09.19.2016 EP release party
Free show to celebrate the Information EP release, and Sheers' new self-titled EP, hosted by Ear Candy (Portland Mercury).
Beacon Sound, Portland OR, with Sheers and Mordecai.
This is my first show back after a long hiatus, due to an injury. I'm pleased and honored to be joined by Jeff Evens and Lily Breshears for the evening, we'll be playing the songs from my new EP, due to be released this Fall.
Alberta Street Pub, Portland, OR. with Those Willows
Those Willows is the project of Jack Wells and Mel Tarter. I saw Jack play drums with Robin Bacior last month; her set was icy and beautifully textured. Jack doesn't sing with Robin's project, but he and Mel both have very striking voices in the recordings that I've listened to, and I'm excited to see what they do live.
I'm playing this show with Jeff Evans, a versatile and accomplished musician, who has been showing up around town a lot lately. Choir teacher by day, he plays drums for the likes of Hayley Heynderickx, Luz Elena Mendoza (of Y La Bamba), and Big Haunt, along with fronting Kalululu.
4123 SE 33rd Place
I am very excited to be playing this show with Mike Grippi (bass) and Christopher Johnedis (drums). Earlier this month, the three of us spent a weekend recording, and this will be our first live performance together. Chris will be joining Catherine Feeny later as well, with the Classical from San Francisco rounding out the evening.
Al's Den, Portland, OR. with Esmé Patterson
Woman to Woman: The Fundamental Things Apply
I met Esmé through friends years ago at a show with Denver's Paper Bird, of which she was a founding member. She is just now returning from a few months on the road with Austin's Shakey Graves, supporting her latest record Woman to Woman. She plays with David Strackany, an accomplished and prolific songwriter in his own right (see Paleo). The duo plays a set these days that ranges from growling and sharp to soft and thoughtful, as much rock n' roll as anything else, something that isn't immediately apparent from Esmé's current studio recordings. She builds her narrative through the ghosts of women from famous songs: Elvis Costello's Alison, Dolly's Jolene, Michael Jackson's Billie Jean. It's an idea that cuts, and she's bold and poised enough to pull it off.
In an era of, ahem, Beyoncé feminisms (another notable "é" in the music world), women who speak for themselves, about their bodies and desires, relationships and the men they love is still a big deal. Beyoncé got real, she told us about Jay-Z and how she's been feeling since the baby. She's got Angela Davis and bell hooks dropping the t-bomb. The conversation is in the public consciousness, askew in a slightly different slant than years past. It dovetails with Esmé's project with the same hyperlinked-lateralness that earned her a nod (well, a facebook post, actually) from Mr. Elvis Costello. The idea of hyperlinking is a powerful, viral metaphor for what's in reach; who gets to say something with some credence has changed (along with feminism looking like stilettos and no pants. You can google that one yourself). And yet culturally we are swimming in muted voices, characters drawn to define part of ourselves, and then abandoned. Most of Woman to Woman doesn't pass the Bechdel test (notable exception being the lovely transformation of Eleanor Rigby in Bluebird) but I reference that to emphasize Esmé's question: What are the women that men create, and what is missing?
LISTEN TO: The Glow from Woman to Woman