Unnamed Festival Project 4 in Santa Rosa
All Photos by John GreenWood
It’s a glamorous thing, this photojournalism gig—writing and taking photos of our well-known heroes. But one of the things I appreciate the most, especially since there's no financial gain involved (in fact, it’s more or less a money drainer), is being able to make a difference. Highlighting a struggling event, artist, or venue means more to me than another shot of a legend on a big stage. And so begins my next article.
The Unnamed Festival Project 4, held at the Arlene Francis Center for Spirit, Art & Politics (99 Sixth Street, Santa Rosa, CA), was one of those events. The AFC is a non-profit gathering space housed in a refurbished flour mill in Old Railroad Square, right next to the historic railway station. To call the place “shabby chic” is an understatement—but it’s exactly the kind of venue I love. The kind of place I’ve spent years catching fine music at the grassroots level. It’s also exactly the kind of place fledgling young bands need: a chance to gain experience in front of a live audience and stretch their wings.
I was somewhat bemused to realize I’d lived in this town for over a decade and had never even known the place existed.
The venue has a bar that serves both alcohol and coffee, food trucks in the parking lot, and a humble but functional layout. Inside, there's a main stage room full of eclectic artifacts, and a second room dubbed “the Classroom,” which—true to its name—serves as both a classroom and a second stage for lesser-known acts. There’s also a small, screened-off merch area behind the main room, and a pleasant separate bar/lounge space for conversation and community. On March 15, 2025, the Unnamed Festival hosted 20 bands across two stages.
All Photos by John GreenWood
The festival is the brainchild of Gabriel Katz and a dedicated crew working to raise the profile—and finances—of the AFC while staying true to its mission of supporting young local artists. Katz is thoughtful and intentional in his approach, making it clear that his goal isn’t financial gain, but community uplift. That said, keeping the venue viable does require revenue—and walking that tightrope without compromising core values is no easy task. I commend him for taking on the challenge.
Katz prioritizes booking bands that struggle to find space at typical venues—places that too often want safe, mainstream covers instead of fresh voices and original sounds. For Katz, the AFC must remain an all-ages, inclusive zone: a vibrant hub for culture and diversity in Santa Rosa.
A former member of The Swingin’ Utters, Katz has been playing in and booking bands at the AFC for about twenty years. He’s a beloved pillar of the community, and it shows in the care and passion he brings to this festival.
The inaugural Unnamed Festival was held in 2019, and after a pandemic-related hiatus, returned for its fourth iteration in 2025—hence the “Project 4” in the name.
As for the music, early standouts included M Section, a local act blending '80s–'90s hardcore and skate punk with energy and authenticity. Navid Manoochehri—bassist of festival closers SPF-1985—showed off his keyboard chops with his other band CHIPS. Sebastopol’s Ulyssiscfm contributed a moody, slacker-rock set, and Nice World, featuring Katz himself on drums, delivered a high-energy performance.
All Photos by John GreenWood
Katz deserves special mention—not just for his drumming with Nice World and SPF-1985, but for pulling off the event itself. Promoter, organizer, PR, drummer, all-around good guy—it’s impressive how seamless he made it all look. His energy and care for the local scene are undeniable.
Closing out the night was SPF-1985, comprised of Derek Nielson (guitar/vocals), Bret Fontaine (guitar), Navid Manoochehri (bass), and Gabe Katz (drums). The band name—SPF, as in Sun Protection Factor, and 1985, the year they were born—makes more sense once you hear them channel the spirit of Link Wray and Dick Dale. They delivered a blazing surf rock set full of playful energy and tight musicianship.
Katz’s drumming stood out—those facial expressions!—and Nielson’s banter with the crowd kept things fun and engaging. It was a celebration of great guitar work and showmanship, accessible and dynamic without veering into self-indulgent territory. My only regret? They didn’t play the Munsters theme. (Seriously—go listen to it.)
Grassroots events like this one are vital. Support your local venues. They are under constant threat—from developers, from rising costs, from cultural amnesia. Once they’re gone, they’re gone.
Let’s not let that happen.
All Photos by John GreenWood
