Victory

fb4c543b6489242586e2f24991cd0671e35f6ebd_wmeg_00001Today, on Huffington Post San Francisco, I’ve got a piece on the Bay Area’s underground metal scene. Besides being a good excuse to name-check a few of my favorite local bands (Acephalix, for instance), the piece is a paean to underground concerts of all sorts, from punk to metal to bluegrass to hip hop.

I have no idea how the guy managed to sleep through Acephalix, because it was really loud. The San Francisco death metal band emitted a growling, galloping roar, the stuff of bad dreams, and it enveloped the room. The pit, meanwhile, was going off, a hostile ballet of bodies pinging off one another in front of the stage.

But this dude? He was dead to the world, mouth hanging open, slumped against the back wall. Next to him sat an equally incongruous giant stuffed donkey.

It was a Sunday night in early summer, and we were at the Victory warehouse in the Oakland ghostlands, a few blocks from Uptown but worlds away from its hipster sheen.

There’s something special about an underground show. I grew up outside Detroit in the late 1980s, as the city went into freefall. Paradoxically, Detroit’s collapse was great for the scene: there was no shortage of empty places to play, and the police were too busy to care about permitting or zoning. At college in North Carolina a few years later, I went to the occasional backyard bluegrass show. At a house in the woods about 20 miles from town, Teva-ed types sipped moonshine as guys with banjos and mandolins played Ralph Stanley tunes. While working in South Africa a few years ago, I found myself at a hip hop show in a weedy lot in Soweto, the country’s largest black township. While a succession of aspiring MCs jumped around on a makeshift stage, people drank beer and smoked weed, flirting with one another. Guys showed off their tricked-out cars, a parade of spinning rims and superfluous DVD screens mounted to the seats.