On Monday afternoon, Sampha held an in-studio performance at KEXP prior to his concert with The xx that night. The performance was free, so I felt it was the best possible excuse to avoid studying. About fifty of us were crammed into a dark room, separated from the studio by a wide window. Inside the studio a piano sat in the middle of the room, surrounded by technicians and cameras. We were told there was no talking or use of cell phones, so that Sampha would be the only sound heard on the radio. Minutes later, Sampha graced us with his presence, taking little time to introduce himself. Though he only performed four songs, each one was astounding to watch performed. Sampha brought no band members along with him; it was only him and a piano. Looking back on it that was the best choice he could’ve made, because it directed attention towards his voice alone. His voice sounded identical to the tracks on Process, only with more emotion and intensity in his tone. This made the tracks he performed- “Plastic 100ºC”, “Incomplete Kisses”, and “(No One Knows Me) Like the Piano”-sound much more emotional than I had previously heard. His demeanor was surprisingly down to earth as well; in between songs he answered a few questions, and he was quite humble despite the praise he received from KEXP’s host and the audience. Despite a short performance, Sampha was well worth seeing and I look forward to seeing a full performance in the future. Sampha’s performance should be on KEXP’s YouTube channel soon, which you can visit here. Until then please enjoy the above potato quality picture of Sampha I took following his performance.
This past Wednesday at the Crocodile saw Cherry Glazerr come through, touring in support of their sophomore LP, Apocalipstick, along with fellow Angelenos Slow Hollows. The dingy Crocodile Cafe was a good fit for the night, especially for the headliner, with Clem Creevy feeding off the dirty energy of the place with some dirty energy of her own. The show promised to be energetic, eccentric, and distinctly feminine, and it delivered on all accounts in spades.
Openers Slow Hollows started things off in a quiet, contemplative mood. Merging some twinkly guitar leads of the current emo wave with a very post-punk feel, the quintet did a great job as the opener: they were a very well put together act, but they hardly tried to steal the show. The five college boys stood mostly still on stage, with an energy that was very understated but quietly snuck up on you. The guys from Slow Hollow may almost look asleep from time to time, but if you let it lull you to sleep then you’ll get shaken awake by some very sneaky musical climaxes. Standout tracks from the set were “Luxury of Lull” and “Last Dance” from their 2016 album, Romantic.
Though from the same city of origin, Slow Hollows could hardly be more different from Cherry Glazerr. After the openers left the stage, crew members and some of the headlining band came out to set up their equipment. And their stage decorations. Which I didn’t really notice until right before they stepped onto the stage. Which were vaginas.
This set a clear tone for the rest of the set: this is a show by women, for women. Not to say non-women couldn’t enjoy the show, but it was clear from the start that this was a female show. So when frontwoman Clem Creevy introduced a song with “This song is about period blood and being on your period, and that’s awesome!” I wasn’t really all that surprised. This is a band that has never shied away from its femininity, and they weren’t about to start now.
The set started weird and ended weird. With her bassist, drummer, and synth player all onstage, awaiting her arrival, Creevy came out swinging. Literally. She swayed on stage in the middle of a wall of noise, swaying wildly and flailing her arms in all directions. And thus began the set. A healthy mix of old and new, the show was a very good one. Creevy made sure to acknowledge her grungy influences from Apocalipstick (the encore was a cover of Nirvana’s “Territorial Pissings,” which also served to energize the hell out of the Seattleite crowd), and also made sure that those influences didn’t ruin the garage-rockiness of some of previous work. “Grilled Cheese” and “Trick or Treat Dancefloor” fit perfectly along with newcomers “Told You I’d Be with the Guys” and “Only Kid on the Block”. And all the while, Creevy and bandmate Sasami Ashworth injected a bit of light humor into the set with their banter between songs.
Overall, I thought the show was very satisfying. Slow Hollows were a very good, very lowkey opener, who set the stage perfectly for Cherry Glazerr’s jagged vocals and sharp riffs to cut through straight to the audience. If I heard these two were touring together again, I’d snap up my tickets early.
RAC lights up with a live band at ShowBox SoDo on Tuesday, Nov. 24th
Light keyboard filled the air and a soft beat emitted from the over-leveled speakers. With only half the room filled, the music blasted through the Showbox, piercing the silence until the crowd settled into the sound. The first opener, filous pulled out his guitar, bowed his head slightly and riffed over a reverberating female vocalist. The two instruments together, a midi setup and fx-ed guitar sounded like a chorus of chilled-out house music.
“Hey Seattle,” the beanie-sporting artist spoke before returning to his instruments. A faint cheer could be heard from the bar in the back.
Not phased by the crowd’s lack of enthusiasm, Filous strummed along to dance-worthy tracks. Smiling all the while, the casually-dressed multi-instrumentalist switched between MIDI controllers, keyboards and his various guitars. As he slammed on the bass, the crowd swayed and lights flashed before us.
Filous introduced himself as an artist from Vienna. Over a few spouts of laughter, he further explained his adventures at Jack in The Box before playing his next song, “Coming Over” – a synth-heavy sound featuring the same summery guitar riffs that had been heard frequently throughout the set.
Light lyrics sprinkled throughout the song and the line, “All I can think about is coming over” repeated into a somewhat-tropical instrumental chorus. The hook brought many to the dance floor and the strobes shimmered among us. With all of his talents, I got to wondering why the microphone was placed so properly as if it’d be used whilst playing. All my questions were answered in a single breath as Filous pulled out a harmonica for his last track – blowing us away with his breath-induced harmonies.
filous wowed us with flawless multi-instrumentalism
After a short break, two musicians approached the stage. Both on drums, the two multi-instrumentalists represented the Portland-based Karl Kling. Arpeggios filled the air and a dimly lit duo sang indulgent lyrics over two sets of electronic instruments. A light up set of tools stood adjacent to a traditional drumset as the two musicians harmonized with one another.
We moved our bodies back and forth and a few other audience members joined us. Although I wasn’t there alone, I couldn’t help but notice the sheer amount of standing that took place during this show. Of course, I could chalk it up to the fact that we were watching an opener, but since this is my last post for Rainy Dawg Radio, I thought I’d mention something that’s been bothering me since I moved into this city and began participating in the music scene:
Why don’t Seattle Concert-goers ever dance during openers?!
Their music is good. The dance floor is ready! If anybody has an answer to this question, myself and all of the touring artists in our area would like to know… Synced beneath the falsettos as the two men expressed themselves among a sea of careless Seattleites. Catchy riffs soared beneath existential lyricism as the band showed off their chops, from drums to loops and electric guitars, the multi-talented Portland band never ceased to amaze us.
Yet most of the audience remained unfazed while my date and I swayed just the same. Harder now. Deeper now. The harmonies seemed to strike nearer than before. Perhaps the volume kept increasing but something about the atmosphere above us kept me present as the fog filled the air and the band requested a dimming of the lights.
“Alright Seattle. This is dance time,” Karl attempted to work the crowd. But only a few cheers could be heard in response as many audience members lingered in the back – bobbing their head to the rhythm instead of shaking what their mamas gave them.
“So dust of your regrets” Kling sang, “Cus there goes the day again. Born into this world.”
Karl Kling sported two drummers and a sounded like Death Cab in a dance club
80s melodies and melancholy choruses led from one song into the next as the opening set came and went. During their last song, “Careful” the duo smiled as they witnessed some energy beginning to emit from the evening’s underwhelming attendees. As Big Data prepared their set, I prayed for a miracle that the dance floor would pick up.
Fog filled the air and screams rang out in support of the surreal visuals that began to appear so subtly behind a coordinated set of electronic musicians. A robotic voice could be heard from the pumped-up speakers and the band members began to move in tandem to a static beat. Almost inaudible, a set of muted vocals began to sing the opening lines of “Dangerous” and the crowd finally moved in-tow to the enthralling rhythm.
The two vocalists played off of one another flawlessly. Each computerized run ran into the next as the lights glimmered among us. The music enticed us to engage as Big Data entertained with alluring visuals above driving drums and guitars; all the while the two frontmen acted as conductors of the crowd below them.
Bobbing their heads back and forth to the ephemeral sound of their own creation, the crashes and clangs of the live instrumentation filled the set beneath layers of enchanting lyricism. All the while, the audience followed along in a daze, drunk in the sound of a presented simulation.
References to a computerized system filled the breaks between songs until the word, “Imagination” broke the sequence, “Your simulation is now complete.” The robotic voice complimented our enthusiasm as the lights reflected off the band-member’s florescent sunglasses.
As the lights continued to dim, the combination of the visual and musical performances pulled us in to a videogame-like trance – complete with the sounds of dial-up modems and mid-2000s internet references. Throughout the set, Big Data did nothing but entertain as our eyes reflected the shimmering stage above us.
With flashing lights and surreal digital visuals, Big Data drew the crowd ever-closer in a existential haze
Members of the other bands and backstage crew joined the band as they repeated their hit track, “Dangerous”
The crowd cheered and familiar faces replaced the physical places of Big Data’s digital revolution. Karl Kling and André Anjos (RAC) stood left and right of a headband-wearing frontman. Behind them, Pink Feathers (aka Liz Anjos) rocked out on a keyboard while a full-sized drumset stood lit and elevated above.
We moved in waves as the live band played covers and originals frequently associated with RAC’s collection of (re)mixes. Hiding behind a telecaster, André occasionally sang along and smiled all the while Pink Feathers and Karl Kling led the upbeat performance. The collection of Portland artists did not disappoint as the crowd sang along to their favorite tracks. From Odesza to The Postal Service, local hits were met with more energy from the audience as the four-piece band reworked popular songs with their disco-inspired beats.
“Hollywood” and “Let it Go” were met with thunderous applause as André stepped out into the center to wail over the beat with his electric guitars. The foursome played off each other splendidly, cracking jokes and smiling along to the energy brought from playing their songs live.
André Anjos leads his live band, shredding along with a pulsating performance
After seeing RAC in the past and wondering when he would break out from behind his turntables, I was inspired and impressed by the entire performance! Altogether, the variety of bands made for an excellent combination of Portland sounds that was able to break through the ever-famous Seattle Freeze.
As a longtime fan of Seattle rappers, the KnowMads have held
a steady place on my iPod for years. They are one of the main groups that got
me into rap and keyed me into what the scene is like in Seattle. So to say I
was excited when they announced a show at The Vera Project last Saturday, May 9th
would be a bit of an understatement.
The two members of the KnowMads, Tom Pepe and Tom Wilson, have
been working on solo projects and living in different states, so hearing that
they would be doing a show for their new mixtape KnowMadic was a good sign. Their last project together was their
2012 album The Knewbook, and they
have since announced a Kickstarter for the next album, Knew School.
The Knowmads both attended Roosevelt High School together,
and have been making music together since their debut self-titled album in
2006. Their long career growing and producing music together was evident in
their hour-long set. The duo finished each other’s lines throughout the
concert, beatboxed, and even bounced freestyles off each other in between
songs, with the crowd giving them words to rhyme.
Their track list covered many of the songs off Knowmadic, but also songs from their
individual projects and previous work together, such as Seattle and The KnewBook. All of these songs were delivered with a
pulsing, raw emotion as they paced back and forth on the stage dripping sweat.
Pepe changed shirts a number of times throughout the show, but that didn’t help
The intensity was palpable throughout. The duo built on the
crowd’s energy when performing tracks like “The River Runs Deep” and “Sidewalkers”,
screaming their verses into the mic as their jugulars bulged. Put simply, there
was a vibrant charisma and history between the two MCs up on stage, and it was
something special to watch.
Those on the other side of the stage got plenty of love as well. We were thanked
multiple times for showing up and creating their steadily growing publicity.
The dedicated stans in the front row had many opportunities to recite lyrics
into the mic when Tom thrust it into the crowd, and there were high 5s all around
the crowded Vera Project. They evidently took advantage of the intimate venue.
As my first concert seeing them, it was special to realize firsthand how
dedicated their local fans are.
The show felt alive, and that says something for these two
rappers who have been grinding since high schools and are still only in their
early 20s. They still have it, just like they always have.
Definitely checkout the Kickstarter for their new album and
donate if you can. Head over to their website to stream their entire
discography, or their Facebook to stay up-to-date. And if my writing hasn’t
convinced you already, I highly recommend seeing them live next time they do a
been a Shlohmo fan for years now,
so I bought tickets to his show as soon as he announced a tour. That was way back around
the start of the year.
I whiled away the months
leading to the show by revisiting his impressive discography. I’ve long
considered his Laid Out EP to be a
In March, Shlohmo dropped his new album, Dark Red. The
album was a stunning departure from his previous releases. But it still had all
those classic Shlohmo elements, like menacing basslines and warped notes.
Definitely an album worth checking out.
music isn’t the dance-y kind. His music reminds me of dark basements and scary
nights and pain and zombie apocalypses. It’s pretty great. That’s why I was
surprised when I started dancing at the show. Everyone was dancing. It was
probably because Shlohmo’s basslines were even more immense on Neumos’s bumping sound system. Shout
out my ear drums for not exploding.
I love it when electronic
artists bring out a band. Shlohmo brought out a drummer and a guitarist and
also occasionally wielded a guitar himself.
The light show was crazy
intense. The lights and the music complemented each other beautifully, surging
and receding in harmony. At times, shrouded by the spotlights, Shlohmo seemed angelic.
He mostly played cuts off
his new album, but didn’t forget fan favorites like Places and Later. Later is my favorite Shlohmo song ever.
I cried sweet tears of joy when it came on. Well, maybe not. Nonetheless, I was
About an hour into the
set, Shlohmo and the band just ran off the stage without warning. “Is that it?”
Hell no. The lights flared
up and Shlohmo ran back up on stage. He grabbed the microphone and reassured us,
“That was a joke. This is real life now!” He played us one last amazing song.
Then, unfortunately, it was over.
My one beef with the show
was that the two openers, Purple and
Nick Melons, had sets that lasted
about an hour each. That’s a bit long, as openers go. I was restless, standing
on sore feet waiting for Shlohmo to come out. But the openers were pretty tight
so it was cool I guess.
Definitely a night to
Stromae is a performer.
Stromae, formally known as Paul Van Haver is a Belgian singer I was first exposed to on a trip to France. After hours going through Stromae’s interviews and repeatedly watching his music videos, I loved him. Last week, I went to a concert at the Showbox that convinced me further that there is absolutely tight international music out in the world that Americans are not exposed to.
Stromae encompasses what I like to think of hidden treasure. Not everyone knows him, but a few do. As much as I love introducing him to people, I want him to be really popular for the sake of anyone who has never heard him before. His stage presence, his performance, his vocals, his interactions with the audience all kept me intrigued till the very end.
If you’ve spent hours going through Stromae’s interviews and repeatedly watching his music videos, the concert was really familiar to you. His music videos must have been the inspiration for much of his show, and believe me, he put on a show.
Stromae is not just a singer; Stromae is a dancer and an actor. One second he is making jokes about how French fries aren’t even French, and the next he is literally throwing up on stage to add dramatic effect and compliment one of his song’s music videos. The crowd LOVED Stromae. Many spoke French and were yelling “Je’Taime STROMAEEEE!!!” which was the only French I understood out of the entire night!
Go see Stromae. Tell me that I’m right when I say he is an incredible performer and you want to hang out with him all the time.
This last week I hopped on a bus and headed to Capitol Hill to see Giraffage play at Neumos. I had seen Giraffage once before when he played a free show at UC Berkeley, and even with a pathetic sound system he still rocked it.
I had never been to Neumos before, but I was happy with the layout. It was a small enough venue to provide an intimate concert experience while still being large enough for everyone to have room to dance.There was a fairly large balcony area for those who were 21 or older in addition to the large area of floorspace for all ages to dance.
We arrived hella early, I’m not sure why, but when we got there the very first opener was still on. He was a short kid who refused to put his hat fully on his head named DJ HoJo. He was not bad I suppose; we only saw about ten minutes of his set so its hard to assess his talent. He played mainly electronic, bass heavy PLUR music. For those who are unaware what PLUR is, it’s basically just a thing that raver kids say, although in reality it stands for Peace, Love, Unity, and Respect. PLUR music can be defined by artists such as Porter Robinson and Zeds Dead.
When DJ HoJo got off the stage, Spazzkid came on, looking very hipster with his thick-rimmed glasses and perfectly sculpted manbun (please make this trend stop people). Spazzkid’s set consisted mainly of somewhat slow, dancey electro stuff. I wasn’t a huge fan of this set mainly because most of the songs he played were hard to dance to. There was usually no steady rhythm with which you could move to. Additionally, about halfway through his set he turned into some sort of radio host. He said distracting stuff into the microphone between each song. “New shit,” “Shout out to Porter Robinson,” “Shout out to Ta-Ku,” “New stuff right here.” I swear he must have sent a shout out to each least seven different artists. He did do some random singing that I found went well with the tracks he was playing and was fairly entertaining. However, all in all, I was not heartbroken to see him leave the stage.
Then Giraffage took the stage. He was humble as hell, speaking really quietly into the microphone: “hi guys….” pause for applause, “my name is Giraffage” another pause for applause, “I’m gonna play some music for you” and then he got into it. I, as well as many others in the crowd, was very happy to hear him play a lot of his older tracks, most of which were off of the “Comfort” album. Thankfully he did not follow in Spazzkid’s footsteps and blurt random crap into the microphone; he let the music do the talking. His set had enough groovy songs to get people dancing, only ever interrupted by build ups and drops. He played a couple of really old EDM tracks that were popular like seven years ago. I wasn’t super into this but I guess other people were. I have to admit that the bass was definitely not loud enough on the speakers, or perhaps the treble was too loud, but either way there were some sounds that were just too abrasive and some drops that just didn’t slap hard enough.
His set ended after about an hour, and then after leaving the stage momentarily, he was summoned by the crowd for an encore, which he utilized to play his Janet Jackson remix of “Someone to Call My Lover”. This is my favorite Giraffage track so naturally I was pretty stoked when he played it. After the song ended he received another well-deserved round of applause and the show was over. I enjoyed myself, and it seemed that other people did as well. I would see him again if given the chance.
An audience member stares wistfully at a television screen, modified to display “Evening Bell”
Above the restless crowd, Evening Bell entered the stage. Each of them brandishing their instrument of expertise, duo Hart Kingsbery and Caitlin Sherman stood confidently in front of drummer Jason Merculief and bassist Aaron Harmonson. The band picked up as the lights came on, harmonies ringing out over the Crocodile’s killer sound system!
Simple and sweet, the singers took turns leading us in song. Kingsbery’s guitar pierced through the air like jet streams in a clear blue sky while Sherman’s voice blended into the tone of her keyboard. The combination of her instrument and vocals created a clear contrast to the guitar’s distinct wavy-ness. Meanwhile, the keyboard’s piano-like tone generated a Jazzy demeanor above the Country-Western vibe.
Each song would begin with a guitar or piano riff, the sound of which would result in a cheer from the audience as they recognized their favorite tracks from this local band. While we sang and danced along to the frontmen, Merculief and Harmonson rocked out subtly from behind. Harmonson sported a cowboy hat and a big red bow tie, he smiled as his rhythms echoed through the small concert venue. Throughout the set, Merculief moved us through the various styles of music. His most amazing moments, however, stood out during keyboard and guitar solos. His beats reverberated below the dynamic synths and riffs, providing a solid basis for Sherman and her voice. Long instrumental moments also showcased the drums as they shifted in and out of focus.
Evening Bell plays another hometown country duet
“Thank you so much for listening,” Sherman closed the show through a smile. “That was fun!” Kingsbury added. We cheered as they grabbed their television and left the stage.
As we waited for the headliner, the fog grew thicker and thicker. Seen through the haze, Jessica Lea Mayfield grabbed one of her five guitars and plugged it into her smorgasbord of pedals. Reverberating and intense, her guitar joined in with the bass until the entire band built to intensity. All the while, drummer Matt Martin, wearing a tattered collared shirt and drums, remained relaxed yet determined.
As the instrument turned up, Jesse Newport’s bass became distorted under Mayfield’s ever present guitar – her arpeggios ringing out between lamenting lyrics. They drew us in with inconsistent rhythm, possessing the presence of a poetry slam and the power of an arena show. Beneath her echoing voice, the three musicians rocked out to every chord progression under the sun.
Their tone and musical expertise fit Seattle’s sound like an old glass slipper – their presentation like Nirvana if Kurt Cobain owned a pair of sparkly boots.
Jessica Lea Mayfield “and band” start off with a bang!
They played three songs in a row, each leading straight into the next. As a song would end the drums and bass would slow down on Mayfield’s cue. Turning around, she would play in tandem with her band – all three of them looking intensely at one another. As the last song fell to a silence, Martin and Newport quietly exited the stage.
“I’m gonna do a song by myself. It’s called ‘Party Drugs.’ It’s off my new record.” After explaining the origin to the song, she started back into the entrancing mix of guitar and vocals – sans bass and drums. A little more controlled, the solo song showed off Mayfield’s artistic control, manipulating the reverberation of her voice and guitar, relying on every resonating note to carry into the next.
After that song, the band joined Mayfield back on stage. She complimented the gentleman in the front for being so polite and, taking off her jacket and adorning another guitar, she amazed us as the lights reflected off her guitar strap and bright green eyes. Looking towards the audience, she saw through us all as we watched her emotions fly out above us.
After playing a new song called, “Seeing Stars,” Mayfield introduced Jesse Newport as her husband. As we cooed and Jesse picked up his guitar, Jessica lifted her head slightly to introduce the next song, “this is the first screwed up love song I wrote about him.” We laughed and cheered as we breathed the whiffs of red bull and vodka – a staple scent of the Crocodile dance floor. The lighting changed and Jessica’s melancholy lyrics picked up again with a song she couldn’t help but smile about. The two guitars layered themselves perfectly as Mayfield’s slow strokes accented Newport’s quick and rhythmic strums. “You’ve got a stranglehold on my heart,” she sang as she cleverly depicted the hardships of new relationships and their unforeseeable potential.
Grunge rock and sparkles. Jessica’s studded strap shines brightly through the haze
In the front row, Jessica pointed out a couple who she thought was being particularly cute. “Looks like you had a good valentines day,” she said. “I’m gonna ruin that,” she quickly added. After our laughs subsided, she explained the meaning of her next song. “I spent some time trying to plan my death but then I wondered if I had enough time to do all the things I needed to do around the house first.” We laughed. “And that was enough time to write down a song about how ridiculous that was”
The music grew louder and the audience’s smiling and blushing diminished to head bobbing. The husband and wife stepped closer to one another, their instruments almost touching as they continued to play some “bummer shit,” as Mayfield later described. She played “I Can’t Lie To You” with her distorted black guitar. The guitar and bass shouted every note as each doubled the melody. The band broke into our consciousness with their impeccable song writing ability – each moment providing a dramatic contrast in sound from the last. The drums provided a segue between these distinct moments with their ability to move from loud to quiet with just one gradual cymbal.
After the song appeared to end – a short applause had followed – Jessica’s guitar tears through the speakers. The music picks up and continues until we’re begging for more. Unfortunately, there was only time for one more. The band played their last song, “No Fun” – their musical ability never faltering. The guitar seemed to have control over bass and drums, as each remained in sync with the Mayfield’s rhythm. The song ended cutely and cleanly as the musical married couple kissed during the last guitar solo.
In a true Valentine’s Day spirit, Jessica invited the cute couple she had previously called out up onto the stage. Nervously, the drunk audience members pulled themselves out of the crowed and joined Mayfield in the spotlight. She asked if they knew the words and the women nodded furiously in response. As the song began, however, it became obvious that her date may have forgotten a few lyrics. Mouth closed, he danced silently around the stage – at one point approaching the drums with a smirk, only to walk away sheepishly as the song subsided.
Two excited audience members dance and sing along on stage for the encore performance
Through our laughs, Jessica closed the show. She even stayed around for a bit to drink with the crowd! Be sure to check out her website for new music, tour updates, and more!
Last weekend, I waited in line for two hours – playing guitar, drawing with strangers, and even taking a picture with “sasquatch”:
Last Tuesday, I had the pleasure of using one of my (two!) free tickets to see a collection of chaotic, clever, and comedic acts. This was the Sasquatch Launch party – a random pageant of madness and fun that resulted in the release of the all-anticipated line-up!
Comedian, Chris Gethard, opened the show with an enthusiastic display of his tattoos and mental health issues. We laughed and he smiled, and we waited – through the sounds of Star Wars cantina music – for The Young Evils to perform.
Adorned in a Macklemore “My City’s Filthy” shirt, The Young Evils’ Mackenzie Mercer entered the stage, followed by Troy Nelson, Michael Lee, and Scott and Brendon Helgason. Slow at first, Lee’s guitar put us all into a trance – the band’s Black Sabbath-like breakdowns providing an outlet for us to rock out!
The Young Evils start off the show with a bang!
Their next few songs sounded like a surfer-pop weekend playlist with some Ramones thrown in. Mercer and Nelson stared at each other occasionally before turning to their mics to sing their teenage indie-gaze pop songs. “We keep running in circles,” they wailed over the wavy bass line.
Throughout their performance, The Young Evils maintained this surfer rock vibe. Mercer’s hands clapped to the innocuous rhythm. Buzzy and popping, Brendon’s bass led the rhythm – Scott’s drums keeping up with its dramatic kicks and snares. All the while, Mackenzie Mercer and Michael Lee enticed us with their solos as they sang and danced around the stage.
They played a brand new song to the audience’s enjoyment. Mercer came closer to the edge of the stage, the front row girls bobbing their heads to the rhythm. As the song continued to build, it would quickly move into The Young Evil’s characteristic breakdowns – hard and heavy chords breaking through deadly drums with electric guitar riffs thrown in haphazardly.
After thanking us, the band began a duet between the two frontmen. "Dearly beloved,“ Nelson announced, "we are gathered here today to see the Tacocat, Ty Segall, and to see the rise of the scorch”
As we cheered in slight confusion, we picked up right back to where we left off. Bass shaking the floor, the frontmen sang in unison above crowd while short and sweet solos weaved in and out of the fluid verses.
Taking the maraca from the drummer, Mercer strutted to the front of the stage. She danced to the rhythm and her right hand joined in. While Michael Lee ooh-ed and aah-ed in the distance, the band sang in chorus until a quick switch sent the guitarist shredding as the song faded away.
Warped guitar and a reminiscent summer-time vibe filled the rest of the performance. After a quick announcement about what was coming up in the show, a melancholy guitar entered the mix. Despite lyrics like, “dead animals is what we’ll become,” the music brought us to life – the crowd moving their bodies with the tide of the music.
After a final song and a bit of cantina music (again), a Sasquatch montage video appeared before us. A distorted voice announced how amazing the festival was going to be before advertising ziibra.com/sasquatch – a media subscription that gives people a behind-the-scenes look at the building of Sasquatch!
Chris returned to the stage for another comedic break. He was astounded by how excited we get about free things. So, he “gave away free shit!” In response, one member of the audience screamed, “free stuff rules!”
Cue more cantina music (seriously, the same song), then along came Tacocat! Struggling to find their things in the dark, the band began to mic check and drink their beers. After the band tuned their instruments, bassist Bree McKenna described their first song to the applause of the audience.
The foursome did nothing but enthuse as they danced and sang in tandem
We all swung our hips and moved our lips in unison – oohs and ahhs echoing throughout the room. In a t-shirt and jeans, guitarist Eric Randall casually played until technical difficulties stopped him from doing so.
“We think the Neptune is haunted,” frontman Emily Nokes explained as Randall attempted to fix his amplifier. The awkward empty air provided a great time for stage banter as drummer Lelah Maupin recalled her favorite story about a cat that didn’t die. “The only lesson we have to learn from Bartok the Miracle Cat,” she concluded, “is that it proves that pet cemetery is real!”
Magically, the technical difficulties were resolved! “Fuck you Neptune…” Nokes yelled, “-ghost!” she quickly added with a smile. As the band played their breakout single, “Bridge to Hawaii”, orange lights reflected off of Emily’s watermelon dress and Bree’s bright white and studded guitar. Lelah danced in the rhythm, her head leading her body in waves of intensity.
After a quick break for a drink of beer, Tacocat started to play a more intense set as the song “sk8 or die” caused the audience to start to mosh. Lelah’s commentary broke up the intensity. “The only thing I remember seeing here was Juno…” she said. “Twice!” the Emily quickly added. “Twice,” Lelah responded.
“She has the soundtrack on vinyl,” Eric remembers to announce. With a turn and a smile, Lelah responded with a gleeful, “That’s true!”
With a laugh, the band started playing their next song like before – Bree’s bass moving our muscles and Eric’s guitar blowing our minds. All the while, simple riffs flew right by Emily’s voice as she danced in a ska-like jig.
“Psychedelic Quincerniera,” was announced by Bree through a smile. The whole time, Maupin kicked ass! Throughout the song, she never stopped moving, despite the infrequent discourse of the crackling guitar. Even through the continual technical difficulties, the song ended with with a big, trippy Mexican guitar riff.
Reveling in the awkwardness, The band made a series of jokes including “that signature tacocat sound… Crunch!” said through a Noke’s ear-to-ear smile.
“I have a joke!” Lelah announced, “The busty crustacean joke!” Those who had previously attended the band’s shows cheered – a member of the audience even giving the answer to the drummer’s innocuous riddle.
The set continued and crowd favorite after favorite caused us to reminisce and cheer. Occasionally a crackled guitar would scream out above the mix and we would smile with the lead singer as she commented on “how beautiful the Neptune was.”
Throughout the set, the guitar continued to crackle but Randall played through it, never ceasing his harmonies for Noke’s catchy melodies. Meanwhile, I found myself wondering how Maupin could be so cute yet so menacing! Her sparkles shaking off with every bead of sweat, she smiled maliciously as she sang, “this is anarchy” and other clever one-liners.
For their last song, a man-sized lobster joined the band on stage as he began to dance alongside Emily. The crowd went wild with energy, once again moshing in the center of the floor.
In a surge of energy, the band left the stage and the lineup announcement began. We cheered as familiar names scrolled across the screen and was met with the same enthusiasm as Chris, the comedian, re-entered the stage. In case you missed it yesterday, check out nilorap’s full coverage of the lineup in our Rainy Blawg article.
Chris Gethard presents us with more free stuff!
Ty Segall entered the stage with nothing but a hard-shell acoustic guitar case in his hand. Adjusting the mic to his guitar, he lets us know that he’d be playing an acoustic set. The guitar propped up on his knee, Segall kept his impeccable instrumental skill as he sang along so fluidly. Quieter than the other performers, Segall kept us interested with his unorthodox lyricism and devilishly detailed guitar parts.
Segall commanded the stage with nothing but a guitar and a notebook
He played us a bunch of songs, both new and old. From some that were untitled to favorites like “Crazy,” Segall never let down his Led Zeppelin demeanor and face that might as well be Kurt Cobain’s during Nirvana’s MTV Unplugged set.
“This song is about my girlfriend” he said, before forgetting the chords and starting over. We laughed as he continued to sing the song, “Sleeper.” He moved his capo around his guitar as he decided which songs to play. He played us stories on his guitar, his lyrics bringing us into his universe – where every moment is precious and every person has their own world of importance.
He stopped playing to continue his story, connecting it with yet another song. “she said she wants to buy a couch” he sings. We laugh at his humor which remained interspersed throughout his lyrics.
“I’m gonna keep going with this theme of consumption,” he finally states, “this one is called Manipulators.” We ooed with him between verses and reveled in his relaxed demeanor. At one point, a man in the front row – later to be known as Sean – requested his favorite song and Ty obliged, his casual niceness and cheer flowing out until the end of the event.
When I left the show, I felt like I had just been to a friend’s house. It was strange since the event was free and there was nothing keeping us there except our love of the music. These artists felt the same vibe and rocked with us throughout the night! If anything, this sort of approach to music performance gives me hope for the beautiful time that will be Sasquatch! 2015.
After local artists Crater and Shaprece rocked out with their high energy and expressive vibes, Moses Sumney assumed his position in front of the audience at the Ethnic Cultural Center on Wednesday, January 28th. Just his very presence sent ethereal sensations throughout the venue, creating a kind of piercing silence that is only heardwhen crowds of people are in complete and utter awe of whatever it is they find
themselves collectively part of. “There’s gonna be a lot of surprises tonight,
for both of us,” Moses Sumney said with a laugh as he grabbed the mic and
started to test the waters on the stage. His sly remarks gave the impression that
he may have been a tad nervous, but the moment he started playing music it
became clear that nerves were most certainly not a factor in his phenomenal
performance. Although I might not have plastic wings like Moses Sumney (as
heard in his song “Plastic”), I felt myself float as he began to experiment
with his inspiring soul/folk sounds.
sounds began to develop into loops of his voice, overlapping each other—resulting
in a trancelike, overwhelming foundation for the musical journey he was
beginning to create for the audience. I’ve never been to another show where I
felt like I was watching art being created in front of my eyes and ears, but
Moses Sumney really achieved that with the techniques he used to create his
beautiful compositions. Aside from the use of a guitar, the only other
instrument Moses used on stage was his voice and his looping tool to create a
unique experience unlike any other that I’ve felt at a live show. Each
individual noise coming out of his mouth and guitar somehow developed into
beautiful songs that surrounded the audience in an unearthly bubble that popped
in each audience member’s mind.
opening song—“Dwell in the Dark”—was one of his more upbeat folky songs that
created liveliness throughout the ECT. This and his next song, “Man on the Moon,”
set the tone for the rest of the night as being a soulful and unique one on the
UW campus. As this song came to an end, he held one high note and began looping
his voice into a really interesting mix of sounds. The tones in this mixture
became almost anxiety-inducing in the best possible way—causing listeners to
feel a bit uncomfortable in their seats as they felt the growing sublime energy
swallow and capture their senses. The Ethnic Cultural Center turned into a cave
of creation, full of reverberating sounds including beat boxing, clapping, and
intonations of Moses Sumney’s heavenly voice (as can be seen and heard below).
He later went into playing one of
my favorite songs of the night—“Worth It”—and joked about it being written
about tuition increases (hehe, thanks for keeping a positive attitude about
tuition rises, Mr. Sumney). The biggest crowd pleaser of the night definitely
came when Moses began playing “Plastic,” one of his most played songs on his Soundcloud. He eased into playing this mellow and sexy tune while receiving cheering
from the entire audience to continue his outstanding work. There was one point
during the song that he began to actually whisper, almost teasing listeners to
beg for more of his smooth voice.
the night, I felt myself become emotionally controlled by the powerful hold
that the music had over me; however, the saddest part came when Moses Sumney’s
music had to stop. As he exited with a standing ovation (no surprise there), I
found myself wishing for an encore more than I had ever in my entire life. Unfortunately
there was no encore, but I did get a chance to briefly speak with Moses after
the show and get a picture with this up and coming legend.
Incase you weren’t able to come
around this time to experience this one-of-a-kind musician; I strongly recommend
you check him out the next time he’s in Seattle (which lucky for you is on
February 17th at Neumos)! You won’t regret it—I can speak from experience when I say that it will be an ear-opening performance to remember as last Wednesday’s was at the ECT.