photos and review by Chona Kasinger

Jona Bechtolt and Claire Evans, the dynamic duo that is YACHT, took center stage promptly at 9:30 to a feverishly excited all ages crowd at the Vera Project on Friday night.

Bechtolt and Evans frolic and caper the stage like the Y2K scare of 1999 all over again, all the while keeping in time with their absurdly catchy beats. With Bechtolt decked out in an all white suit and Evans in a simple black dress and high top converse, the two clearly appeared to complement each other. Their live show is a spectacle to behold and always leaves one remarkably impressed with the duos ability to maintain tenure under such physical exertion. Evans and Bechtolt have developed an undeniably close connection (or at least play it off as such incredibly well) with their audience — a staple of YACHT’s show usually involves the two hopping into the crowd and touching their fans.

Midway through YACHT’s set, Bechtolt paused to share a couple of slides with the audience, one of which included a mailing address for the band (at which prompted Bechtolt to urge fans to send in whatever fan mail they felt so inclined). Slideshows have been a center point of the band’s live show for a while now, and I always find them to be a rare and comical treat in the realm of live music.

Bechtolt and Evans ended the night on a high note, per usual, and it appeared to me that the crowd of people that had come out to dance had truly had their fill for the night. In the true nature of fan appreciation, I spotted the couple later selling merch outside the room. YACHT’s sheer and electric energy on stage translated into a kind and gracious demeanor off, and I can only imagine in a world of people too afraid to dance outside the comforts of their own bedrooms that this act will carry people a long way.

review and photos by Chona Kasinger

This past weekend, Redmond’s Marymoor Park hosted a weekend of great shows, including Friday’s gathering of folking indie rock favorites The Decemberists, Andrew Bird and Portland’s Blind Pilot, who got the party started promptly at 6PM, as people steadily streamed into the park, newly relieved of the miserable traffic plaguing the 520.

With the gentle Redmond wind gently lifting his trademark tousled hair and face frozen in a seemingly permanent whistle purse, Andrew Bird is a character I would strongly liken to the kind of guy that could have been your favorite music teacher in high school. Bird is just about as talented a multi-instrumentalist as they come, and his live set totally touts this.

His live performance is confident, effortless and unforgettable. Bird’s music is you, the protagonist, in your heartland, playing tag in the fields and wading in warm rivers in the summertime. Its magical and nostalgic quality is difficult to describe without experiencing it firsthand.

“Moderation is a kind of extreme,” Bird coos before biting his lips and shutting his eyes, ostensibly in lost in inner peace as he sways his thin frame during the song “Lull.”

“That was fun!” Bird exclaimed midway through his set before pausing momentarily and quipping, “I like music.” It appeared to me that Marymoor also really liked music at that very moment. Bird performed several songs off his latest release “Fitz and the Dizzy Spells” and also reached into his back catalogue and performed a handful of old favorites, like “Scythian Empire” before wrapping up with “Fake Palindromes,” one of my all time Bird favorites with its tongue in cheek lyricism and grandiose violin trills.

“A Short Fazed Hovel” is the name The Decemberists chose to give their latest endeavor across the United States, and as we saw back in May at Sasquatch, included Becky Stark of Lavender Diamond, along with My Brightest Diamond’s Shara Worden among Decemberists personnel.

The Decemberists opened up with The Hazards of Love (this time, the landscape free of people in the heat of lovemaking) and continued on with many tracks of their latest release, The Hazards of Love. With Jenny Conlee complacently bobbing her head at sidestage over her various keyboards, Funk stoically chewing gum over the audience on the right hand side, and Stark and Worden occasionally taking turns on lead vocal efforts, Meloy indulged the audience in his iconic and highly stylized delivery. Anyone who is anyone can do some sort of ludicrous Colin Meloy impersonation, which just goes to show how idyllic he has become in the world of indie rock music.

Stark’s stage presence was unworldly, as she waltzed across the stage in some sort of wonderful trance. Meloy took things to a personal level as he chided the audience to give Gibbard the message “I want my shoes back.” Meloy also explained that Death Cab for Cutie’s show the next day at the very same location would inevitably involve a set list chockfull of the greatest songs Gibbard had ever written, but would not contain the worst. With about as much discretion as Britney Spears in an upskirt paparazzi shot, Meloy confided “I’m going to play you the worst song I’ve ever written. Okay guys, this song is pretty bad.” before jumping into “Dracula’s Daughter,” in which he sings the following over a self described “douchy chord progression (Cm to Gm, if you must know)

Dracula’s daughter
Dracula’s daughter’s got it bad
You think you got it bad?
Try having Dracula for your dad

The Decemberists encore included an assortment of older tracks, such as “The Bicycle Song” and “July July,” along with a jawdropping rendition of Heart’s “Crazy On You.” Stark shocked the masses by hitting the high notes on the chorus, I couldn’t help but burst into incredulous laughter at how surprisingly incredible the cover, as a whole, was. Though relatively unfamiliar with the music of My Brightest Diamond, I never would have guessed that such a voice could have come out of such a pixy-ish little figure. The temporary dimension these two ladies has added to The Decemberists live show has been mind boggling (in the best possible way).

Per usual, the band wrapped up with arguably one of the best tracks off The Crane Wife: “Sons and Daughters.” The timing of this song couldn’t have been any more perfect, as the fog and lights mingled to reveal the magical insects flying high over the stage in an ethereal fashion. The audience was clearly ready to join in with the band in their chants of “Here now the bombs fade away.” This epic call to a distant end never fails to inspire, the sheer beauty and simplicity of the song clearly superseded by an ulterior message of peaceful engagement and love.

photos and words by Chona Kasinger

Though regretfully absent at the last Broken Social Scene show at the Showbox Sodo in February, jack-of-all-trades front woman Emily Haines and friends took center stage at the Showbox at the Market last night around 10:20 PM. The heat inside this sold out venue swelled to a calescent broil as Canadian five piece Metric blasted off into an onslaught of their vast catalogue, including their new single “Help Me I’m Alive.” Around five songs in, Haines paused to plaudit Washington’s own Bear Creek Studios before dedicating the 6th track off their new album, Fantasies, “Gimme Sympathy” to Seattle, in which she curiously broods “Who would you rather be, The Beatles or The Rolling Stones?”

Haines glass doll voice has a breathy, yet breathless quality at the same time. The contrast of this with James Shaw’s sporadic shredding on guitar highlighted the band’s trademark musical aesthetic as they dove into the ambulance-wailing intro of dancer “Dead Disco.” There was certainly no shortage of pretty girls in dresses honing their best dance moves.

Metric was recently added to the crescive list of bands on the Bumbershoot lineup this year. Catch them on Monday night while you eat your funnel cakes and tall (and egregiously greasy) order of curly fries!

Text and photos by Chona Kasinger

Day three of Bumbershoot certainly saw a shift in audience. Though the day proved slightly more overcast than the two days previous, the spirits of eager Main Stage junkies could not be quashed. I arrived just in time to catch one of my local favorites, The Blakes. As lively and jangly as always, this saliently classic rock influenced band set the bar for the rest of the day.

The next group on my mental “to see” list featured igDana’s hubby, David, on guitars. Shake Some Action! layed out poppy rock riffs to put the candy store to shame.

It has been a big year for Northwest band Viva Voce. I first caught them at the Paramount opening for the signed major record label band The Shins, then later at Sasquatch, and now Bumbershoot! Anita and husband Kevin Robinson attracted many Bumbergoers to their set, calling for full grounds of an audience.

My new favorite band: Siberian. Are these guys for freakin’ serious unsigned? [editor's note: the band is now signed to Sonic Boom Records] Before their set, all I had known of them was that they opened for one of my favorite bands ever, Youth Group, a year previous. Opening for Youth Group is always a good thing. Siberian caroused through second year calculus level math rock, all the while staying tight and energetic. A Seattle powerhouse rock band, I see only good things in their future!

Fleet Foxes‘ music is the soundtrack to mornings spent in foreign countries. Their songs are the songs stuck in mockingbirds’ heads all across Washington and they just can’t stop humming. I can’t stop raving about this band after seeing them perform for the first time at Capitol Hill Block Party. They’re also unsigned, but I can’t imagine it will last that way for much longer.

Tokyo Police Club was a group I was very excited to see perform live, as I had missed them at Sasquatch only months previous. Loud, fast, and bright: this group lived up to my high expectations.

Towards the end of the day, I sidled closer to the Sound Transit Stage than the Main Stage. My excitement to see Ted Leo and the Pharmacists live could only be surpassed by my excitement to get something in my stomach. Fortunately, the kind vendors at Bumbershoot were able to provide with mass arrays of food…because yes, the “paparazzi” get hungry too.

Despite me and a friend’s frantic requests from backstage for Ted to cover Kelly Clarkson, we were rejected by the new comer bassist: “Hey Ted! The photographers are quitting because they want you to play ‘Since You Been Gone.’ Hey, Photographers! Take a photo of me saying ‘Noooo.’” Meanie.

Ted Leo and the RX leaped and bounded across stage like Paris Hilton trying to stomp out a forest fire. Their energy definitely translated across to the audience, as they fiercely pleaded for an encore. Great band, great show, nice guys…maybe a little bit too heavy on the intoxicants. The crowd loved them, I loved them — no harm, no foul.

Pure and almost disgustingly fortunate luck had it that a massive storm hit JUST as my friend as I hopped on I-5 south bound. The imminent rain had finally come, and just at the right time.

Though lacking in any truly epic Main Stage acts this this year, Bumbershoot, as always, proved to be an urban escape from daily life. Overall, it was a massive success; we all await what’s in store for next year.

You can see more of Chona’s photographs here.

Go back and read Part 1 and Part 2.

all photos & text by Chona Kasinger

A couple hundred shot edits, 5 hours of sleep, and a breakfast crepe later, I’m good to go for another round of Seattle live music and arts. The first act of the day for me, the spankin’ young Natalie Portman’s Shaved Head, hit the EMP’s phenomenal unsigned artists Sky Church Stage greeted by what must have been the entire high school the band had just recently graduated from. “We are so happy to here! Let’s rock!” And rock they did. Imaginary Girl Dana described the young group as the “contemporary B52’s”.

Shortly after their first three songs, I jetted over to the first Black Rebel Motorcycle show of the day. All from the start of the set went great, until midway through the second song, when an unfortunate insubordination of speakers occurred.

At the sold out BRMC KEXP Lounge performance later in the afternoon, we all saw a more mellow side of the threesome. This may have attributed to the fact that the fact that the KEXP Lounge (at the SUPER secret location right behind the corn cob stand in the volunteer area across the Starbucks Stage)was a lot cooler and overall chiller than the sweltering 85 degrees going on outside.

Never having seen southern roots rock group Kings of Leon live, though knowing of their overall grungy southern hairiness, I was flabbergasted to see NO BEARDS or long unruly hair. As a matter of fact, the Kings of Leon appeared as clean cut as could be…dare I say…they were hot! This group certainly riled up the crowd through old favorites like “Four Kicks” through the duration of their 75 minute stay at the main stage.

Among the contenders for best band name in my mind is Colorado band Apples in Stereo. The keyboardist, decked out in a silver and caped astronaut get up was my favorite. Though clearly aging with many members balding, this group still possesses as much potency as it did n years past, if not more.

I met an Art Brut super fan photographer on day two who claimed to have seen the perform in several different countries across the world, including Glasgow and Berlin. Eddie Argos and co were definitely one of the most malevolently good and sexually frustrated shows I’ve seen since Disney Princesses on ice. After an extended sound check at the KEXP Lounge, Eddie introduced the band with his thick-as-New-England-clam-chowder accent. “Ready Art Brut? Top of the Pops!”

Since having seen Gomez perform at the Moore lat at year with fellow 2007 Bumbershooters Rodrigo y Gabriela, I ws hooked. Naturally, I was magnetically pulled to the stage when I saw that guitarist Ian Ball would be performing. His just-drank-a-gallon-of-throat-coat clear voice resonated with his catchy crunchy riffs and provided great fun for all ages as was seen at the stage.

Andrew Bird enjoyed great success at the Starbucks coming night fall, as he was greeted by what seemed like the collective Bumbershoot press as well as a packed grounds of fans. Andrew’s eclectic pairing of vocals and violin was all it took to draw in even casual passerbys to the stop and muse. A beautiful set to be had by all, Andrew Bird definitely proved to be the Starbucks highlight of the day.

I spied Devendra Banhart relaxing backstage during Art Brut’s set and worked up the courage five minutes before asking for a shot. Here is the result:

Though more comparable to Jack Sparrow in any of the three Pirates of the Carribean movies than an artist at a Northwest Music Festival, he was an absolute sweetheart. His group put on a most enchanting, breezy and dreamy could-have-been-closing set of the day , had I not for reasons that may never be known to me opted for the 9:45 Fergie show at the Main Stage.

Fergie, “Fergie-Ferg” as an acquaintance of mine liked to say, put on a most alarming show to myself. I wouldn’t daer discount its entertainment value and utter irony, but the British capped guards (Fergie’s surrogate strip pole) really made me laugh. What also got me was the fact that the front row of Fergie fans consisted largely of tweens steadily pumping heir fists and chanting.

What the hell is this? Dear friends, what is being played on junior high school busses across King and Pierce County? 225 months young, I think I’m getting to old for my own good. Today I’m old. Tomorrow I will be new again. In the words of Kings of Leon, “Eighteen-balding star.”

You can see more of Chona’s photos here.

all photos & text by Chona Kasinger

At last, the epicenter of Seattle’s cultural scene, One Reel’s annual Bumbershoot Music Festival has come to a draw. 13,375 calories, ten bruises, and two blown out eardrums later, I sit here cross legged and marvelously afflicted by sunburn, camera strap burn, and a hefty kick to the rib cage during the Gogol Bordello show at the Esurance Stage Saturday night in front of my laptop without the vaguest idea of where to start.

Regrettably, I spent the majority of my time running from set to set and keeping heat stroke at bay with Mango Lemonade and free Starbucks. However, as a result, I was able to catch virtually every band I wanted to see, though in most cases not as long as I would have liked to.

Australian band Crowded House was the first act to grace the Main Stage on Saturday. I’m sure the shrieking fans the behind the photo pit would have told you different, but I left the set unimpressed and uninspired. I opted for the Cops set over at the Sound Transit Stage ALL THE WAY ACROSS THE SEATTLE CENTER after the universal “three songs- no flash” rule. The three piece local group definitely did justice to the stage as the kickoff band of the Bumbershoot three day fiesta.

The Shins came on an hour later, making up for the relative mediocrity of its predecessor. The Shins, as usual, kicked off their hour set with “Sleeping Lessons” off their latest album and much to the elation of the audience kicked off into old favorites. I was surprised by the immense devotion (or full on obsession?) of fans, as one girl behind me in the audience behind me exclaimed “OH MY GOD MY THROAT IS CLOSING!”. Right.

No band is complete without a choir, right? Later in the afternoon as the sun was reaching its peak, Sub pop band, Menomena and a mahogany robe clad choir with vocals to rival that of the Polyphonic Spree marched and chanted on stage as a super group and let off into their bouncy and never boring sixty minute set.

Later in the day, the newly united Lashes (guitarist Eric Howk was recently paralyzed in an unfortunate accident, thus putting the band on indefinite hiatus) were warmly greeted at the Sound Transit Stage by throngs of eager fans. With more energy that can logically be explained by biological chemical imbalances, these superhuman local all-stars definitely busted out the biscuits.

David Terry, mastermind of Seattle’s Aqueduct fielded blown up beach balls from the enthused audience and blasted into his set, meriting joyous grins and occasional hip shaking from his many fans at the Sound Transit stage.

Gogol Bordello was a most interesting act for me to catch. His performance earlier in the day at the secret KEXP Lounge was in no way comparable to that of his performance at the Esurance stage. Never in my life would I have thought that an old man wielding an accordion could have so much energy. Almost in competition for aesthetics of epilepsy was the crowds energy, as the bouncers fought tooth and nail to keep the overenthusiastic swarms of people out of the photo pit.

A friendly, though clearly apprehensive bouncer warned a friend and I shortly before the first song, “I hope you guys have life insurance”. Of course, those are never good words to hear; especially as you’re about to place a large contraption in front of your face in hopes of catching a photo people might later want to look at, and instantly disabling any ability to see where you, or other people for that matter, are in relation to where you are moving. As afore mentioned, I have a prominent battle scar to prove I survived a Gogol Bordello show. Hell yeah.

A general sense of exhaustion hung in the air by the end of the day, though that sense was not quite enough to overpower the solid fact that the end of Bumbershoot was not quite near.

Check back for Chona’s review of Days 2 & 3. You can see more of her photos here.