BADBADNOTGOOD and Baby Rose Bring Darkness and Light to SOMA San Diego
The BADBADNOTGOOD show at SOMA on November 8th was less a conventional performance and more an engineered study in contrasts. The Canadian instrumentalists—Alex Sowinski (drums), Chester Hansen (bass), and Leland Whitty (keys/sax)—established a palpable, somber mood, utilizing three vintage film projectors to bathe the stage in abstract, analog darkness. The low-fidelity light show, casting swirling, unidentifiable shapes against the backdrop, was a deliberate counterpoint to the band’s high-precision, genre-fluid execution, and it immediately drew the San Diego audience into an unusually focused headspace.
The instrumental portion of the set was a deep dive into BBNG’s catalog, moving seamlessly from the intricate rhythmic complexity of tracks like “Eyes On Me” or “Sétima Regra” to the more jazz-inflected moments like “The Chocolate Conquistadors.” The band’s tightness allowed for expansive improvisational sections that felt controlled, yet constantly teetering on the edge of chaos, fueling a visibly engaged, nodding crowd.
The night reached a new gravity with the arrival of Baby Rose. Her deep, smoky contralto provided the perfect human counterweight to BBNG’s instrumental architecture. She commanded the space, not through spectacle, but through the sheer emotive force of her vocals, proving why she was such a critical addition to this tour.
Their collaborative tracks, particularly the joint EP Slow Burn, landed with significant impact. “On My Mind” showcased the heavy pocket of the rhythm section beneath her soulful urgency, while the title track captured a slow-burning emotional intensity. A highlight was their revision of Fleetwood Mac’s “Landslide,” which they transformed from an acoustic ballad into a towering soul statement. The audience’s commitment was evident as they hung on every vocal inflection and instrumental swell, particularly during the collective closing pieces like “One Last Dance.”
Following Rose’s segment, BBNG closed out the night by building back up through favorites such as “Lavender” and the enduring anthem “Time Moves Slow.” The San Diego audience reciprocated the band’s intensity throughout, demonstrating a deep appreciation for music that prioritizes atmospheric complexity and technical rigor over flashy stage presence. The result was a successful, deeply rewarding show that expertly navigated the line between jazz, R&B, and experimental rock.
Sylvain Chaussée ran live loops on three customized 16mm film projectors
