From indie pop to Afrobeat: The Listening Dolls at Neck of the Woods

The Devil works hard, but LA-based music organization The Listening Dolls works harder.

The Listening Dolls, co-founded and directed by SF native Martine Kolderup-Lane, was born late last year through the joint efforts of Kolderup-Lane and her collaborator Raina Markham. Since then, the collective has published a whopping 9 monthly issues of their zine, featuring the poetry, lyrics, and artwork of college student contributors interspersed with spreads about California music history. On August 8, the Listening Dolls celebrated the completion of their 9th zine with a 3-band lineup at Neck of the Woods that reflected the diverse influences of their content and the community at its heart. The event marked the second ever Bay Area release party in the Listening Dolls’ short but already illustrious history.

Up until their first SF show at Brick and Mortar last month, The Listening Dolls had been mostly contained within the Westwood area of Los Angeles, packing both backyards and DIY venues with eager college students and racking up their fair share of noise complaints. The addition of the two San Francisco venues to their roster not only signals a geographic expansion of their reach, but also a deeply personal achievement for Kolderup-Lane and the musicians she promotes through her work. Many of the individuals comprising the band Old Growth are Bay Area born-and-raised themselves. Having moved to Los Angeles for its famed music scene as well as the tutelage of UCLA’s Herb Alpert music school, these transplants instantly became integral players in the musical ecosystem of the college. Now, back at home for summer break and cooped up in their parents’ houses, the student musicians happily took to the stage, performing for old high school friends and new college acquaintances alike under the color wash lights of Neck of the Woods.

The first band of the night supported singer-songwriter Rachel Barton, who sang lead vocals for indie-jazz fusion group Maisy and Friends at the Brick and Mortar show but now stood in a spotlight of her own. The foot stomping, heart-throbbing indie ballads centered around Barton and her plug-in-optional acoustic guitar, but took this unquestionably strong lyrical and melodic foundation to a new level with thoughtful arrangements of electric guitar, bass, and piano. In classic Listening Dolls fashion, this was not your typical four person rock band—six musicians populated the ranks of Barton’s backing band, leaving no stone unturned in the sonic storyline of each song. Floating vocal harmonies segued into somber piano and bass lines, as Barton at once cursed and memorialized the struggles of leaving home and transitioning into one’s early 20s. Clearly a seasoned performer, she effortlessly commanded the stage, punctuating sentences with expertly timed hair tosses and waves of her hand. Her timeless, movie-moment, accessibly emotional songs called to mind the work of Olivia Rodrigo and Lizzy McAlpine. My suspicions as to this affinity were confirmed when Barton launched into a cover of “all my ghosts” by McAlpine, remarking that it was one of her favorite songs of all time. The closing number of the set, titled “Texts I Would Send You if I Could,” painted a familiar picture of dashed relationships, college moves, and watching loved ones build new lives from afar. The song, one of her best, was especially poignant in what were for many student attendees the last few weeks of the summer before the annual scatter to the four corners of the earth.

Following Barton was Old Growth, whose stellar set brought the audience clamoring towards the stage. The Afrobeat-inspired, 8-person jam band captivated the room, with three-part horn harmonies expertly locked in and jazzy solos handed down the stage from left to right and then back again. Though the stage was packed, the arrangement was never overkill—the band tossed the melody from instrument to instrument, allowing each musician to speak their piece while conga drums and hi hat held the line. Each song seemed more complex and livelier than the last, peppered by key changes and minor chord progressions. Synth-like feedback, which emanated from the lead guitarist’s tabletop pedalboard as they twisted dials this way and that, added an excellent modern touch. The camaraderie between members of the band, some of whom went to high school together, others who had grown to be close friends regardless, was apparent in the smiles exchanged across the stage and the care taken to collaboratively construct each original song. The only thing that could dampen the upbeat mood was the stage lights inexplicably cutting in and out, leaving the musicians with a modest black backdrop, but the performers continued forth utterly unfazed. The individuals’ expertise made the set a smash-hit success, and had the crowd cheering for an encore. With one band still to follow before the night was out, Old Growth let loose a final number, eliciting another round of whoops, shouts, and applause.

Following a quick changeover, the show’s closer Asher Belsky launched into a flanger-filled rock cover of “Clouded” by R&B icon Brent Faiyaz without so much as a hello. The song lengthened into what seemed to be original material, with Belsky crunching pedals underfoot as he moved through solo after solo. After two larger bands, the stage looked stark, but the four-piece’s volume and energy made up for their lack of numbers. Belsky’s brooding indie boy look—an unbuttoned black dress shirt over a ribbed white tank top and a single silver chain—suited the angsty music he made, and their set certainly brought a moodier tinge to the tone of the evening. Purple and blue lights ringed the sides of the stage, leaving the band members dramatically backlit and the emotions of the music looming large. Epic build ups were followed by shredful riffs, prompting the audience to reach toward the stage, wiggling their fingers in delight at the piercing howl of the guitar. Wearied by the eventful night, the size of the crowd had dwindled, but those who remained danced enthusiastically along.

Eventually, the triumphant night came to an end—but those eager to experience the magic of The Listening Dolls do not have to wait long for their next show. For now, according to Kolderup-Lane, herself and the performers are getting some well needed rest. But with the traction The Listening Dolls have deservedly gained this year, and are not stopping anytime soon. In the meantime you can visit @thelisteningdolls on Instagram to submit to the next issue of the zine, or keep up to date on next month’s show, which is sure to be another all ages, mixed-genre hit.

Article and photos by Sophia Shen