The Ritz, San Jose 95113Report Issue

The Ritz, San Jose 95113


400 S First St
San Jose, California 95113
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Fri, July 19, 2019 (8:00 PM PDT)
Western Standard Time with Let's Go Bowling, DJ Reggaedelic


Western Standard Time

Traditional Ska / Ska-Jazz big band from USA.

400 S First St, San Jose, CA 95113 
$10.00 - $25.00

Upcoming Shows

Fri, July 19, 2019 (8:00pm - 10:00pm PDT )
Western Standard Time with Let's Go Bowling, DJ Reggaedelic
Western Standard Time

Traditional Ska / Ska-Jazz big band from USA.

$10.00 - $25.00
Sat, July 20, 2019 (8:00pm - 10:00pm PDT )
This Charming Band with BloodFlowers - A Tribute to The Cure
This Charming Band

A tribute to The Smiths & Morrissey

$15 - $18
Fri, July 26, 2019 (8:00pm - 10:00pm PDT )
La Misa Negra
La Misa Negra

La Misa Negra is a 7-piece band from Oakland, California, known for their unique blend of cumbia and high-energy, Afro-Latin music. On stage, they deliver an electrifying performance that explodes with infectious dance grooves and punk rock energy, powered by horn and accordion-driven riffs, a fierce rhythm section, and a vintage-inspired sound. Since their live debut in the fall of 2011, La Misa Negra has toured the country, sharing stages and festival bills with the likes of Red Hot Chili Peppers, Stevie Wonder, Lenny Kravitz, Thievery Corporation, SZA, Mon Laferte, Julieta Venegas, Ana Tijoux, Bomba Estereo, George Clinton, Antibalas, Budos Band, and Ozomatli. On the strength of their wild and one-of-a-kind shows, they have gained a reputation as one of the most exciting live bands to emerge from the Bay Area in recent years, garnering a diverse fan base that transcends musical, cultural, and generational divides.

$16.50 - $20.00
Sat, July 27, 2019 (8:00pm - 10:00pm PDT )
Temptation with Teenage Werewolves, DJ Omar Perez
Temptation - A Tribute to New Order

Temptation - a tribute to New Order New Order was born from the remains of post-punk pioneers Joy Division following the suicide of their frontman Ian Curtis. Combining rock with electronica, the Manchester band would go on to become one of the most influential bands of all time. They're hit 'Blue Monday' still remains the top selling 12" single of all time and a club favorite. Temptation captures the sound of New Order and brings an energy to the live performance that keeps clubs packed and people dancing. Every effort has been taken to ensure that the sound and legacy of the band is treated with the upmost respect and accuracy. So tell me…how do you feel?

$12.00 - $15.00
Sun, August 4, 2019 (5:00pm - 7:00pm PDT )
International Surf Classic IV with The Boss Martians, The Surfrajettes, Los Tiki Phantoms, Los Freneticos
International Surf Classic IV $22.00 - $25.00
Thu, August 15, 2019 (7:00pm - 9:00pm PDT )
No Strings Attached
An Orchestral Rendition of Dr. Dre: 2001

No Strings Attached is a collaborative effort between some of Europe’s most accredited Orchestras and Event Promoters to curate the most outstanding live music events.

$20.00 - $25.00
Fri, August 16, 2019 (8:00pm - 10:00pm PDT )
The Blasters with Big Sandy And His Fly-Rite Boys, Jesse Dayton
The Blasters

The all-American roots music band, the Blasters were principally brothers Dave and Phil Alvin whose first-hand experience with blues masters shaped their sound and turned them both into contemporary singer/songwriters whose interest in roots rock has never waned. The brothers, along with Bill Bateman on drums and John Bazz on bass, grew up in Downey California, in the shadow of Disneyland. Their musical education involved hanging out with musicians like Lee Allen, Marcus Johnson, and T-Bone Walker, all of whom tipped the band to the ways of blues and R&B. Ironically, by the time they were ready to work in Los Angeles clubs, the punk rock explosion was in full swing, and they found an audience for their rough-and-ready sound among the punks, particularly fans of X with whom they frequently shared the bill. American Music (1980) was a collection of roots covers and like-minded originals. Followed by The Blasters (1981, Slash), the band had added veteran pianist Gene Taylor, baritone saxophonist Steve Berlin and mentor Allen on tenor sax. Amazingly, the album reached number 36 on the charts. In 1982, they recorded the live EP, Over There for Slash, followed by 1983's Non-Fiction. Less focused on rockabilly revivalism, Dave Alvin had become the band's chief cook and songwriter. Berlin had since left the fold to join Los Lobos. Hard Line followed in 1985. The band called it a day after that, though several years later Phil Alvin reformed the group as a live act without Dave. The current version of the Blasters is a phenomenal live band, featuring all original members except for Dave.

$22.50 - $25.00
Sat, August 17, 2019 (8:00pm - 10:00pm PDT )
Planet Booty with Ghost & The City
Planet Booty

Planet Booty is probably not what you think it is. If you haven’t yet experienced the infectious power of their live shows, or danced and sweated along with these impressively talented musicians, or felt the intense, penetrating gaze of frontman Dylan Charles Germick as he begs you, in all sincerity, to love yourself no matter what… then you don’t quite have the full picture yet. Their original music uses electronics and live instrumentation to create a driving electro/funk/RnB blend inspired by classics like Miami Bass, Prince, Talking Heads, Zapp & Roger as well as modern influences like Major Lazer, Chromeo, Daft Punk. It all adds up to a smart, sexy, and playful sound serving a simple obsession with spreading joy, making bodies move, and cultivating the positive self images of their followers. Conceptualized in Oakland, CA in 2009 by brothers and Indiana transplants Nathan and Dylan Germick, Planet Booty grew over the next few years into a hugely popular six-piece dance party machine with a reputation for pushing each show to the limit, often adding additional singers, dancers, and horn sections. As word traveled and popularity grew, they began touring regularly along the west coast from San Diego to Seattle. The demands of the road finally compelled them to reconfigure all that energy into a highly efficient three-piece touring unit consisting of Dylan (vocals/trumpet/beats), Josh Cantero (vocals/keys/trombone), and Rob Gwin (bass/percussion/software). With this new format Planet Booty hit the road hard in 2015, touring as far east as Chicago and appearing at festivals including Symbiosis and an an official SXSW showcase. “Dylan Germick is a true performer and every moment on stage he is there to entertain.” — Spinning Platters “Planet Booty’s rabble-rousing, sweat-a-thon theatrics are just part of the package, which includes a ‘Soul Train’-worthy six-piece band playing an infectious blend of funk, soul, R&B and electro.” — SF Examiner “Planet Booty are my favorite band. That is all.” — Jane Wiedlin of the Go Go’s “Not to get too caught up amongst the posterior puns, it should be noted that, above all, Planet Booty packs a serious musical punch behind their antics.” — Life Is Awesome

$11.50 - $15.00
Fri, August 23, 2019 (8:00pm - 10:00pm PDT )
The Crystal Method
The Crystal Method

For more than two decades, The Crystal Method has remained at the forefront of the worldwide dance music industry as pioneers of the big beat genre, innovators of the ‘90s electronica movement and current-day global ambassadors of the American electronic sound. Originally formed as a duo, alongside now-retired founding member Ken Jordan, The Crystal Method today lives and breathes as a solo act, with co-founder and originator Scott Kirkland at the helm. And with the artistic reboot comes the next chapter in The Crystal Method timeline: The Trip Home, out September 14 on the band’s own Tiny E Records. As the sixth full-length The Crystal Method album and Kirkland’s first as a newfound solo act, The Trip Home serves as the creative rebirth of the brand. An artistic manifesto and love letter to the electronic world, The Trip Home welcomes Kirkland at the driver’s seat with full control of the reins. The Trip Home is co-produced with veteran producer/remixer/composer Glen Nicholls, who has worked with legendary artists like The Prodigy, Nine Inch Nails, Sia and UNKLE, among many others, in addition to scoring several of his own feature films. For the new album, Kirkland dove deep into the decades-spanning discography of The Crystal Method. The result is a sound that revisits the roots of the classic Crystal Method aesthetic, while pushing its possibilities into the future. Equal parts throwback and dynamic futurism, The Trip Home expands Kirkland’s unrestrained curiosity into new realms and new sounds. To perfect this fine balance, Kirkland took a back-to-basics approach, which saw him firing up his arsenal of analog synths and reconnecting with his collection of vintage gear. The lead single “Holy Arp” captures this calculated formula perfectly: A brooding intro of darkly tinged bleeps and bloops slowly builds the song’s tension before it pours into a bed of chunky synths, distorted reverb and alien sounds. Its minimal, vocal-less melody allows space for the synths to expand and reach a high peak before disintegrating into the ether. It was “Holy Arp” that gave Kirkland the first flashes of the cohesive sound that would shape The Trip Home. “As soon as I got that track going, I knew I had found the direction for the new album,” Kirkland says. “It reverberates with the sound of Crystal Method classics like ‘Name of the Game’ and has some of the gnarliness of ‘Vapor Trail.’ It’s an angry, ballsy, bombastic trip down the inner workings of the vintage ARP 2600 synth.” Elsewhere, the emotional ballad “Ghost in the City”—co-produced with electronic artist/producer Le Castle Vania—is a narrative-driven electronic dream that floats through dark clouds and shredding guitars, while singer-songwriter Amy Kirkpatrick delivers an angelic and touching vocal performance. “The Raze,” also produced alongside Le Castle Vania, is a mind trip through thick and heavy synths that unfurls with cinematic, dark drama. “It was great to have the opportunity to collaborate with Dylan (Le Castle Vania) again on two tracks from the new album,” Kirkland says. “There’s a Difference,” a reimagining of the track “Difference” off The Crystal Method’s 2014 self-titled album, is a full-on alt rock hybrid that mixes melodic electronics, pulsing bass via Tony Buchen (The Griswolds, Boyzone), punching live drums from Grammy winner Matt Chamberlain (Pearl Jam, The Wallflowers, Fiona Apple) and riveting vocals from singer Franky Perez (Apocalyptica, Slash). “Distance” is both cinematic and theatrical as it reaches toward progressive crossover territory in its delivery of chainsaw guitars, electronic atmospherics and operatic vocals care of Delila Paz and Teflon Sega. Collectively, The Trip Home pieces together the fundamentals of The Crystal Method’s storied past while adding new, unexplored elements for a cohesive, unique sonic experience that’s as diverse in sound and style as it is anthemic and driving. “I wanted to create a concept album of sorts,” Kirkland says, “a project that speaks to what’s going on in my life right now and a vision that also brings The Crystal Method sound forward and shapes it in a new way. I’ve been enjoying the idea of making an album like our debut album Vegas, where every song is different. Every song has a different BPM, every song has different emotions, every song has different elements.” The Trip Home also serves as Kirkland’s message and reaction to the grandiose excess of today’s EDM scene. Where the genre constantly offers tired and recycled noise, Kirkland answers with an album built on organic sounds, a wide emotional range and, ultimately, real music. Forged from analog synths, recorded through vintage Moog and Electro-Harmonix pedals and mixed through Sound City’s Neve console—not the same one used on Nevermind; Dave Grohl has that one—The Trip Home is a warm embrace of organic electronic music. The natural noise of analog gear is part of the sound. “I’m always looking for just the right amount of wrong,” Kirkland says. “I’m really proud of all the collaborations and incredibly talented artists who contributed to The Trip Home. I wanted to make a timeless album that sounded great and that conveyed an emotional narrative and a strong appreciation of the album format.” The Trip Home will be released as The Crystal Method celebrates two massive milestones in 2018: 25 years on the music scene and the 21st anniversary of Vegas, the band’s debut studio album. Released in the pivotal year of 1997, Vegas has since become one of the essential building blocks of the American electronic music canon. As the second-ever platinum electronic album in the US, Vegas is one of the top-selling albums worldwide by an American electronic artist ever; it can be found on iTunes’ electronic music album top 20 chart to this day. The Trip Home is the latest installment in The Crystal Method’s lauded discography, which also includes Tweekend (2001); Legion of Boom (2004) and Divided by Night (2009), both of which received Grammy nominations in the Best Electronic/Dance Album category; and The Crystal Method (2014). The Crystal Method has also released two mix albums under the Community Service banner, in 2002 and 2005, and was the first group to participate in Nike’s music series specifically designed for running and working out via their Drive: Nike + Original Run mix compilation in 2006. As The Crystal Method, Kirkland’s music and creative output also extends into film and TV, where his credits include: the theme song for hit Fox TV show Bones; the score for indie film London; and composing all of the music for the J. J.-Abrams-executive-produced Fox TV drama Almost Human. Most recently, Kirkland wrote his first-ever original film score for the 2017 documentary Hired Gun: Out of the Shadows, Into the Spotlight and wrote the theme song for 3 Below, an upcoming TV series from Academy Award winner Guillermo del Toro, which debuts on Netflix this fall. With The Trip Home in tow, Kirkland is also exploring new waters as a solo-performing artist, which now sees him re-envisioning The Crystal Method live and DJ shows as a one-man band. He’s kept a busy touring schedule since 2017, which saw him clock in over 60 shows across the US, Asia and Canada, including several support slots with TOOL. In 2018, he headlined his own solo tours across North America and performed at the 20th anniversary of the globally renowned Ultra Music Festival in Miami. Last November, he also performed at the League of Legends Live concert in Beijing, China, in front of tens of thousands of die-hard attendees and millions more online via the event’s official livestream. “The Trip Home refers to my long journey: all these places where I’ve been able to go, the experiences that come with it, the distances I’ve traveled,” Kirkland reflects. “It’s the journey back to all the things that got me here—the touring, the music, the fans—and keep me here. But there’s always home. At the end of it, I go home to my family, I go home to my studio, and then I go back out. It’s a circle. I tried to capture all this in an album.” —John Ochoa, July 2018

$25.00 - $30.00
Wed, August 28, 2019 (8:00pm - 10:00pm PDT )
Fucked and Bound with ColdClaw, Haunted Horses, Ratz On Acid
Fucked and Bound

Seattle hardcore. Debut LP, SUFFRAGE, out NOW on Atomic Action Records.

$7 Suggested Donation
Thu, August 29, 2019 (8:00pm - 10:00pm PDT )
Igor and the Red Elvises
Igor and the Red Elvises

If Igor and Red Elvises aren't in the middle of a tour, they are getting ready for the next one - this traveling rokenrol party is constantly in motion and consistently evolving. Singer, songwriter, guitarist and showman extraordinaire Igor Yuzov is perpetually globetrotting and in the process he has found scores of wildly talented, entertaining performers to bring into the fold. Red Elvises started as a Russian group, playing what they dubbed "Siberian Surf Rock". Since then the band has included musicians from all over the world including United States, Israel, Kazakhstan, Puerto Rico and Bulgaria - to name just a few. Everyone who performs with them for any length of time brings something different both energetically and musically. At various times shows have included keyboards, accordions, sax, clarinet, trumpet, flute, banjo, mandolin, tuba, ukulele and more. Old and new fans alike can expect to be surprised at shows again and again, however the roots of Red Elvises remain the same: Igor's unique brand of humor combined with guitar based rock'n'roll that makes audiences want to sing, dance, scream and shout. German born Igor Yuzov grew up in the former Soviet Union, where folk music was the norm and rock'n'roll was illegal. A rebellious streak led him to seek out the forbidden records, which could be secretely traded in some places for those who knew where to look. As soon as it became possible, Igor left Russia for America with his folk band Limpopo. The "Crazy Russian Folk'n'Roll" group were personally greeted by Ronald Reagan and proceeded to win Ed McMahon's Star Search. Igor started Red Elvises in 1995, following a dream he had that Elvis Presley came to him and told him to start playing rock'n'roll. Not one to say no to the King, Igor and his Russian friends started playing on Santa Monica's 3rd Street Promenade. Their street musician days did not last long, however, as they drew such huge crowds that the City of Santa Monica brought them to court and ordered them off the streets. Since then Red Elvises have been constantly touring, with occasional breaks from the road to record an album or take part in film and television projects. This constant work for the last 15 years has led to them gaining a world-wide following, with successful tours all over North America, Europe and Russia (Red Elvises bootlegs have been found in Siberia). Igor & Red Elvises have declined several major record deals, prefering to maintain independent status and produce all their own work. This includes 11 studio albums, one live album, a live concert DVD and a Greatest Hits compilation. Added to their long resume is work in film (Six String Samurai, Mail Order Bride, Armageddon, Skippy) and television (Melrose Place, Fastlane, Penn and Teller's Sin City Extravaganza, VH-1 Behind the Music, MTV). They can be found playing everything from large festivals to private parties, small venues to massive stages such as 2005's Live 8 Benefit Concert. Whatever the event and wherever Igor & Red Elvises go, they bring the party with them.

$11.50 - $15.00
Sat, August 31, 2019 (8:00pm - 10:00pm PDT )
Dub Trio
Dub Trio

Every time we wake up, we return to life. Shaking off slumber, the world seemingly begins anew in front of our eyes. Dub Trio underwent such an awakening. Over nearly two decades together, the Brooklyn triumvirate—Stu Brooks [bass], DP Holmes [guitar], and Joe Tomino [drums]—not only delivered a string of albums that forever redefined the term “dub”under cover of metal, punk, alternative, and shoegaze, but also infused its musical prowess into the studio recordings and the shows of genre-bending icons ranging from Mike Patton to Lady Gaga. The three-piece introduced itself on 2004’s “live-dub experiment” Exploring the Dangers Of followed by successors New Heavy [2006], Another Sound Is Dying [2008], and IV [2011]. Conjuring up instrumental music hummable enough to sing, praise came from the likes of Pitchforkwho predicted “Dub Trio are on to something.” Along the way, the guys served as Peeping Tom’s live band and toured alongside everyone from Clutch to Gogol Bordello and Dillinger Escape Plan. However, the band took a hiatus as a collective in 2015 after touring heavily behind IV. Having an impact on various genres, they served as the backing band on the Lady Gaga demos that famously attracted the attention of Interscope in addition to backing Matisyahu for six years. Brooks received a GRAMMY® Award nomination for his work with Pretty Lights in addition to backing Rock and Roll Hall of Fame® Inductee Dr. John on the road. During 2018, he played bass in the Saturday Night Live Band sharing the stage with the likes of Kanye West and Kid Cudi. Moreover, he is the musical director and bassist for the GRiZ Live Band alongside Tomino. Additionally, Tomino hit the kit for The Fugees as Holmes lent his six-string talents to Mos Def, Common, and more in the studio. Members shuffled around the country with Holmes in North Carolina and Tomino in Cleveland before regrouping for a European tour in 2017. A two-week 2018 reunion at a tiny Brooklyn rehearsal spot set the stage for their fifth full-length and first release for New Damage Records, The Shape of Dub To Come as an homage to titles such as The Refused’s The Shape of Punk to Come and Ornette Coleman’s The Shape of Jazz to Come. “The band has been in hibernation, and now we’ve awakened,” smiles Brooks. “It took a while just by virtue of the fact everyone was in a different geographical location. Once we got together, we rehearsed for a few days, hit the studio, tracked, and mixed everything within two weeks. It has a different energy. It’s more fresh. The first time playing these songs was three days before we hit ‘record.’ That’s a big part of the record’s identity. We needed a little bit of a break, because we’d gone so hard for fifteen years. Joe had a baby. Dave had a baby. In the rehearsal room, it was like no time had passed though. There was a little bit of nostalgia and sentimentality. We fell into our usual patterns and continued.” “It felt like going back to the beginning,” adds Tomino. “Back in the day, we used to play in really close quarters: Dave’s basement. That’s where it started. Here we are in this little Brooklyn rehearsal room, and it brought me back to the roots of Dub Trio. It started this recalibration as we went home to the genesis of Dub Trio and evolved from there.” This time around, the groove hinged on slower stoner-inspired sludge riffing—another first. The space allowed the dub to flourish. “We got comfortable with the space,” adds Tomino. “We could let it breathe and let it go, one step at a time. Even though we hadn’t necessarily been that sludgy in the past, it made room for the dub.” Album opener “World of Inconvenience” [feat. King Buzzo of The Melvins] illuminates this progression. Guttural guitar buttresses up King Buzzo’s cacophonous bellow as feedback curls around a thick beat. Meanwhile, the single “Fought The Line” [feat. Troy Sanders] pairs a near-whisper with a delicate clean guitar as the Mastodon vocalist and bassist carries a sweeping crescendo. Pinch harmonics squeal amidst a simmering backbeat as the track culminates on a haunting and hypnotic chant. “I’m always very humbled when someone wants me to be a part of their art,” says Sanders. “‘Fought The Line’references struggle. It comes from a poem that I wrote inspired by a conversation I had with cancer itself. I stared at a face of beautiful soft skin and assured this face, ‘I will take care of you.’ We’re fighting one battle together. I’m right there, if things fall into my hands. The verses were therapy venting my anger. When people are fighting for their lives, it’s very easy to go off the line. If death is reeling you in, then you have to fight and do anything in your power to overcome it. I just wanted to be there to support.” Elsewhere, “Life Signs” borders on dark industrial with its glitchy electronic swells, and “Spider” crawls with a menacing intensity. At the center, “Forget My Name Dub” [feat. Meshell Ndegeocello] emanates soothing transmissions from the vocal phenomenon upheld by forward-facing reggae rhythms and sparse production. It personifies the title, The Shape of Dub To Come. “We were a dub/reggae band, and we started implementing what we thought was cool from The Refused and bands like that,” explains Brooks. “The Shape of Dub To Come describes our whole method; applying dub as a process to virtually any style of music. The future of dub doesn’t have to be just reggae. It’s a process rather than a genre.” In the end, Dub Trio are awake and staring into a bright future. “These songs come together like chapters of a book,” Tomino leaves off. “It’s an auditory snapshot of the individuals and the collective—where we were and where we are. It’s a big arc that spans everything from our roots to metal and ambient electronic music. It’s a big picture of little snapshots.” “We hope you listen to the whole thing from start to finish,” concludes Brooks. “It takes you on a journey and tells a story. Hopefully, you end up in a different place at the end. We certainly did.”

$14.50 - $17.00