Featured Shows
Noah Kahan - Ridgefield, WA
July 1st, Ridgefield, Washington—the night Noah Kahan turned a little town into a hub of existential crises, emotional sing-alongs, and yes, even a few tears from the most hardened of PNW residents. The crowd showed up, proving that when Noah Kahan sings about seasonal depression, everyone is basically obligated to scream sing along.
As soon as Noah took the stage, it was clear we were in for a treat. With a blend of folk, pop, and lyrical therapy, he had everyone vibing like it was a support group meeting that just so happened to have some great acoustics. Noah's banter between songs was as sharp as ever, with his self deprecating humor that had every one relating to their seat mates and everyone around them.
The second stage in the middle of the crowd had the lawn crowd screaming, they were treated to two beautiful acoustic versions of “Growing Sideways” and “Best Friend”.
Highlights of the night included the emotional punch of "Homesick”, “False Confidence”, “Everywhere, Everything'“ and my particular favorite, “New Perspectives”. The crowd scream sang - loudly at that- with every single song, but when Kahan played “Forever”, the crowd quieted, and I’m pretty sure it’s because everyone was crying. Kahan wrapped the set with his louder than ever crowd with “Northern Attitude” and bubble snow flakes gently floated down to my absolute delight.
The encore was a perfect with Noah giving a heartfelt thanks to the crowd for making him feel like he belonged in the Pacific Northwest—even if only for a night. With two more songs for the crowd, another one of my favorites, “The View Between Villages” got me tearing up as so many great live shows do, and then “Stick Season” played with Vermont paper maple leaves gently fell to the ground.
As the final chords rang out and the house lights came up, it was clear that this was more than just a concert; it was group therapy, a cathartic sing-along, and a reminder that sometimes the best way to face your feelings is with a few thousand strangers, a good melody, and a super talented man with two glorious french braids.
I get it now, I get why Noah Kahan sells out EVERY SINGLE show.
Jeremie Albino - Mississippi Studios Portland
Jeremie Albino at Mississippi Studios on February 27, 2024 in Portland, OR photos by Julia Varga
I’ve been fortunate to have seen Jeremie Albino once before, but not as a headliner. When I saw him open for another artist, it was at The Aladdin and he was solo, but from the first song, I knew I was hearing something special.
WIth his old school retro looking condenser microphone to his vintage look to his Elvis-like rockin dance moves (early Elvis for sure), Jeremie puts on a helluva folk rock show.
With a wild 17ish song set list, Jeremie lets it all out; authentically emotional, real, and energetic. Jeremie’s beautiful entwining of blues, folk, country and a bit of rock n roll along with his storytelling make for a show to not miss.
The best part of the show, was after the show where he chatted with each and every person wanting an autograph, or just to talk music. I adore when musicians take the time and have real conversations with fans, it shows they care, and it gives them points in my books.
I’m looking forward to seeing him explode this year, he puts on a great show.
photos by Julia Varga
Briscoe - Holocene PDX
Hailing from Austin, TX, Briscoe brings beautiful harmonies and youthful vocals while touring their album West of it All.
Briscoe is part country, part folk with melodic banjo and guitars, accompanied by keys for a night of easy listening. I felt like I should have been hanging on a bar stool with some dirt under foot, a hot Texan breeze blowin while holding a Pabst in hand would have been the ultimate experience, but alas, the show was in a shiny space in NE PDX instead. The crowd was young and adoring, singing along with all the songs which is unexpected, as the band had only previously released an EP.
They seemed genuinely thrilled to be on their own headlining tour, admitting they’ve never been this far west (the irony of the new album title is not lost on them at all), and they seemed tired. Touring ain’t for the faint of heart, and it takes time to get into the groove, and the boys had a melllow-ish night, although I felt like they generally are not that mellow, considering the fans trying to bounce along. Although they’re not the only band to be a bit mellower when coming through Portland, unfortunately.
Big things on the horizon for Briscoe, they spent a week of their winter in Mexico with giants Noah Kahan, CAAMP, and Mt. Joy, these boys are going places.
John Craigie - Revolution Hall, Portland, OR
John Craigie at Revolution Hall in November 2023 in Portland, OR photos by Julia Varga
Attending a John Craigie show is like embarking on a delightful journey where music and storytelling intertwine to create an unforgettable experience. Known for his captivating narratives and exceptional musical prowess, Craigie never fails to entertain, and his recent performance was no exception.
Accompanied by a talented ensemble of musicians including Laurie Shook, Aber Miller, Alex Radakovich, Aviva le Fey, Niko Daoussis, Jay Cobb, and Bart Budwig, Craigie took the stage by storm, treating the audience to an evening filled with soul-stirring melodies and fun tales.
The energy between Craigie and his friends was palpable, as they seamlessly complemented each other's talents, elevating every song to new heights. With a full band encircling him, Craigie's music resonated with an undeniable power that captivated the audience from the first note to the last.
Highlights of the night included performances of tracks from Craigie's latest album, Pagan Church. "While I'm Down" stood out with its infectious upbeat tones, showcasing Craigie's ability to craft melodies that are both catchy and deeply resonant.
But perhaps the true magic of the evening lay in Craigie's storytelling. With wit, charm, and an innate ability to connect with his audience, Craigie gave the audience and inside peek into touring life with each anecdote, creating an atmosphere that felt like sharing stories with an old friend.
Deer Tick at the Aladdin Theater Portland, OR
Deer Tick at The Aladdin Theater in Portland, OR on November 1, 2023
photos by Julia Varga
Deer Tick: Rocking Portland with Unruly Charm and Bodily Autonomy
There's a mythic quality to Deer Tick, the Rhode Island band that's become a stalwart at the iconic Newport Folk Festival. Their reputation precedes them, whispered in hushed tones of admiration among music aficionados. So when the opportunity finally arose to catch them live in Portland, OR, anticipation crackled in the air like static before a thunderstorm.
As I settled into the venue, two things immediately caught my attention: the imposing cooler, undoubtedly stocked with libations to fuel the night's revelry, and the bold declaration emblazoned on the bass drum: "BODILY AUTONOMY FOR EVERYBODY," a subtle yet potent reminder of the band's commitment to fundamental human rights.
Taking the stage with the swagger of seasoned performers, Deer Tick wasted no time in igniting the crowd with their infectious energy. Frontman John McCauley, flanked by Ian O'Neil on guitar, Christopher Ryan on bass, and Dennis Ryan on drums, exuded charisma as they delved into their extensive catalog with fervor.
McCauley, in particular, commanded attention with his cheeky attitude and dynamic stage presence. Fueled by beers and vodkas from the onstage cooler, he unleashed blistering bluesy guitar riffs while contorting his body into gravity-defying backbends and reclining hero poses—a spectacle that left my knees aching in sympathetic agony.
Though the band kept stage banter to a minimum, the wine flowed freely, lubricating the seamless transition between hits spanning nearly two decades. McCauley couldn't resist a playful jab, acknowledging that while crowds may clamor for the classics, they weren't immune to a taste of Deer Tick's latest offering, "Emotional Contracts," their first studio album in six years.
It's a testament to Deer Tick's enduring appeal that they continue to deliver night after night, infusing each performance with unwavering passion and a palpable connection to their audience. And while McCauley's acrobatic guitar theatrics may leave me reaching for the ibuprofen, I wouldn't trade the experience for anything.
In the end, my first encounter with Deer Tick was everything I hoped for and more—a raucous celebration of music, camaraderie, and, yes, the occasional backbend. As I eagerly anticipate our next rendezvous, I'll be sure to stretch beforehand.
Set list hightlights:
”It’s a Whale”
”Jumpstarting”
”I’ve Got a Rocket in My Pocket”
photos by Julia Varga
Abraham Alexander - The Old Church, PDX
Abraham Alexander on his first headlining tour plays The Old Church in Portland, OR. The debut album Sea/Sons is out now.
photos by Julia Varga
As I crossed paths with Abraham Alexander in the hallowed halls of The Old Church in Portland, his excitement for the upcoming show was palpable, conveyed in the warmth of our brief embrace. It wasn't my first encounter with this remarkable artist; I've had the privilege of witnessing his talent unfurl on stage three times now, each occasion leaving an indelible mark on my soul.
Set against the backdrop of The Old Church's intimate ambiance, Alexander's resounding gospel-esque voice reverberated through the wooden pews, finding its home among the rafters adorned with a majestic pipe organ. It felt fitting that he should grace such sacred ground for his first headlining tour, offering a deeply personal narrative woven into the fabric of his latest album, "Sea/Sons."
The evening unfolded as a poignant odyssey, with Alexander sharing intimate glimpses into his life's tapestry – from his origins in Greece to the tender moments spent with his family by the ocean, immortalized on the album's cover. The audience, hushed and reverent, hung on his every word, the shutter of my camera echoing like a punctuation mark in the solemn silence.
Family, a recurring motif in Alexander's music, served as the thematic bedrock of the evening. Emotions ran high as he delved into the depths of loss and longing, each note a cathartic release of pent-up sorrow. Yet, amidst the heartache, there were also songs of celebration – of enduring love and timeless bonds that defy the passage of time.
As the night unfolded, I found myself swept up in a whirlwind of emotions, grappling with the complexities of my own relationships in the wake of Alexander's soul-stirring performance. And through it all, he exuded a palpable sense of love – for his craft, for his audience, and for the human experience itself.
By the show's end, the once-reserved crowd was transformed, their spirits uplifted and arms outstretched to the heavens as Alexander declared, "I'm taking you to church!" And indeed, we were swept away on a tidal wave of emotion, buoyed by his infectious energy and unwavering authenticity.
The evening culminated in not one, but two encores, with Alexander's impassioned rendition of Chris Isaak's "Wicked Games" serving as a fitting finale to a night of musical transcendence. And true to form, he lingered long after the final notes had faded, graciously greeting each fan with a genuine warmth that spoke volumes of his character.
In Abraham Alexander, I found not just a talented musician, but a beacon of hope and humanity in a world often shrouded in darkness. And as I left The Old Church that night, heart full and spirits soaring, I couldn't help but feel a sense of gratitude for the privilege of bearing witness to his extraordinary journey.
Stand out songs:
(all of them, seriously, all of them)
”Xavier”
”Stay”
”Bella Dawn”
”Deja Vu”
”Blood Under the Bridge”
”Knee Deep”
”Eye Can See”
”Lovers Game”
photos by Julia Varga
Shakey Graves - Crystal Ballroom, PDX
Shakey Graves on stage at McMenamins Crystal Ballroom on October 7, 2023 while touring the release of new album Movie of the Week
photos by Julia Varga
Shakey Graves' latest album, Movie of the Week, marks a bold departure from his earlier Americana-folk sound while retaining the enigmatic charm that first captivated audiences. As a long-time fan since his debut album Roll the Bones, I was eager to experience his newest genre-defying music live, and the concert did not disappoint.
The atmosphere was immediately set as the venue was enveloped in shadows, and the familiar static from old televisions filled the air. Decked out in their signature coveralls, Shakey Graves and his band took the stage, ready to deliver a performance that would linger in the minds of the audience long after the final chord faded away.
The setlist was a perfect blend of tracks from Movie of the Week and fan-favorites from previous albums. From the haunting melodies of “Family and Genius” to the infectious energy of "Ready or Not" each song was delivered with a raw intensity that showcased Shakey Graves' versatility.
Standout moments included the electrifying rendition of "Hard Wired," where the fusion of electronic pop and gritty rock elements created an atmosphere charged with palpable energy. The audience was also treated to soul-stirring performances of classics like "Roll the Bones," where Shakey Graves' trademark gravelly vocals really roared.
The television static audio served as a mesmerizing backdrop, enhancing the mysterious allure of Shakey Graves' music and creating an immersive experience for the audience.
In conclusion, Shakey Graves' "Movie of the Week" tour is a testament to his evolution as an artist and his ability to push the boundaries of genre conventions
The album itself, Movie of the Week should be listened to similarly to those of the likes of any Pink Floyd album, with songs in order, with some herbal refreshments , in a hot bath. Makes for a glorious evening.
photos by Julia Varga
Flipturn - Crystal Ballroom -Portland, OR
Flipturn at McMenamins Crystal Ballroom on October 7, 2023
photos by Julia Varga
Hailing from the sunshine state of Florida, Flipturn proved that good things indeed come from the land of endless summers. As the opening act for Shakey Graves at The Crystal Ballroom, this indie-pop surf rock quintet delivered a high-energy performance that set the stage on fire.
From the moment they took the stage, Flipturn commanded attention with their infectious enthusiasm and undeniable talent. Each member – Dillon Basse, Madeline Jarman, Tristan Duncan, Devon VonBalson, and Mitch Fountain – brought their own unique flair, contributing to the band's electrifying presence.
One of the highlights of their set was their rendition of the 80s anthem "Everybody Wants to Rule the World" by Tears For Fears. With a modern twist and their signature sound, Flipturn breathed new life into the classic track, captivating the audience with their fresh take on a beloved song.Throughout their performance, Flipturn effortlessly blended indie pop melodies with surf rock vibes, creating a sound that was both nostalgic and refreshingly contemporary.
But it wasn't just their music that captivated the audience; it was also their undeniable chemistry and onstage charisma. Whether they were trading infectious melodies or engaging with the crowd, Flipturn's camaraderie was palpable, creating a sense of unity that resonated throughout the venue.
With their dynamic performance and irresistible sound, they proved why they have amassed a massive following and solidified their reputation as one of indie pop's most exciting acts. Keep an eye on Flipturn – they're destined for greatness.
photos by Julia Varga
The Tallest Man on Earth - Revolution Hall - Portland, OR
The Tallest Man on Earth, Kristian Matsson, plays Revolution Hall in Portland, OR on September 26, 2023. Photos by Julia Varga
I was thrilled to the gills when I saw The Tallest Man on Earth, Kristian Matsson touring the States his latest album Henry St. i initially found “The King of Spain” through the Spotify algorithm and instantly fell in love with the unique pitch of his voice, and lyrical storytelling I was lacking in my life.
I was only expecting great music, what I was not expecting a visual feast of a man, bounding across the stage as - and I heard someone describe him as this- a beautiful wood nymph from one side of the stage to the other with the agility of a classically trained dancer. The energy was contagious and spellbinding at the same time, and captivated the audience throughout the entire show.
I am constantly fascinated by artists, singer/songwriters, musicians and just how they can perform on stage. The Tallest Man on Earth performing on stage, with his backing band, and all with all eyes from a packed house at Revolution Hall, crowd singing and dancing along.
Well worth the wait for a tour from Sweden, I’d love to see him again.
Set list includes:
”Looking for Love”
”Major League”
”Rivers”
”Henry St.”
”The Dreamer”
Goodnight, Texas - Wonder Ballroom - Portland, Oregon
Goodnight, Texas plays the Wonder Ballroom in Portland, Oregon in September 2023.
photos by Julia Varga
Goodnight, Texas. Yep, that is a real place in Texas and when asked how/why they named their band after a city/state that none of the band members are from, I got an even better answer, “Its half the way point between us” says Avi Vinocur, referring to him being on the West Coast and bandmate Patrick Dyer Wolf being on the East Coast. Well, that makes perfect sense, and it’s a super cool name to boot.
I initially discovered them in Denver last year while they were touring as support for Larkin Poe, and their set absolutely rocked then and there was no way I was missing them on their tour this year with Devon and Donavon.
Avi (lead vocals, guitar, mondolin, banjo, awesome dance moves), Patrick (lead vocals, guitar, banjo), Chris Sugiura (bass) , and touring drummer Cody Rhodes have such a fun stage presence while making their way through their folk rock set list. Their energy during their set was filled with good harmonies, rock n roll guitar riffs, blues ruled banjos and a bassist with some really great rock hair one can ask for.
A genre mixing can't-quite-pin-it kind of folk roots rock, the band recently released “Runaways” which features Kirk Hammett of Metallica, so let’s add a bit of metal to the mix.
photos by Julia Varga
Devon and Donavon- Wonder Ballroom, Portland, OR
Devon Allman and Donavon Frankenreiter at Wonder Ballroom in Portland, Oregon during their world record breaking See it All Tour, with 50 shows in 50 states in 49 days.
photos by Julia Varga
How many times can one say they’ve been a part of a world record while attending a concert in a medium sized venue? Not often I can imagine. But, I was lucky enough to do just that while checking out Devon Allman (yes, lets get it out of the way, yes, an Allman, son of Gregg Allman, but let’s not reduce this man’s musical skills to who his parents are), and Donavon Frankenreiter. These two embarked on their wold record setting journey, of 50 shows in 50 states in 50 days; which in and of it self sounds utterly grueling, but holy shit, insanely exciting too, hoping to inspire others to travel, to leave their little bubbles, and get out there to see what’s out there. Their tour, aptly named, The See it All Tour.
The two fused genres, between Allman’s southern rock and blues, together with Frankenreiter’s laid back west coast inspired indie folk, you now get this beautiful melange of heavy roots rock guitars with Pacific Ocean ispired vocals , a little bit of funk and grunge, and some fun jazzy riffs, you are treated to quite the world record setting experience.
Allman shredded every moment of the set, reveling in each riff and showmanship you could expect from someone breaking a world record. He was as personable as your favorite uncle on stage, connecting with the crowd, rippin guitar picks into the crowd, and even handing one to a lucky young fan. Frankenreiter, your other favorite uncle, reveling in his own guitar licks, bouncing side to side.
The Portland stop was #43, after a quick overnight jaunt from Alaska but you’d never know these two, along with their fellow bandmates, have hit 42 other cities in 41 days. Their energy never wavered, their faces donned geniune smiles and the legit looked like they were having fun. They were in the home stretch.
The hit the record, in fact, they beat the 50/50/50, they hit 50 shows, in 50 states in 49 days with their final show at Beachlife Ranch in Redondo Beach, CA.
Kings of the Road I tell ya, it was pure joy to watch these guys.
photos by Julia Varga
Yoke Lore - Wonder Ballroom - Portland, OR
Yoke Lore at Wonder Ballroom in Portland, OR
photos by Julia Varga
I went in to the Yoke Lore show completely blind as to who or what I was going to drench myself in, only being familiar with images I’d seen online, and really just wanting to meet and fan girl over Cooper, the tour photographer. I was absoltuley blown away by the explosivity I saw on stage.
Yoke Lore, a stage moniker Adrian Galvin has adopted for his solo musical endevors (formally of Walk the Moon which is the coolest little tidnbit). He bounced on to stage ,flashing a winning smile that 4 of 5 dentists would completely approve of, to the screaming glee of the left side of the split general admission sections of the ballroom.
The genre descriptors “folk-pop” and “indie-pop” used to annoy me, but I think they can apply to Yoke Lore; it’s not fully pop music, not those syrupy sweet lyrics drenched in repetitive melodies to get the masses going. The free spirited, dance-as-you’d-like-but-give-it-all-you-got vibe is what hooks the crowd, along with beautifully introspective lyrics and Galvin shredding on a banjo like I’ve NEVER seen anyone before, provides the perfect environment for a storm of exuberant fun.
In between songs, and I love this- Galvin segues from one song to another by reading his free flow poems which he then crumples and tosses into the crowd.
Touring a new album Toward a Never Ending New Beginning, dropped at midnight the night of the show, and songs like “Shake” were a treat to watch live, along with a Savage Garden cover, “Truly Madly Deeply”.
Sumbuck - Newport Music Hall, Columbus ,OH
Sumbuck at The Newport Concert Hall in Columbus, OH in June 2023 with the release of latest album Lucky.
Photos by Julia Varga
Nothing beats a good home town show, and then add a record release party on top of it?!?! Yeah, that’s going to be a hell of a show. I got to check out the Sumbuck hometown show in June and he did not disappoint.
The new album, Lucky diverts from the ‘traditional’ Taylor Meier song and into a new era. Songs reminiscent of 70’s with jazzy flutes and beats, sexy sax solos and made me want to put on my jumpsuit and platforms and dance the night away, which is exactly what I did.
Friends Parker Louis on guitar, Terrence Charles on saxaphone helped round out the sound for this show, along with a new cast of players: on keys- Sam Fribush, guitar Alex Bingham (an almost comic Taylor doppelgänger), guitar Chris Boerner, vocals and killer tambourine player Devin Mauch and Nick Falk on drums. New players for a new era of love songs and sad songs that make you want to be loved, and Taylor has taken a new spin on his own vocals, reaching his high falsetto in “How Long”, which we’ve heard, and ranging down to a lower bass that feels like he’s literally matured in front of our very ears with “Sugarmuffin”. With “Amigo”, a uniquely different on what is already a uniquely different album, the story telling and cadence reminiscent of a Quinten Taratino movie, evokes visions of trudging through a desert, lonely with only a horse to keep company.
But, that doesn’t mean Sumbuck has changed entirely. The smoked bourbon caramel-y voice that is indicative of Taylor Meier hasn’t disappeared completely, it’s still there with “Hey Honey” and “McKenzie”and I hope it will never disappear.
What’s also been fun to watch throughout the past couple of years, is just how seemingly comfortable Taylor is on stage now. What used to be awkward songs on the mic- he’s even said at one point if he wasn’t holding his guitar he didn’t know what to do with his hands"- have now become a comfortable meander through the crowd, gentle high fives to the fans at the rail and even a good spin with friends in the back.
Truly a joy to watch the man evolve artistically, and can’t wait for the next album to come out later this month.
photos by Julia Varga
Gregory Alan Isakov - Edgefield, Troutdale, OR
Gregory Alan Isakov at McMenamins Edgefield in Troutdale, OR photos by Julia Varga
I was so incredibly excited for the show at Edgefield last week, and I was fortunate in that I had also made such a point to catch his set at Newport Folk Festival (another post on that!). I just had to make up for the pop up show at Topaz Farm last year that I had to miss because I had covid. I was not missing GAI in town this year!
I’ve been listening to his latest release Appaloosa Bones regularly to familiarize myself with the newest songs, and I’m so glad I did, as he played quite a few.
There’s a beautiful rich melodic melancholy to Gregory Alan Isakov, and one that his is very well aware of; after opening with “San Luis” and “Before the Sun”, he remarked that he could have picked some happier songs to start the show. To then continue on with “Mistakes”, “Dark, Dark, Dark”, “The Fall”, the wistful tunes continued.
As I looked around the crowd, melancholy, wistful lyrics continued, the crowd was seated and attentive, something that is hard to come by these days for other artists; but GAI, had them mesmerized. The wildire smoke that wafted over from fires in Washington, only added to the moody beauty of McMenamins Edgefield, with its tall pines shrouded in a haze from the orange glazed sun. The perfect backdrop for a meditative setlist for GAI.
Setlist highlights included:
“San Luis”
”Dark, Dark, Dark”
”The Fall”
”Big Black Car”
”Watchman”
”Appaloosa Bones”
photos by Julia Varga
The Avett Brothers - McMenamins Edgefield, Oregon
The Avett Brothers play McMenamins Edgefield in Troutdale, OR on July 16, 2023
photos by Julia Varga
Ok, I get it now; I GET IT. For a band to tour for over 20 years, fans that have seen shows in the triple digits, travel thousands of miles a year for a show AND travel internationally for winter weekends filled with frozen drinks with umbrellas, toes in the sand and their favorite band on stage; I can’t believe it’s taken me this long to see them live.
With personable demeanors, seemingly recognizing their regulars who got to the line at 7:00 a.m. to secure their spots on the rail, brothers Scott and Seth start their set with kazoos in mouths and “The D Bag Rag” jammin, the crowd belted out right back to the band, word for word.
I truly enjoy looking around at a show like this, and I do this a lot when I see bands with such a strong following, the fans in the crowd, who-no matter how many times they’ve heard that song- get emotional, like really emotional; they stop, close their eyes and take in note for note and word for word.
They also take notes for setlists, and I’ve learned there is a whole website (via the Avett Guild (the fansite) dedicated to stats, like some serious stats. Not only are set lists included, but stats like how many times a song has been played, how many times you’ve seen it live, where they played that one particular song, and more. I gleaned all the info from the Avett Nation, so I’m not entirely sure on what the “more” technically may be….maybe one day I’ll join. But until then, I’m thrilled to explore their 14 albums.
The show was fabulous, the energy was great, and the set list was impressive, 22 songs plus 3 encore songs. A beautiful night indeed.
Favorites included":
“I and Love and You”
”No Hard Feelings”
but really, all of them, the whole set was amazing
photos by Julia Varga
The National - Edgefield PDX
The National at McMenamins Edgefield in Troutdale, OR on June 2, 2023
photos by Julia Varga
On the balmy evening at McMenamins Edgefield in Troutdale became a sanctuary for fans of The National as the revered band took the stage for a two-night residency. Led by the enigmatic Matt Berninger and his smooth baritone vocals, The National embarked on a sonic journey rooted in the raw vulnerability of their early days, highlighted by their latest release, "First Two Pages of Frankenstein."
While some may argue that The National's momentum has ebbed over the years, there's an undeniable allure to their live performances, amplified by the addition of razzle-dazzle lights and expansive screens that adorned the stage. It's a testament to the band's unwavering dedication and countless hours of rehearsal that they achieve a level of musical tightness only attainable through years of honing their craft.
For the devout fans gathered in the first few rows at Edgefield, each night was a pilgrimage of emotions, as The National delved deep into their expansive catalog, offering a curated selection of tracks that traversed the spectrum of human experience. From introspective ballads to anthemic rockers, each song carried with it a weight of nostalgia and introspection, enveloping the audience in a cocoon of sonic catharsis.
With their trademark chill, emo-esque tones serving as the backdrop, The National captivated their audience with an intensity that bordered on the sublime. Berninger's introspective lyrics, delivered with a raw authenticity that belied his onstage persona, struck a chord with fans old and new, serving as a poignant reminder of the band's enduring relevance in an ever-changing musical landscape.
As the final notes of each night's performance hung in the air, there was a collective sense of gratitude among the audience – gratitude for the opportunity to bear witness to The National's evolution, gratitude for the shared moments of connection and reflection, and gratitude for the timeless beauty of music that transcends boundaries and speaks to the depths of the human soul.
In the end, The National at McMenamins Edgefield was more than just a concert – it was a transformative experience, a testament to the enduring power of art to move, inspire, and unite us all. And as the echoes of their performance faded into the night, we were left with a lingering sense of awe and wonder, eagerly anticipating the next chapter in The National's illustrious journey.
Set list includes:
“Once Upon a Poolside”
”Tropic Morning News”
”Murder Me Rachael”/”Humiliation”
”Space Invader (Threaded Gold)” unreleased
photos by Julia Varga
CAAMP- Beachlife Festival
CAAMP at Beachlife Festival on Sunday, May 7, 2023 on the High Tide Stage
photos by Julia Varga
If you’ve been here before, you’ve seen CAAMP covered here quite a bit, and there’s good reason for that; I love those boys. Caamp always puts on a fun, energetic, foot stomping good time of a show., and this was my first time seeing them in a festival atmosphere. My only objection I possibly have, is that the set was not long enough! I know I know, it’s a festival, and I get it; each band is up there for a max hour set, plays the hits, maybe a new song or two, the crowd cheers and on to the next band. I can appreciate that, and playing the hits is great since most of the crowd barely knows who they are, and what a great way to introduce them. But for those die hards- like the one guy who traveled all the way from Alaska to see them play this festival- it’s never enough.
With an impressive 17 song set list, the CAAMP boys Taylor Meier, Evan Westfall, Matt Vinson, Joe Kavalec, and newest touring drummer Nick Falk brought some midwest love to the SoCal beaches and the crowd swooned and sang at the tops of their lungs in show of support. Taylor Meier’s soft satiny pink “Lavender Days” embroidered shirt glistening in the sun as he danced his way through the fastest hour. During the last song of the set, Taylor hops on drums and even with a broken mic stand, and help from drummer Nick, Taylor banged out an energetic “Going to the Country”, a traditional finale for the boys.
The band looked like they were having some fun both on stage and off; they love a good festival to check out some other bands-like friends Trampled By Turtles, day drink and float the crowd as fans themselves.
I love the boys, great humans all around, with music that hits my soul just right.
Set list (not in order):
“Come With Me Now”
”The Otter”
”Hey Joe”
”Common Man”
”Huckleberry Love”
”No Sleep”
”Peach Fuzz”
”On & On & On”
”Great Heights”
”By and By”
”Books”
”Penny Heads Up”
”Vagabond”
”Sleep on the Floor”/”All the Debts I Owe” (The Lumineers cover)
”Believe”
”Going to the Country”
photos by Julia Varga
Sublime with Rome - Beachlife Festival
Sublime closing out the Low Tide stage at Beachlife Festival on Saturday, May 6, 2023
photos by Julia Varga
I’ve loved Sublime since 1993, the minute I heard the first Lou dog barks on 40 Oz to Freedom, I was hooked. It played throughout my senior year of high school non stop in my CD player, and even now I’ll specifically play the whole album, front to back on my streaming service. Bradley Nowell was an insanely talented guy, and we can only wonder what insanity he would be playing now….or….would he mellowed out? Who knows.
So, I may have had a grudge for the past 25ish years against Sublime with Rome….ROME…never gave it a chance, didn’t bother to give him a single listen. My heart continued to ache for the original Sublime with Bradley. So unfair of me, I know, totally unfair. But, my musical tastes broadened, I “grew up”, and yet, I still couldn’t give the man a chance. Until Beachlife.
I saw they’d be playing 40 Oz to Freedom all the way through, and I got excited. I mean, who wouldn't right? I made my way to the side stage, but got squeezed out, made my way to the back side stage but couldn’t quite get the view I was hoping for, and in my struggles to find my place, and practically running over John Stamos, I heard those familiar Lou dog barks and I literally screamed “OH MY GOD” and took off running. I can’t tell you the feeling that came over me, but it got me running around to the front, and I found a place that got me almost center, but smack in the middle of the cowd. Good lord, mid way through “Waiting for my Ruca” I lost my shit, started to shed tears and looked for the nearest barricade to climb to get a better view (cameras in hand and a media pass do wonders, and rarely do I abuse those powers…but dammit if that thumping bass didn’t get me acting a fool).
I stood on the step of the barricade separating VIP and GA for the whole set, shifting my weight from one foot to the other, on that 6” x 12” space rapping along with my fellow Gen Xers in absolute bliss, to songs I’d never think I’d hear live again. And between songs, it dawned on me. I was mad at Rome for jumping in on Sublime, but not for any other reason than I just wish Bradley wasn’t gone. And that’s not Rome’s fault. And heariing him say, that he was as big of a fan of Sublime as I was, and what an insane trip it is to now be playing those songs; I started to appreaciate Rome. He wasn’t trying to sound like Bradley, no one can ever sound like Bradley (well, side note: his son Jakob Nowell, a talented musician in his own right-can and does sound like his pops when he plays his dad’s tunes, check out his band LAW and Jakob’s Castle). But Rome actively NOT sounding like Bradley, and just being himself and showing absolute gratitidute for where he is, doing what he does and with all of us belting out each tune with him, made me actually really appreciate, and dare I say….like the dude.
When I’m wrong, I say I’m wrong…my bad Rome, that was a helluva set, well done. Thanks for letting my 17 year old absolutely live it out.
photos by Julia Varga
Hillstomp- Polaris Hall
Portland natives Hillstomp play Polaris Hall on May 20, 2023
photos by Julia Varga
This was my second time checking out Hillstomp, but the first time was at Portland Folk Festival at the beginning of this year and I finally got to hear a full set. Having a full set allowed me to move through a good set, from slow (ish)soulful slide guitar blues riffs all the way to headbangin dirty electric punky blues with guitarist/singer Henry Kammer singing into a megaphone.
I had once described Hillstomp as a barrage, a beautiful barrage of sights and sounds,; with John Johnson pounding away on buckets, drums and spoons making beautiful noise along a washboard, and a wonderfully melodic rope of chains dragged along a piece of metal.
The whole show was just an absolute feast for the senses, and I was not the only one to think so. The whole crowd, initially starting a bit further back from the stage, was up close to the edge of the low stage by the second song. The crowd was in it, they were so consciously aware of one another and their need for space to stomp, holler and dance that they easily gave one another space.
With the encore came an equally energetic yet acoustic song “John Henry” played in the middle of the crowd for a stunning immersive Hillstomp experience.
Definitely one of my favorite local bands I’ve had the pleasure of listening to, photographing and having a great chat after the show.
photos by Julia Varga
John Mellencamp - Keller Auditorioum PDX
John Mellencamp at Keller Auditorium in Portland, OR
photos by Julia Varga
Around here, we don’t get to throw the term “legend” around too often; we feel some artists we’ve seen are legends-in-the-making. I mean, give them 20 years, but current legends? Not often. An artist rarely sees 50 years in their industry, especially one that can chew up and spit out even the most hardened spirits. But John Mellencamp has persevered, never to stray from his own path, in his own way. I hate when people talk about bands/artists like they’re surprised they’re still around…”they still got it!”, oof that makes me mad. Of course they still got it, they’ll always have it. So I won’t say that here. Mellencamp is here, absolutely rockin’.
I’ve grown up listening to John Mellencamp, his music a gentle behind the scenes soundtrack to my adolescence, weaving in and out of life as my musical tastes developed their own identity. I may have drifted away from his music, but there was no way I was missing his show in PDX.
There was no opener for the show, instead a video of clips from various old films was shown. The montage was intertwined with an interview of Mellencamp illustrating his inspirations from such films as “On the Waterfront”, “Hud”, and “Paper Moon” with actors such as (friend) Paul Newman, James Dean, and Marlon Brando; the latter of which became subjects for Mellencamp’s paintings. When the video stopped, the curtain came up and the roaring applause erupted to welcome the singer and his band.
The set list, posted at the bottom, was nothing shy of great. It was a prodigious mix of new and old, and those ones that he just has to do for the crowd, which I’m personally grateful for since this was my first time seeing him live. To hear an acoustic version of “Jack and Diane”, complete with the crowd getting the sing-along wrong and Mellencamp having to stop to correct them through unrestrained chuckling, was a dream I didn’t even know I had until I lived it.
What I loved even more, and I wish more artists would do -but apparently you need 50 years in the biz to do it before *almost * everyone listens- is to tell the crowd to keep their big mouths shut during “the quiet ones”! Of course one woman just had to yell out in agreement and with the irony completely lost on her, Mellencamp told her to take it outside. The rest of the crowd clapped in approving compliance. Light hearted moments allowing for John Mellencamp to show you the human he is, were welcomed, and met with both his and the crowds’ laughter.
Stories interspersed with songs made for a show that was more theatrical narrative than “just” a concert; even the stage, set with a background of movie stills and lights, brought a theater-like experience. Personal situational encounters led to songs born from our very own Portland. “The Eyes of Portland” is one such story. In this one he was in town for lunch and came across an anxious homeless woman whom he just wanted to help. She told him she just wanted to get home so he offered her a bus ticket, but she said she wasn’t welcomed there. He offered her money, to which her first question was if she had to have sex with him. No, of course not, this brought him great sadness that this was the only way she knew in order to accept the money, but that same instance brought her great joy that she would not have to demean herself another night to make it through. The lyrics “all these homeless, where do they come from?”, repeated throughout the song, are now more poignant knowing the backstory.
So many stories shared: of his time with his aging Grandmother, his dream about being at the pearly gates, and stories about his friend Joanne Woodward. Woodward, widow of friend Paul Newman, lent her, now recently lost, speaking voice to create a recording of Mellencamp’s song titled “The Real Life”. Her spoken word track was played for us with an accompaniment of live accordion and violin and brought me deep unexpected chills.
I must tell you, my inner teen was squealing from the pure joy of getting to sing along to “Hurts so Good” live. Mellencamp gave us a two-hour show and an impressive 21 song set list. The man is an unwaivering rock legend.
Set List:
John Cockers
Paper in Fire
Minutes to Memories
Small Town
Hey God
Human Wheels
Don’t Need This Body
Jackie Brown
Check it Out
The Eyes of Portland
Longest Days
Jack and Diane
I Always Lie to Strangers
The Real Life -read by Joanne Woodward
Scarecrow
Lonely Ol’ Night
Crumblin’ Down (with Gloria by Them)
Pink Houses
Chasing Rainbows
Cherry Bomb
Hurt So Good
photos by Julia Varga
