On Sunday night, Theatre of Living Arts welcomed Chicano Batman for a night of psychedelic, soulful grooves. I’ve had my eye on this show for a while now, and finally seeing them live completely changed my perspective on their music. I really understand what all the hype is about, because these guys are fun, and I’m happy I had the chance to check them out in person. Continue reading →
Before the weather gets cold, spoken-word artist Ursula Rucker closes out Germantown Kitchen Garden’s Golden Hour Concert Series tonight with an intimate outdoor performance. The Philly native’s latest project is one-woman show My Father’s Daughter, to be staged in New York this month. Ivy Sole and Osiris Wildfire are also playing, and the event features a potluck dinner before the music starts. Find more information on the XPN Concert Calendar. Continue reading →
With suave instrumental tones and a debonair look, Los Angeles outfit Chicano Batman closed out night one of NonCOMM 2017 with a breezy-yet-energized performance of songs from their 2017 LP Freedom Is Free and a couple selections from their back-catalogue. Continue reading →
Chicano Batman recently packed their eclectic ensemble into NPR’s office for a Tiny Desk concert full of suave, smooth and spirited grooves. As per usual of the Californian four-piece, the dapper band was dressed to the nines as they performed three songs, including “Freedom Is Free,” “Friendship (Is A Small Boat In A Storm,)” and “Jealousy.” Continue reading →
Well well well, this is a nice surprise. Since this weekend is Scooter Best’s seven-year anniversary owning and operating The Grape Room in Manayunk, he’s getting the band back together. Stargazer Lily was a super fun force on the Philly music scene in the early aughties, and were regular players at the Grape’s previous incarnation as Grape Street Pub. The band is led by dual songwriters Susan Rosetti and Stephan Hayes, who mutually reinforced one another in harmonies and words (“remember last week when we had that conversation about how we both thought that we were brilliant”). They bridged the worlds of folk, pop and alternative rock with Jim Miades on bass and Best on the drums; think Velocity Girl, Indigo Girls and The Sundays. In short, the show tonight will be a trip down memory lane, but in the best way. Below, listen to the band’s 2002 album The Lift and The Drag — Hayes’ powerful opening track “Middle America” is as relevant in the Trump era as it was during the Bush era — and get more information on Stargazer Lily’s celebratory reunion gig at The Grape Room here, via Facebook. Continue reading →
This just in — Austin indie rock favorites Spoon will light up the BB&T Pavilion stage on night two of this year’s XPoNential Music Festival. Co-headlining alongside Britt Daniel and co. are Amos Lee and Friends, featuring Preservation Hall Jazz Band, with The Suffers and Chicano Batman kicking off the show; seated tickets for the concert on July 29th go on sale this Friday, March 10th, at 10 a.m. Continue reading →
After playing a packed show at the BB&T Pavilion last night as part of XPoNential Festival’s day two headliners, Chicano Batman returned to Camden this morning, this time to open day three of the fest with an afternoon performance at the Jerseyarts.com Marina Stage in Wiggins Park. The venue faired well, having been submerged the following early evening by surprise flash thunderstorms. With a dry ground and sun shining bright overhead, the band got the crowd ready for the final day of stellar live music. Continue reading →
Drawing on 60s and early 70s bossa, and samba, cumbia, psychedelia, and soul, Los Angeles four-piece Chicano Batman plays Underground Arts tonight. The retro-leaning Latin rockers released Cycles of Existential Rhyme last year, and will be joined by Las Cafeteras at tonight’s show. Tickets and information can be found at the XPN Concert Calendar. Read The Key’s interview with Chicano Batman here, and listen to “She Lives on My Block” below. Continue reading →
Designed by Cesar Chavez and his brother Richard in 1962, the logo of the United Farm Workers became a potent symbol for the burgeoning Chicano rights movement, taking the eagle symbol from the Mexican flag and patterning its stairstep wings after an inverted Aztec pyramid. A little less than fifty years later, a singer, guitarist, and organist in East L.A. made a few slight alterations to that logo, bringing it to a sharp point at the bottom and replacing the eagle’s head with a familiar pointy-eared bat’s head, bringing together the un-parallel worlds of the UFW and DC Comics.
The new symbol stands for Chicano Batman, and if the Los Angeles four-piece doesn’t exactly fight for farm workers’ rights or battle criminals by night, their throwback blend of R&B, Tropicália and psychedelia does provide its own kind of uplift. “The idea of it is that underrepresented people can be superheroes in their own right,” says guitarist Carlos Arevalo. “There’s people out here in L.A. that are working hard every day to provide for their family, and that’s a superhero to us.”
The name of the band, which will perform at Fleisher Art Memorial on Monday, came from another sketch by frontman Bardo Martinez, this one depicting the superhero himself. “Bardo was at a party one day doodling,” recalls Arevalo, “and he drew a Latino Batman character with a little mustache, where the cape and mask was actually a flannel shirt like you would see a cholo in L.A. wear, and he called it Chicano Batman.”
The name initially became a pseudonym for Martinez’s solo work, but he soon gathered bassist Eduardo Arenas and drummer Gabriel Villa to form an actual band, releasing their self-titled debut in 2009. Arevalo joined two years later to fill out the band’s sound and allow Martinez to devote his attention to the organ.
That instrumentation is key to capturing the retro sound that Martinez envisioned for Chicano Batman. The music on the band’s recently-released second full-length album. Cycles of Existential Rhyme, combine the influences of American soul artists like Brenton Wood and the Delfonics with Latin-American soul groups of the late ‘60s and early ‘70s, including Los Angeles Negros and Los Pasteles Verdes; and the Tropicália sound of Brazilian artists like Caetano Veloso and Os Mutantes.