Pony Come Lately
Gig Seeker Pro

Pony Come Lately

Band Rock Alternative


This band has not uploaded any videos
This band has not uploaded any videos



"Noise Pop Parties with Cake and Ponies"

Not unlike a teenage Hispanic girl, San Francisco's indie rock music festival Noise Pop celebrated its 15th Birthday in true Quinceanera form. Featuring a choreographed dance routine to kick off the opening night festivities (thanks Extra Action Marching Band!), family reunions (see recently re-banded '90s rockers Sebadoh), and, of course, cake (thanks Cake!), this year's lineup was every bit the cultural celebration. And what young adult birthday party would be complete without a pony or two as a present (SF's Pony Come Lately and the Ponys graced this year's lineup)? With its own traditions in tact -- promoting onetime opening acts to headlining status (Jolie Holland, Lyrics Born, Trainwreck Riders) and spotlighting emerging talent (Ghostland Observatory, Matt & Kim, and Willy Mason, to name a few) -- Noise Pop XV delivered. - Spin.com

"Night #3: Another Guest report from Noise Pop 2007, taking place right now! Ted Leo & the Pharmacists, Georgia James, So Many Dynamos, Pony Come Lately"

As I enter the hall I’m happy to note that once again there are already a good number of people here. Maybe it’s because it’s a Friday show, or possibly the first band has lots of friends. In any event there are about 40 kids (yes, 18 and under) sitting cross-legged in front of the stage with another 60-70 people (still young but not that young) milling about. It’s a much different demographic this evening – wonder how the beer sales will be?
8:03 and it’s band time again. This festival is timely if nothing else! Pony Come Lately are a quartet from Oakland and contain members of such past luminaries as THE PATTERN, RICHMOND SLUTS, and BLACKCAT MUSIC. Guitar, bass, vox keyboard and drums—seems a near-standard allotment at this event. The press bits mention “a new take on British Goth-wave acts,” but I don’t hear that in their opening number, which strikes me as more mid-tempo indie rock. It’s not bad, really. The singer has good voice and he isn’t being obvious about trying to sound like someone else (which in this day and age, my friends, is a big plus) and the band is tight. The bass and drums are really driving the song with the guitar riding on top (no power chords here, folks) with the keyboard at the periphery. There’s nothing revelatory here, but it works. On the third song our first bar chord breaks out for a moment, but then the guitar begins to soar and shimmer and for a second I’m thinking THE CHAMELEONS. At least they’re British, but hardly Goth-wave. The next song is a bit more upbeat and things seems to be clicking for the East Bay lads. My attention is drawn away briefly as Leo passes, and while I look on, I see a short girl notice the same thing, but she takes the initiative and runs over to him (clearly giddy). A few words are exchanged and then her arms are around him. He seems to take this quite well (maybe not an uncommon occurrence?) and walks on after a moment. OK, I wouldn’t have hugged him, but I would’ve gotten a word in, and I missed my chance as he’s gone. As the band plays on I do start to hear some post-punk elements, and OK, maybe some goth-wave (whatever that is), if only post-punk included a hockey-arena organ (yes, that’s what it reminds me of at times). Yeah, this is good and the band is on the verge of waking this place up. Why is no one dancing? Dance you little buggers!! I feel as if I’m at a junior high sock hop with the kids too scared to dance with each other. The next song is a bit lame IMO, but what happens!?!? The kids start to dance!!! The last song, while a step up, is not quite up to the middle three but that’s fine. Pony Come Lately have availed themselves quite well and for landing a slot at Noise Pop after being together less than a year, they’re doing fine. More importantly, the kids here tonight to see them feel the same way, and I’m sure the band wouldn’t complain with that. - The Big Takeover


Local dark-rock band Pony Come Lately is a supergroup of sorts. Combining the talents of Carson Bell (bass) of the Pattern, Travis Dutton (guitar) of Black Cat Music, James Willetts (drums) of the New Strange, and Justin Lynn (vocals, organ) of the Richmond Sluts, the quartet offers a new take on British Goth-wave acts like Bauhaus and early Psychedelic Furs. Full of swirling guitars and gloomy vocals, the band's tunes offer pasty-faced twentysomethings a soundtrack for glowering at each other while they wait for the coke, er, cloak room to be free. - Noise Pop XV Guide

"Pony Is The New Wolf"

Here I was thinking anthropomorphism was so 2006. In case you haven’t heard, “wolf” indie bands are out and “pony” indie bands are in:

Baltimore art punks Ponytail
Quebecois indie rockers Pony Up!
UK Electro-poppers New Young Pony Club
Nor Cal alt rockers Pony Come Lately
And of course, NY, NY retro poppers My Little Pony

Interestingly (sort of), four of those five groups have girls in them, because girls like ponies. - The Stranger


"Coastal Life" appears on the Noise Pop New Music Podcast Episode 5.



A deep sonorous voice commands the stage as glimmering oceanic feedback fills the room, "Hello, we are Pony Come Lately", the shimmering atmospherics cease and drumsticks click.

Their live premier only months ago, Pony Come Lately, whose name belies their punk-influenced music, attack songs with a tightness and intensity that can only be attributed to their extensive collective experience in previous Bay Area outfits: Carson (bass), in The Pattern; Travis (guitar) in Black Cat Music; James (drums) in The New Strange; and Justin (vocals, organ) in The Richmond Sluts.

With a cold, nervous beat that gallops inside of your speakers, Pony Come Lately's sound is vaguely reminiscent of early British new wave, combined with a dark swirling fusion of gloomy post-punk and a healthy dose of Doors-inspired psychedelia. But their scope is far broader than that of a revivalist band. Pony Come Lately are obsessive rock fans inspired by the D.I.Y. ethics of punk, creating a minimalistic style that is relentlessly imaginative and experimental.

Constant practice and a compulsion for the recording studio has Pony Come Lately primed to become regulars on the dancehall circuits of the Bay Area and the world!