Idles & Fontaines D.C. @ Neumos, 5/28/19
Photos by Josh Daniels
In an awesome double bill, Idles and Fontaines D.C. appeared at Neumos on May 28th. The label-mates on Partisan Records (Idles come from Bristol, England; Fontaines D.C. are from Dublin, Ireland) are legitimate punk. Seattle readers take note: Fontaines D.C. return to Neumos on September 22nd.
Caroline Rose w/ Superet & Ings @ Tractor Tavern 2/22/2019
Show Review & Photos by Lisa Hagen Glynn
Caroline Rose sold out the Tractor on February 22nd. The Burlington, VT multi-instrumentalist and songwriter was backed by a strong lineup of keyboardist Abbie Morin, drummer Willoughby Morse, and bassist Josh Speers. Rose’s roots lie in country and rockabilly, but her latest release, LONER, has veered toward witty synthpop.
Rose sang, played guitar and keys, danced on top of a speaker, and soloed on a giant kazoo. She wore a “BYE BOY” t-shirt, red suit, red bandana, and red Chucks, which matched a red-bathed stage decorated with roses and other accessories.
The eclectic 16-song set began with the downtempo tune “To Die Today,” and by the time Rose arrived at “Bikini” she was leading an all-out dance party. Other highlights included “More of the Same,” “Getting To Me,” and “Jeannie Becomes a Mom.”
Between tunes, Rose explained that the band had made two essential stops while in Seattle: IKEA, to buy the striped red rug onstage, and Babeland. She later spilled her IPA and wished aloud for a shot of tequila instead—two fans delivered, and Rose downed the shots with lime.
Seattle singer–songwriter Ings opened the evening with a trio set of lullaby rock, including several of her newer tunes. Los Angeles rock quintet SUPERET followed with catchy disco beats and dance moves.
Suicide Girls @ the Showbox – 5/2/18
Photos by Casey Brevig & Kirk Stauffer
Memory Lane Series, part 59
Herbie Hancock & Kamasi Washington @ Marymoor Park – 8/16/19
~ Show Review & Photos by Lisa Hagen Glynn
Marymoor Concerts hosted an epic jazz double-feature on August 16, 2019, with co-headliners Herbie Hancock and Kamasi Washington.
Critically acclaimed saxophonist and bandleader Kamasi Washington was accompanied by a talented lineup of Miles Mosley (bass), Ryan Porter (trombone), Patrice Quinn (vocals & dance), Cameron Graves (keys), BIGYUKI (keys & synthesizers), both Tony Austin and Ronald Bruner Jr. (drums) simultaneously, and Kamasi’s father Rickey Washington (soprano saxophone & flute), AKA “the man who taught me everything I know.” This band also knows how to accessorize an outfit.
They played an impassioned set of synergistic grooves and impressive solo sections that included both originals and covers: “Abraham,” “Truth,” “Fists of Fury,” and “Show Us the Way.” Taking its title and theme from the 1971 Bruce Lee movie, Fists of Fury featured Quinn’s memorable spoken words, “Our time as victims is over/We will no longer ask for justice/Instead we will take our retribution.” Washington shared a message of appreciation and universal love, which was reciprocated by the crowd. Amidst standing ovations, he asked, “Are y’all ready for Herbie Hancock? Me, too.”
Jazz-fusion legend Herbie Hancock strutted across the stage in red running shoes, blew appreciative kisses to the cheering crowd, and announced that things were about to get a little strange. They did, with Hancock rotating through Korg Kronos, grand piano, vocal-effects headset, and (of course) white keytar. Decades after his heyday, the 79-year-old keyboardist and composer remains agile and vibrant, and continues to innovate through new electronics and collaborations. He still brings to the stage an irreplicable cool.
Hancock was joined by a powerhouse of Lionel Loueke (guitar), Terrace Martin (saxophone & synths), James Genus (bass), and Vinnie Colaiuta (drums), and paused mid-set to provide an extended biography of each musician. The set was mostly classics, but with one preview of his upcoming album: “Overture (Fascinating Rhythm),” “Butterfly,” “Actual Proof,” “Come Running to Me,” “Secret Sauce,” and “Cantaloupe Island.” They returned for a funky encore of “Chameleon” with Hancock on keytar—plus several members of Kamasi Washington’s band—which brought all generations to their feet for overhead clapping and dancing.
