Then, when the set ended, this pack of — now, I know, lovely gentlemen, but at the time, terrifying — figures came towards me, and were weeping. They just said, "That one. Wish you had played more like that." And I was like, "Fuck, me too." I mean, I love those aggressive songs, too, they're a big part of what we do, but it was such a lesson in prejudice for me — that I had judged what they would like, and assumed that it wouldn't be anything honest for me.
SB It's the lesson I'm still constantly learning. It takes so much more courage to be actually genuine in a moment. If I'm not careful, my tendency can be to play towards what I perceive people's expectations are for the event, versus when we try to play the songs we most want to play and are most "us."
AB But I also think it's incredible training to play in rooms that are not receptive at first. Because part of the task then is to create the space where people can lean forward. I feel it was one of the best trainings for me. Play somewhere where they wish you were just playing Lynyrd Skynyrd. Where they wish you were a DJ. That's the best place to go.
SFBG Have you two every attempted anything on the scale of Hundred Days before?
SB and AB No.
AB That was part of why we called it an opera at first. Because opera, they say, is the most collaborative art form — that you need every possible kind of artist to come in and make it happen. And that's what Z Space has done, is allow for that.
SB It's been really amazing.
AB It's been a dream. *
Through April 6, $10-$100
Previews Wed/26, 7pm; Thu/27-Fri/28, 8pm; opens Sat/1, 8pm
Runs Wed and Sun, 7pm; Thu-Sat, 8pm
450 Florida, SF