Lizzie Weber @ Triple Door – 6/19/2026
Photos by Kirk Stauffer
Singer-songwriter Lizzie Weber opened for Ásgeir at a sold-out show at the Triple Door. The former Seattle-based artist was back in town during a stop on her The Tiny Incision Tour. Playing both piano and guitar, Weber was accompanied by violin and viola as she performed numerous songs from her recently released album, Wraiths in the Wake.
Lizzie Weber – Photos by Kirk Stauffer
The Lemon Twigs and Mod Lang hosted a power pop lover’s dream bill at Seattle’s Neptune Theatre last week. Both bands satisfied and impressed, delivering a perfect sunny spring day soundtrack to a delighted and enthusiastic audience.
The Lemon Twig’s (brothers Brian and Michael D’Addario, bass & keyboard player Danny Ayala, and drummer Reza Matin) youthful appearance belies their 10+ years and 7 studio albums worth of experience. The D’Addario’s handle the lion’s share of the instruments on their recorded work but they add the very capable Ayala and Matin to round out the band for live appearances. It’s nigh on impossible for a lover of pop music to avoid playing a round or two of ‘Spot the Influence’ while listening to the Twigs. Their lush, crystal-clear sibling harmony vocals and shimmery guitars invite comparisons to the Beach Boys, Beatles, the Zombies, the Hollies, the Byrds, and other bands and artists of that ilk and era. One listens a bit further and you begin to hear Todd Rundgren, the Move, Simon & Garfunkel, Phil Specter’s Wall of Sound productions, as well as second generation power pop stalwarts such as XTC, Squeeze, the LA’s, a bit of the early Smiths, REM, and other bands associated with the heyday of indie rock. I encourage the listener to take it one step further and you will begin to hear the Lemon Twigs establishing and owning their own unique identity. It’s likely that their music will always conjure visions of the Beatles and Beach Boys but the D’Addario’s have such complete mastery of the form combined with exuberance and flair that their art and craft becomes their own identifiable, stand-alone form and musical vocabulary. Pop music has long built upon that which came before, from the Rolling Stones assimilating and reinterpreting Chuck Berry and Jimmy Reed, to punk rock building on the foundations of garage rock, the Stooges, and the MC5, and now bands such as the Lemon Twigs and Mod Lang expressing their love and admiration for the Big Stars, the Brian Wilsons, and the Monkees of the world.
The Lemon Twigs dove into their 22 song set in winning fashion with ‘My Golden Years’, from their 2024 release ‘A Dream is All We Know’. The tune is a perfect primer for anyone seeking to create an ingredient list for a successful Lemon Twigs tune: chiming, Byrds-esque guitars, tuneful sibling harmonies not unlike what one might find on the Beach Boy’s ‘Pet Sounds’ album, and spot-on, catchy as hell power pop songs. The brothers D’Addario have amassed a formidable catalog of picture-perfect pop gems over their career and it was a delight to hear the songs packed into one well-paced and satisfying set. As mentioned previously, the Twigs aren’t shy about wearing their influences on their collective sleeve but their zeal and obvious joy in performing combined with their uncanny aptitude for showcasing said influences raise their art well beyond that of talented mimics. I don’t think I was alone in my appraisal as the audience was full of happy pop fans singing along while grinning from ear to ear. I’m not sure I’ve seen a show this year that was stronger in the ‘good vibes department’.
The Lemon Twigs were more than capably supported by Detroit’s ‘Mod Lang’. The talented quartet may not be quite as far down the road as the evening’s headliners but they’re more than headed in the right direction and their catchy brand of Big Star influenced pop rock was met with approval from the multigenerational audience (it’s worth noting that the band took their name from a Big Star tune). I would be surprised to not hear more from this tight and fun young band in the future. They’re absolutely worth a listen at this point in their development and they have all the hallmarks of a combo that could get even better with a little seasoning.
Em Beihold @ Neumos – 6/10/2026
Review by Louise Geri, Photos by Kirk Stauffer
Em Beihold, a pop singer who has built an image surrounding mental health since her 2022 hit “Numb Little Bug”, headlined Neumos for her Tales of a Failed Shapeshifter Tour on Wednesday. Decked out in flower crowns and dresses, fans filled the venue with positive energy. Neumos was the most packed I’ve ever seen.
Janani K. Jha, Beihold’s self-proclaimed biggest fan, was the opener. She took the stage smiling alongside her electric guitarist. The two had an incredible onstage dynamic. She told the stories of her songs, including topics of religion, betrayal, and a “situationship” with a guy from Seattle. One song, “Echo”, was co-written with Beihold and discussed cultural appropriation. Jha told a heartfelt story about the origins of the Greek goddess Echo as it related to the topic. Jha performed both acoustic and with full production. At the end of her set, her guitarist filmed a video of the crowd, telling everyone to go “as crazy as possible”.
When Em Beihold took the stage, her demeanor was comical as she smiled while playing keyboard singing the sad lyrics of “Scared of the Dark”. She had a similar tone to that of jazz-pop singer Laufey. At the end of the bridge, she made a grand first impression on the audience, ordering everyone to scream before launching into the final chorus.
As her set progressed through “Brutus”, the crowd could take note of a band member who would rotate, throughout the show, between violin and acoustic and electric guitar. Adding the orchestral instrument live instead of keeping it in a backing track brought the songs to life in a way that’s not often heard in smaller venues.
Beihold flitted around in a corset tank top with bows on the straps and a black-and-white polka dotted skirt. She teased the audience while introducing “Shiny Little Things”, first pretending she was about to sing the hit “Numb Little Bug”. She shifted into a minor key with “Van Gogh”. Then, she launched into “Medicine” by pulling out a pill bottle onstage. She crouched to the crowd’s level, having fans sing lines. As I filmed the song, I got so distracted by her contagious energy that when I remembered I was filming and looked back at my phone, the stage wasn’t even in the frame.
The crowd energy relaxed for “Exorcism”. The song ended in Beihold screaming and lowering herself to the stage floor. After the song, she told the dads of the crowd to “smile a little more”. Ironically, there was a substantial number of happy looking fathers in attendance compared to the average female-fronted concert I attend. She then warned the crowd that “something that happens toward the end of the tour is I get the coughs… my band plays emergency bluegrass [when that happens.]”
The audience was alive during “Unicorn” as rainbow lights shone. Beihold put her hands in her hair during corresponding lines and danced exuberantly. She informed the crowd afterward that “Unicorn” is tiring for her to sing; hence it makes her hungry. This was a perfect segue into “Soup!” She preluded “God”, from her 2022 record Egg in the Backseat, asking if any members of the crowd had been led on. She seemed disappointed that more people hadn’t been. Nonetheless, everyone screamed along to the song.
Beihold gave the crowd the chance to assert their opinions, asking if they’d rather hear “Groundhog Day” or “City of Angels”. The latter won by a landslide, with deafening cheers. She laughed, “Every crowd picks ‘City of Angels’.” Despite the positive energy of choosing between songs, the performance, during which Beihold sat at the keyboard, was the most low-energy part of the show.
Ironically to Beihold’s prior statement, dads in the back of the venue turned on their phone flashlights and swayed as Beihold sang her popular duet remix of Stephen Sanchez’s “Until I Found You”. A loving voice memo played at the start of the following song, the more synth heavy “Won’t Let Go”. Lights over the stage turned a cheerful yellow for “Lottery”.
Disappointed in her lack of coughing fits that night, Beihold prompted her band to play “emergency bluegrass” anyway. The crowd clapped to the beat as the fiddler owned the stage. Interestingly, despite drums not being a prominent instrument in bluegrass, the drummer played.
Beihold shouted out “all the hot goblins” as she launched into the likewise titled “Hot Goblin”. She used a goblin stuffie from a fan as a prop. Before the final chorus, she jokingly asked the crowd, “Do you guys think I should sing half a key up?” before doing just that.
She returned to the stage for the encore to play “Numb Little Bug”. If the crowd was alive earlier in the show, they gave “alive” a new meaning now. Beihold held up a hand heart and fans reciprocated before she left the stage.
The Tales of a Failed Shapeshifter Tour is near its end, coming to a close at the esteemed Troubadour venue in LA on Monday.
Em Beihold – Photos by Kirk Stauffer
Janani K. Jha – Photos by Kirk Stauffer
Cool Cover: Poor Bambi‘s Skyscrapers Soaring, Yet We’re Drowning
Details: Norwegian band Poor Bambi’s debut album features a lot going in a very strange dollhouse. Skyscrapers Soaring, Yet We’re Drowning‘s cover was designed by fellow Norwegian, artist Thomas Moe Ellefsrud. Ellesfrud, whose art is done under the name Hypnotist Design, describes himself on Instagram as a skateboarder and photographer. He has also made covers for Uncle Acid and the Deadbeats.
Poor Bambi’s Skyscrapers Soaring, Yet We’re Drowning – cover art by Hypnotist Design
Claire Rosinkranz @ The Crocodile – 6/2/2026
Photos by Kirk Stauffer, Summary by Louise Geri
Claire Rosinkranz encapsulated what can only be described as “weird-cool girl pop” as she took the stage at The Crocodile on Monday night. Donning a boho Stevie Nicks style dress, she spun onstage, sometimes shamelessly clumsy, singing with a sarcastic yet heartfelt tone. Spoken interludes were delivered over the loudspeaker during transitions between parts of Rosinkranz’s set. She opened up about her struggles with chronic illness over the past few years. This allowed her to take breaks from the upbeat viral tracks, such as “Don’t Miss Me” and “Backyard Boy” and sit down to sing songs like “Funeral” with live guitar accompaniment. She led chants throughout the night and handed out photos. Her keyboard playing quieted the energy for a couple songs until the beat picked up in each one. A large line formed at the end of her act as she announced a meet and greet by her merch table.
Opener Stevie Bill had a similar sound but was a 180 from Rosinkranz in clothing style, wearing a baby tee with a corset layered on top. Originally from Amsterdam, Bill spoke in a charming accent and sang with a likewise voice. She sang mostly upbeat songs. The highlight of her set was a cover of the Prince song “Purple Rain”, which recently went viral following an inclusion in the latest season of the TV show Stranger Things. The audience erupted in cheers as she sang the first few lines. Bill wished the crowd a happy pride month. She too followed her set with a meet and greet.
Claire Rosinkranz – Photos by Kirk Stauffer
Stevie Bill – Photos by Kirk Stauffer