The spirit of unbridled experimentation that launched seminal noise pop outfit Deerhoof to critical acclaim in the early '00s continues to find its fullest expression at their mind-blowing live shows. In concert the band leverages minimal gear to maximum effect, cranking out a thundering wall of angular guitar riffs, pounding basslines, and off-kilter drumbeats that seamlessly span genres, tempos, and time signatures. Singer and bassist Satomi Matsuzaki provides a welcome counterpoint to the heady sonic stew, juxtaposing the group's powerful musicianship with innocent, high-pitched vocals that recall children's songs and commercial jingles. The band's expressive playing style, enigmatic between-song banter, and surrealist onstage antics (they've been known to play entire songs while lying on the ground) push things even further into arty territory, and their wild card approach to performing makes each show a surprise. Deerhoof impressed critics yet again with 2016's aptly titled The Magic, and they make good on the album's title every time they conjure their singular sound in concert.

BACKGROUND SNAPSHOT:

Deerhoof formed amid San Francisco's mid-'90s alt-rock scene and began touring almost immediately, performing improvised sets that combined noise, grunge, and punk. Their willfully haphazard early shows and DIY ethos helped shape their eclectic sound, and in 1997 they made their album debut with The Man, the King, the Girl. The record's conceptual bent, mythical lyrics, and lo-fi charm became sonic hallmarks that the band continued to mine on 1999's Holdypaws and 2001's Halfbird, and in 2002 they added electronic music to the mix for their fourth LP Reveille. That album marked a critical breakthrough, landing on best-of lists by Pitchfork and the New York Times, and the praise continued in 2003 with the release of the band’s universally acclaimed fifth album Apple O. By mid-decade Deerhoof was undisputed indie rock royalty, selling out venues across the country on tour with major acts like Wilco and The Yeah Yeah Yeahs. They've remained staggeringly prolific ever since, releasing an album nearly every year and becoming sought-after remixers for artists ranging from Maroon 5 and Sufjan Stevens to Delta 5 and Blonde Redhead.