Live Music- Blame Betty

Contact us at [email protected] https://gatorbythebay.com/artists/blame-betty "Who's Betty??? We need answers!" Blame Betty stormed onto the rock scene in 2019 with an electrifying blend of rockabilly, roots rock, and surf music that pulls straight from the golden age of Sun Records. Inspired by legends like Elvis Presley, Johnny Cash, Carl Perkins, Gene Vincent and Eddie Cochran, the San Diego-based trio – George Comes (guitar/vocals), Jim Buehl (drums/vocals), and Bobby Villa (bass/vocals) – channels vintage vibes with a modern edge. With 20 years of experience playing together in various musical groups, Blame Betty has honed their craft delivering a dynamic sound that's both nostalgic and fresh. Blame Betty delivers tight musicianship, lush three-part harmonies, and an infectious energy that's hard to resist. Their growing local fanbase and social media buzz have solidified their place as ones to watch, culminating in a Best Rock Album nomination from the San Diego Music Awards Academy. Nostalgic yet fresh, Blame Betty is here to rock your world! https://timesofsandiego.com/arts/2026/03/03/live-from-san-diego-music-shows-near-the-coast-this-week/ TIMES of San Diego - Bart Mendoza "Rockabilly trio Blame Betty takes the stage at Humphrey's Backstage Live on March11. Nominated at this year's San Diego Music Awards in the category of "Best Rock Album" for their latest release, "Who's to Blame?", the band has built a solid fanbase with their no-nonsense 1950s-inspired rock-n-roll. Blame Betty's originals are well worth hearing, but fans of vintage sounds will also love that the band offers up a great selection of classic covers from the likes of Elvis, Chuck Berry and Vince Taylor in their repertoire. " Blame Betty: Wednesday, March 11 at Humphrey's Backstage Live, 2241 Shelter Island Drive 6pm. $5. sandiegotroubadour.com/blame-betty-whos-to-blame/?amp=1 CD REVIEW SAN DIEGO TROUBADOUR Blame Betty’s Who’s to Blame? feels like pulling a worn-out leather jacket from the back of a black ’69 Mustang. It’s scuffed and smells familiar but fits like a glove. The album blends a rootsy mix of rockabilly, country, surf rock, and jam-band swagger with tremolo-soaked guitars, saxophone flourishes, and a laid-back sense of fun. While the record doesn’t chase lyrical depth, it makes up for it with personality, groove, and a strong sense of who they are. The opener, “Broken Toys,” sets the tone with rockabilly bounce and a faint Bowie-esque theatricality. The mix is inviting and warm, immediately pulling the listener into Blame Betty’s sonic universe. The track succeeds as a mission statement: this band knows exactly what it wants to sound like. “Three Day Slap” deepens that statement. Channeling unmistakable Grateful Dead energy, the song showcases a vocalist clearly influenced by Jerry Garcia, not just in tone but in spirit. It’s easy to imagine playing over a montage of bank robbers gearing up for a heist, all grit and confidence. Instrumental prowess becomes a recurring highlight throughout the record. “Heart Attack” features a guitar solo that steals the spotlight, while “Close to Montreal” offers a delicate, melodic instrumental that trades vocals for atmosphere. Though the title suggests its specific destination, the song feels more like a panoramic drive through the most beautiful stretches of America. “Sweet Marcella” opens with a sultry sax intro before sliding into Elvis-inspired rockabilly blues. It’s playful and built for the stage. That love for the King continues on “Tarred and Feathered,” which kicks off with the line “Feelin’ like Elvis, livin’ in Memphis” and rides a wave of tremolo-heavy, surf-montage energy. Mid-album standout “Singles Club” shifts gears into straight country territory, delivering one of the record’s most charming lyrical moments: “I’m on the B-side of my life, and I’m lookin’ for my second wife.” It’s self-aware and oddly poignant without trying too hard. The band’s cinematic instincts resurface on “Life of Crime,” a detective-noir anthem that could double as the theme song for a procedural cop show. Once again, the guitar work nods to the Grateful Dead in its jam-band tradition while also keeping it accessible. “Bonnie and Clyde” follows with a relaxed confidence, boosted by strong backing vocals and a smooth sax solo that reinforces the album’s outlaw-romance throughline. Late-album tracks bring some of Who’s to Blame’s strongest moments. “There’s a Place” opens with acoustic guitar (a welcome tonal shift) and blossoms with rich backing vocals that tie the song together beautifully. Then comes “After the Party Ends,” a plunky, bouncy acoustic gem complete with answering-machine vocal effects and a happy kazoo solo. What could have been a novelty instead becomes a genuine highlight. This track is playlist-worthy and endlessly replayable. The instrumental cut “Driving to Work” delivers surf rock with purpose, its crisp guitar lines and standout bass work making