Foxtails Brigade

The Hollywood Hills-born daughter of a cult filmmaker and sister of offbeat stand-up comedian Brent Weinbach, Laura grew up in a musical household that embraced eccentricity.

Laura started Foxtails Brigade in 2006 with her friend, violinist Sivan Sadeh. She moved to San Francisco a year later, playing every club and street corner and she could find and it wasn't long before the city started to notice. She quit her day job as a substitute teacher in 2009 and has been a full-time performer ever since, sharing stages with Faun Fables, Chris Garneau and Bart Davenport amongst others. She has collaborated with a number of talented musicians in Foxtails Brigade, including cellists Jen Grady, Robin Reynolds and Lewis Patzner and multi- instrumentalist Joshua Pollock. Her most recent musical partner is violinist and arranger Anton Patzner of Bright Eyes and Judgement Day.

Lasher Keen

The world of Lasher Keen is both dark and bright, living and past, mythically inspired and mystically sensual. Comprised by multi-instrumentalists Dylan Sheets and Bluebird Gaia with a rotating cast of musical collaborators, Lasher Keen make music that's inspired by ritual-induced trance states, yet grounded infolk traditions. Drawing on a wide swath of influences stretching from Neolithic British psychedelia to the distant underworld of matriarchal times, they are a band who transmute the dust of history into the gold of creation.

The release of their latest album, Berserker on the Pesanta Urfolk label shows them broadening theirscope furthertoincorporate disparateelementsranging from Motown soul tosea shantiesand delicate harp music.Aidedbyalt-folk luminarieslike Dawn McCarthy (Faun Fables, Bonnie "Prince" Billy), Cornelius Boots and Nils Frykdahl (Sleepy Time Gorilla Museum, Faun Fables), they avoid the usual musical clichés witha battery ofstrange instruments including the bouzouki, jaw harp, hunting horns, singing saw, glockenspiel, penny whistle, bodhran, autoharp, accordion, zils, baritone sax and shakuhachi flute alongwith traditional harp, acoustic guitars, cello, violin, bass and hand-drums.

Their deeply cathartic live performances tread the fine line between rock concert and elaborate Pagan ritual. Dressed in cloaks and leathers and awash in tribal war paint, theycreate a sacred space onstage where the spirits ofthe underworld are invoked and honored. Deftly switching instruments mid-song, they create an atmosphere of danger and passion, melding the stately naturism of Pentangle with the grinding miasma of the Velvet Underground. The roots of their live shows can be tracedfrom The Grand Guignol theatre of 19th century Paris to the subtle "rockas ritual" performances of pranksters like Sun Ra and Diamanda Galas. When Lasher Keen take the stage, audiences are transported toa netherworld of sound, rhythm and living myth.

Following in the footsteps of the wandering minstrels from Renaissance Europe to the post-war Mississippi Delta, Lasher Keen have embarked on numerous tours. The duo have traversed the West Coast from the ancient rain forests of the Pacific Northwest to the concrete wastelands of Southern California. Their most ambitious tour took them across Europe, where they were welcomed by crowds in France, Switzerland, Czech Republic, Italy, Germany and Austria, who found the language barrierno impediment.

Lasher Keen call the rural mining community of Nevada City, California home. It is a land of deep history, a place suffused with natural magic long before the gold miners arrived, and a place where Sheets and Gaia are free to howl at the moon, burn ritual bonfires and hone theircraftfree from the intrusions of modern "progress". The world of Lasher Keen is one of mystery andknowledge, ritual and spontaneity. While some bands cling to nature as an aesthetic pose, Sheets and Gaia create from a deeply held reverence for the natural world, a worldwhere life and death coexist in the decaying leaves on the forest floor and the new green blossoms of spring.

The Moore Brothers

"The Moore Brothers have been making music since the late '80s, but their fifth and latest, Aptos, arrives on the heels of a publicity boost courtesy of fellow Californian Joanna Newsom. The duo joined Newsom on 2007 her European tour, and she puts in a guest appearance here, contributing harp to "Good Heart, Money and Rain." The wider exposure is certainly merited: Aptos is, while humble and unassuming, compelling from start to finish, and both brothers are first-rate singers and songwriters. The Moore Brothers' sound is consistent throughout, generally consisting of sparse arrangements of guitars, bass and drums, which leave ample room for the flawless harmonies that are nearly ubiquitous. Despite the acoustic guitars and harmonizing, the brothers deal less in folk than in light pop. While they aren't strongly evocative of any particular group or period, they clearly owe a debt to mellow early '70s fare (Simon and Garfunkel in the harmonies, CSN on the David Crosby-esque "Aptos", and America on the radio-ready chorus of 'Heard About You')." --Dusted

$7.00 - $10.00


Advanced Tickets are available online until 5pm on the day of the show and a reserve of tickets are generally available at the door that night, unless posted on the Starry Plough website, Facebook and Twitter pages as sold out.

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