Show Review & Photos: Fitz and the Tantrums @ Chateau Ste. Michelle

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Fitz and the Tantrums @ Chateau Ste. Michelle – 7/26/26
Show Review & Photos by Louise Geri

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

Of Monsters and Men captivate packed Paramount Theatre

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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

Encore:
17. Love Love Love
18. Fruit Bat

Modest Mouse electrifies The 5th Avenue Theatre with a high-voltage return

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Modest Mouse @ 5th Ave Theatre

Review and Photos by Alex Crick

Isaac Brock of Modest Mouse performing at Seattle's 5th Ave Theatre.

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.

Show Review & Photos: Ella Mai @ WaMu Theater

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Ella Mai @ WaMu Theater – 7/16/26

Show Review by Louise Geri

Photos by David Conger

Ella Mai – photo by David Conger

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.

Ella Mai – photo by David Conger

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.

Ella Mai – photo by David Conger

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.

Ella Mai – photo by David Conger

Show Review & Photos: Sierra Hull @ Northwest Tune-Up Bike and Music Festival

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Sierra Hull @ Northwest Tune-Up Bike and Music Festival – 7/11/26
Show Review & Photos by Louise Geri

Sierra Hull – photo by Louise Geri

The audience at Sierra Hull’s performance at Northwest Tune-Up Bike and Music Festival was a far step from what I’m used to in the bluegrass scene, as someone who didn’t listen to much bluegrass before moving to Nashville. The Puget Sound was the backdrop to a massive Bellingham festival fairground filled with girls in jorts, kids running around with bubble wands, food trucks lining the lot, and perhaps strangest of all, massive man-made dust hills filled with dirt bikers. Hull said what everyone was thinking during her set, “I didn’t quite know what we were walking into, as a bike festival!” She giggled, referring to the hills as “itty-bitties”.

Hull wore a bright red jumpsuit, bandana, large shades, and cowboy boots. She smirked and smiled awkwardly and endearingly as she swayed playing her mandolin. She began her set with the opening track to her latest album A Tip Toe High Wire, “Boom.” The song featured the first of many mandolin solos. She spent a lot of time throughout her set dancing alongside fiddler Avery Merritt, whom the crowd adored. She played her 2016 track “Compass,” leaning back and raising her eyebrows at one point in a mandolin solo to indicate a particularly high note. A stronger beat kicked off “Envy,” a 2020 release. The song ebbed and flowed, featuring satisfying staccato fiddle moments. A strong smell of salt entered the audience, reminding me how far I am from my landlocked sea salt-less place of bluegrass discovery. A fan filmed a 360-degree view of the audience rocking out.

Sierra Hull & guitarist Shaun Richardson – photo by Louise Geri

Hull introduced her band, featuring Shaun Richardson on acoustic guitar, Erik Coveney on “ze bass, the big bass,” Mark “Goose” Raudabaugh on drums and of course, Avery Merritt on fiddle.

Instrumental interludes were interspersed between songs, giving every member of her band time to shine. Fans would whoop as fiddle solos would pick up or when the instrument would let out a particularly brain-scratching squeal. Hull would then smirk, giggle, and tap her black and white boots, walking from Merritt to whichever band member had the next solo. Some interludes leaned more in a Celtic direction, making me feel like I’d entered the Disney movie Brave. A group of girls clapped to the beat during one song, and I was pleased to even see grown men bouncing up and down. One yelled, ‘You guys are awesome!”, a compliment Hull returned.

When the instruments entered after the stripped start of “Wings of the Dawn,” I gasped. It sounded majestic. The fiddle parts were incredible, and the bass brought the song to a strong close. Richardson did background vocals as Hull embarked on a cover of the 1930s Delmore Brothers song “Blues Stay Away From Me.” The two stood close together as they each played solos on their respective instruments. A creaking sound began, possibly coming from the fiddle, as Hull carried on with a cover of the Tears for Fears song “Mad World.” Merritt joined Richardson in background vocals. Lots of cameras came out, and a stench of weed and beer grew – ominously fitting for such a sad song. The drums brought the song to a miraculous ending, and Hull took a dramatic step backward as it closed. She yelled, “Thank you all so much!”

Sierra Hull – photo by Louise Geri

“Queen of Hearts / Royal Tea” followed. The prominent scent on the fairgrounds changed once again, this time to that of baked goods. Merritt briefly switched to acoustic guitar. At the end of the song, Hull took a sip of what fittingly looked like tea instead of going for the water bottle she’d been previously nursing. As her set neared its end, attendees were reminded of the traditional nature of bluegrass when everyone except Hull left the stage while she performed a lengthy mandolin solo. Each band member re-entered one by one, until they were standing in a line formation, feeling like the typical image of a folk band.  As she took on “Black River,” the fiddle was wistful and the other instruments turned rougher, reminding me of the feel of Keith Urban’s 2009 Defying Gravity album. The set finished with this poppier sound. Hull graciously motioned to her band members and thanked the audience before they all left the stage. Many attendees whom I doubted had been previously familiar with the bluegrass subgenre screamed and danced.

Once the stage was empty, I turned to my friend who, on the drive up from Seattle, had excitedly exclaimed that she had no idea what to expect from her first time hearing bluegrass. I gave her a “What did you think?” look, and she approvingly informed me, “I liked that!”

You can buy tickets to see Sierra Hull live here. Washington state alert: Hull returns to the Northwest with a date supporting Dave Matthews at the Gorge on September 6th.

Sierra Hull – photos by Louise Geri

Atmosphere @ Northwest Tune-Up Bike and Music Festival – photo by Louise Geri