From my inbox:
“Bob Dylan and his Band will be performing in Santa Monica, California, for the first time in almost thirty years, when they play at the Santa Monica Civic Auditorium on September 3.

Pre-sale tickets go on sale on Monday, August 4, at 10 a.m. PT. They go on sale to the general public on August 9.

The password “lapuebla“. Click here to purchase through Ticketbastard.”

Or you can skip it considering he is a dried up piece of crap who can’t even play the guitar live anymore…or at least he didn’t in Lincoln a couple years ago. He sounded like shit, turned every song into the exact same sounding watered-down country song, put out no energy whatsoever, hardly looked up from the PIANO and bitched at his band half of the time. Biggest waste of concert-going money that whole year.

Pity, saw him 3 years earlier on 4-20 and it was one of the best shows i’ve ever seen! He played absolutely everything, it sounded great, he had Charlie Sexton in his band and the place went nuts!

And I was even sober!

So… this could be hit or miss. Good Luck Santa Monica!

My first exposure to Priscilla Ahn was through sheer coincidence. Early Last year I was working for a band who happened to be playing a little benefit show in an exotic home interiors store in Eagle Rock. The opener was the featherweight Phoebe Cates (or yes, Winnie Cooper) stand-in Ms.Ahn. With her guitar and handful of toys and gadgets she made the space her own little world. Her songs transported me into to a place that you’d think only she’d been. But what really slayed me was the delicate orchestra coming off of one small person. With the aide of a Boss loop station pedal she made enough music to fill 3 coffee houses. So of course I’d wondered what it would sound like if she actually had a full band behind her.

Flash forward a year to the night of the release of her debut album A Good Day, where Priscilla and her parlor full of band members took the stage of the Hotel Café. The house was packed with a surprisingly high contingency of asian fans (role model?) and some buzz seeking industry and media reps. I joined a photo pit of about 7 packed into the small corner off stage left and prepared to be destroyed with a feather.

Priscillas stage persona is a tiny ball of artisitic elation, at once nervous and as comfortable as if she were singing to herself…which she eventually did (in loops). The room was stuffy but a cool breeze flowed from the opening numbers of Priscillas set with “Wallflowers” and the Dylan/Lennon Harmonica infused “I don’t think so”. She beamed as she announced the albums release and proclaimed that she was going to “play the whole damn thing”. Which she nearly did… minus the albums’ title track. Her co-penned song “Astronaut” stuck out of the middle of her set just as it does on the album with a storytellers jumble of The Ditty Bops meets “Mr. Kite”.

Even the smallest band would feel crowded on the Hotel Café’s Stage, but veterans such as bandleader/producer/mentor Joey Waronker played to perfection and drove songs like “Red Cape” beyond what the very capable Ahn could do solo. As I was debating the merits of her work with a band and solo Ahn broke out her ukulele for “Find My Way Back Home” and proved how absolutely powerful she could be with just 4 strings and no accompaniment.

But what makes a Priscilla Ahn show is the personality transferred through her storytelling. Debatably the most beautiful song in her cadre is “Lullaby” which comes with a wonderful story about small town escapism and unqualified local policemen; sealed with her Joni Mitchell to Delores O’Riordan vocal outro. As the set was winding down she also shared her story of Willie Nelson’s reaction to her cover of “Opportunity to Cry” before launching into the song with folk swing.

The evening was capped with her “Dream” of a new single which builds to a peak with a looped armada of perfectly harmonized siren calls from Ahn. The added layers of Upright Bass, Drums, Keys, Electric Guitar and Two Cellos pushed this showstopper to the brink of spiritual enlightenment.

The assumed Encore and closer was the kazoo soloed “The Boob Song”, an older fixture of her set with more great storytelling and playful teenage introspection. A fun close to a great set, Priscilla Ahn is full of promise and potential. She radiates a joy in creation and performance that you won’t see too often in bitter, navelgazing hipsters on dark stages in Silverlake. Although my shirt was sticking to my back and the Hotel Café had to be its typical high 80s climate, I felt refreshed by this show as if i’d just walked through the rain.

9.4/10