Artist

Raining Jane

Los Angeles

Raining Jane is a music group from Los Angeles. Their discography on Gatefold includes 1 record.

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Biography

Raining Jane is an independent, eclectic rock-folk band based in Los Angeles. Mai Bloomfield, Becky Gebhardt, Chaska Potter and Mona Tavakoli joined forces in 1999 and soon developed a loyal fan base out of UCLAs music scene. After spending the next four years gigging in California, recording an album and finishing college, Raining Jane made its first venture outside the golden state. Now the foursome spends months at a time touring all over the U.

The Arc of Raining Jane

The pivots — what forced Raining Jane to reinvent.

  1. The Indie Grind

    Between their 2001 debut and 2005’s Diamond Lane, the band operated as a purely independent folk-rock collective. You hear the raw acoustic textures and a certain lack of studio polish that gives those early tracks a grounded, earthy weight. They were building a reputation for complex four-part harmonies that felt more like a vocal ensemble than a standard rock band. This era is defined by a fierce autonomy and a sound that wasn't trying to fit into any specific radio format.

  2. The Mraz Symbiosis

    The pivot started with a 2007 writing session for 'A Beautiful Mess' and culminated in them becoming Jason Mraz’s primary recording and touring band. The production values skyrocketed, but the band’s solo output effectively slowed to a crawl as they became the backbone for the Yes! album. On record, you hear the transition from textured, slightly moody folk to bright, uplifting sunshine-pop. It’s a masterclass in professional session work, even if it feels like the band became a high-end tool in someone else’s kit.

Influences

  • Indigo Girls — The band has cited Amy Ray and Emily Saliers as fundamental blueprints for their harmonic structure. You hear it in the way the vocal lines weave around each other without ever stepping on the lead melody. It’s that specific brand of earnest, socially conscious folk-rock that defined their early 2000s output.
  • Crosby, Stills & Nash — The group’s obsession with the 'high lonesome' three and four-part harmony stack comes directly from the Laurel Canyon school. Their live sets often featured covers of CSN tracks to showcase that they could hit those difficult intervals without digital help. The influence is loudest on the Paper Nest EP where the instruments take a backseat to the voices.
  • Sarah McLachlan — Before the Mraz era, the band was heavily rooted in the Lilith Fair school of mid-90s adult alternative. The melodic phrasing on their self-titled debut mirrors the piano-driven, atmospheric arrangements McLachlan popularized. It’s that clean, evocative songwriting style that prioritizes a clear emotional arc over instrumental flash.
  • Joni Mitchell — The band has frequently pointed to Mitchell’s 70s output as the reason they experiment with open guitar tunings. You can hear the influence in the rhythmic, percussive way they play acoustic guitars on tracks like 'The Good Match.' They took Joni's jazz-folk complexity and simplified it for a more contemporary pop audience.
  • Shawn Colvin — The crisp, percussive acoustic guitar production on Steady On is a direct ancestor to Raining Jane’s studio sound. They aim for that same dry, intimate vocal presence that makes the listener feel like they're sitting in the booth. It’s about making an acoustic guitar sound as big and urgent as a full drum kit.

Discography

Their records — most-collected first.

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