Willow Avalon delivered a captivating performance at the Showbox in Seattle last week, during a stop on her headlining Pink Pocket Pistol Tour. Backed by a tight four-member band, Avalon showcased a blend of classic country, Americana, and pop influences, through her distinctive twang with heartfelt vocals and effortless stage presence. Singer-songwriter Audrey McGraw opened, displaying her country-folk songwriting and expressive vocals.
Michael Fitzpatrick of Fitz and the Tantrums – photo by Louise Geri
In a nutshell, Michael Fitzpatrick and Noelle Scaggs of Fitz and the Tantrums are your high school English teacher and music teacher, respectively. You know, the ones who are best friends and bring the room to life whenever they enter the other’s classroom.
I went into the Fitz & the Tantrums concert at Chateau Ste. Michelle Winery in Woodinville, WA expecting a majority teenage crowd decked out in edgy punk clothing. I knew I wouldn’t be let down regardless of my accuracy – last time I was at this venue I was seeing Kelsea Ballerini and Georgia Webster, and that was one of the few nights that sixteen-year-old me felt like I was living the teenage dream. Despite Seattle having been grey all day as I took off for my second Chateau show three years later, I got in my car with the grin of someone going to Red Rocks.
A security guard at the photo pit told me, as I waited for the concert to begin, that it would be a great show. I was curious to see how that would execute itself in the audience, considering that the most riled up people there were little girls. Throughout the show, I’d observe many clearly millennial women screaming their heads off, as well as an older man doing a dance that looked an awful lot like the Fortnite “shoe” dance. Plus, a random cluster of jock teenage boys who, to my happy surprise, did not appear to be “concert boyfriends”, and instead seemed to be there for their own enjoyment. However, my main takeaway was that this was a family show.
As Scaggs entered the stage at the start of the show, my entire body relaxed. I’ve never been so energized by seeing a woman banging a tambourine while clapping. She emanated joy, and as Fitzpatrick arrived, I felt like I was in the presence of my cool aunt and uncle. They started with songs on the recent end, including tracks from their latest album Man on the Moon, “OK OK OK” and “Oh Maria.” Fitzpatrick and Scaggs were incredibly engaged with the audience – at the start of the show, they began a pattern of leading crowd waves, claps, and holding up hand hearts. By the end, Fitzpatrick was making peace signs and sticking his tongue out at attendees.
Michael Fitzpatrick of Fitz and the Tantrums – photo by Louise Geri
I was surprised, upon a quick Google search, to learn that Fitzpatrick is not literally a “girl dad” despite being the embodiment of the archetype, but rather has three sons. This energy was explained when he introduced “Fool” (2016) by calling himself a “mama’s boy” and quoting the hook, “Mama didn’t raise no fool.” He and Scaggs performed it like a well-oiled machine. Fitzpatrick noted that this was their fifth show in the area, taking a moment of appreciation for the natural setting of the winery.
Between songs, Scaggs introduced herself, “They like to call me the boss lady of the band,” justifying it with power, saying she just knows what she wants. After the humorous delivery of the statement, she told fans to pull out their phone flashlights for “I Just Wanna Shine,” chuckling, “I told you I was bossy!” The highlight of the show occurred toward the beginning of the set – none other than the band’s biggest hit, “Out of My League.” The entire crowd screamed along, and numerous moms ran down the aisle of the seated section dancing as it played. It served as a strong reminder, as grey-haired Fitzgerald sang such lyrics as, “You were out of my league, got my heartbeat racing,” that lyrics about big feelings typically marketed toward teens never fully lose relatability. To make a good moment even better, giant inflatable beach balls and gummy bears were let loose over the front-seated section. The crowd was exhilarated to throw them around and laughed whenever someone was accidentally hit on the head with one.
Michael Fitzpatrick of Fitz and the Tantrums – photo by Louise Geri
In the final few songs before the encore (I must note that this show was the perfect length), Fitzpatrick posed, from onstage, with some audience members for a selfie, did a few giggly face-offs with his drummer, and showered Scaggs with compliments. Upon returning, he brought the crowd to a whole new level with “All the Feels.” He and Scaggs led the last of many handclaps and singalongs to the aptly titled “HandClap” and the laughably-titled “Moneymaker,” respectively.
As they closed the final songs, Fitzpatrick shouted out an audience member spending her 80th birthday at the show. He gave her the mic to introduce herself, and the crowd was warm with tenderness in the night. I felt like I was living the teenage dream again as I exited Chateau Ste. Michelle Winery and did a happy dance in the parking lot.
Michael Fitzpatrick of Fitz and the Tantrums – photo by Louise Geri
Noelle Scaggs of Fitz and the Tantrums – photo by Louise Geri
Atmosphere @ Chateau Ste. Michelle Winery – photo by Louise Geri
Icelandic folk-rockers Of Monsters and Men brought “The Mouse Parade” tour to a sold-out Paramount Theatre, delivered a lively set centered on their new album. Inside the gilded walls of the historic Paramount Theatre, the atmosphere was pure warmth. Beneath the soaring, ornate ceilings, both the general admission floor and every seat in the balcony were completely packed with adoring fans, totally wrapped up in the music. There was a genuine, shared joy in the room, with voices lifting together on every chorus, friends leaning into one another, and a crowd fully immersed in an unforgettable, lovely evening with the band.
Teaxan country folk artist August Ponthier opened the show,
Setlist: 1. Television Love 2. Dream Team 3. King and Lionheart 4. Tuna in a Can 5. Human 6. Wild Roses 7. Styrofoam Cathedral 8. Alligator 9. The Actor 10. The Block 11. Mouse Parade 12. Dirty Paws 13. Crystals 14. Ordinary Creature 15. Little Talks 16. Visitor
Modest Mouse’s two night return to Seattle’s historic 5th Avenue Theatre was a masterclass in controlled chaos, where raw indie-rock friction met single-minded audience devotion. From the opening double-header of “King Rat” and “I Came as a Rat,” the energy in the room was immediate; the entire floor rose to their feet, shouting along to every unhinged vocal strain as Isaac Brock set a razor-sharp tone.
That collective fervor peaked during landmark cuts from The Moon & Antarctica. “3rd Planet” triggered a full-room singalong, while “The Stars Are Projectors” anchored the main set with sprawling, intricate guitar passages. As those melodies morphed into the heavy pulse of “Tiny Cities Made of Ashes,” the room transformed into a unified wall of sound and movement. Arms reached toward the stage, and several fans close to the stage looked practically overcome, experiencing the performance like a ecstatic religious awakening.
Rather than winding down, the encore engineered a masterclass in structural tension. Launching unexpectedly with the eerie menace of John Williams’ “Main Title and First Victim,” the band morphed the cinematic horror motif straight into a bleak cover of The Cure’s “A Forest.” This dramatic left turn stretched the crowd’s suspense to a breaking point before resolving into the intricate, sprawling geometry of “Picking Dragons’ Pockets.”
Instead of a typical high-volume blowout finish, the band released that built-up anxiety with the quiet yet intense acoustic guitar riffs of “Gravity Rides Everything.” By trading predictable climaxes for atmospheric shifts, Modest Mouse proved their live show remains a volatile, vital force.
Mattress, a one-man electronic project in a gold tuxedo and cape opened for Modest Mouse.
Before WaMu Theater had filled with Ella Mai’s majestic voice, you could see the effort she’d put into the Do You Still Love Me? Tour by taking a quick walking tour of the venue. Fans posed in a Mai-themed phone booth, collected goodie bags at the Amplified Access entrance, and formed a long line at the merch booth. The crowd smelled of perfume and cologne.
Following sets from openers Girlfriend and Ama, a loud boom and synths filled the venue. Many phones rose as stagehands pulled the curtains open, revealing Mai sitting on a chaise longue. The lighting was sensual. An intoxicated couple next to me swayed, and I could more clearly see vape mist coming out of various attendees’ mouths closer to the front. I smiled, enjoying a more free-form concert experience than I’m used to. Mai began with, “There Goes My Heart”, a song that would suit a Euphoria-style party scene.
The energy shifted as blue lights made the scene optimistic and cheery. Mai rose from the chaise longue and swayed her hips to “100”. The lighting more clearly showed the stage setup, including drums in a leafy enclosure. A shrill keyboard sound played as Mai questioned the crowd, “Do you still love me?” She pranced across stage left while singing “My Mind”.
Mai cycled through throwbacks, prompting cheers as she shook her butt while doing a lasso motion and danced with both background vocalists. The venue scent got smoky, a kid sat on a parent’s shoulders, and a clap led by the background vocalists caught on briefly.
Mai asked the crowd, “Do we have any lovers in here tonight?”, cuing peachy lighting for “This Is”. She explained, before “Not Another Love Song”, that this is her first tour in three years. The crowd screamed as Mai danced with her whole body and gave the electric guitarist a moment to shine, prompting a band introduction. Whispering vocals ensued after Mai asked, “Are my ladies in here tonight?” She launched into “Shot Clock”, which the crowd adored.
She amped up her hand motions, making for great audience interactions, during throwbacks “DFMU” (2022) and “10,000 Hours” (2016). The intro to the former prompted a young female attendee near me to scream and do a happy dance. The lights went dark for “Naked” (2018), leaving Mai lit by only a large circular light. Phones came out and flashlights were lit upon her request.
Everyone left the stage as a spoken word interlude played, discussing how passionate love can be misconstrued negatively. A telephone booth was wheeled out. As Mai re-entered the stage, lights flickered and a clock ticked. She donned a blue minidress. Standing confidently, she sang “Luckiest Man”, telling a partner how lucky he is to be with her.
The phone booth rang and lit up, prompting her to enter and pick up a call from a friend, saying over a speaker that some men need to be put in their place. She waltzed in and out of the booth as she sang a couple Do You Still Love Me? Tracks. The backing vocalists had solos for the final song, “Outside”.
Younger girls near the back of the crowd rocked to “Somebody’s Son” as Mai sang to her electric guitarist. Mai sat with her background vocalists, swaying to “First Day”, and the show began to drag. It felt like the lantern scene from Tangled.
Acoustic guitar opened the sadder toned “Chasing Circles”. Mai sat on the chaise longue again. Fans flicked their hands to the “No Angels” lyric, “We should be grateful!” She lifted her hand to silence the crowd as she transitioned into “How”. The percussion built again to assert power, and the crowd got riled up when she yelled, “Seattle, let’s go!”
The highlight of the show was “Boo’d Up”. Before Mai began, she addressed the crowd, “Hold one second, I was informed someone got engaged in the audience while we were singing ‘This Is’.” She invited the engaged couple onstage to waltz during the song.
The show closed happily with “Trip” and “Little Things”. Mai expressed her gratitude to the crowd, and attendees filed out into the glistening SoDo night.
