THE SHE'S, Slut Island

Tuesday 4/9

8:00 pm


Tickets at the Door

This event is all ages

ADV TIX $12 / DOORS $14.

*Orders place for the sole purpose of resale will be cancelled. Orders exceeding the 6 ticket limit subject to cancellation.*

If you’ve ever drafted an overly long text to someone and decided against sending it, then you’ll probably hear something of yourself in SASAMI, out March 2019 on Domino. “It’s a mix of a diary and a collection of letters, written but never sent, to people I’ve been intimately involved with in one way or another,” explains Los Angeles songwriter and multi-instrumentalist Sasami Ashworth, aka SASAMI, who wrote the album’s ten tautly melodic rock tracks over the course of a year on tour, playing keys and guitar with Cherry Glazerr. “Ok, maybe they’re more like over-dramatic drafts of texts that you compose in the Notes section of your iPhone, but either way, they come from a place of getting something off my chest.” In an Instagram post announcing the release of “Callous,” a haunting ballad chronicling the disintegration of a relationship over wrenching guitar wails, she sums up the inspiration behind her engrossingly confessional debut more bluntly: “Everyone I fucked and who fucked me last year.”

Originating as a string of demos she recorded straight to her iPad on tour, the songs poured out of Ashworth in stream-of-consciousness fashion, tracking the thrills, disappointments, and non-starters of a year spent newly single and on the road. In many ways, though, they were the culmination of decades of hard work. After a studying piano as a child, she picked up the French horn in middle school, and has been playing music pretty much every day since—first as a long-time conservatory kid with her sights on a career as a classical French horn player, and later as an elementary school music teacher, running around a classroom, making up songs and dances, and directing rag-tag orchestras full of glockenspiels and bongos.

It didn’t take long for Ashworth to start dipping her toe into pop music. A growing obsession with the noisy catharsis of post-punk and shoegaze and nights out with her brother Joo-Joo, a veteran of the Los Angeles indie rock scene who plays in the band Froth, led her to playing synth and guitar in the group Dirt Dress. In the past half-decade, she’s worn basically every hat that a working musician can wear, scoring films and commercials, producing for and playing on other people’s albums, and doing string, horn, and vocal arrangements for artists like Curtis Harding, Wild Nothing, and Vagabon.

But it wasn’t until March of 2017, about midway-through a two-and-a-half year stint recording and touring with Cherry Glazerr, that she felt the urge to sit down and write songs of her own. “I had just ended a year and a half relationship— a pretty serious relationship, that came right after another serious relationship,” she says. “It was just like a beginning of a new life cycle in a lot of ways—the beginning of my new single life, and also constantly being on tour, and being in this band all the time. And so I felt like I needed to write. I was just super emotional.”

At first, she viewed writing songs mostly as an opportunity to sharpen her guitar skills. Eventually, since she was on tour most of the time, she decided to forgo rent on an apartment and use the money to pay for studio time whenever she was back in Los Angeles, figuring that she might as well learn her way around an analog studio. Though the material she was working on was deeply personal, the record that would emerge from those sessions—co-produced by Joo Joo and Studio 22’s Thomas Dolas, who also engineered and mixed SASAMI—is largely the sound of Ashworth having fun in the studio with her friends. Devendra Banhart and Beach Fossils’ Dustin Payseur make appearances as “male back-up vocalists,” and Joo Joo—her professed “guitar hero”—and Froth bandmate Cameron Allen fill in guitar and drums, respectively. “Adult Contemporary,” a spacey reverie reflecting the existential uncertainty of our current moment, features an all-star crew of badass Los Angeles women, including French singer-songwriter and actress Soko on vocals, Hand Habits’ Meg Duffy on guitar, Alvvays drummer Sheridan Riley on drums, and Anna Butters on electric and standup bass.

SASAMI is the sound of Ashworth reveling in the warmth and magic of analog recording— experimenting with different guitar tones and amplifier placements, embracing the imperfections that arise when you record on a 16-track and reconstruing them as strengths. Her years studying music theory and classical performance shine through in the tiny details that pepper SASAMI at every turn—from the sly bending of a guitar note on opener “I Was a Window,” to the expressive pause before the instrumental breakdown on “Pacify My Heart.” Unlike your typical four-chord rock songs, her colorful arrangements draw from a classical technique called voice leading, where the different elements of a song (from voice, to keys, to bass) form distinct, interweaving melodic lines.
The She’s are born and bred San Francisco gals who create garage-pop beachy tunes that make you want to fast forward to summer. The group is lead by vocalist Hannah Valente, harmonized by guitarist Eva Treadway, and perfected by drummer Sinclair Riley and bassist Sami Perez. Since emerging into the tightly-knit San Francisco music scene, The She’s garnered a ton of success early on. They were included in The San Francisco Guardian’s “Bands On The Rise,” and hold recurring features on The Bay Bridged. Since their inception, they’ve been frequently invited to play at most well-known San Francisco venues, opening for bands like Girls, Thao and the Get Down Stay Down, and Yuck.

The She’s are more than just your average girl band. These talented BFFs have been playing music together since elementary school-and their closeness shines through in their perfectly tuned three part harmonies. With songs about hanging out, love, and dreaming about boys, these ladies are a swoon-worthy bunch who can make anyone feel giddy. The She’s most recently released a lo-fi ’60s-inspired album- Then It Starts to Feel Like Summer, and are back with a more mature and nuanced release to bring you right back to that sandy place in your daydreams.

"Sun-dazed harmonies, tight, toe-tapping rhythms and the kind of beachy pop you’d listen to in a convertible on vacation.” –7×7 Magazine
Slut Island
Slut Island
Slut Island is a culmination of two really hot super cool talented modest artists and best friends singing about real life issues including HPV, stuffing hair in your mouth, wanting to see someone you love die, being a bad church boy and much much more! After meeting on their LA Dance Squad and becoming forever dance partners, Penelope Gazin and Kate Hollowell soon realized they were both mediocre musicians and knew they had to start a band to show the world! An irreverent punk band which is so punk it's not punk, which in turn makes it punk, Slut Island is known for their unforgettable performances and crowd interactions, receiving high praises from the likes of Robert Ebert (Roger Ebert's brother) who called it "better than Cirque du Soleil on acid!"
Venue Information:
Rickshaw Stop
155 Fell St
San Francisco, CA, 94102