The storied Bottom of the Hill has hosted some of the most revered bands that have colored San Francisco’s indie music scene. Their rolodex includes Pavement, Oasis, and Elliott Smith, to name a few, and as of March 20th, Lifeguard, Famous Mammals, and Sunday Mourners.

This lineup was jam-packed with art punk, mod rock, and an appropriate amount of feedback shrouding the Friday night. The crowd was filled with music lovers of all ages, which I note purely to emphasize how each band withstands the test of time. Sometimes, it’s refreshing and endearing for me, a 20-something girl, to strike up some music chat with a 50-something guy. Sometimes!

I could feel heads turn and ears perk up when Los Angeles-based art-rockers Sunday Mourners opened the show. The quartet played songs off their recent release and debut full-length LP A-Rhythm Absolute. The group is effortlessly cool, cashing in on post-punk in a way indie rockers haven’t done since the 80s. The rhythm section delivered steady and building basslines (bonus points for the shaker and cool sunglasses). The guitar is sharp, cutting through evolving melodies and splintered by Richard-Hellish vocals. Their sound lives up to their chic vintage aesthetics. Honestly, seeing this band was a relief; thank God people are making cool rock music again, and thank God it’s people my age.

Oakland mainstays Famous Mammals delivered an enchanting performance fit with an electric violin and glowing Rickenbacker guitar. Famous Mammals is made up of scene veterans Amber Sermeno, Andy Jordan, and Stanley Martinez of legendary Bay Area bands Non Plus Temps, Children Maybe Later, Naked Roommate. Reformulated in Famous Mammals, the band is graceful and fresh while sticking to their classic pop roots. They sound soft and distorted at the same time - a sound collage perfect for the Bottom of the Hill stage. Straying from simplicity, the group offers a full-bodied, expressionist take on pop music.

Headlining the show was Lifeguard from Chicago. The trio consists of mod-rockers Asher Case, Isaac Lowenstein, and Kai Slater, longtime friends turned Matador signees. The show, having been rescheduled from July, well-suited the San Franciscan spring eve. Their sound tore open indie guitar music, sending the audience into a cocophonic orbit. It was noisy and wild in a deliberate manner. The group pays homage to their mod predecessors while creating an entirely unique sound with analog origins. The noisy three delivered hit after hit, neglecting downtime and keeping the tempo pushing.They nailed a cover of The Cure’s “Fire in Cairo”, an appropriate homage to their post punk predecessors.

Leaving the show felt like I had just witnessed the past, present, and future of music all at once. This was definitely a favorite show of mine, and a beautiful stop on Bottom of the Hill’s long-dreaded farewell tour. If you were smart, I would take note of these bands now before they take off (you heard it here first).