GLASS GENERATION BRINGS LA FIRE BENEFIT TO BERKELEY’S 924 GILMAN ST.

Photos by Alexia Abarca and Jake Brown

It’s more important to support your local scene than ever before. The fantastic team at Berkeley’s iconic 924 Gilman St. continually connects their community by inviting artists to share the stage. Los Angeles’ Glass Generation came by for their first performance in town and didn’t disappoint. Direct support from local acts Juniper, Red Joon, and Losing Streak created a well-rounded bill for the evening. Though it was a mid-week show, a decently sized crowd showed up throughout the evening, bringing plenty of energy for each performance. You would have hardly recognized it as a Wednesday night. Performers and audience members alike seemed to be thrilled to have an escape from mundane daily tasks. The crowd expanded as the evening continued, insinuating people got off work or school, immediately making their way to our DIY landmark.

Juniper's first act of the evening brought alternative music from Tracy back to Berkeley. Their set had a range of songs that set the tone for the night. Though initially a bit reserved, Juniper proved to be a pro as the set continued. The striking contrast between the first and last song was admirable. They began to trust themselves and the audience with each note, earning applause every time. The versatility of their discography will get them far. It was a short set, but it was well-strategized, insinuating a lot of thought went into curating it. Juniper earned at least one fan at their Gilman performance, showcasing a triumphant humanity in their work that translated well to audiences. They’ve been performing as Juniper for a few years, as this performance marked a return to Gilman rather than a debut. They did amazingly well once a visible synchronization “clicked” between the band and the audience.

Next, Red Joon took the stage with more alternative bangers. They proudly presented their debut single, “Sometimes,” to a receptive audience. Their stage presence would have fooled you—as it certainly did with me. I was surprised they hadn’t released plenty of singles before “Sometimes.” However, their fresh take on their genre will serve them well. It offers familiarity without “overdoing it,” insinuating their creative process will grow as they do. DIY spaces are so crucial for a lot of reasons. Namely, they present opportunities for bands like Juniper and Red Joon to find themselves within their sound. By the time their set was finished, the crowd was fully warmed up and ready for the final two acts of the evening. It may have been a four-band bill, but it wasn’t exhaustive; instead, the transition from Juniper to Red Joon felt seamless, effortlessly taking the audience along for the ride. The first two acts had a slower build, while the other two hit hard and heavy immediately.

Losing Streak is self-described as “East Bay emo,” which fits the group perfectly. Their familiar sound takes after Mom Jeans and older scene staples, with sprinkles of the “greats” found throughout. There were some melodic nods to artists like Fall Out Boy in a few songs, especially noticeable for fans of ‘From Under The Cork Tree.’ They got the crowd even livelier than they had become from the earlier openers, who had already brought a bit of energy like a hit of caffeine. Full mosh pits had emerged about 2 songs in, with several audience members going full-on with their moves. Self-expression is a crucial element of DIY; it’s nice to see bands putting on a small show mid-week. This one was for a fantastic cause, but people left their troubles at the door. Losing Streak’s music promptly narrated any frustrations or laments. New and old fans resonated with the music and lyrics. A song called “Freaky Keith” was an ode to their friend Keith, reminiscent of Fall Out Boy’s “Grenade Jumper.” The band started similarly to Losing Streak in DIY venues like Gilman…and has their own “Hey Chris.” Plenty of East Bay “greats” also started at Gilman. Namely, The Story So Far was brought up at multiple points throughout the night within the audience. Their legacy has been transformed several times, reaching up-and-comers like Losing Streak.

Finally, Glass Generation took the stage for their headlining set. The touring band kicked off their set steadfast, with recognizable earlier work that fans can find on streaming platforms. Their earlier discography is more traditionally punk-leaning, while newer work has influences from Midwest emo groups like Mom Jeans and Modern Baseball. The heavier sound of the headliners seemed to please crowds, who fully leaned into the group’s performance. Glass Generation immediately gets bonus points from this reviewer for having a drummer as their lead vocalist. It takes a ton of core strength and breath support to do both simultaneously, and Kiwi never missed a beat vocally or rhythmically. Before the show, I wondered how that was going to work. Now, though, I’m convinced Glass Generation needs to do a Karen Carpenter moment. I believe Kiwi would devour “Dancing In The Street.” They reminded audiences that touring bands break even thanks to merch sales. They said, “Please buy merch so we can get gas on our way to the next city.” Hopefully, their plea was heard; we collaborated to make this show a benefit effort for the LA fires, directly supporting their hometown.

The evening ended with a few more songs from Glass Generation, including their latest single, “Coming Clean.” This tiny but mighty show ended around 10 pm, perfect for people who needed to get to work or school early the following day. DIY venues like Gilman are an amazing multi-generation third space. Here, people can mingle with strangers and long-time friends, establishing or nurturing pre-existing communities in the name of performance art. Self-expression is a weapon; punk bands like the ones on this bill allow audiences to see themselves for who they indeed are. It may have just been a random Wednesday afternoon in Berkeley, but it won’t be forgotten by most of us.