by Jeff VanderMeer) and wrote down interesting words and then found ways to use those words to express my own thoughts.” The breezy and heavenly highlight “Vacation” came about after Warncke read How to Do Nothing (by Jenny Odell) and visited Coney Island for the first time: “I thought the ecosystem was really beautiful and people seemed really relaxed together.

I really needed that kind of environment to clear my head for a while and it was very inspiring.” On the tense and explosive “You Make It Look So Easy,” Warncke explores the relatable experience of admiring someone so much that your fondness turns to jealousy. “Texas Chainsaw Dilemma” uses Sally’s screams from the movie Texas Chainsaw Massacre in place of spoken vocal samples over a pulsing and shimmering electronic beat.

While the first few sets Warncke played as Computerwife consisted of her alone on stage with her laptop, sampler, and bass, she’s since expanded her live show into a full band for a bigger and heavier sound, including drummer John Supnik and guitarist Dalton Salisbury. After polishing their performance and playing several hometown shows around New York City, the band opened for the Southeastern tour leg of British lo-fi legends Panchiko and have also played shows supporting Been Stellar, Hello Mary, and They Are Gutting a Body of Water, among others.

Computerwife is dialectical music at its finest, managing to be simultaneously painful and celebratory, noisy and dancey, detached and heartfelt. “This album is alot about finding my values, figuring out what I want my life to be like, and committing to it” says Warncke.

Bandcamp | IG

Double Helix Peace Treaty

Double Helix Peace Treaty draws from the vast well of inspiration in their surroundings to produce a sound that’s wholly their own. From the mystical landscapes of West Marin County to the industrial wastelands at the City’s edge, their music cultivates a sense of place that few bands today accomplish. Here, they belong to a long lineage of California art – the writings of Philip K. Dick, for example, have a strong presence in the band’s lyrics, and their jammy Americana at times gestures towards the Grateful Dead. But the band’s cohesive blend of folk-punk-psychedelia never turns overly nostalgic, always pushing boundaries and experimenting with new forms.

DHPT’s latest EP, “Circles/Deer Hunter Xtreme,” recorded in Long Beach under the production auspices of Dutch Interior’s Connor Reeves, takes the Double Helix live sound in new directions, without sacrificing their inventive style and composition. Out now on American Death Records.

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

Throwin’ Bo’s presents:

Babehoven

Babehoven is the Hudson, NY based project of singer-songwriter Maya Bon and collaborator Ryan Albert. Since 2017, the band has carved out a sound that blends melodic indie and folk rock with an occasional nod towards country. Bon serves as the project’s principal songwriter and lyricist, while Albert, a multi-instrumentalist and producer, further shapes the sonic world around her songs. Together, they’ve built a body of work that feels both intimate and expansive.

"Blue Around You," Babehoven's new single, is a country-flecked stomper. The song finds Bon singing with hard-won resilience: "Yesterday a stranger told me they can see / That I feel levels of pain that could've broken me / And I thought, mmm but I survived it." Recorded at The Chicken Shack and 12 Lb Genius in Upstate NY, Maya and Ryan gathered an excellent crew of musicians with producer Phil Weinrobe at the helm—Oliver Hill, Zosha Warpeha, Dylan Nowik, Jared Samuel, Ellington Peet, and Nick Kinsey. The core of the song was recorded live with no playback or headphones with the feel of the room being as much an instrument as the hardanger fiddle and harmonies that soar overhead.

Bandcamp | IG

Pileup

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

Basement VHS presents:
IT (1990) ON VHS

The Master of Horror unleashes everything you were ever afraid of.

In 1960, seven outcast kids known as “The Losers’ Club” fight against an ancient shape-shifting alien who poses as a child-killing clown, while also dealing with bullies and abusive parents. Thirty years later, they reunite to stop the creature once and for all when it returns to their hometown. The two-part TV miniseries comes to the big screen courtesy of Basement VHS.

In-person Q&A with Director Tommy Lee Wallace to follow the screening.

This event has been postponed from its previously scheduled date on October 30th. All tickets for the original date are still valid and ticket-holders have been sent communications regarding refunds if necessary. If you did not receive communication and cannot attend the new date, please contact us before November 14th to receive a refund.

Basement is an art collective and VHS archive in the Mission District of San Francisco, CA. They host a weekly film screening and radio show on Radio Valencia.

CLOSED FOR A PRIVATE EVENT

Curious about hosting your own private event with us? Contact and more details can be found here.

CLOSED FOR A PRIVATE EVENT

Curious about hosting your own private event with us? Contact and more details can be found here.

The Crooked Jades

(10th Album Release Show with Special Guest Bruce Kaphan)

A San Francisco original, The Crooked Jades celebrate their 10th studio album release Beautiful World—a culmination of three decades of music-making and surprising musical influences. Pioneers in bringing old-time music to contemporary audiences, The Crooked Jades continue to evolve their unique sound by exploring the roots of Americana, while pushing boundaries and blurring genres. Their fiery and soulful live performances, punctuated with eclectic vintage instrumentation, are full of unexpected sounds and are sure to get audiences on their feet. 

Our new album Beautiful World is a musical adventure in time from the 1880's to the1980's! In keeping with our reputation for our embracing diverse musical influences this album presents some surprising genre-blending tracks. Along with the driving fiddle tunes and traditional ballads that we are known for, we reimagined songs culled from the soundtracks of our own lives though the lens of old time music. We can't wait to share this music alchemy with you!

The core of The Crooked Jades are co-founders Jeff Kazor (vocals/guitar/ukulele), Lisa Berman (vocals / slide guitar / banjo / harmonium), and Erik Pearson (vocals / banjos / ukulele / harmonium / slide guitar.) The current line-up features two sensational new band members. On fiddle is the phenomenal Amy Kassir hailing from Durham, North Carolina, who recently released her solo fiddle tune album. On bass is the multi-talented Joshua “JZ” Zucker, who brings a cinematic sensibility to the Jades’ sound. Featured special guest pedal steel virtuoso, Bruce Kaphan, will be joining The Crooked Jades for this show.

Website | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

Throwin’ Bo’s presents:

Dagmar Zuniga

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was released by the People’s Coalition of Tandy on Bandcamp & YouTube in January 2025, accompanied by a small tape run that sold out instantly. The project quickly garnered over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. 

This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93. 

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track. 

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026. 

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians across the globe. Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

Bandcamp | IG

Support to be announced

DOORS at 7:00PM | MUSIC at 8:00 PM

Stephen Steinbrink
(Record Release Show)

Stephen Steinbrink (b. 1988) is a songwriter, producer, and visual artist. Immersing himself in the West Coast underground DIY community in the mid-2000s, Steinbrink left on his first tour at the age of sixteen and continued performing internationally for a decade, living an improvised existence and recording incessantly. He has released nine critically acclaimed albums of experimental pop music and has collaborated as a producer and session player with artists including Boy Scouts/Taylor Vick, Dear Nora, Gia Margaret, LAKE, and Girlpool.

Though appearing luminous and graceful on the surface, his songs use the recognizable logic of pop structures as a container for psychic inquiry, revealing the unstable landscapes of memory, dreams, and the quotidian absurdities of daily life. Over two decades, Steinbrink has become one of the most distinctive songwriters on the U.S. West Coast, with a rarely matched gift for poetic imagery carried by a musical language that moves across folk, experimental pop, and ambient experimentation.

In visual art, Steinbrink works in illustration, photography, animation, and Stained Glass conservation, having restored historic art glass throughout Northern California. He currently lives and works in Oakland, California.

Bandcamp | IG

April Magazine

April Magazine combines the talents of a handful of Bay Area indie pop notables into a collective that releases fragile and noisy songs that land right in the sweet spot between Velvet Underground hum and Pastels warble with a heavy dose of slowcore static in the mix. A string of digital singles primed listeners for the group's sound; late 2021 brought both a collection of said releases— If the Ceiling Were a Kite, Vol. 1 —and their first LP, Sunday Music for an Overpass.

Bandcamp

ersa

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

Throwin’ Bo’s presents:

Storefront Church

Storefront Church is the project of Lukas Frank, who's drummed in Phoebe Bridgers' band and appeared on her albums, and the first song of his debut album As We Pass features DIIV frontman Cole Smith, but neither of those affiliations really prepares you for what to expect from As We Pass. It's a 9-song collection that's largely made up of bluesy, gothy, emo-y melancholic songs that sometimes sound like a cross between '90s Cure deep cuts and Nirvana Unplugged. (Lukas also cites Scott Walker as an influence, and you can hear that too.) Most of the album is bare-bones and somber, but Lukas also revs things up for the noise punk of "Faction from Under the Grove," and that fits right in too. With As We Pass, Lukas enters a long, line of depressive singer/songwriters, but even with over half a century of music like this, something about Lukas stands out. He grips you right off the bat with album opener "After the Alphabets" -- the kind of song that can make you drop everything and listen as soon as his voice comes in -- and the album stays that compelling throughout. Even with connections to established artists and the great Sargent House label behind him, this doesn't feel like the smash arrival of a hot new buzz artist; it's the subtle arrival of a songwriter whose songs creep up on you and knock you out when you're least expecting it. Usually, that's even better.

Bandcamp | IG

Support to be announced.

DOORS at 7:00PM | MUSIC at 8:00 PM

Booksmith presents:
”DAZED AND CONFUSED: MINUTE BY MINUTE”
(Film Screening plus Discussion with Author Colin Winnette)

Blending film criticism with creative nonfiction, each book in the Timecodes series focuses on one film, exploring it minute by minute beginning with minute one, and ending with the final minute before the closing credits.

This book uses a close study of Dazed and Confused to tell three interrelated stories of adolescent development: the filmmaker's, the film's characters, and the author's own. The film's unconventional approach to character and plot mirrors the author's own structureless and energetic childhood, while also having a profound impact on his artistic development, as the film revealed that bending traditional narrative rules could make a story feel more honest and precise. The film also marked a kind of artistic coming-of-age for Linklater himself, as he transitioned from his self-financed indie infancy into his first studio film.

The structure of Dazed and Confused mirrors the roving momentum of a youthful night, moving fluidly between characters, incidents, conversations, and what can only loosely be called “set pieces”, while never feeling aimless. Each moment moves the night forward, revealing more of our characters as we slowly form a sense of what the rest of their summer might look like, and how the rest of their lives might go (though we're also reminded there'll be surprises along the way). As these moments accumulate, viewers are invited to reflect on their own lives, their own friends, their own easy nights of highs and lows, boredom and elation, danger and congress. Adopting the formal conceit of the Timecodes series, this book accepts the film's invitation to live moment by moment, taking each discrete minute as an opportunity to reorient and explore new vantages on both the movie and the author's own life. Join author Colin Winnette in conversation about this landmark film, followed by a screening of Dazed and Confused.

Booksmith will be on site selling copies of the new book!

DOORS at 2:00 PM | DISCUSSION at 2:30 PM | FILM at 3:15 PM

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

Throwin’ Bo’s presents:

June McDoom

There is a hush most of us only knew as children, the warm drift between familiar household sounds and being carried to bed, a place that belongs to you and to some self you have not met yet. June McDoom's debut full-length, Follow the Light, lives in that dream space and then keeps walking, slipping out of time and waking somewhere new, barely familiar enough to feel like home yet wholly your own.

She came up in a Jamaican household on the edge of the Florida Everglades, an existence built of extended family, communal care, bass and harmonics. Her father, a carpenter and a student of sound, built his own speakers and kept three sound systems going across as many rooms. His low end would rise through her bedroom floor like some wayward cat while she lay above it with folk records, finding harmonies that were new and hers alone. Two musics in one room. Lushness as past and premonition.

She found folk on her own, somewhere between the cast recording of The Sound of Music and Simon and Garfunkel, while everyone around her called it sleepy music. She did not mind being the only one. The solitude let her fall for harmony first, before words, before anything else, and harmony is still the thing she reaches for.

Generationally speaking, the music was already in the air. Her grandfather, Colin Smith, is a distinguished mento man who played banjo and guitar and built his own rumba boxes, worked to keep Jamaica's oldest acoustic folk form alive. Mento is the root of all of it: ska, rock steady, reggae, dub and everything after. He is the one who put a guitar in her hands. An inheritance, a gift and a map. Even her name is part of it, though she will tell you she landed on it more by feel than reason. She records as June McDoom, born Alyssa, June being a nickname one of her grandmothers, Joan, went by, a name she thought was cool to carry and simply liked the sound of. An etheric channel that reverberates all the same. A dub all its own.

Made slowly and by hand with her longtime partner Evan Wright, Follow the Light lays the harmony of folk over the rhythm of dub, with Dionne Warwick, Minnie Riperton, Pentangle and the washed guitars of Cocteau Twins haunting its outer edges. Voice and guitar seeking each other out first, then everything else stacked across long days in the studio they keep at home, restraint kept on purpose. The lead single "Without You" is the whole method surfacing, split open and sparkling like a geode in a creek bed. Angelic heroics, and nothing less.

At the heart is family. Her grandmother Aggie, the light behind "Memory," guiding still. And underneath, the quieter truth the record keeps: none of us are only one person, but a continuum of selves, the ones who shaped us and the ones we have yet to meet. Future you is an ancestor your current self gets to greet. Press play and the same invitation is yours: A few minutes out of time, a place that turns familiar the longer you stay until you surface somewhere new and find it was yours all along.

Bandcamp | IG

Eliana Glass

Eliana Glass (b.1997) is a singer, pianist, and visual artist born in Australia, raised in Seattle, and based in New York. She is a graduate of the jazz program at The New School where she studied with such mentors as Andrew Cyrille, Ben Street, Kris Davis, and Jay Clayton. She also holds a degree in Visual Studies and Writing and works freely across multiple mediums. In the past year she has released her debut album, E, an album comprised primarily of piano and voice, via Shelter Press. Her work dedicates special attention to sparseness, voice, and her relationship to the piano, a lifelong entity since she was a kid.

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

Throwin’ Bo’s presents:

Tracey Nelson

Bandcamp | IG

Support to be announced.

DOORS at 7:00PM | MUSIC at 8:00 PM

Throwin’ Bo’s presents:

Robber Robber

Pinpointing the specific catalyst for an avalanche can be slippery — any combination of classic elements, human interference, or freak accident can trigger disaster — and documenting these precise moments often rests on serendipitous reflexes. On Two Wheels Move the Soul, Robber Robber offer themselves as ignition and capture every sound in the wake. Involuntarily thrust into the throws of rootless nomadism, Robber Robber ringleader Nina Cates collects a series of pressurized vignettes to assemble the Burlington quartet’s thrillingly explosive sophomore album.

Two Wheels Move the Soul was written and recorded throughout the winter of 2024 and 2025, a season of Cates’ life characterized by near-constant upheaval. In January of 2025, Cates (and Robber Robber co-founder) Zack James were displaced from their longtime home at the behest of a landlord’s call to have their building demolished. In a moment’s notice — and amidst a particularly brutal Vermont winter — Cates and James were left to fend for themselves. Luckily, the two were able to tap a deep well of support within their community, finding respite on the couches of Lily Seabird, Greg Freeman, and Thus Love’s Echo Mars. An unused attic provided their longest arrangement. 

The personal and economic chaos of living at the mercy of nameless powers-that-be redirected into a hyperfocused attention on Two Wheels Move the Soul. Returning to Little Jamaica Studios — one of the sites for their acclaimed debut Wild Guess — Cates, James, guitarist Will Krulak and bassist Carney Hemler hunkered down with their trusted engineer Benny Yurco. The familiarity between the cast of characters allowed the studio to become a sanctuary, and foregrounded Two Wheels Move The Soul’s constant foray into sonically adventurous terrain. “Everywhere else that we had to be, we were very much visitors,” James recalls. “When we were working on the record, it was nice because it felt like this is our space.” Still, an overwhelming sense of impending doom hangs over Two Wheels Move the Soul. Every scribble on the guitar thins the air, each stab of percussion and wave of distortion makes it that much harder to breathe.

On Two Wheels Move the Soul, landslides come early and the news of their arrival is just as chilly. Propelled by Cates’ nonchalant bars — inspired by the effortlessly-cool cadence of Gucci Mane and Lou Reed — Two Wheels Move the Soul saunters in and out of frame with the implicit assurance that any gaze will follow. Album opener and lead single “The Sound It Made” rattles into existence, eschewing exposition to plunge directly in the deep end. The polarized extremities of Robber Robber’s sonic palette fuse throughout Two Wheels Move the Soul, spanning post-punk scorchers, burnt-out slacker anthems, and melodies that sweeten the bitter pills stomached along the way. “Yes I know, gotta work for my pay,” Cates exhales on standout “New Year’s Eve,” a swaggering depiction of life’s myriad impediments. “I’m tired, so is everyone - how can I complain?” Cates wastes no time indulging in the miseries of late-stage capitalism, opting instead to resolve casual disappointment with a cool composure. “What more is there to do?,” Cates asks on “Pieces,” the slow-burning b-side intro that plainly lays out what happens when your life falls apart: “you’ll end up with a piece.”

Working through the discomfort of class, upheaval, and catastrophe is a central philosophy on Two Wheels Move the Soul. “You can leave it, but it follows you home,” Cates buries beneath incendiary bursts on “It’s Perfect Out Here in the Sun.” Easy to miss, it is a possible catalyst nonetheless. In the midst of the avalanche itself, the sparks ignited throughout Two Wheels Move the Soul fall by the wayside, and all that’s left is the wreck. “Upend, upend,” Cates intones atop kinetic and relentless instrumentation. Then the pressure cracks again. “So we dance.”

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DOORS at 7:00PM | MUSIC at 8:00 PM

Throwin’ Bo’s presents:

Angela Autumn

Angela Autumn is a country folk artist from the Appalachia region of Pennsylvania. Blending her sound from roots of her small hometown, she soon brought her childhood stories and buried upbringing to the city of Nashville. Releasing several albums, including “Cowboy Jack Clementine” (2023) and creating countless media videos through her platforms on social media, gaining her over millions of views, her sound and traditions began to be recognized: crowning her the name of “The Rose of Appalachia.”

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DOORS at 7:00PM | MUSIC at 8:00 PM

BIBO Events presents:

As he grows into a teenager on the streets of the Bronx in the socially turbulent 1960s, Calogero gets taken under the wing of neighborhood mobster Sonny. Sonny initiates the boy into the ways of gangland life, in direct conflict with his straight-arrow bus driver father. But when Calogero falls for his African-American classmate, Jane, the repercussions threaten the entire neighborhood.

A Q&A with “C” Lillo Brancato will follow the screening.
Photographs and autographs will be available for purchase in a meet & greet following the Q&A.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

Throwin’ Bo’s presents:

@

Songwriters Victoria Rose and Stone Filipczak are the creative force behind @, a singular duo whose inventive collaboration has reimagined psychedelic folk for a new generation. On Autosmile, their first album for 4AD, the pair expand on the acclaimed promise of their debut Mind Palace Music, blending timeless songwriting with adventurous arrangements, dense harmonies, and a playful spirit that constantly pushes beyond genre boundaries.

Though now based in Philadelphia, Victoria and Stone continue their distinctive songwriting process: working independently before completing each other’s compositions. Recorded largely at home with a humble collection of equipment and enriched by contributions from close friends on cello, violin, and drums, Autosmile transforms lo-fi methods into something remarkably lush, immersive, and emotionally resonant.

Across eleven songs, @ balance darkness and wonder with striking confidence. The album moves effortlessly between haunting folk textures, progressive flourishes, indie-pop hooks, and moments of cinematic beauty. Highlights include the expansive title track “Autosmile,” the nostalgic earworm “I Know You Are (But What Am I Thinking),” and the intricately arranged “Punish My Mind,” each exploring themes of change, self-reflection, loss, and acceptance through lyrics that remain deliberately open-ended and deeply relatable.

Equal parts mysterious, virtuosic, and playful, Autosmile showcases @ at their most fully realized—an adventurous partnership capable of looking backward and forward at once. It is an album of contrasts: beauty and pain, humor and gravity, intimacy and ambition. In the face of uncertainty, @ offer curiosity, connection, and the possibility of transformation. 

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DOORS at 7:00PM | MUSIC at 8:00 PM

Throwin’ Bo’s presents:

Thomas Dollbaum

“The realest-deal storyteller in indie-rock today is the Tampa-born, New Orleans-based singer/songwriter Thomas Dollbaum, and Birds of Paradise is his most powerful and dynamic work yet. Following up his critically acclaimed Wellswood (Big Legal Mess, 2022) and Drive All Night EP (Dear Life Records, 2025), Birds of Paradise is a goodbye letter to lost loved ones and former selves. These songs find Dollbaum searching for acceptance in the transient in-between places: Florida’s pine flatwoods, backroads leading to I-95, where birds fly across the water. And even though the ghosts of his alt-country predecessors Townes and Molina are definitely present, on Birds of Paradise, Dollbaum emerges from their shadows–waving to the past, sounding all the more like himself.

This moment–this album–is long overdue. Both of Dollbaum’s previous releases had taken way too long to record, due to circumstances out of his control, leaving him frustrated. And after having been away from his home for eight years, the place he had left was no longer the place he remembered, and the unchanging of the natural world felt like a constant he wanted to write about. With a sense of immediacy, he wrote Birds of Paradise in three months. Called up the musicians he trusted and admired the most–Nick Corson, Josh Halper, and Jake Lenderman–and asked them to meet him at Dial Back Sound in Water Valley, Mississippi with producer/engineer Clay Jones. They learned and tracked the album in four days, capturing lightning in a bottle, a sonic revelation Dollbaum’s writing has always been waiting for.

“Big Boi” recounts the time high school-aged Thomas got roped into giving a couple (outside the Waffle House) a ride to pick up drugs at a pill mill. At a time in indie-rock when many singer-songwriters like to proclaim they’re Southern, Dollbaum knows it’s more complicated than that. “One day I’ll take you down to a place that you can never get out/ Couple splinters in the wall, nothing to brag about,” he sings steady and direct after realizing the mess he’s in. It brings to mind the short story “Samaritans” by Larry Brown, where the narrator is tormented for having a helping heart. Like Brown, Dollbaum miraculously examines entrapment with generosity.

“Pulverize,” the album’s hardest and darkest rocker, is sorta like another short story, “Time and Again,” by Breece D’J Pancake. Both song and story are told from the point of view of a man plowing down the road, picking up strangers, trying to forget real awful things they can’t mention. Dollbaum was inspired by the time he tried to drive across Louisiana overnight but then, halfway, decided to turn around. In “Pulverize,” Dollbaum’s narrator is too afraid to look back. “You should have seen me/ out of Texas in the high moon/ Playing with God riding across the border cooped up/ in a hoopty to the promised land,” he struts. Lenderman harmonizes with Dollbaum on the chorus, “Pulverize this heart.” Dollbaum sings the next line alone, slinging his voice the highest it’ll be the whole album: “I don’t even need it.” And by the end of the song, he’s screaming with an intensity we’ve never heard before: “It’s fine, it’s fine, it’s FINE.”

But it ain’t just grown men trying to move on in Birds of Paradise. “King’s Landing” playfully frolics from the point of view of little-kid-Dollbaum growing up near a little private airport. And he’s got big dreams of flying him and his folks outta there. “I wish I could take us from this town,” he sings. But knowing this dream is “probably a waste of time,” he suggests going home and watching “Judge Joe Brown/ And reruns of Cops episodes in our home town.” “I hope we catch one where the bad guy gets away,” Dollbaum offers some optimism, “Maybe he’ll steal a small plane/ Fly off to the everglades/ Build us a home out of water and snakes.” When there’s nothing else, survival and imagination are the same thing.

With the help of Lenderman, Halper, Corson, and Jones, Birds of Paradise is Dollbaum’s hard-won breakthrough. Alive and echoing like the poems and short stories you can’t shake: coyotes howl, birds fly south, kids chase rabbits through the sugar cane, and cigarettes are four dollars a pack. Birds of Paradise reminds us where we come from–the things inside ourselves we’ve forgotten–we just needed Dollbaum to show us. Here’s how to look back without fear or shame. Here’s authenticity.” —Ashleigh Bryant Phillips

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DOORS at 7:00PM | MUSIC at 8:00 PM