Jason Isbell at the Grand Lodge – Forest Grove, OR

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Singer/songwriter/guitar player Jason Isbell performed 3 solo acoustic shows in the Pacific Northwest this week, the first in Seattle at the Woodland Park Zoo, followed by a of pair of concerts in Oregon. I caught the middle show of the run at the Mcmenamins Grand Lodge in Forest Grove, about a half hour west of Portland.

Now is the time to confess that I am a fairly avid fan of Isbell and his music and I’ve seen him a bunch with his crack backing band, the 400 Unit. Isbell departed from his established routine at the end of 2024 and went into the recording studio sans band, armed with only his trusty Martin acoustic guitar. Five days later he had finished recording the 11 songs that comprise 2025’s ‘Foxes in the Snow’. In our post MTV Unplugged world it’s become something of an expectation (or cliche) that electric rock bands eventually deliver an acoustic set. It’s been my experience that the results of these expeditions outside the friendly confines of guitar feedback and pounding drums have been sometimes rewarding and sometimes not. For Jason Isbell, the transition feels entirely organic and on brand. At 47 years of age, Isbell is a veteran professional musician who stands solidly atop a foundation built of bluegrass and country music, every bit as much as it is built of guitar rock. He is also possessed of exceptional skill on both electric and acoustic guitars. Some musicians who play primarily in a full band setting have difficulty reproducing the impact and/or excitement of their material when forced to do it without a net. Such is not the case with Jason Isbell. The power of his music lies in his songwriting and his sincerity. Neither are diminished in the least when he makes the transition to solo artist. It is fairly common for Isbell to play a song or two in a solo acoustic format while performing with his band. I was also fortunate to see him play acoustically with Drive-By Trucker (a band with which Isbell was once affiliated) Patterson Hood and Chris Tompkins in Florence, AL last fall. In short, I had seen him play the random acoustic tune but had, prior to Friday night, not experienced an entire acoustic set.

Isbell took the stage Friday with little preamble or fuss in front of a large and enthusiastic crowd, launching directly into ‘Overseas’, a fan favorite composition from 2020’s ‘Reunion’. The song is a striking example of Isbell’s knack for writing lyrics that seem drawn from his own personal life experience yet are universal enough in theme to strike a chord of recognition in the listener. It’s a neat trick and it’s one of the qualities that lift his compositions to a level that places him among our best songwriters. That ‘I feel like he/she is writing my life’ experience is something every fan of our great songwriting recognize when it hits, and Jason Isbell hits it frequently.

Isbell presents as more relaxed and convivial in a solo format that what is possible while fronting a loud rock and roll band. He regaled the attentive audience with amusing and homey anecdotes about his family and his southern upbringing and made a number of humorous observations about the crowd and the venue. He saved his best shot for a thinly veiled poke at country artist Morgan Wallen, who recorded a version of ‘Cover Me Up’ (one of Isbell’s most popular compositions) in 2019, and later ran afoul of Isbell and other progressives by making some very well publicized racist comments in early 2021. Isbell publicly denounced Wallen’s comments and donated the proceeds derived from the sales of Wallen’s cover to the NAACP. Isbell hasn’t been shy about airing his beliefs on social media, much to the chagrin of the more conservative contingent of the country music listening audience (and the delight of his fans).

The remainder of Isbell’s well received set consisted of songs from ‘Foxes in the Snow’, tunes from his albums with the 400 Unit, and a composition from his time with the Drive-by Truckers (‘Outfit’). Midway through his 4-song encore, Isbell played ‘Sunshine’, a tune written by the much-missed Todd Snider (who was born in Portland). At the end of the song Isbell said “man, that felt so good, I think we should do another” and then played Snider’s ‘Play a Train Song’. It was a heartfelt and fitting tribute to a friend and a songwriter that Isbell admired and respected.

Tomahawk and Melvins at the Showbox

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One would have to dig deep to come up with a pair of bands that that fit together more perfectly than metal/noise supergroup Tomahawk and Pacific Northwest legends Melvins. The two bands not only appeal to a similiar audience but the members of both groups are hopelessly intertwined in a pig pile of musicians and groups that share a like devotion to inspired weirdness, extreme volume, and unmistakable heaviness (Redd Kross, the Jesus Lizard, Big Business, Mr. Bungle, Helmet, Fantamos, Battles, Faith No More, and, of course, Melvins and Tomahawk). The ostensible ringleaders of the scene are Buzz Osborne and Mike Patton but all of the players share a commitment to challenging and exploratory art while never letting their artistic ideals compromise their inherent predisposition to rock and rock hard.

Melvins have assumed multiple different configurations over the years and cycled through a number of bass players, with guitarist and vocalist Buzz Osborne and drummer Dale Crover being the constants throughout the band’s lifespan. The current two drummer line-up has been intact for a bit now and last visited Seattle at the Showbox just about a year ago, supporting Napalm Death. At this point it’s probably best to dispense with the descriptor ‘support act’ in reference to Melvins, especially in the Pacific Northwest. Tomahawk was fantastic last night and, given the length of time since their last live shows, totally deserving of their spot at the top of the bill. That said, no band is going to overshadow the Melvins in front of a Seattle audience. It’s just not going to happen.

Melvins took the stage last night to Jimi Hendrix’s ‘Star Spangled Banner’ and crashed into ‘Working the Ditch’ from 2024’s ‘Tarantula Heart’. They started last year’s Seattle set with the same song and I remember being suitably impressed by their pounding delivery, finding the performance not the least bit lacking. That said, Melvins were sharper and just a bit more focused and savage at the Showbox Tuesday night. They drew from all phases of their career and breathed heartfelt and convincing fire into sometimes 30 year old tunes. I wouldn’t think the reasons for this leaner, meaner, harder Melvins would be shrouded in mystery. They’ve played a lot of shows since spring 2025 and the 4 bandmates clearly enjoy performing together. That’s a time-honored recipe with a high return rate and the 2026 Melvins are the proof. They had the audience in the palm of their hands for the entire set but energy and crowd response ramped precipitously toward the conclusion of their hour onstage. Trever Dunn, bass player from Tomahawk took the stage and Melvins tore into their sludge classic ‘Night Goat’. The now double drum, double bass combo delivered a roof rattling, fittingly heavy, nay, PUMMELLING conclusion to a truly memorable performance. The audience ovation as Melvins took their leave of the stage was more thunderous than any crowd reaction I’ve heard this year. A tip of the heavy metal cap to Buzz Osborne, Dale Crover, Steven McDonald, and Cody Willis. Very nicely done, gents.

There was considerable excitement among devotees of heavy music last year when word came down that Mike Patton (Faith No More, Mr. Bungle, and so much more), Duane Denison (the Jesus Lizard), Trever Dunn (Mr. Bungle), and John Stanier (Helmet) would be reconvening for a series of live dates this summer. Thirteen years had passed since the band’s last gigs and this particular group of musicians generates keen interest among the experimental/weirdo metal crowd. The band did not record new material this time around and have been mining material from their 5 long players, the most recent of which was recorded in 2021. Tuesday night’s show contained cuts from each album with the wildcard of the night being a perversely straight cover of the George Jones classic ode to broken hearted boozin’, ‘Just One More’. The late, great Duane Eddy also got a shoutout with a spirited take on ‘Stalkin’.

Tomahawk live are an experience (take a richly deserved bow if you detect an intentional understatement, dear reader). The band members are a study in contrasts, yet they come together to form a remarkably cohesive and cogent musical whole. Drummer John Stainer is a steady presence, smiling cheerfully behind his kit while bashing it into submission. Bassman Trever Dunn cuts a smart figure in his bad guy cowboy hat and matching vest while laying down an ever inventive foundation for Tomahawk’s heavy flights of fancy. Duane Denison (last seen in these parts with the remarkable Jesus Lizard at the Neptune in the spring of 2025) is content to lurk in the shadows while delivering well timed bursts of feedback, the odd surf lick, and evocative, twangy guitar accents straight out of an Ennio Morricone soundtrack. I’m a big Duane Denison guy and he did not disappoint at the Showbox Tuesday night. Which brings us to Mike Patton. Much has been written over the years about this wildly talented, (mostly) lovable oddball but it’s a thankless task to attempt to capture his presence and skills accurately on the written page. Patton can go from a deep Howlin Wolf/Captain Beefheart style growl to goofy, Faith No More compatible rapping to soaring, opera-esque vocalizations in less time than it took me to type this sentence. In Tomahawk, his anything goes vocals are accompanied by a fair bit of noodling on a Rube Goldberg worthy collection of analog electronic devices positioned a center stage. Patton intently works his gizmos while the band churns away, occasionally grabbing a handheld mic to step out from behind his station and let loose with his vocal acrobatics. It’s a freaky and entertaining visual and audio spectacle and Tuesday night’s audience ate it up with gusto and demanded seconds.

Photos: Hannah Marie Kelley @ Tractor Tavern

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Hannah Marie Kelley @ Tractor Tavern – 8/4/2026
Photos by Kirk Stauffer

Songwriter and performer Hannah Marie Kelley opened for the Hogslop String Band at the Tractor Tavern in Seattle last week.  The traditional country/Americana singer was backed by a four-member band that included her husband Gabriel (with a case of 15+ harmonicas!).

Hannah Marie Kelley – Photos by Kirk Stauffer

Photos: Faouzia @ Neumos

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Faouzia @ Neumos – 8/5/2026
Photos by Kirk Stauffer

Moroccan-Canadian singer-songwriter Faouzia played a sold-out show at Neumos last week.  It’s been four long years since she performed in Seattle and this time it was during a stop on her Film Noir Tour.  Backed by keys, guitar and drums, Faouzia showcased her remarkable vocals and range while the audience sang along on every song.  She had a sincere connection with the crowd and when a girl held up a “Can I Sign With U?” sign, Faouzia brought her onstage and they serenaded the room together.

Faouzia – Photos by Kirk Stauffer

See Concerts, Save Animals: The Mountain Goats take over Seattle’s Woodland Park Zoo

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John Darnielle, lead signer of The Mountain Goats

The Mountain Goats Bring Wild Catharsis

The atmosphere at the Woodland Park Zoo lawn shifted from a sun-drenched picnic to a communal revival the moment the PA system blared Queensrÿche’s heavy metal overture “Anarchy-X”, a brilliant nod to Seattle’s local music roots before The Mountain Goats stepped into the spotlight. John Darnielle immediately launched into “Song for Layne Staley,” grounding the headlining set in local reverence and literary depth.

The open-air lawn felt both intimate and expansive as fan favorites like “Cadaver Sniffing Dog” and “Andrew Eldritch Is Moving Back to Leeds” echoed across the zoo grounds. Darnielle was in prime storytelling form, pacing the stage and diving into long, animated origin stories between tracks. He gave the audience vivid glimpses into the hyper-specific human tragedies and historical rabbit holes behind songs like “Crying on Eddie Nash’s Grave” and “Charlie Sheen Reaches Out to the Feds.”

As dusk settled over the canopy, the set transitioned from quirky character studies to raw emotional powerhouses. “Cry for Judas” and “Against Pollution” generated massive singalongs, but nothing matched the explosive final stretch. When the band broke into “This Year” followed by “No Children,” thousands of fans roared every word in unison under the trees. It was a triumphant performance that proved Darnielle’s songwriting can turn an outdoor zoo lawn into a sacred cathedral for indie rock’s beautiful misfits.

Pure catharsis on the zoo lawn as the crowd sings along to every tune.

The Hold Steady Sets the Night in Motion

Earlier in the evening, The Hold Steady kicked off the sold-out show with pure, unfiltered bar-band energy. Frontman Craig Finn was in peak form, pacing the stage with his iconic manic hand gestures and spoken-sung delivery. He treated the crowd like old friends, spinning vivid, character-driven yarns about late-night misadventures, small-town dreamers, and quiet victories. Driving guitar riffs and big piano hooks punched right through the open air, getting early arrivers up off their picnic blankets and onto their feet. It was a glorious, beer-in-hand rock revival that primed the crowd perfectly for the headlining set.

From the very first riffs of the opening set to the ecstatic, full-throated singalongs under the night sky, the sold-out show at Woodland Park Zoo was a masterclass in modern indie rock storytelling. Both acts transformed the serene outdoor setting into a shared space of catharsis, humor, and collective joy. Beyond the incredible music, nights like this perfectly deliver on the ZooTunes motto: “See Concerts, Save Animals.” Knowing that an evening of roaring choruses and community connection directly supports wildlife conservation made the whole experience feel that much sweeter, leaving the crowd buzzing long after the final notes echoed through the trees.