Bedouin Soundclash, Los Lobos, and The Weakerthans are also gracing Seattle with

September 24, 2012 12:00 am
Woody Guthrie Tribute Night, Wednesday, July 15: Any true Washingtonian knows that folksinger Woody Guthrie is an indelible part of state history. Nearly 70 years ago, Guthrie was recruited by the Department of the Interior to write songs about the Columbia River and promote the construction of the Grand Coulee Dam, a massive Depression-era construction in eastern Washington. The most lasting result was Roll On Columbia, now the state's official folk song. Any Woody Guthrie tribute night in Seattle, then, has to include an official cover of Roll On Columbia, which proudly describes the scenic nature of eastern Washington and the boasts of the progress the new dam would provide state residents. The likely Seattle singer to take on that challenge is Nancy K. Dillon. She's a little more country and a little bit more rock and roll than Guthrie, but she sings about the same subject matter. She tries to find a sense of place in her songs, like on Crossing 66, comparing the expanse of a great highway to the rambling nature of a river. Dillon is connected to her subject matter, the same way Guthrie felt the waves of the Columbia with every note. Conor Byrne, 5140 Ballard Ave. N.W. 784-3640. 9 p.m. Note by PAIGE RICHMOND
Woody Guthrie Tribute Night, Wednesday, July 15: Any true Washingtonian knows that folksinger Woody Guthrie is an indelible part of state history. Nearly 70 years ago, Guthrie was recruited by the Department of the Interior to write songs about the Columbia River and promote the construction of the Grand Coulee Dam, a massive Depression-era construction in eastern Washington. The most lasting result was Roll On Columbia, now the state's official folk song. Any Woody Guthrie tribute night in Seattle, then, has to include an official cover of Roll On Columbia, which proudly describes the scenic nature of eastern Washington and the boasts of the progress the new dam would provide state residents. The likely Seattle singer to take on that challenge is Nancy K. Dillon. She's a little more country and a little bit more rock and roll than Guthrie, but she sings about the same subject matter. She tries to find a sense of place in her songs, like on Crossing 66, comparing the expanse of a great highway to the rambling nature of a river. Dillon is connected to her subject matter, the same way Guthrie felt the waves of the Columbia with every note. Conor Byrne, 5140 Ballard Ave. N.W. 784-3640. 9 p.m. Note by PAIGE RICHMOND

Bedouin Soundclash, Los Lobos, and The Weakerthans are also gracing Seattle with their performances. Here are all our shows of note for the week of July 15 to 21.Published on July 13, 2009

The Metal Shakespeare Company, Friday, July 17: It's easy to dismiss the Metal Shakespeare Company as one big joke. There's something inherently hilarious about four twentysomething-year-old dudes from Portland who dress in Shakespearean costumes and set the Bard's greatest soliloquies to Iron Maiden-styled metal. In the band's most recent music video (for To Bleed or Not to Bleed, the MSC's musical version of Hamlet's famous speech to the departed Yorick in Act 3, Scene 1), a character is transformed into a donkey as lead singer Lord Simms serenades a skull and drummer William Sly throws up devil horns between beats. But despite all the kitsch, it's clear that the Metal Shakespeare Company is striving for authenticity. Aside from occasionally beefing up the chorus (To be or not to be / Who are we that is the question / Matters not, to bleed or not to bleed / For we are metal!), the songs are written to keep Shakespeare's original language and words intact. Even the band's MySpace page is written in Old English. And for those Bard-haters, the MSC is totally, undeniably metal: clean keyboard solos, super fast guitar riffs, and Lord Simms' Sebastian Bach-styled voice would rocketh mightily even without Shakespeare's words. With the Valkyries, Brewtal Thirst. Blue Moon Tavern, 712 N.E. 45th St. 633-6267.10 p.m. $5. Note by PAIGE RICHMOND

The Metal Shakespeare Company, Friday, July 17: It’s easy to dismiss the Metal Shakespeare Company as one big joke. There’s something inherently hilarious about four twentysomething-year-old dudes from Portland who dress in Shakespearean costumes and set the Bard’s greatest soliloquies to Iron Maiden-styled metal. In the band’s most recent music video (for To Bleed or Not to Bleed, the MSC’s musical version of Hamlet’s famous speech to the departed Yorick in Act 3, Scene 1), a character is transformed into a donkey as lead singer Lord Simms serenades a skull and drummer William Sly throws up devil horns between beats. But despite all the kitsch, it’s clear that the Metal Shakespeare Company is striving for authenticity. Aside from occasionally beefing up the chorus (To be or not to be / Who are we that is the question / Matters not, to bleed or not to bleed / For we are metal!), the songs are written to keep Shakespeare’s original language and words intact. Even the band’s MySpace page is written in Old English. And for those Bard-haters, the MSC is totally, undeniably metal: clean keyboard solos, super fast guitar riffs, and Lord Simms’ Sebastian Bach-styled voice would rocketh mightily even without Shakespeare’s words. With the Valkyries, Brewtal Thirst. Blue Moon Tavern, 712 N.E. 45th St. 633-6267.10 p.m. $5. Note by PAIGE RICHMOND

A-Trak, Saturday, July 18: aEœWhen I was 13, I took my bar mitzvah money and bought myself some turntables and a mixer. I practiced for about 18 hours a day. Then I came out of my basement, packed my lunch and won a bunch of world championships. Joy!aE writes Montreal jock A-Track on his MySpace bio. WeaE™ll forgive dude his aEœmy first Fischer Price DJ setaE origins, which is as boringly similar to all others, because his music is effin banginaE™. No laptop jock he, the turntablist can crate-dig and spin with the best of aE˜em, and his hip-hop flavored electronic music (usually with rap vocals laid over techno beats) have won him such famous fans as Kanye West (whom A-Track toured with) to club junkie DJ AM. Despite that Seattle doesnaE™t have a proper, true-blue club for dude to rock, heaE™s coming anyway as part of his aEœ10,000 LB HamburgeraE tour. With Rye Rye, Treasure Fingers, the Dowlz & OK Dave. Chop Suey, 1325 E. Madison St. 324-8005. 8 p.m. $13 adv. Note by KEVIN CAPP

A-Trak, Saturday, July 18: aEœWhen I was 13, I took my bar mitzvah money and bought myself some turntables and a mixer. I practiced for about 18 hours a day. Then I came out of my basement, packed my lunch and won a bunch of world championships. Joy!aE writes Montreal jock A-Track on his MySpace bio. WeaE™ll forgive dude his aEœmy first Fischer Price DJ setaE origins, which is as boringly similar to all others, because his music is effin banginaE™. No laptop jock he, the turntablist can crate-dig and spin with the best of aE˜em, and his hip-hop flavored electronic music (usually with rap vocals laid over techno beats) have won him such famous fans as Kanye West (whom A-Track toured with) to club junkie DJ AM. Despite that Seattle doesnaE™t have a proper, true-blue club for dude to rock, heaE™s coming anyway as part of his aEœ10,000 LB HamburgeraE tour. With Rye Rye, Treasure Fingers, the Dowlz & OK Dave. Chop Suey, 1325 E. Madison St. 324-8005. 8 p.m. $13 adv. Note by KEVIN CAPP

Laura Veirs, Saturday, July 18: I first happened upon the phenomenal Portland-via-Seattle-via-Colorado songwriter Laura Veirs maybe four years ago, after sheaE™d already released a couple of albums. But 2005aE™s dreamy, quirky, occasionally orchestral-poppy, sometimes biting Year of Meteors grabbed me and didnaE™t let go of my ears (or my CD player) for ages. Her voice struck me: Neither breathy sweet and sensual, nor cracked and desperate, hers is a dry, husky delivery, one that at first encounter seemed a bit glacial. Yet as the album progressed, a gamut of feelings punctured that curtain of detachment. And her lyrics, often referencing the natural world, were remarkable: All vivid imagery and the music of language tumbling together in stunning bits of poetry. VeirsaE™ 2007 follow-up, Saltbreakers, was equally alluring, bringing her even more national acclaim, and this impressive recent track record makes me especially excited to hear her forthcoming seventh full-length, July Flame. Veirs hasnaE™t announced a release date yet, but for this show sheaE™s assembled an all-new quintet (whoaE™ll be bringing strings, balalaika, and exotic percussion to augment the usual guitar-centric set-up), and sheaE™s promising lots of brand-new material to go along with the old tunes that remain as arresting as the first time they burrowed into my head. With the Old Believers, Cataldo. The Crocodile, 2200 Second Ave. 441-7416. 8 p.m. $15 adv. Note by MICHAEL ALAN GOLDBERG

Laura Veirs, Saturday, July 18: I first happened upon the phenomenal Portland-via-Seattle-via-Colorado songwriter Laura Veirs maybe four years ago, after sheaE™d already released a couple of albums. But 2005aE™s dreamy, quirky, occasionally orchestral-poppy, sometimes biting Year of Meteors grabbed me and didnaE™t let go of my ears (or my CD player) for ages. Her voice struck me: Neither breathy sweet and sensual, nor cracked and desperate, hers is a dry, husky delivery, one that at first encounter seemed a bit glacial. Yet as the album progressed, a gamut of feelings punctured that curtain of detachment. And her lyrics, often referencing the natural world, were remarkable: All vivid imagery and the music of language tumbling together in stunning bits of poetry. VeirsaE™ 2007 follow-up, Saltbreakers, was equally alluring, bringing her even more national acclaim, and this impressive recent track record makes me especially excited to hear her forthcoming seventh full-length, July Flame. Veirs hasnaE™t announced a release date yet, but for this show sheaE™s assembled an all-new quintet (whoaE™ll be bringing strings, balalaika, and exotic percussion to augment the usual guitar-centric set-up), and sheaE™s promising lots of brand-new material to go along with the old tunes that remain as arresting as the first time they burrowed into my head. With the Old Believers, Cataldo. The Crocodile, 2200 Second Ave. 441-7416. 8 p.m. $15 adv. Note by MICHAEL ALAN GOLDBERG

The Weakerthans, Saturday, July 18: The Weakerthans have a legacy of shock and surprise. It all started with Propagandhi, John SamsonaE™s original musical vehicle. That bandaE™s take on political punk was a slap in the face, choosing blunt force, both lyrically and musically, as their primary means of communication. When Samson split from the band, eventually forming the Weakerthans, it was just as shocking for its relative lack of gruffness. The Weakerthans still have a bit of punk edge, but round it out with a focus on melody and subtlety, neither of which ever featured heavily in the Propagandhi fakebook. Combining hooky indie pop with a penchant for socially minded folk, the Weakerthans look more toward the personal than the political, using songcraft as a means for exploring the human condition on a microcosmic scale. People, rather than policies, are the focus here, and the music mirrors that more sentimental notion, finding itself as much in silence as in sound. With Jason Collett. Neumos, 925 E. Pike St. 709-9467. 8 p.m. $15 adv. All ages. Note by NICHOLAS HALL

The Weakerthans, Saturday, July 18: The Weakerthans have a legacy of shock and surprise. It all started with Propagandhi, John SamsonaE™s original musical vehicle. That bandaE™s take on political punk was a slap in the face, choosing blunt force, both lyrically and musically, as their primary means of communication. When Samson split from the band, eventually forming the Weakerthans, it was just as shocking for its relative lack of gruffness. The Weakerthans still have a bit of punk edge, but round it out with a focus on melody and subtlety, neither of which ever featured heavily in the Propagandhi fakebook. Combining hooky indie pop with a penchant for socially minded folk, the Weakerthans look more toward the personal than the political, using songcraft as a means for exploring the human condition on a microcosmic scale. People, rather than policies, are the focus here, and the music mirrors that more sentimental notion, finding itself as much in silence as in sound. With Jason Collett. Neumos, 925 E. Pike St. 709-9467. 8 p.m. $15 adv. All ages. Note by NICHOLAS HALL

Los Lobos, Sunday, July 19: What's the purpose of music? I donaE™t think anyone would argue when I suggest that its ultimate function is entertainment, right? That being the case, I challenge you to find a band that has been more consistently pleasurable than Los Lobos. Of course, this is probably not a matter of choice for the band. Aside from a single brush with commercial success (appearing in the film La Bamba), Los Lobos has not been able to kick up its heels and lean back on its reputation. Thus, each record and live show is practically a joy from beginning to end. But at the same time, they arenaE™t eager-to-please lapdogs; they are confident in their abilities and, as a result, have nothing to prove, which lends their amalgam of rock, Tex-Mex, blues, R naE™ B, and traditional Spanish and Mexican music a vibe of total effortlessness. They are possibly the greatest working band in AmericaaE”meaning, you could ask them to do anything and chances are high they could pull it off with ease. You only wish you could afford them for your wedding reception. Woodland Park Zoo, 601 N. 59th St. 6 p.m. $22. All ages. Note by BRIAN J. BARR

Los Lobos, Sunday, July 19: What’s the purpose of music? I donaE™t think anyone would argue when I suggest that its ultimate function is entertainment, right? That being the case, I challenge you to find a band that has been more consistently pleasurable than Los Lobos. Of course, this is probably not a matter of choice for the band. Aside from a single brush with commercial success (appearing in the film La Bamba), Los Lobos has not been able to kick up its heels and lean back on its reputation. Thus, each record and live show is practically a joy from beginning to end. But at the same time, they arenaE™t eager-to-please lapdogs; they are confident in their abilities and, as a result, have nothing to prove, which lends their amalgam of rock, Tex-Mex, blues, R naE™ B, and traditional Spanish and Mexican music a vibe of total effortlessness. They are possibly the greatest working band in AmericaaE”meaning, you could ask them to do anything and chances are high they could pull it off with ease. You only wish you could afford them for your wedding reception. Woodland Park Zoo, 601 N. 59th St. 6 p.m. $22. All ages. Note by BRIAN J. BARR

No Doubt, Sunday, July 19: With the first plaintive verses of 1995aE™s aEœJust a Girl,aE Gwen Stefani and No Doubt ushered in a new era of enticingly flagrant girl power. So sorry, Katy Perry and Lady GaGa aE“ those in-your-face poses? The boudoir-meets-couture outfits? ItaE™s all been done before, and better, by Stefani, the only woman who could make bindis, blue hair and braces trendy. ItaE™s been five years since No Doubt played together aE“ a hiatus in which Stefani produced two solo albums and two babies aE“ but now Gwen and the boys are back on the road. The tour precedes a new album that will be released in 2010 and has the band dressed in all white, a lA  A Clockwork Orange, playing fan favorites from the reggae and dance pop of their later albums and quite a bit from the ska-reviving Tragic Kingdom, including the iconic aEœDonaE™t Speak.aE These are good people, too aE“ much of the proceeds from the tour will go to charity. With Paramore. White River Amphitheatre, 40601 Auburn-Enumclaw Rd. 7:30 p.m. $10-$80. All ages. Note by ERIN THOMPSON

No Doubt, Sunday, July 19: With the first plaintive verses of 1995aE™s aEœJust a Girl,aE Gwen Stefani and No Doubt ushered in a new era of enticingly flagrant girl power. So sorry, Katy Perry and Lady GaGa aE“ those in-your-face poses? The boudoir-meets-couture outfits? ItaE™s all been done before, and better, by Stefani, the only woman who could make bindis, blue hair and braces trendy. ItaE™s been five years since No Doubt played together aE“ a hiatus in which Stefani produced two solo albums and two babies aE“ but now Gwen and the boys are back on the road. The tour precedes a new album that will be released in 2010 and has the band dressed in all white, a lA  A Clockwork Orange, playing fan favorites from the reggae and dance pop of their later albums and quite a bit from the ska-reviving Tragic Kingdom, including the iconic aEœDonaE™t Speak.aE These are good people, too aE“ much of the proceeds from the tour will go to charity. With Paramore. White River Amphitheatre, 40601 Auburn-Enumclaw Rd. 7:30 p.m. $10-$80. All ages. Note by ERIN THOMPSON

Har Mar Superstar, Monday, July 20: Who better to anchor a leg of Lebowski Fest dates than Har Mar Superstar? The bubblegum R&B persona of Sean Na NaaE™s Sean Tillman, Har Mar has spent the decade as a career slacker whose sardonic ease of delivery has given him way more appeal than his lewd, white-boy shtick should ever have had. Gyrating his doughy torso and heaping his songs with whipped falsetto, he memorably hones in on recent cultural experiences like drunk-dialing, as well as older ones like, um, Hypercolor. HeaE™s also managed to show up Spank Rock on the Neon Neon single aEœTrick For TreataE and produce a side-splitting series of web videos. Next up? Har MaraE™s got a fourth album due in October, which should prove whether the prolonged, if loving, gag is finally wearing thin or becoming close to indestructible. With this guy, it could easily go either way. With Jeff aEœThe DudeaE Dowd. Fremont Outdoor Cinema, 3501 Phinney Ave. N. 6 p.m. $20. Note by DOUG WALLEN

Har Mar Superstar, Monday, July 20: Who better to anchor a leg of Lebowski Fest dates than Har Mar Superstar? The bubblegum R&B persona of Sean Na NaaE™s Sean Tillman, Har Mar has spent the decade as a career slacker whose sardonic ease of delivery has given him way more appeal than his lewd, white-boy shtick should ever have had. Gyrating his doughy torso and heaping his songs with whipped falsetto, he memorably hones in on recent cultural experiences like drunk-dialing, as well as older ones like, um, Hypercolor. HeaE™s also managed to show up Spank Rock on the Neon Neon single aEœTrick For TreataE and produce a side-splitting series of web videos. Next up? Har MaraE™s got a fourth album due in October, which should prove whether the prolonged, if loving, gag is finally wearing thin or becoming close to indestructible. With this guy, it could easily go either way. With Jeff aEœThe DudeaE Dowd. Fremont Outdoor Cinema, 3501 Phinney Ave. N. 6 p.m. $20. Note by DOUG WALLEN

Bedouin Soundclash, courtesy Listen Harder. For T'Cha Dunlevy (Montreal Gazette). CNS-MUSIC-BEDOUIN

Bedouin Soundclash, courtesy Listen Harder. For T’Cha Dunlevy (Montreal Gazette). CNS-MUSIC-BEDOUIN