Having had Snoop Dogg present for almost the entirety of my pop-culture awareness, I was stoked to go to his show and see what Tha Doggfather had to offer in terms of a live show. The bass from Mash Hall’s opening set was audible from blocks away. When I made it past the rigorous search for weapons at the door, I hit the wall of weed smoke one would be disappointed not to find at a Snoop Dogg show.
The crowd was the most diverse I have ever seen at a Seattle show. There was no age level, race, or social group that was not represented in this Snoop Dogg crowd. Mash Hall was halfway through their set when I got in, and though they were giving it their all, the crowd was just not having it. Everyone was standing still, there were boos and big thumbs downs—the audience seemed more interested in Ludacris’ “Move B*tch” (the first track played between sets) than they were in anything Mash Hall had to say. This is surprising, since a lot of the things Mash Hall has to say … are about weed. What does a Snoop Dogg crowd love more than weed?
For second act Step Cousins, a local hip-hop super-duo feat. Xperience and Macklemore, it was an entirely different story. Xperience hit the stage first, accompanied by DJ/producer Ryan Lewis. Lewis was spinning some mad beats with some mad bass, and I had to bust out my earplugs for the first time in months. Lewis and Xperience got the crowd pumped before bringing out Macklemore, arguably one of Seattle’s favorite MC’s. Macklemore gets away with doing pretty much whatever the hell he wants: getting the crowd to repeat ridiculous noises, making a Snoop Dogg audience go crazy for a dark track warning about overdosing on drugs, performing a ballad for Irish folk, and even donning a wig, a fur coat, and bringing out back up dancers for his crazy closing track, “And We Danced” … though I’m not so sure the crowd got the joke on that last one.
Finally, after an hour long set change, most of which contained chants for “SNOOOPP DOOOGGGGGG,” a video popped up on the screen. The crowd roared with excitement, and from what I could see, the video mashed up clips of Snoop and weed, gunfights, pimp cups and 70’s era pimps, among other things.
Snoop finally came out in all of his ‘blazing’ glory (with a heavily blinged out microphone, of course), he launched straight into“Next Episode.” The crowd was singing along, and by his second song, clouds of weed smoke were so thick I could have cut them with a knife. Snoop Dogg played a lot of classics at this show, including “Gin & Juice,” “P.I.M.P.,” “Jump Around,” and crowd favorite “Drop It Like It’s Hot.” Snoop Dogg even busted out a little Marvin Gaye, singing “Sexual Healing” before launching into his own “Sensual Seduction.”
Snoop was digging the love from the crowd, and repeatedly thanked his fans for all of their support over the years. He finished his hour long set with “What’s My Name,” leaving the crowd begging for more. There was no encore, and the mostly inebriated crowd poured out of the venue, buzzing about the show. Though some parts of Snoop Dogg’s set felt a little forced and lackluster, I had a pretty great time overall. There’s nothing quite like spending your Saturday night with a hip-hop legend.
Since no video was allowed at this particular show, I bring you Snoop Dogg’s most recent TV appearance–a performance of new track “I Wanna Rock” and 90’s classic “Insane in the Brain” with special guests Cypress Hill.
Band Members
Jimmy LaValle
Matt Resovich
Drew Andrews
Gram LeBron
Tim Reece
Andrew Pates
The Album Leaf graced Neumos on February 6, 2010, and it was no ordinary show. Not an official album release show, but with A Chorus of Storytellers coming out only four days prior, Seattleites were in the mode of celebrating the long awaited record from one of our own native labels’ artists. Not only did the audience get to celebrate A Chorus of Storytellers with The Album Leaf in their full glory, there was also the added bonus of the Anomie Belle String Quartet–and what a beautiful, organic gift.
Before the music started, the room was dark and thick with anticipation. The Album Leaf always accents their sets with a grand backdrop to deepen their cinematic effect. As the soft inclines of “Perro” began, the room expanded with the reflected flecks of moving light giving a subtle, ominous tone to the evening. The mix of programed sounds, keys, sound bites, textures, and the visual show had the audience acutely engaged. Continuing with “Blank Pages,” the room was gradually lifted with strings to relaxation and elegant euphoria. The Album Leaf’s presentation of ambient electronica was well received.
As the set progressed, a highlight was “Falling from the Sun.” This song was one of the riskier ones out of the mind of Jimmy LaValle. Being such an important figure in the realm of ambient electronic music, avid fans of The Album Leaf have firm opinions about lyrics and standard structures being introduced into the The Album Leaf’s vernacular. Jimmy LaValle and his merry men performed “Falling from the Sun” with earnest, open hearts, and the audience ate it up. It was a beautiful interchange.
After “Falling from the Sun” completed, LaValle addressed the audience saying, “Those were the first five songs off of A Chorus of Story Tellers that just came out on Monday.” The audience cheered. Accepting the adulation, LaValle said “And this song is … old.” with a giggle in his voice. With the first notes of “2214,” the audience went wild. More cheering ensued when the set continued with “Outer Banks” and “Shine.” “Shine” was another set highlight; the programed electronics were beautifully married with smashing cymbals from the snare drum set. Smash, smash, smash, the cymbals went, and the room filled with celestial sounds. Jimmy LaValle’s keys were bright, and the string quartet beamed.
The Album Leaf threw in a few more songs off of A Chorus of Story Tellers mixed in with some old goodies, and the energy of the room never wavered. The last time I saw The Album Leaf, it was disheartening to see so many people talking throughout the set. That was not the case on February 6, 2010. Looking around the room, I didn’t notice a single person who wasn’t enveloped in the set. It was a beautiful night from start to finish.
Please enjoy “There is Wind,” and an interview I did with Jimmy LaValle before the set.
Band Members
Takaakira “Taka” Goto: guitar
Tamaki: bass, piano, glockenspiel
Yoda: guitar
Yasunori Takada: drums, glockenspiel
When Taka, Tamaki, Yoda, and Yasunori took the stage, the audience roared. They knew what was coming. MONO started the set with “Ashes in the Snow.” Taka introduced the set with the ambient noise of subtle distortion, and then looked to Yasunori to begin with the delicate trickles of a glockenspiel. Tamaki assisted on second glockenspiel to add a ironic twist to the once innocent sound. Taka then looked to Yoda, and with a gentle hand, he caressed the air to count off a simultaneous guitar start. Their soft guitar notes fell to the ground like tear drops.
MONO’s style of music, much likes a symphony, has crescendos and decrescendos to the superlative degree. This chilling introduction to the set was sure to be followed by thunderous roars. The audience, fully captivated, observed in silence and waited to be blown away. They were not disappointed. At exactly the right moment, sound came crashing through the venue like waves as violent as a tsunami.
MONO’s set list consisted mostly of content from Hymn to the Immortal Wind as this tour is in support of that album. However, they are not touring with a full orchestra as the album was designed to be showcased. To make this tour ultimately dynamic, they added a couple of their most epic songs that flowed with the album and intensified their heavy metal side. A favorite was “Yearning.”
When “Yearning” began, the audience began to shift a bit, for they knew what was coming. All members of the band held their heads low, faces enveloped with black hair like plumed feathers, and the drums pounded on . . . and on. As the sound was taken down to the strum of a single guitar string, the room exploded with noise as cataclysmic as napalm. Taka lifted his right arm off of strums in a full-armed extension in display of the extent of his emotion–and yet more sound erupted. Bringing this sixteen-minute song to a conclusion was a ceremony in itself; it started as softly as it began. Taka finished on his knees as if his yearning bore no fruit and he had no choice but to give up. The dark road continued as they played “Battle to Heaven.”
Lead by Tamaki on keys, MONO concluded the set with “Everlasting Light.” This song was the perfect ending to the set as it celebrates the dichotomy of triumph and tragedy. For the first five minutes of the song, Yasunori laid his head on his folded hands as if he were in a prayer. After the introduction to the song, Taka and Yoda played their guitars by themselves for a bit as Tamaki returned to her bass. As the intensity built, the most beautiful thing happened; Taka, Tamaki, and Yoda turned to face Yasunori. They looked to Yasunori as if there were no one else in the room. It didn’t feel like they needed Yasunori to lead the timing, it felt like they were honoring him by allowing him to lead to conclusion of the set. As the cymbals crashed, they honored each other as family. As tears streamed down audience members faces, MONO took off their instruments, Taka blew a kiss to the audience, and all of them exited the stage–no encore, it was over.
Taka, Tamaki, Yoda, Yasunori, thank you so much for what you do. For some, it was an incredible show. For others, you changed their lives forever.
Please enjoy “The Battle to Heaven,” “Yearning,” and an interview captured before the set. If you are interested in seeing more MONO footage, please visit the “MONO live in NYC” post captured in May 2009 featuring a 24 piece orchestra. There is an additional interview at on that post as well.
Upcoming Shows
Oct 13 2009 8:00P El Rey Theatre Los Angeles , CA
Oct 14 2009 8:00P Club Congress Tucson, AZ
Oct 15 2009 8:00P Launch Pad Albuquerque, NM
Oct 16 2009 8:00P Hailey’s Denton, TX
Oct 17 2009 8:00P The Mohawk Austin, TX
Oct 19 2009 8:00P Polyforum Cultural Siqueiros Mexico City, Mexico
Oct 20 2009 8:00P FBOLKO Guadalajara, Mexico
Dec 3 2009 8:00P Transmission Room Auckland, New Zealand
Dec 4 2009 8:00P The Hi-Fi Melbourne, Australia
Dec 5 2009 8:00P Manning Bar Sydney, Australia
Dec 6 2009 8:00P The Hi-Fi Brisbane, Australia
Dec 21 2009 8:00P 10th Anniversary Orchestra Show / Shibuya O-EAST Tokyo, JP
Grand Hallway Band Members:
Tomo Nakayama – vocals, piano, guitar
Jeramy Koepping – electric guitar
Alina To – violin, percussion
Jaclyn Shumate – violin, percussion
Joel Harmon – drums, bells, vocals
Kevin Large – bass, piano, vocals
Chris Zasche – pedal steel, banjo, mandolin, piano
Shenandoah Davis – keyboards, accordion, vocals
To celebrate the release of their new album Promenade, Grand Hallway had an album release that will be remembered for many years to come. Their usual set up consists of eight players, but on September 17, 2009 they played with the 30 piece Seattle Rock Orchestra, directed by Scott Teske, and the Perikins School Children’s Choir. The front of the room overflowed with musicians, and it was a beautiful thing.
Starting off with the old favorite “Seward Park,” Grand hallway got the audience in the mood for love! The romantic shrill of Tomo Nakayama intertwined with the harmony of Shenandoah Davis is always sure to bring smiles, but with the backing of a full orchestra, I think I saw someone get down on bended knee and propose marriage. I can’t blame the person for taking the moment; the music was gosh-darn romantic!
Bringing out the out the children’s choir, Grand Hallway graced us with a few more songs. Tomo said to the children, “We’ll start with an easy one.” They played “Happy New Year” with ethereal additions from the kiddies; the crowd just about did a standing ovation. Then, with his arms stretched in an elongated gesture, Tomo turned to the choir and said, “Twice as big this time,” and started playing “Raindrops.” Tomo’s voice boomed, the orchestra swelled, and the children sang out! It was amazing.
Grand Hallway wasn’t finished giving the audience chills, there were still three more songs to go! If there were one other song that competed with “Raindrops” in terms of sheer beauty, it was “Sirens.” Tomo started that song off slowly, and when we were least expecting it his voice sounded off – much like a siren. The audience was pretty much pulverized at this point. As a celebratory close to the evening, Grand Hallway ended it with “The Passenger,” a full participation song that was more on the relaxed side.
It was a momentous occasion. If you weren’t in attendance, I hear they are coming out with a DVD later in the year. Be sure to pick up Promenade, and enjoy clips of the evening.
Grand Hallway’s upcoming shows:
Oct 17 2009 7:30P Tomo and Shenandoah, acoustic at DOE BAY Olga, Washington
Nov 7 2009 8:00P UW HUB (Benefit for Fishery Dept) w/Massy Ferguson, Colonies Seattle, Washington
Nov 13 2009 8:00P Sunset w/Final Spins, guests Seattle, Washington
Dec 1 2009 8:00P Great Pacific Pendleton, Oregon
Dec 4 2009 8:00P State Room w/Band of Annuals, The Devil Whale Salt Lake City, Utah
Dec 6 2009 8:00P Eliot Street Collective w/Paper Bird Denver, Colorado
Dec 9 2009 8:00P The Bootleg w/Devon Williams Los Angeles, California
Dec 11 2009 8:00P The Woods w/Carcrashlander Portland, Oregon
Dec 13 2009 8:00P The Tractor Seattle, Washington
Dec 21 2009 8:00P TOKUZO Tomo Nakayama w/Shenandoah Davis, 野村和孝 Nagoya, Japan
Dec 24 2009 8:00P NANAHARI Tomo Nakayama w/Shenandoah Davis, 野村和孝 Tokyo, Japan
Dec 25 2009 8:00P NANAHARI Tomo Nakayama w/Shenandoah Davis, 野村和孝 Tokyo, Japan
Seeing Macklermore was the perfect way to start off Bumbershoot day #3. The rain was pouring down, but not a single person at the outdoor Fisher Green Stage was complaining.
Macklemore started off his set by relating to the audience with stories of thrift shopping. Then, he did a roll call on the 80’s and 90’s babies. Upon seeing that the majority of his screaming fans in attendance were under the age of 19, he let out a “DAMN!” and started the show.
Keeping the energy level high, he brought out Grynch and Xperience. Grynch, King of Ballard, was as entertaining as ever. Xperience charmed the crowd and added some soulful twists. Later he brought out Sir Tomas Gray and Pearl Dragon of Champagne Champagne; their masculinity was on fire.
As the rain poured down, Macklemore requested if the audience would mind if he shared something of himself on a more serious note – addiction. He stopped the music and told the audience how he was grateful to be performing at all, let alone at Bumbershoot. Only a year ago he was at the lowest point of his life. He played a new song telling about his rise out of the ashes to the sampled melody of How Long by Red Hot Chili Peppers. The mood that Macklemore created was so intense that it is difficult to put into words. The pouring rain felt like tears from the sky. We were all a bit teary eyed in celebration Macklemore’s victory over addiction.
Macklemore didn’t leave the crowed crying. He left the stage while another guest was performing to throw on one of his infamous costumes. He returned to the stage with a flashy shirt and wig on and gave us all a lesson in dance.
Being with Macklemore was incredible. Seattleites can hold their heads high with pride for one of our own.
Band Members
Posdnuos – Emcee
Trugoy – Emcee
Maseo – DJ, Emcee
Remember the 80’s era of hip-hop? Back in the time when hip-hop wasn’t all about how big the medallion around the rappers neck was, gimmicks, or how many cars they had? There was a genesis that was happening. Hip-hop mega-stars like Slick Rick and Doug E Fresh were rising out of street battles in the Bronx. Hip-hop was a way of life. De La Soul brought us back to that time last night with their style of hip-hop in it’s purest state.
Celebrating the 20th anniversary of their debut album 3 Feet High and Rising, De La Soul Bumbershoot gave a party last night at the Fisher Green Stage of that will not be soon forgotten. Making the audience beg for it, De La Soul came out on the stage fashionably late; the crowd played their respective roll by desperately screaming for them.
Maseo came out first worming up the stage on the turn tables. When Posdnuos and Trugoy came out, the crowd went wild. They played to the audience by challenging them to see whether the left of right side would be the loudest. De La Soul spent a lot of time interacting with crowd before they got into the set; it was much appreciated. After all, it isn’t everyday that Seattleites get the privilege of hanging with hip-hop legends.
When De La Soul got into the meat of their set, they kept the excitement high. Playing material off of 3 Feet High and Rising landed well with the fans craving nostalgia and was entertaining for the people who were just looking to party. As the set progressed, the audience’s attention span began to wane. Posdnuos picked up on this and engaged the crowd by calling to the ladies and the fellas to make some noise. After about a minute of dedicated audience pick-me-up, Trugoy stepped out from behind the turn tables for his turn on the mic; the audience lapped it up.
The long and the short of it was that De La Soul are the bomb, and they put on a amazing show. I was afraid I wasn’t going to be blown away by anything yesterday, but De La Soul came through! I’m sure De La Soul were the highlight for many of the Bumbershoot day #1 attendees. If you ever get an opportunity to see them for yourself, don’t miss it.
With the recent release of his Chemisty EP, Grynch has been tearing down the city brick by brick. The response has been overly positive and Grynch has literally exploded onto the main stage of Seattle hip-hop. Grynch all by himself is an interesting specimen; while his rhymes are filled with punchlines and quick whit, they cut with precision and boom with authority. Recorded, most expect his stature to match his ferociousness on the mic, but standing at a little over 5′5″, the Caucasian rapping sensation surprises nearly everyone who sees him for the first time. Having grown up in the local scene, Grynch has a down-to-earth approach that contrasts his overall demeanor.
With multiple front page articles at SeattleTimes.com and promotion from local radio stations, the Ballard native had big shoes to fill at his Chemistry EP release party hosted by Geologic at Nectar Lounge on Sunday, July 12th.
Playing to an all-ages crowd, with multiple local music artists in attendance, Grynch was on point the whole set. On stage, Grynch is a little ball of energy; he bounced around and constantly moved to connect with every eye that was fixed on him. He never left the avid show-goers feeling like they missed out on anything, and he always interacted with the crowd who ate up every second of it. The biggest compliment to Grynch is that he sounds the same live as he does recorded. The tone of his deep raspy voice is exactly as you hear on the EP, and he doesn’t get off track by sounding winded. This brought the audience into the music even more and left them with a feeling of familiarity.
Grynch performed every song from the Chemistry EP along with a few select choices from his past releases. It is apparent that Grynch’s loyal fan base is growing. Quite a few times, fans were heard shouting out requests for “I’m a Dreamer”, a song from his November 2008 release Something MoreEP. Unprepared for such a response, Grynch wasn’t able to fulfill every request but did not disappoint as he rocked “Dear Grynch,” a classic tongue-in-cheek song, from My Second Wind, to which the crowd rapped along to. Grynch displayed his stage experience as Geologic, of Blue Scholars, and Tunji, of Inverse, joined him on stage for “Smoke & Mirrors.” When a minor lapse in lyric memorization occurred during the song, the trio of performing vets continued without any break in the energy; the crowd didn’t miss a beat.
The biggest response of the night came when Grynch performed “My Volvo,” a song about his 1984 Volvo. Joining him on stage were the “Grynchettes” (Tunji, Macklemore & Khingz wearing wigs), who added a bit of comedy relief that had everyone laughing. During the verses, the Grynchettes had a few synchronized steps that rivaled those of The Supremes. However, when the chorus hit, mayhem ensued as the Grynchettes jumped around on stage while making a wheel-turning motion, which the crowd emulated. “My Volvo” was such a success when performed live, that the crowd demanded an encore performance at the end of his set; to which Grynch obliged.
Grynch overall has a lot of tools in his rhyming repertoire. While his lyrics are thoughtful and rhythmically pleasing, he still lacks that irresistible club hit that you can’t stop dancing to. Despite this, Grynch’s performance and energy make it safe to say that not only did he fill the shoes but he outgrew them.
Before the show, I had the opportunity to sit down with Grynch and discuss his growth, haters, and the Chemistry EP. Sit back and learn a bit more about the “King Of Ballard.”
Band Members
Takaakira “Taka” Goto: guitar
Tamaki: bass
Yoda: guitar
Yasunori Takada: drums
Special Guests:
Jeff Milarsky and the Wordless Music Orchestra
Trying to describe being at this show is like trying to describe color to a blind person; if you weren’t able to see and hear it for yourself there aren’t words or even media recreations that can appropriately convey the experience, but here goes nothing — here goes everything.
Being an audience member for the 10 year anniversary celebration of MONO’s first show was an emotional experience of the most profound kind. Their newest release entitled “Hymn to the Immortal Wind” includes a full orchestra. The evening of May 8, 2009 was the first time that MONO recreated the full orchestra for a live concert; it was a smashing success.
The evening before the concert I had the honor of interviewing Taka. We were able to talk about some of the meanings behind MONO’s music and what being able to deliver that music meant to him among other things. In the interview below Taka discusses a song entitled “Ashes in the Snow.” This song is about a woman who loses her husband — her soul mate in death. Still yearning for connection with her partner, she takes his ashes and scatters them at sea. The sun lifts the ocean water commingled with her husband’s ashes into clouds. When the clouds release it’s matter into snow, the woman knows she is enveloped in the presence of her husband. This is the type of rich emotional substance that goes into MONO’s work. Even if you aren’t aware of the stories behind each of the songs, MONO has some of the most emotionally evocative material that I have ever been able to experience.
Even with that foundation, I went to the concert unprepared for what I was going to get. The tender lulls of the music were organic and spiritual; in those moments I felt motionless and fetal. The swells were so intense that the only matching physical manifestation would have been if I had run to the edge of the third floor balcony and jumped off.
I have an affinity towards music of this ilk because I crave the ultimate rush. The music had the same effect on my guests but it occurred to them as unsettling. My sister likened this concert to extreme sports and other forms of pleasure that aren’t suitable for the faint of heart. I could not have agreed with her more. MONO is an accessible realm for me to get the same type of rush as free falling out of a plane. For some, that experience is fearsome. For others like me, it is the thrill of a lifetime.
I invite you to have the experience the way that I did. Please enjoy the interview with Taka followed by the full songs Ashes in the Snow, Follow the Map, and Everlasting Light.
Band Members
Kathy Foster – Bass, Vocals
Hutch Harris – Guitar, Vocals
Westin Glass – Drums
Seeing The Thermals live was an unexpected treat. I Looked into The Thermals, and they have some pretty heavy underlying messages. “We write songs about Christian fascism — come rock out at our show!” Huh? Hutch claims in an interviewthat The Thermals are not trying to convert the masses to their way of thinking; they are just trying to create fun indie-rock/punk-rock music that has interesting lyrics. If you ask me, anyone who is going to have thousands chanting against a supposed dictatorship would have a measure of satisfaction in getting people – consciously or not – to buy into their way of thinking. I’m making it sound really weighty, but The Thermals music comes in such a light package that I doubt that their fans would even be aware of the heavier nature of their lyrics if it weren’t explicitly stated.
The actual SHOW – which is why you are probably reading this article – was amazing. In matters of stage presence, execution, and general likability, The Thermals have got it all! 8.5 is the new 10; The Thermals really bring everything to the table at a live show.
I’m going to start with stage presence because that was what really blew me away right out of the gate. Kathy is amazing. First of all, she has got the coolest rock-out afro I have ever seen. That thing was moving and shaking so much I couldn’t tear my eyes away from her. The way she jumped around when she was rocking out reminded me of what it felt like to be in high school listening to punk-rock and rocking out in my room as hard as I could. She is full of youthful vigor. It’s rare to see someone get that into their music physically and be able to play with such poignant accuracy. When Kathy and Hutch rocked-out together, it was the coolest thing to watch; it was flirty indie-rocking fun.
In execution what stood out to me was the clarity in Hutch Harris’s voice. Obviously giving credit where credit is due to the beloved Neumos Sound Man, Hutch’s voice came through with resounding passion. Going back to the message behind their music, when you really believe in what you are singing, it shines through; passion is a force to be reckoned with, and The Thermals have passion in spades.
This passionate pull translates to all audiences no matter what kind of music you are into. I don’t care if you are into gangster rap and nothing else; if you saw The Thermals live, your heart would melt. I can’t think of any reason why a person would go to their show and be disappointed or be left wanting more. The only reason I don’t just throw my hands up and give them a “To See Rating” of 10 is I realistically wouldn’t fly out of state to see them; that quantifies my ultimate rating. If you have a chance to see them live DON’T miss it!
Until then, please enjoy the Videos from their April 2009 Show at Neumos
If you are a Seattle Alice Russell fan, you might have been one like me who had heard the song “Got the Hunger?” on the radio and decided to check her out when she blew throw Nectar Lounge. “Got the Hunger?” is fun song that has a lot of soul and is a little on the low key side. If you went to see her expecting a low key show, you were in for a surprise!
Alice Russell is a little blond bombshell that is full of fire, spunk, and a voice that knocks your socks off. Seriously, where did that voice come from? Listening to her music online or on the radio gives you a poor representation of the power packed show you can count on when you see her live. The sound of the band live has a boom that you just aren’t going to get on her recorded material. Also, Alice feeds off of the crowds excitement and puts her heart and soul into each song. I was nervous that Alice was pushing herself so hard that there would inevitably be that embarrassing moment when her voice was going to give out. Fortunately, the adrenaline rush that Alice gets from performing live went directly into the power behind her voice and she held strong throughout the entire duration of her set.
Another thing that is fun about Alice Russell is she does covers. Covers are one of those gray areas in music where they can be really good or really bad depending on the band and the listener. A cover faux pas would be trying to have the covered song sound exactly like the original. Imitation can be the most sincere form of flattery, but aside from karaoke bars, exact copies are in essence saying ‘I can do what you thought of better then you can, and p.s. I don’t know how to have any original ideas.’ Fortunately Alice takes songs that she covers and transforms them into fun creations of her own. Her rendition of Seven Nation Army has me ready to yell ‘Chaka Khan!’ which I don’t recall that being my initial reaction when I first heard it by The White Stripes.
Yes, our little dancing vixen by way of the U.K. is pretty hard not to love. No matter what kind of music you are into, if you have you see her name on a bill coming to a city near you, she is not to be missed!
Please enjoy a collage put together by yours truly from her Seattle Show, and I’m also including the full songs “Got the Hunger?” and “Seven Nation Army.”
Seattle Show Gal is in hot pursuit of undiscovered talent! How many great bands are out there that are slipping through the cracks? Seattle is saturated with so much music, it would be nearly impossible to sift through it all to find the good stuff. The Seattle Show Gal staff is not so proud to think that we can bring you all of it, but we are actively pursuing all different types of acts to give you a pulse on what is going on--right here in Seattle! (See more in "About")
(Photo: zolo for SSG)
