The Stranger

Our Favorite Bowls of Hot Soup in Seattle

Julianne Bell — Fri, 20 Feb 2026 16:20:00 -0800

Don’t worry, we’ll start yelling at politicians again soon. by Julianne Bell

It’s cold. Earlier this week we saw a few tiny flurries of snow, even! And while some weather reports suggest we might soon break out of this chilly, mid-40s prison we’ve been locked in, it’ll be by just a few degrees. And probably rainy. It’s the perfect weather for soup. So we took a break from screaming about Trump and City Hall, and switched gears for a minute to appreciate some of our favorite warm and comforting bowls of soup. Don’t worry, we’ll start yelling at politicians again soon.

Isarn’s Chiang Mai

Look, this whole soup is fucked up. The curry noodle soup from Northern Thailand comes out looking like a sculpture, with a nest of fried noodles perched on top of perfectly poached chicken and surrounded by a thick curry broth—creamy and spiced so it feels like it warms you from the inside out. When it’s served, you’ll get three things on the side: raw red onion, chopped pickled veg, and a deep red chili oil. After your first bite, you’ll be tempted to roll up your sleeves and forget about these little treats. Do not be that fool. These bits and bobs are what turn each bite into its own experience. Is your palate feeling a little tired of the richness of the broth? Add a little pickle on top of that spoonful of noodles. Repeat until you see the bottom of the bowl. HANNAH MURPHY WINTER

Situ Tacos’ Soup of the Day

Yes, the Ballard oasis Situ Tacos is primarily known for its fried Lebanese Mexican tacos, but soups are one of owner Lupe Flores’s favorite things to make, and it shows. As the shop’s resident animatronic parrot, Armando, occasionally squawks: “Don’t sleep on the soups…uh, don’t sleep in the soup. Uh, the soup is super!” They rotate weekly, and there’s a meat and veggie option each day, so you might encounter molokhia (Lebanese seven-spice chicken and rice stew), chorizo potato kale, Lebanese veggie stew, fideo con bistec, vegan pozole rojo, zuppa toscana, pumpkin curry, broccoli cheddar, chicken tortilla, or something else altogether. Whatever it is, it’s sure to be soul-soothing and seasoned to perfection—you really can’t go wrong. Get a combo with tangy, crunchy slaw and/or a couple of tacos for dunking. JULIANNE BELL

Halcyon Brewing's Vegan Butternut Bisque

I first happened upon Halcyon Brewing’s vegan butternut bisque by chance. Well, sort of. I was attending Ravenna Brewing Company’s annual “Soup Battle,” where local bars and breweries go head-to-head with their best soups, mostly because my good friend runs the event. Saddled with four delicious soups, I didn’t know where to begin. But Halcyon’s yellow-y orange soup with a swoop of coconut milk and a crack of black pepper on the top beckoned. I finished my bowl. It was sweet, it was savory, and it had a nice kick of spice—the brewery’s homemade chili crisp— that warmed my insides. Something vegan had no right to be so good and so creamy. Everyone at my table agreed that it should take the top prize.The rest of the Soup Battle patrons thought so, too—Halcyon’s vegan butternut bisque won the coveted Golden Ladle. NATHALIE GRAHAM

Pho Than Bros’ Veggie Pho with No Mushrooms and No Cilantro and Extra Broccoli

I’m not about to tell you how to order pho. And I’m not going to try to convince you that Pho Than Bros is the best pho in Seattle, even though every bowl comes with a sweet little custard-stuffed pastry puff. Pho is personal, pho is sacred. How I pho and how you pho can be—and should be!—very different experiences, each one custom-tailored after years of slurping and experimenting and learning the hard way that your sriracha threshold isn’t nearly as high as you thought it’d be. And, at Than Bros, I have perfected my order. I get a small veggie pho with no mushrooms, no cilantro, and extra broccoli, then I load it up with black pepper, a fat ring of hoisin sauce, a delicate squeeze of sriracha, and as many of the bean sprouts that I can manage before my husband says, “Stop taking all the bean sprouts.” I finish it off with a squeeze of lime and dig in.

This isn’t an invitation for you to try what I think is the best pho in Seattle; this is an invitation for you to find your own. But if you’re looking for a place to start, or a change up from your usual, to me, Than Bros is perfect. It’s my happy place. And it comes with a cream puff. MEGAN SELING

Metropolitan Market’s Cioppino

Metropolitan Market’s cioppino has been there for me since I was a child, when my parents would bring home a pint of the hot seafood stew on chilly winter nights when they didn’t feel like cooking. The rich, tomato broth, seasoned with white wine, and filled with a potpourri of shrimp, mussels, salmon, and white fish, will always feel like a luxurious treat, despite coming from a grocery store’s hot food buffet. Considering that cioppino was created as a way for fishermen to use up unsold seafood at the end of the day, I would advise not making it yourself. Not because it’s difficult, but because it will cost you approximately $5 million to buy four types of fresh seafood. Instead, buy a 16-ounce cup from your nearest Metropolitan Market store for a mere $7.39, and buy yourself a nice warm cookie while you're at it. AUDREY VANN

Biang Biang Noodles’ Curry Tofu Dry Mix

Massive Chinese hand-pulled noodles boiled to a perfect chewiness texture, doused in a delectable yellow curry sauce and flavorful broth with chunks of tofu and cabbage, in a bowl so massive you might need two people to finish it. It’s the hearty Asian noodle dish you dream of on a frigid evening. It’s Biang Biang Noodles’ Curry Tofu Dry Mix.

If you’ve been to Biang Biang, you might be thinking, Seriously? This isn’t soup, it’s a quart of hot oil. Well, to that I say: 1) oil is a liquid, and Managing Editor Megan Seling said we could write about “anything served in a bowl that is at least 50 percent liquid,” and (2) this oil is delicious.

Call it soup, call it hot oil, call it a bowl of molten comfort—the Curry Tofu Dry Mix does exactly what the best soups are supposed to. It satisfies your savory tooth and warms you up when the weather’s unforgiving. So if you’re asking me to grab a casual dinner with you on a dreary winter day, gimme those chopsticks and a Chinese soup spoon and find me at Biang Biang. MICAH YIP

Gorditos’ Vegan Pozole

The biggest mistake I’ve made in my life was going to Gorditos for years and only ordering one thing from the menu: A veggie burrito, wet, with a side of chips and salsa. It’s no Veggie Nolasco from Mama’s, but I love it, and I have probably eaten hundreds of them in my 45 years on the planet with zero regrets. Well, zero regrets until one fated day in December. On that day, I was finally turned on to other parts of Gordito’s menu. Did you know they have tacos! And enchiladas! They even serve breakfast! What have I been doing all my life!? And, most importantly on a cold winter’s day such as the ones we’ve been experiencing this week, they have soup. Their current soup is a vegan pozole that is an explosion of flavor in your mouth. A savory red base that tastes not unlike a brothier version of the red sauce they ladle over my beloved burrito is loaded with onions, zucchini, corn, mushrooms, and hominy, which gives each spoonful a toothsome, meaty bite. The broth is salty and rich, in a craveable way, and while eight-ounces with a side of chips is definitely enough to be its own meal, I recommend opting for the four-ounce cup, adding a taco to your order, and then proceeding to use every curved chip in the bag as your spoon. MEGAN SELING

Ooink’s Spicy Vegetarian Miso Ramen

If I am going to pay to eat soup outside of my home, it’s going to be ramen. And the best ramen I’ve found, for a vegetarian such as myself, is from Ooink. There’s a Fremont location, but I can only speak for the Capitol Hill spot—the one in the strip-mall above the lit QFC on Broadway and Pike.

My order is the Spicy Vegetarian Miso Ramen (it can be made vegan, and there’s a version without “spicy” in the title). Not to worry: it has a warm kick, but is not the kind of spice that will make you cough or harsh your tastebuds.

The sturdy buckwheat noodles have just the right amount of tooth, and the miso broth has depth without being too salty or greasy—common traps that many vegetarian broths fall into when trying to overcompensate for something they do not need to overcompensate for. The toppings are correct: a springy pile of kikurage, little heaps of corn and green onions, a few sheets of seaweed, and a handful of happy baby bok choy that are blessedly not soggy and therefore retain a hint of peppery mustard flavor. This ramen also features a pat of melting corn butter, and a subtle sesame dressing drizzled onto the greens. I get mine without the tofu skin, but that’s just a personal preference (or aversion, maybe, that has something to do with its resemblance to, um, the second word there).

The star of the bowl is the house-made chili crisp. I sometimes wait until I absolutely have to stir it in because it’s such a banger taste all on its own; it’s crunchy and a little smoky and a little sweet, and the sesame seeds and spicy peanuts keep it interesting as you make your way to the bottom. Vegetarian ramens can get weird, and feel half-assed, but Ooink’s well-balanced version is the way to do it. EMILY NOKES

Pop Loser #17: Opera Singer J’Nai Bridges Shares Her Go-To Karaoke Songs

Audrey Vann — Thu, 19 Feb 2026 13:00:00 -0800

Your weekly music news. by Audrey Vann

Welcome back to Pop Loser! This week, the Queer/Pride Festival lineup dropped, the Cass Elliot biopic was cast, and I have one special request from God (spoiler alert: it involves The Traitors). I’ll also share two new songs that I’m currently obsessed with, and in a new segment, Questions from the Cutting Room Floor, Grammy-winning opera singer J’Nai Bridges shares her go-to karaoke songs.

This Week in Music

The lineup for Queer/Bar’s Queer/Pride Festival has dropped with highlights like It-Girl Keke Palmer, Southern hip-hop queen JT (of City Girls), house music heavy Honey Dijon, TV personality/pop diva Erika Jayne, NYC rapper Junglepussy, and (oh my god!) reality TV legend/DJ Tiffany Pollard.

Kurt Cobain’s death continues to be investigated, 32 years later. After spending three days looking “exhaustively” at crime scene materials, an unofficial private sector team of forensic scientists claims to have found contradicting evidence to the official autopsy verdict, which ruled Cobain’s death a self-inflicted gunshot. The team claims that there was organ damage that “doesn’t happen in a shotgun death,” along with questions about the location of the shotgun shell and the unsullied nature of his hands. Following these claims, a spokesperson for the King County Medical Examiner’s Office responded, saying that they are standing by the initial autopsy ruling.

Mama has been Cas(s)t. A Cass Elliot biopic is officially in the works, starring Baby Reindeer breakout actress Jessica Gunning, who will portray the Queen of Laurel Canyon and Mamas & the Papas vocalist. The film will be adapted from the memoir My Mama, Cass, written by the singer’s only child, Owen Elliot-Kugell.

RIP Billy Steinberg. On Tuesday morning, the songwriter behind pop hits like Cyndi Lauper’s “True Colors,” Madonna’s “Like A Virgin,” and countless others died at the age of 75. It was also announced that founding member/drummer of Irish punk band the Pogues Andrew “the Clobberer” Ranken died last Tuesday at the age of 72. On Sunday, Georgia indie rock band Manchester Orchestra shared that their drummer, Tim Very, had died at just 42. “We’ve all been dreading sharing this news as we are all still in absolute disbelief,” writes the band. No cause of death has been reported.

God, if you’re real, prove it to me by making this happen. Oasis frontman Liam Gallagher shared on X/Twitter last week that he’s “been asked” to compete on the next season of The Traitors. This is bananas, and I am so here for it. Actually, can we get both Liam and Noel in the castle, please!?

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Questions from the Cutting Room Floor with J’Nai Bridges

Last week, I had the pleasure of interviewing Grammy-winning opera singer J’Nai Bridges about her technique, inspirations, and upcoming performance in Carmen for The Stranger’s forthcoming print edition. Since there were so many fun questions that didn’t make it into the final edit, enjoy the newest segment, Questions from the Cutting Room Floor, for a sneak peek of the interview. The Seattle Opera’s Carmen plays at McCaw Hall, May 2–17.

What is your favorite song to sing in Carmen?

Oh, my gosh. Honestly, I love singing her first aria, the Habanera (“L'amour est un oiseau rebelle"). I have to admit, though, it's always a little bit frightening, because it's the first thing I sing and it's so well known. There is so much pressure, but I just try to make it my own thing. I love singing it because everybody knows it.

Who is your favorite singer, opera or otherwise?

I mean, I have to say Whitney Houston for non-opera. She could never do any wrong with that voice—she could have been an opera singer, as far as I'm concerned. Her range was just so large and seamless. Also, she puts feeling and passion into every single word. I listen to her for inspiration almost every day.

For opera, it’s Leontyne Price. For me, she is voice—the color, the ease, the power, and the agility.

Do you ever sing karaoke? What is your go-to song?

I actually love karaoke. I never sing opera, obviously. I like to sing Toni Braxton’s “Un-Break My Heart.” It's low, and it goes high, and it's really in my range. I also like to sing fun things like TLC’s “No Scrubs” and Sir Mix-a-Lot’s “Baby Got Back.”

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Music Events Worth Your Hard-Earned Money This Week: 2/11–17

Benefit for the Washington Immigrant Solidarity Network with Tres Leches, Coral Grief, Black Ends, Flesh Produce, Clutz Feb 19, Baba Yaga, 7 pm, 21+

Cat Power: The Greatest Tour 20th Anniversary Feb 20, Paramount Theatre, 8 pm, all ages

King Sheim, Buddy Wynkoop, Russian Blue Feb 20, Barboza, 6:30 pm, 21+

Whitney Ballen, Small Paul, Don Piano Feb 20, Sunset Tavern, 8 pm, 21+

Lola Kirke, Sabine McCalla Feb 21, Fremont Abbey, 8 pm, all ages

The Seattle Opera: Fellow Travellers Feb 21–Mar 1, McCaw Hall, times vary, all ages

Bitchin Bajas, Geologist Feb 22, Sunset Tavern, 8 pm, 21+

Joan Shelley, Nathan Salsburg Feb 22, Ballard Homestead, 7:30 pm, all ages

Suzanne Vega: Flying with Angels Tour Feb 22, Neptune Theatre, 7:30 pm, all ages

Glitterer, Graham Hunt, Prize Horse Feb 23, Black Lodge, 7 pm, all ages

Want to see these recs a day earlier? Subscribe to Pop Loser here!

The Songs That Keep Me Up at Night

“While Feather Hawk Deer Hunter” by Lana Del Rey

Whoopsie-daisy, yoo-hoo, I love this song. We all thought Lana’s highly anticipated tenth album, Stove, would be a full-on country album, but if this first single gives any insight, it’s looking like it’ll be orchestral, cinematic, and witchy (one YouTube commenter called the track “There’s a Coven Under Ocean Blvd”). I heard it for the first time only two hours ago and have already listened to it 10 times. It’s catchy, intriguing, and features Lana-isms like “I got a nicotine patch for the summer / Yeah, I'm a ghost, doesn't mean I feel nothin' / Put it on my ass, no tan lines, summer / I love my daddy, of course we're still together.” Listen to it. Then listen to it again.

“Keepsake” by Ana Roxanne

Experimental ambient artist and singer Ana Roxanne has announced her first album in six years, Poem 1, out May 1. The album’s first single, “Keepsake,” is a dreamy piano ballad that showcases her vocals with angelic clarity, a big shift from her sound collage/instrumental style on her previous album, Because of a Flower. I can’t wait to see the rest of the album reveal itself.

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Look, I Didn’t Want to Like Emerald Fennell’s Wuthering Heights

Audrey Vann — Fri, 13 Feb 2026 11:00:00 -0800

But I Would Absolutely Let Jacob Elordi Be Mean to Me

by Audrey Vann

I think anyone who has read Emily Brontë’s Wuthering Heights can agree that it’s a challenging read. Perspectives change chapter to chapter, Joseph the servant’s dialogue is basically unreadable, and most of Heathcliff and Cathy’s love story is played out through the next generation after—spoiler alert—Cathy dies during childbirth. In Emerald Fennell’s adaptation, she focuses on the most engaging elements of the book: Heathcliff and Cathy’s love, passion, and mutual destruction.

The film never claimed to be a perfect mirror of the book. Fennell herself said, when explaining the quotes around the title of her adaption: “What I can say is I'm making a version of [the book]. There's a version that I remembered reading that isn't quite real. And there's a version [where] I wanted stuff to happen that never happened. And so it is Wuthering Heights, and it isn't.”

With this in mind, she was successful. Each character felt like a doll Fennell uses to play out her version of the story—the obsessive childhood bond between Heathcliff and Cathy at Wuthering Heights (Cathy’s family home), Cathy’s eventual choice of social status over love, her early death, and Heathcliff’s lifelong spiral into revenge. A literal doll motif continuously shows up in the film, too, beginning with a young Cathy, who watches a man being hanged while tightly clutching her doll. Again, when Cathy marries the wealthy suitor Linton (Shazad Latif), and her new sister-in-law, Isabella (Alison Oliver), gifts her a handmade doll made using Cathy’s own collected hair. And, most notably, in the large dollhouse replica of Thrushcross Grange, the Linton estate, that stands looming behind the dining-room table. So, who better to play the starring role than Barbie herself, Margot Robbie?

At first, I was highly skeptical of the casting choices. Jacob Elordi was not at all how I imagined the scrappy, tortured, and probably-not-white orphan boy Heathcliff. But the longer I sit with the film, the more I can accept that he’s one of the only actors who could make this complex character work on screen. Brontë’s Heathcliff is cruel, insensitive, and brooding, and throughout the novel, I thought, why in the world are these women lusting after such an unlikable brute? But Elordi as Heathcliff—sweaty, grinning, and aroused—makes it make sense. You, too, would fold under the spell of his dark eyes with his fingers in your mouth. And, although Fennell’s interpretation of Linton is far more likable than Brontë’s, the choice is clear: Heathcliff eats Cathy out and licks the tears from her cheeks. Linton rails her in missionary while she dissociates.

Perhaps the most surprising element (and what I anticipate being the most controversial) is the innocent Isabella’s consent to Heathcliff’s cruel treatment of her. In the film, Heathcliff seduces Isabella (and later asks for her hand in marriage) only to punish Cathy, which he says explicitly. “Do you want me to stop?” he asks, several times, while taking off her nightgown. Isabella shakes her head no. After they marry, Nelly (Cathy’s companion, played by Hong Chau) stops by to see the newlyweds, only to find Isabella sporting a dog collar and chained up on her hands and knees, literally eating out of Heathcliff's hands. Nelly, horrified, attempts to free her, only to realize that the chains are not attached to anything—Isabella is a willing participant in this sadistic relationship. (Believe it or not, this is not how things go in Brontë’s 1847 novel.)

Elordi has managed to become the internet’s boyfriend through playing frightening men (see: Euphoria, Priscilla, Frankenstein). I would absolutely let that man be mean to me, and that’s what makes this film an alluring dollhouse to play inside.

Many people, including myself, were outraged upon the trailer’s release due to the not-period-accurate costumes. How silly I feel about that now! While living at Wuthering Heights, Cathy dresses in tattered cotton skirts and billowing linen blouses. Once she marries Linton, everything turns synthetic—iridescent lamé dresses, tight corsets, gaudy costume jewelry, and rhinestones glued to her cheeks—essentially, the wardrobe I would have dreamed up for myself as a 5-year-old who was obsessed with princesses and pop stars. The costuming plays a larger role in the film to show that Cathy is actually restricted by Linton, despite his wealth and status, and can only breathe in the arms of Heathcliff. To sum it up, the costumes are, as Aretha Franklin once said so eloquently: “great gowns, beautiful gowns.” Fun to look at, but not so fun to be trapped inside of.

This contrast between organic and synthetic is also present in Charli XCX’s soundtrack, which is equal parts epic string score and moody electronic pop. It isn’t as jarring in this period piece as you might imagine it to be.

As other critics have already noted, this is an extremely wet movie, soaked in uncooked egg, blood, spit, tears, snail slime, cooking oil, and rain, which adds a visceral quality to the film. Its lush, tactile visuals evoke whimsical movies of the past like the arthouse pornography of Polish director Walerian Borowczyk, surrealist stop-motion master Jan Švankmajer, the later films of Ingmar Bergman (Cries and Whispers, Fanny and Alexander), and Sofia Coppola’s Marie Antoinette. All things I suggest watching if you find yourself enjoying this decadently horny movie.

Look, I didn’t want to like it. I walked into the theater as a skeptic, but left feeling enraptured by Fennell's vision. I give it four out of five broken eggs (see the movie and you’ll understand).

Stranger Suggests: Wikipedia Rabbit Holes, a Masked Chillwave Band, and a Retelling of Cupid and Psyche

Julianne Bell — Mon, 09 Feb 2026 12:17:00 -0800

One Really Great Thing to Do Every Day of the Week

by Julianne Bell MONDAY 2/9

Asher Perlman & Tom Toro

(LITERATURE) If you’ve ever found yourself shedding a tear at a comic strip or recoiling with existential dread from a political cartoon, this one’s for you. New Yorker contributors Asher Perlman and Tom Toro are coming to Elliott Bay Book Company to discuss their new cartoon collections, Hi, It’s Me Again and And to Think We Started As a Book Club…. The former from Perlman (also a writer for The Late Show with Stephen Colbert) pairs sharp, surreal humor with relatable existential spirals, while Toro’s new release skews wry and whimsical. With both artists exploring everything from anxiety to mortality to modern bureaucracy, expect a dynamic conversation about why life’s strangest moments often make the best punchlines. (Elliott Bay Book Company, 7 pm, free with RSVP, all ages) LANGSTON THOMAS

TUESDAY 2/10

Olivia Barton: For Myself and For You Tour

Cry along to Olivia Barton's cathartic music at Barboza on Tuesday, February 10. BLAIRE BEAMER

(MUSIC) It's hard to ignore the similarities between Orlando-born indie folk artist Olivia Barton and folk-rock darling Phoebe Bridgers. Barton's recent track "Dad Song" brings to mind Bridgers' "Kyoto"—both songs allude to complicated relationships with their fathers as Barton laments "God, I'm such a hypocrite, writing this instead of picking up the phone" and Bridgers sings "You called me from a payphone / They still got payphones / It cost a dollar a minute / To tell me you're getting sober." Barton also explores queer love, heartbreak, and anxiety on her third full-length For Myself and For You, which was co-produced by Pinegrove’s Sam Skinner and highlights her songwriting talent and ability to balance delicacy with an emotional punch. Don't miss this show from the singer-songwriter who's toured with Lizzy McAlpine and Madi Diaz; this time, she's headlining with support from confessional Utah artist Rachael Jenkins. (Barboza, 7 pm, all ages) SHANNON LUBETICH

WEDNESDAY 2/11

Blood Cultures

(MUSIC) They’re an anonymous, experimental indie-pop band who rock out on chillwave in hoods. What more do you need? I’m all about bands wearing disguises, and with the Residents out of commission for the moment (sigh), a quartet that tinks and reverbs and chirps along to videos of themselves (or somebody in hoods) lifting weights, shooting guns, making a mess with Chinese takeout, and turning themselves into scarecrows, just might fill dat gap. That was the gist of their video for the “Set It on Fire” single from their 2021 album LUNO, at least. What they’ll do in concert, I have no idea whatsoever, but it’s got to be conceptual. (Neumos, 7 pm, 21+) ANDREW HAMLIN

THURSDAY 2/12

Depths of Wikipedia

Dive deep into the weirdest corners of Wikipedia with comedian and journalist Annie Rauwerda at the Neptune on Thursday, February 12. IAN SHIFF

(COMEDY) Launched in 2001 as an end-all, be-all online encyclopedia, Wikipedia has fully reached cultural icon status in today’s world—not necessarily for its reliability (s/o misinformation and donation pop-ups), but for the absolutely ridiculous humans who write, edit, and speedrun it ad nauseam. Wildly popular (1.6 million followers and counting) account Depths of Wikipedia bears witness to this chaos, spotlighting the site’s strangest corners. Comedian and journalist Annie Rauwerda, who helms the site, has turned the most absurd Wikipedia gems into a live show that’s part comedy, part podcast, part beautifully deranged PowerPoint presentation, and she’ll kick off the latest tour in Seattle! I have no idea what to expect, but that’s kind of the point. (Neptune Theatre, 7 pm, all ages) LANGSTON THOMAS

FRIDAY 2/13

Till We Have Faces

See Taproot Theatre's production of C.S. Lewis's Greek mythology retelling Till We Have Faces, running Tuesday through Saturday until February 21. GIAO NGUYEN

(THEATRE) In one of his letters, C.S. Lewis wrote that he believed that his final novel, Till We Have Faces, was “far and away” his best, “but it has, with critics and the public, been my greatest failure.” So when I saw that Taproot Theatre was premiering an adaptation of the book, I figured it was time to read it. I’m happy to report the critics were wrong. The book is a reinterpretation of the myth of Cupid and Psyche, written from the perspective of Psyche’s older sister. She’s filing a complaint to the gods (relatable). Taproot’s staged production is the first of its kind—a passion project of the theater’s producing artistic director Karen Lund—and it’s only running through this month. (Taproot Theatre, 7:30–10 pm, 16+) HANNAH MURPHY WINTER

SATURDAY 2/14

Valentine's Day Show: Glenn Hendrick with John Bellows, babyboy, and Plastic Wildflowers

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A post shared by Glenn Hendrick (@glennhendrickmusic)

(MUSIC) Disclaimer: My best friend Kirsten is helping organize this event and will be performing, but even if they weren't, I'd still recommend it—it's a night of excellent artists at a cozy, intimate venue, all in support of some truly essential causes. The lineup includes the lush, groovy quintet babyboy, the nostalgic yet lyrically frank Cleveland group Plastic Wildflowers, and the San Juan Island artist and musician Glenn Hendrick, who weaves "heartbreaking lyrics with stripped down hooks to reel you into the apocalypse" and will perform alongside singer-songwriter John Bellows. Merch sales and a raffle will raise funds for Gaza and for supporting Seattle families with legal fees for immigration court. What better way to spend your Valentine's Day than honoring art, love, and community in all of its myriad forms? (The Rabbit Box Theatre, 8 pm, all ages) JULIANNE BELL

SUNDAY 2/15

Cécile McLorin Salvant

(MUSIC) Cécile McLorin Salvant has the most exciting voice in contemporary jazz. It’s not just her pitch-perfect voice, which reaches the heights of Edith Piaf, Ella Fitzgerald, Eartha Kitt, and Kate Bush, but the inventiveness with which she flexes her vocals. On her most recent album, Oh Snap, the three-time Grammy Award winner and MacArthur Fellow croons through a dozen short, intimate original songs (plus an a cappella cover of the Commodores’ “Brick House”) that she never intended to see the light of day. Setting out on a personal creative quest to place spontaneity and joy at the heart of her writing process, Salvant tinkered with home recording programs to craft personal songs inspired by the music that soundtracked her childhood in 1990s Miami, from grunge and pop boy bands to classical and folk music. The result of the album is a delightfully chaotic audio journal that will please fans of traditional jazz as well as genre rule-breakers like Erykah Badu and Solange. (Jazz Alley, 7:30 pm, all ages) AUDREY VANN

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Pop Loser # 15: Immaculate Collection with Biblioteka

Audrey Vann — Fri, 06 Feb 2026 14:24:00 -0800

This week's music news. by Audrey Vann

Welcome back to Pop Loser! This week, we dig into some highlights from the 68th Annual Grammy Awards. In another edition of Immaculate Collection, local punk band Biblioteka share their treasure troves of funky shoes, creepy dolls, and Magic: The Gathering cards. Plus, I have two moody song recommendations to get you through the rest of the week.

This Week in Music

The Grammys were on Sunday (if you even care). Politics seeped through the award show’s facade with ICE OUT pins on every lapel and speeches dedicated to immigrant solidarity from Bad Bunny, Billie Eilish, Olivia Dean, and Kehlani. Other highlights from the show included a D’Angelo tribute from Lauryn Hill and performances from pop divas Addison Rae, Sabrina Carpenter, and Lady Gaga. Trump has already threatened to sue host Trevor Noah, who joked about his visits to Epstein Island.

The award show also brought us live TV gold. Cher made an appearance at the Grammys for the first time in 18 years to accept a lifetime achievement award and present the highly anticipated Record of the Year. What followed was an incredible chain of slipups, pauses, and missed marks that only Cher can get away with. Her appearance ended with her announcing the late Luther Vandross as the winner. (The winner was actually Kendrick Lamar and SZA, for their song “Luther”). This was the greatest award show moment since John Travolta introduced “the wickedly talented Adele Dazeem.”

Let’s talk fashion. There have been entire articles written about Chappell Roan’s red carpet look, but for all the wrong reasons (I am looking at you, New York Times). The merlot chiffon gown, held up by faux nipple piercings, was inspired by a look from Thierry Mugler’s fall 1998 couture collection and should make anyone gasp from its elegance, not prudishness. In the negative space on her skin, Roan was covered in delicate temporary tattoos of lace-woven horses. This is by far my favorite red carpet look of the last 20 years.

RIP Billy Bass Nelson. This week, we lost Billy Bass Nelson, the original bassist of the pioneering psychedelic funk band Funkadelic, who died just three days after his 75th birthday. No cause of death has been reported yet. It was also announced Monday night that Three Dog Night cofounder Chuck Negron, best known as the lead vocalist on “Joy to the World,” died at the age of 83.

The USA could never. Live music venues in the UK are now set to receive government support, following backlash to plans that would increase business rates, which could leave thousands of venues and pubs at risk of layoffs and closures. In response to the possible impact on live music, the Treasury has confirmed a new support package of nearly £100 million for live music venues across England and Wales.

Immaculate Collection with Biblioteka

If you’ve been nonstop bumping Amyl & the Sniffers’ third album, Cartoon Darkness, since it was released, might I suggest you add some Biblioteka into the rotation? Like the Aussie punks, Seattle’s Biblioteka are led by a high-energy vocal powerhouse, Mary Robins, who often sings about being turned on and pissed off (just listen to their newest single “Firestarter”). Ahead of the trio’s album release party at Neumos on Feb 12, I caught up with the band to discuss their obsessions, from funky shoes to creepy dolls.

Mary: Funky Shoes

What do you collect?
I collect shoes, namely, statement shoes and boots for playing shows. There’s something about stomping around in big, boxy boots that makes me feel like a giant praying-mantis-meets-Barbarella. Things I usually go for: platforms, chunky heels, and leopard.

What was the first item you acquired in this collection?
Jeffrey Campbell buckle ankle boots with a metal-caged heel. I wore them for our first Biblioteka show. They’re comfy and look so sick. Local shoe lore is that Jeffrey Campbell got his start working at the Tukwila Nordstrom in the women's shoe department, or so the people who work there have told me. I love a local legend, and I also had my first job at the Tukwila mall.

What is the most prized item in your collection?
The vintage, silver, pointy-toe cowboy boots. I got them at a vintage shop while we were in Spain on tour. They look amazing, one of a kind and out of this world. And they fit perfectly.

Tell me about an item you'd like to add to your collection or a new collection you'd like to start.
I’m trying to de-collect, especially since I grew up in a house where “collecting” can get out of hand, lol. So these days I’m selling clothes and shoes on my Depop :)

Hexx: Souvenir Dolls

What do you collect?
I collect a lot! Vinyl, vintage tees and bolos, guitars, and I also started a creepy doll collection.

What was the first item you acquired in this collection?

I started collecting souvenir plush/dolls/toys while out touring, and it all started with a creepy clown that I found in a Portland alley next to a bag of drugs. I left the drugs, took the clown, and proclaimed her name Gweneviere, which also happened to be the name of the venue owner’s daughter (who despises clowns). Gweneviere is our unofficial mascot!

What is the most prized item in your collection?

I have a green alien plush scored from a middle-of-nowhere gas station close to what I assume or wish to believe is Area 51.

Tell me about an item you'd like to add to your collection or a new collection you'd like to start.

I’d be good with another back alley clown.

Jules: Magic: The Gathering Cards

What do you collect?
I started collecting Magic: The Gathering cards entirely on accident, but now I’ve likely got around two or three thousand cards in my collection, and it is probably what I would need to sell off if I needed a quick windfall someday.

What was the first item you acquired in this collection?

I started playing around 2018 when a friend of mine moved back to town and decided to get us all hooked. The first Magic cards I bought on my own were from Mox Boarding House, a battle deck they had assembled called Chimera Flash. The deck was built around a card called Spellheart Chimera, which at the time felt like the strongest card imaginable. It has flying and trample AND its power is equal to the number of instants and sorceries in my graveyard? What could be better than that? Soon after I started collecting packs from the Guilds of Ravnica expansion, which had a card called Crackling Drake, which was basically the same as Spellheart Chimera but it also drew a card when it entered. The search for the strongest version of Spellheart Chimera still continues to this day.

What is the most prized item in your collection?

I’m a lifelong Sonic the Hedgehog fan, so I bought the crossover Secret Lair collection when they launched it. There are seven secret bonus cards, the seven chaos emeralds, that were all super rare drops for those who bought the collab. I ended up getting the red chaos emerald, it was such a thrill pulling that out of the pack. I’ve got it in my trade binder to proudly show, and it’s doubtful I’ll pull an individual card that I’m more stoked on.

Tell me about an item you'd like to add to your collection or a new collection you'd like to start.

Ideally, this collection never gets any bigger. I’d love to just survive for the rest of my Magic career by selling cards if I want to buy more cards. I’ve got too many of these things.

Music Events Worth Your Hard-Earned Money This Week

Naima Bock Feb 5, Tractor Tavern, 8 pm, 21+

Robyn Hitchcock Feb 6, Neptune Theatre, 8 pm, all ages

The Maya Experience Feb 6, Barboza, 6:30 pm, 21+

Audioasis Live Feb 7, KEXP, 5 pm, all ages

Claire Conway, Your Jack, Frankie Beach Feb 10, Sunset Tavern, 7:30 pm, 21+

Olivia Barton Feb 10, Barboza, 7 pm, all ages

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The Songs That Keep Me Up at Night

“Heavy, Why?” by Blackwater Holylight
Portland-born metal band Blackwater Holylight contrast their shimmering harmonies with sludgy, psychedelic instrumentals for a product that is haunting, beautiful, cathartic, and scary all at the same time. Their new album, Not Here Not Gone, was released on Friday and features some of their most approachable songs yet—take “Heavy, Why?” for example, which is reminiscent of 2010s rock bands like the Dum Dum Girls and Broken Water. I don't listen to very much metal, but I love this band—consider them your gateway into the genre.

“Bluebell” by Babes in Toyland

When I’m in a bad mood, I listen to Babes in Toyland’s 1992 album Fontanelle as loud as I can tolerate. I’ve been in a bad mood a lot this week, so naturally, “Bluebell” has been literally stuck in my head, keeping me up at night. Specifically, the part where she yells, “You know who you are / You're dead meat, motherfucker!” Listen to it for a cathartic release.

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Easy Street Records Owner Defends, Then Apologizes for, Sympathetic ICE Comments

Audrey Vann — Mon, 02 Feb 2026 16:30:00 -0800

As Easy Street Records owner Matt Vaughan has demonstrated, posting is almost always a mistake. by Audrey Vann

It really didn’t have to go down like this. On Friday, the long-running West Seattle record shop and cafe, Easy Street Records, posted on Instagram that it’d donate 10 percent of its sales through the weekend to the Immigrant Law Center of Minnesota. This was the store’s way to support Friday’s sort-of “general strike” without cutting staff hours. All day, they’d be blasting song requests from their outdoor speakers. Suggestions poured in: “Know Your Rights” by the Clash, “What’s Going On” by Marvin Gaye, and “Imagine” by John Lennon.

Then, an hour later, Easy Street liked (accidentally, says the shop’s president Matt Vaughan) and un-liked a lovely screed, bringing it to the top of the comments section:

“ICE is doing God's work. Ain't nobody above the law, and that includes immigration law. Abolishing ICE is a radicalized notion; if people truly wanted change, they'd ask for a reform but abolishing a federal law enforcement agency is pure lunacy. Because of such a fundamental disagreement I will never participate in idiotic calls to boycott nothing. And in spirit of good neighborlyness [sic], here's my song request: Led Zepellin [sic], Immigrant Song.”

People wanted to know why Easy Street liked the comment. Easy Street could’ve said anything, and chose wrong.

“Dude chose Immigrant Song,” wrote Vaughan. “C’mon! He’s trying. Obviously the guy has some decent thoughts…at least has good music taste. I may not agree w what he says, but I’ll fight like hell for him to express his opinion.”

People did not like that. Vaughan doubled down. “We agree w him saying ‘nobody is above the law,’ we agree w his song choice, we appreciate the engagement. It seems the guy is trying to come to grips w things, we can support that even if we don’t agree.”

By “we,” Vaughan must have meant “I,” because he’s “in charge of social media and replying,” says an anonymous Easy Street employee who wanted to keep their job. Vaughan confirmed they were his comments. “Our social media person had the day off,” he wrote in an email to The Stranger. He apologized for speaking for his entire staff of sales clerks and music buyers, whose pithy reels of music recommendations have made them the faces of his account.

Though in the moment, Vaughan kept digging: “I imagine there are some decent ICE agents out there, if u are a quality human being...gotta be a tough job. Clearly we don’t agree w how it’s been managed…and the optics are awful.” The comment has been deleted. But the screenshots are alive, well, and on Reddit.

Realizing his mistake, Vaughan commented that “It takes 20 years (or 58) to build a reputation…and 5 minutes to lose it. I very much understand that notion.”

In an email to The Stranger, Vaughan said he hadn’t seen the bit about ICE doing “God’s work” when he was liking song requests, and had made a mistake by “not reading the whole thing.” (Close readers will note the comment began: “ICE is doing God’s work.”)

“I agreed with the reply the guy saying ‘nobody is above the law,’” Vaughan continues, “I thought he was referring to Trump and the administration, everyone.” He acknowledged that upon reading it again, he can see how it could be referring to “protesters who aren't above the law.”

“This was inappropriate given the circumstances in recent weeks and the deaths of Renee Good and Alex Pretti. I am terribly sorry to my staff and any customers who feel let down. This was all on me.”

It’s unclear whether Vaughan’s real-time responses and ever-changing explanations for the comments (the apology on Instagram continues to be edited) are a reflection of a man trying to learn from his mistakes or a business owner trying desperately to get back in good graces with his customers. Patrons of Easy Street Records, at least in the online sphere, appear to be split. “This is how you handle a mistake,” one commenter writes. “Performative apology,” another says.

Either way, Vaughan’s employees are bearing the brunt of his thumbs.

“We have received angry calls and people in-store voicing their opinion on Matt's comments,” says an employee. “On behalf of the staff, I just want to reiterate that his comments on Friday were not ours.”

Before you seek retribution on Easy Street with a nasty phone call, remember the last time your boss did something stupid, and you took the hit. My advice to Vaughan: put down the phone. My advice to you: Take your business elsewhere if you please, but leave the workers alone.

Editor's Note: This story has been edited since its publication. The original article stated that Vaughan had continued to edit his apology. The nature of Vaughan's edits to his apology are unclear.

February Things to Do: Performance

Julianne Bell — Mon, 02 Feb 2026 15:00:00 -0800

The best performance events in February in Seattle. by Julianne Bell

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food, and This & That.

Next Exit

FEB 5–21

Meet j. chavez, a Seattle theatre maven who won the KCACTF (Kennedy Center American College Theater Festival)’s National Undergraduate Playwriting Award (whew), for their opus how to clean your room (and remember all your trauma). Their new play Next Exit deals passionately, yet sympathetically, with a man named Miguel trapped on a highway (sans car, I think), who is communing with and deriving philosophical companionship from a dead possum called Orlando. Some deer come out, and a Lady In Yellow, and a sinister force that threatens to eat up anyone and anything lingering too long by the sizzling side of I-5. I’m not clear on how this all flows together. But you should indubitably find out. (Annex Theatre, times vary, all ages) ANDREW HAMLIN

Depths of Wikipedia Live

FEB 12

These days, there are only a handful of accounts that keep me from deleting Instagram altogether: Flamenco diva Charo (whom regularly gives life advice with a massive glass of wine), Our Lord and Savior Britney Spears (who I honestly just need to check on once a week to make sure she’s okay), and, of course, Depths of Wikipedia. Run by journalist and comedian Annie Rauwerda, Depths of Wikipedia scours the deep, dark depths of the free online encyclopedia for the site's most obscure, magical, and bizarre entries. Some memorable examples include a moth species named Freak, a medieval tradition called Feast of the Ass, and the Japanese concept of “hatsuyume,” referring to the first dream one has in the New Year. Rauwerda is bringing her live show of comedy and research back to Seattle to answer all your burning questions, like “When was ciabatta invented?” and “Why is there anything at all?” (Neptune Theatre, 7 pm, all ages) AUDREY VANN

Young Dragon: A Bruce Lee Story

FEB 19–MAR 15

Keiko Green is a playwright, screenwriter, and performer who splits her time between Seattle and LA, and has written for TV shows like Hulu’s Interior Chinatown and the upcoming Apple TV series Margo’s Got Money Troubles. Last fall, Seattle hosted productions of two of her plays: Exotic Deadly: Or the MSG Play, a wacky time-traveling comedy set in 1999, and Hells Canyon, a chilling horror thriller. Now, there’s another opportunity to glimpse even more of Green’s impressive range with the Seattle Children’s Theatre premiere of her play Young Dragon, which shows Bruce Lee as an ambitious young man finding his place in the world in Seattle. I’m willing to bet audience members of all ages will be moved by Bruce’s journey to becoming a “flexible, fluid, and flowing master.” Seattle Children’s Theatre recently made the difficult decision to pull a two-week April run of Young Dragon from the Kennedy Center due to the impact of the Trump administration, which makes it even more important to support local productions like this one. (Seattle Children’s Theatre, times vary) JULIANNE BELL

Jimmy O. Yang

FEB 27 & 28

Hilarious Asian-Millennial perspectives spill forth from Jimmy O. Yang at a rapid pace in his stand-up performances. Sure, the actor and former strip-joint DJ covers some familiar ground: relationships, parent-child interactions, the importance of friendships, how different cultures talk about money, media representation of his people—and the pressure he feels as a high-profile Asian to do his tribe proud. But the Chinese American comic also tackles some less common subjects, such as the feet etiquette of different cultures, the limited options for Halloween costumes among Asians (“I was Bruce Lee for six years.”), whether it’s okay for Asians to say the N-word when singing along to rap songs, as well as an advanced lesson on how to tell Asians apart by the sound they make when they’re disappointed. He also does the best tai chi joke I’ve ever heard. With his acting chops honed in TV comedy shows such as Silicon Valley and Space Force and the movie Crazy Rich Asians, Yang has become an efficient and super-expressive joke machine. (Paramount Theatre, 7 pm, all ages) DAVE SEGAL

More

Topdog/Underdog Feb 4–Mar 1, ArtsWest, times vary

Bridge Project 2025 with DaeZhane Day, kelly langeslay, and No Girls No Masters Feb 6–8, Velocity, times vary

Bosco Presents: GRINDHAUS Feb 7, Crocodile, 10:30 pm, 21+

The Wiz Feb 10–15, Paramount Theatre, times vary, all ages

The Serpent Sisters Tour: Nymphia Wind and Plastique Tiara Feb 15, Neptune Theatre, 8 pm, all ages

Rose Jarboe’s Rose: You Are Who You Eat Feb 19–21, On the Boards, 8 pm

Fellow Travelers Feb 21–Mar 1, McCaw Hall, times vary

Early Warnings

Amy O’Neal: Again, There Is No Other (The Remix) Mar 26–28, On the Boards, 8 pm

Pacific Northwest Ballet Presents: Giselle Apr 10–19, McCaw Hall, times vary, all ages

Jonathan Van Ness Apr 24, Moore Theatre, 8 pm, all ages

Margaret Cho Apr 19, Moore Theatre, 7 pm, all ages

Seattle Opera: Carmen May 2–17, McCaw Hall, times vary

Fauxnique: How Do I Look? May 7–9, On the Boards, 8 pm

February Things to Do: Film

Audrey Vann — Mon, 02 Feb 2026 15:00:00 -0800

The best film events in February in Seattle. by Audrey Vann

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food, and This & That.

The Pacific Northwestern

TUESDAYS THROUGH FEB 24

Despite the Western genre being associated with images of cowboys in dusty deserts, there are, surprisingly, a large number of Western films set in the lush Pacific Northwest, and SIFF’s Pacific Northwestern series is bringing these gorgeous movies to the big screen. The series kicked off last month, but there is still so much great programming to come, like 1959’s The Hanging Tree, starring Gary Cooper as a doctor in a Montana gold rush town (but filmed entirely in Yakima), Kelly Reichardt’s First Cow, following a cook and a Chinese immigrant as they team up to steal milk from a prized cow in Oregon Country, and, my personal favorite, McCabe & Mrs. Miller, Robert Altman’s snowbound Western starring Warren Beatty and soundtracked by Leonard Cohen. (SIFF Film Center, 6:30 pm) AUDREY VANN

The Mysterious Gaze of the Flamingo

FEB 5–8

Set in the Chilean desert in the early ‘80s, director Diego Céspedes’s feature debut follows Lidia, an 11-year-old who was abandoned as a baby and raised by a fiercely loving queer found family. Their ragtag clan is ostracized by their sleepy mining town, blamed for a mysterious plague that is believed to be transmitted by a single gaze when two people fall in love. Lidia sets out to defend her loved ones and determine whether the rumor is true or not. The surreal Western explores AIDS panic, transphobia, violence, revenge, marginalization, and prejudice, mixing folktale vibes with the scrappy tenderness of Hirokazu Kore-eda’s Shoplifters. (Northwest Film Forum, times vary) JULIANNE BELL

HUMP! Film Fest

FEB 26–APRIL 30

Look, HUMP! is always good. You already know that this indie porn festival is nothing like the 5-minute clips you watch while bathed in the cold, blue, loveless light of your laptop. They’re creative and silly and usually feel like a friend is sharing their new, naked, art project with you. But if the trailer for this year is any indication, this year’s spring lineup isn't one to miss. It has stop-motion praying mantises, pottery, a sexy Bop It, and the Starfish Sex Beetle. One person managed to weave in sanitation workers and labor solidarity into their submission. Another clearly knows what it’s like to bomb on stage as a standup comedian, and used the power of porn to reimagine it. This festival only happens twice a year, and it’s never the same. Don’t miss this one. (Various locations) HANNAH MURPHY WINTER

More

Truth to Fiction: Black Is… Black Ain’t Feb 5, Northwest Film Forum, 7 pm

Fools’ Paradise (lost?) Feb 6–7, SIFF Film Center, 7 pm

Resurrection Feb 6–8, Northwest Film Forum, times vary

A Void in the Cosmos and From There You Sing: Early Pasolini Feb 8–Mar 5, Beacon, times vary

Friday the 13th Feb 13, Beacon, 10 pm

The Bridges of Madison County Feb 14, Beacon, 7 pm

In the Mood for Love Feb 14, Beacon, 10 pm

2026 Sakinah Film Festival Feb 14–15, Northwest Film Forum, 3 pm

Daisies (with Velocity Dance Center) Feb 18–19, Northwest Film Forum, 7:30 pm

Star 80 Feb 22 & 25, Beacon, times vary

Martin Scorsese: Maestro of Cinema Wednesdays Feb 25–Apr 29, SIFF Cinema Uptown, 7:30 pm

February Things to Do: Music

Julianne Bell — Mon, 02 Feb 2026 15:00:00 -0800

The best February music events in Seattle. by Julianne Bell

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food, and This & That.

Jade: That’s Showbiz Baby! Tour

FEB 6

I constantly annoy everyone I know by bragging that I was three years early to knowing about Chappell Roan, so I need you to believe me when I say that former Little Mix singer Jade Thirlwall is going to be a main pop girlie within the next couple of years. She’s already big in the UK and steadily gaining popularity stateside. No one else out there is doing it like her—I mean, who drops a fully art-directed visual album for their solo debut?? There are no skips, either. You can hear touches of all the great pop divas, like Gaga, Madonna, Kylie Minogue, and Diana Ross. The opener, “Angel of My Dreams,” about Jade’s ambivalent relationship to fame, is dreamy, celestial pop goodness reminiscent of “Lucky” by Britney Spears. I also love the track “Before You Break My Heart,” which samples a recording of Jade singing the Supremes’ “Stop! In the Name of Love” as a little girl, and which she says is written from the POV of her “younger self, begging me not to forget her and how far we’ve come.” (Paramount Theatre, 8 pm, all ages) JULIANNE BELL

Robyn Hitchcock

FEB 6

There is only one musician alive who could write a song titled “Tropical Flesh Mandala,” and that magus is 72-year-old Englishman in Nashville Robyn Hitchcock. A veteran psychedelic-rock court jester whom you should take very seriously, he continues to rock unorthodoxly and spin surrealistic yarns of deep mirth and poignancy at an age when most of his peers have declined creatively or dropped out of the game. Had the man with the lightbulb head only released those Soft Boys records—especially 1980’s jangly, neo-retro-psych classic Underwater Moonlight—he’d still be a hall-of-famer. But, of course, Hitchcock’s also built a prolific solo career studded with idiosyncratic gems that extrapolate on the brain-tickling elements of sonic soul mates Syd Barrett and John Lennon. Recent albums such as the earworm-intensive Shufflemania! and the acoustic-guitar-heavy, instrumental Life After Infinity prove that Robyn’s noggin’s still teeming with great, weird ideas. You never quite know which gaggle of tunes you’ll get at a Hitch gig, but you’re always guaranteed transport to more fascinating headspaces—particularly if he dips into 1981’s Black Snake Diamond Röle (hint, hint). (Neptune Theatre, 8 pm, all ages) DAVE SEGAL

Blood Cultures

FEB 11

They’re an anonymous, experimental indie-pop band who rock out on chillwave in hoods. What more do you need? I’m all about bands wearing disguises, and with the Residents out of commission for the moment (sigh), a quartet that tinks and reverbs and chirps along to videos of themselves (or somebody in hoods) lifting weights, shooting guns, making a mess with Chinese takeout, and turning themselves into scarecrows, just might fill dat gap. That was the gist of their video for the “Set It on Fire” single from their 2021 album LUNO, at least. What they’ll do in concert, I have no idea whatsoever, but it’s got to be conceptual. (Neumos,
7 pm, 21+) ANDREW HAMLIN

GZA

FEB 11

The fact that “Does GZA have a degree in physics?” pops up as the top GZA-related query on Google is a fitting testament to the scientific rhymes of the Wu-Tang cofounder and eldest statesman. Though he has appeared as a guest lecturer at Harvard and several other lauded institutions of learning (mostly about the field of life rather than the official study of physics), GZA—aka the Genius—keeps his most heralded published material on wax. His current tour is in celebration of the 30th anniversary of the release of his classic RZA-produced sophomore album, Liquid Swords. The album is an important document in the Wu catalog as it captured the essential Wu formula in amber—RZA’s developing cinematic, hard-knocking East Coast beats, heavy kung-fu samples, stacked guest verses from bandmates—while the group was in the process of taking over the rap world. Seeing a legendary artist perform a classic album, especially with a live band, is always a great opportunity to shout your favorite lines with a bunch of rowdy fans, and who knows, maybe he’ll give us a taste of his long-awaited Dark Matter project. (Nectar Lounge, 8 pm, 21+) TODD HAMM

Cécile McLorin Salvant

FEB 12–13 & 15

Cécile McLorin Salvant has the most exciting voice in contemporary jazz. It’s not just her pitch-perfect voice, which reaches the heights of Edith Piaf, Ella Fitzgerald, Eartha Kitt, and Kate Bush, but the inventiveness with which she flexes her vocals. On her most recent album, Oh Snap, the three-time Grammy Award winner and MacArthur Fellow croons through a dozen short, intimate original songs (plus an a cappella cover of the Commodores’ “Brick House”) that she never intended to see the light of day. Setting out on a personal creative quest to place spontaneity and joy at the heart of her writing process, Salvant tinkered with home recording programs to craft personal songs inspired by the music that soundtracked her childhood in 1990s Miami, from grunge and pop boy bands to classical and folk music. The result of the album is a delightfully chaotic audio journal that will please traditional jazz fans as well as genre rulebreakers like Erykah Badu and Solange. (Jazz Alley, 7:30 pm, all ages) AUDREY VANN

Ghostface Killah

FEB 15

Four days after his brother in Wu, GZA, touches the stage at Nectar, Ghostface Killah—he of many names and statement furs—plays the Crocodile. The silver-tongued storyteller is perhaps the greatest yarn-spinner in rap history; his extensive catalog stretches, of course, back to the Staten Island genesis of Wu-Tang Clan, and with very few breaks, extends to this past summer’s Supreme Clientele 2, which arrived complete with the typically preposterous skits, dicey slang, and tall tales of street corner business ethics you’d expect. It does pay to mention that not all Ghost’s exploits have aged well, and recent reports of homophobia and paternal negligence in relation to his queer son, who happens to be the rapper/singer Infinite Coles, show that he may have carried some of the uglier side of ’90s rap with him into the current day. Here’s hoping he makes an effort to clear things up by showtime. (Crocodile, 7 pm, 21+) TODD HAMM

Julianna Barwick & Mary Lattimore with Tiny Vipers

FEB 17

After touring together for several years, ambient musician/vocalist Julianna Barwick and experimental harpist Mary Lattimore developed a “musical telepathy” that became the basis for their newly released collaborative album, Tragic Magic. The result sounds like what would have been if there were synthesizers in the 18th century, thanks in part to their access to the Philharmonie de Paris’ Musée de la Musique’s instrument collection while recording the album. The duo miraculously recorded the album over just nine days, shortly after the 2025 LA wildfires, and poured their emotions from the tragedy into this meditation on the healing power of improvisation and shared experiences. They will support the album alongside Seattle-based experimental folk musician Tiny Vipers. (Crocodile, 8 pm, 21+) AUDREY VANN

Bitchin Bajas, Geologist

FEB 22

Don’t be deceived by Chicago trio Bitchin Bajas’ goofy name: They’re one of the world’s headiest groups. Evolving out of neo-krautrockers Cave, BB synthesists Cooper Crain and Dan Quinlivan and saxophonist Rob Frye have been enhancing their melodic chops, creating majestic tracks that would sound righteous filling Europe’s most ornate cathedrals. This past October at Neptune Theatre, they outshone their much more celebrated headliners Stereolab in a set that made me feel as if I were on five hits of Owsley. Animal Collective member Geologist (aka Brian Weitz) just released Can I Get a Pack of Camel Lights?, the follow-up to last year’s arcane, abstracted Americana LP, A Shaw Deal, with Sleepy Doug Shaw. The new hurdy-gurdy-powered album’s a mystical avant-rock trip that I dig more than anything his parent group have done. (Sunset Tavern, 8 pm, 21+) DAVE SEGAL

clipping.

FEB 25

clipping. have let it be known that they spend a lot of time thinking about what space sounds like, but it’s their creative process that may capture the idea best: Aside from a few notable exceptions, they use no samples, no presets—they make every sound from scratch. In short, they create in a vacuum. Space also permeates their lyrics and concepts. Octavia Butler and Samuel R. Delany pop up in verses; they have entire albums billed as Afrofuturist space operas. But it’s important to remember the three humanoids amidst the sci-fi poetry: vocalist Daveed Diggs (whom you may remember as ol’ Tommie Jefferson in the original cast of Hamilton), and producers William Hutson and Jonathan Snipes. Hutson and Snipes graft jagged power electronics to the cyberpunk quilt, bold and discordant by design, while Diggs pens horrorcore anthems that he unleashes breathlessly. The result is like a cleaner, more theatrical Death Grips—both of which are equally beautiful and terrifying. Tonight’s show opener, Open Mike Eagle, is also not to be missed. (Showbox, 8 pm, all ages) TODD HAMM

Patty Griffin, Rickie Lee Jones

FEB 26

Patty Griffin is one of the of the most consistently underrated American singer/songwriters in recent decades, boasting shotgun pipes and writing chops that have led Emmylou Harris, Ellis Paul, Kelly Clarkson, Rory Block, Dave Hause, Sugarland, Bette Midler and the Chicks, to cover her. And if you don’t believe them, take the word of Robert Plant, who installed her in his Band of Joy and still comes around to sing backups, notably on her latest album Crown of Roses, a tribute to her late mother. Rickie Lee Jones has a new live album out, Way Up High (Live Boston ’89); she’s looking to consolidate her longer-running position in the firmament. Not that it needs much consolidation—she had a hit on the singles chart with “Chuck E.’s in Love” back in 1979, and in 2012 she sang “Sympathy for the Devil” in the matter-of-fact scratchy diction of Mr. Scratch himself. Not even Jagger managed that. (Moore Theatre, 7:30 pm) ANDREW HAMLIN

säje

FEB 26–MARCH 1

The jazz-vocal quartet säje (rhymes with “beige”), took home two Grammys between 2023 and 2025. They consist of Sara Gazarek, Seattle native and graduate of Roosevelt High’s mighty jazz program; Amanda Taylor, also of our fair city; Johnaye Kendrick, a San Diego native who moved north to teach at Cornish College of the Arts; and Erin Bentlage, who came out from Vermont to teach in Los Angeles. They blend jazz, soul, blues, pop, folk, and Gazarek’s ever-evolving experimental edge, into an elaborate mix emphasizing complex chords and braided vocal parts. They solve problems neatly, too—stuck without a recording studio during the pandemic, they rented an Airbnb and dragged their own gear into it. That’s how they clocked their first Grammy. Excelsior! (Jazz Alley, 7:30 and 9:30 pm, all ages) ANDREW HAMLIN

Jackie O Motherfucker, Abronia, Von Wildenhaus

FEB 27

Way back in the ’00s, Pacific Northwest psychonauts Jackie O Motherfucker were standard-bearers for what venerable British mag The Wire termed “New Weird America”—a hazy axis of US musicians who infused folk and rock with a lysergic looseness and who mutated songforms into third-eye-punching jams. At their best, JOMF boast the opiated tunefulness of Relatively Clean Rivers and the organic, free-range rock sprawl of Amon Düül I. Leader and sole constant Tom Greenwood keeps changing the design of JOMF’s freak flag (as well as personnel), but the colors always astound. Portland’s Abronia have been steadily rising in the underground with five albums of peyote-spiked, Popol Vuh-like soundtrack grandeur, including the new Shapes Unravel (out 2/20 on Cardinal Fuzz/Feeding Tube). Listen to songs such as “Cauldron’s Gold,” “Smoke Fingers,” and “Walker’s Dead Birds,” and feel mountain-sized. Tacoma’s Von Wildenhaus are unpredictable eclecticists whose songs range from chamber-jazz torch songs sung by the alluring vocalist Billie Bloom to anthemic, Grandaddy-esque indie rock to Middle Eastern–inflected electronic pop to the most gorgeous song ever about ketamine. (Add-a-Ball, 8 pm, 21+) DAVE SEGAL

cupcakKe

FEB 27

Get your loved one what they really want this Valentine’s Day: tickets to see cupcakKe. I was introduced to the Chicago rapper in 2018 when she released Ephorize, and was immediately obsessed with the icy percussion that is just as frosty as her blue metallic lipstick on the cover. It belongs in the holy trinity of winter albums alongside Björk’s Vespertine and Whitney Houston’s My Love Is Your Love. On her newest album, The BakKery, cupcakKe serves up a fresh batch of witty, pearl-clutching poetry with memorable tracks like “One of My Bedbugs Ate My Pussy” and the very romantic “Fist Me.” As always, cupcakKe’s magic lies in her ability to pair the most random topics and references with unexpected production styles, such as the silky-smooth “Akeelah,” a city-pop-inspired breakup song with references to the 2006 film Akeelah and the Bee. (Showbox, 8:30 pm, all ages) AUDREY VANN

Esther Rose

MAR 3

I discovered Esther Rose in 2017 when she released her debut, This Time Last Night, an intimate country/folk album that feels like she’s playing for you around a campfire. Now on her fifth studio album, Want, the New Orleans native defies the expectations of what an Esther Rose album can be with bold indie rock arrangements and fuzzed-out guitars. As it’s depicted on the album’s cover, with Rose in a gauzy white cotton dress beside a Rose in a black pleather catsuit, the album balances hard and soft, juxtaposing songs like the Liz Phair–esque track “Ketamine” with the stripped-down piano ballad “Color Wheel.” The album also includes “Scars,” a duet with Seattle-based troubadour Dean Johnson—we love to see it! For this local date, Rose will be joined by fellow New Orleans singer-songwriter Thomas Dollbaum. (Sunset Tavern, 8 pm, 21+) AUDREY VANN

More

The Wayne Horvitz Ensemble Feb 2, 9, 16, 23 and March 2 & 9, Royal Room, 7:30 and 8:30 pm, all ages until 10 pm

The Stylistics Feb 5–8, Jazz Alley, times vary, all ages

Purelink, 'no hup,' Hünter Feb 10, Substation, 7 pm, 21+

Clap Your Hands Say Yeah Feb 11, Woodlawn Hall, 7:30 pm, all ages

Iris Unveiled Feb 12–15, Benaroya Hall, times vary, all ages

Biblioteka, TeZATalks, Acapulco Lips Feb 12, Neumos, 7 pm, 21+

Sudan Archives Feb 14, Neptune Theatre, 8 pm, all ages

Christopher Owens Feb 17, Tractor Tavern, 8 pm, 21+

The Pains of Being Pure at Heart, Living Hour Feb 16, Vera Project, 7 pm, all ages

Cat Power Feb 20, Paramount Theatre, 8 pm, all ages

Lola Kirke Feb 21, Fremont Abbey, 8 pm, all ages

SRJO Presents: The Music of Jimmy Smith and Oliver Nelson Feb 21–22, Benaroya Hall, times vary, all ages

Cardi B: Little Miss Drama Tour Feb 22, Climate Pledge Arena, 7:30 pm, all ages

Joan Shelley Feb 22, Ballard Homestead, 7:30 pm, all ages

Suzanne Vega Feb 22, Neptune Theatre, 7:30 pm, all ages

Neko Case Feb 27, Edmonds Center for the Arts, 7:30 pm, all ages

Early Warnings

St. Vincent Mar 5, Town Hall Seattle, 8 pm, all ages

Toody Cole, Semisoft Mar 6, Tractor Tavern, 8:30 pm, 21+

Blackwater Holylight, Som, Muñeca Mar 10, Neumos, 7 pm, 21+

Indigo De Souza Mar 10, Showbox, 8 pm, all ages

Mt Fog, iroiro, DJ Martin Douglas Mar 12, Tractor Tavern, 8 pm, 21+

Peaches Mar 14, Showbox, 8:30 pm, 21+

Aimee Mann: 22 ½ Lost in Space Anniversary Mar 15, Neptune Theatre, 8 pm, all ages

Conan Gray Mar 16, Climate Pledge Arena, 8 pm

Dirty Three Mar 21, Neumos, 7 pm, 21+

Marissa Nadler Mar 26, Tractor Tavern, 8 pm, 21+

Skullcrusher Mar 30, Barboza, 7 pm, 21+

Eliza McLamb Mar 31, Neumos, 7 pm, all ages

Raye: This Tour May Contain New Music Apr 3, WAMU Theater, 8 pm, all ages

Cass McCombs, Hand Habits Apr 4, Tractor Tavern, 8:30 pm, 21+

Waxahatchee, MJ Lenderman May 3, Paramount Theatre, 7:30 pm, all ages

Florence + the Machine May 12, Climate Pledge Arena, 7:30 pm, all ages

The Last Dinner Party May 22–23, Showbox SoDo, 8 pm, all ages

February Things to Do: Literature

Julianne Bell — Mon, 02 Feb 2026 15:00:00 -0800

The best book events in February in Seattle. by Julianne Bell

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food, and This & That.

Mark Z. Danielewski

FEB 4

Mark Z. Danielewski is most well known for his debut novel and postmodern horror cult classic House of Leaves, which famously requires active participation (including turning the book upside down at times) from the reader to decipher its multiple nonlinear narratives, cryptic text, and copious footnotes. Reading it feels like a descent into madness and will have you glancing around to make sure no one (or nothing) else is in the room with you. He’s now embarking on a tour to promote his longest novel to date, Tom’s Crossing, which came out last October and clocks in at 1,200 pages. It’s a dark, epic Western/ horror hybrid that required 10 drafts and which Danielewski has said he considers the “pinnacle” of his work. Here’s a chance to catch a living horror legend in the flesh. (Elliott Bay Book Company, 7 pm, all ages, free) JULIANNE BELL

‘Document’ by Amelia Rosselli with Translator Deborah Woodard with Rachel Karyo

FEB 4

A newly translated collection of 1970s anti-fascist poetry by a female poet? I’m listening! Italian poet Amelia Rosselli’s last collection to be translated into English, Document, explores how poetry can document our contemporary experiences through the lens of classical models. Rosselli was long obsessed with classical sonnets, particularly Petrarchan sonnets, in which meaning is conveyed through sequence and structure. Through the collection of 175 poems, Rosselli speaks to her experiences in postwar Italy, meditating on violence, class struggle, religion, consumerism, and capitalism, all topics that unfortunately still resonate 50 years after they were written. For this Q&A and book signing, Document translator Deborah Woodard will be joined by poet Rachel Karyo. (Third Place Books Ravenna, 7 pm, all ages, free) AUDREY VANN

Chuck Klosterman

FEB 15

Chuck Klosterman bucked himself up from tiny-town obscurity all the way to toast of Manhattan and staff position at the Gray Lady itself (though he’s since moved to Portland). Music scribing put him on top, but he’s branched out into broader cultural criticism, plus the occasional novel; now he’s tackling “America’s game” in time for Super Bowl weekend. His new book, Football, approaches the mighty gridiron as a “hyperobject” so massive in time/space that its true contours can’t be mapped. As an honest effort, though, he essays the six-man variant (silly me, I only knew about eight-man), the myth of the Great Man Theory (or at least Great Jock Theory), the sport’s seamless melding with television, and the morality of potentially crippling violence as public spectacle. No word on whether he’ll tackle arena football (Washington Wolfpack and Seattle Sabercats represent!), women’s football (we’ve got the Majestics, the Spartans, and the Thunder), fantasy football (I vote ecchh), and/or video games (scratch Madden, I’m sticking with Atari). Want to know more? Ask the answer man himself. (Town Hall, 7:30 pm, all ages) ANDREW HAMLIN

Nicola Griffith

FEB 17

Seattle-based author and self-described “queer cripple with a PhD” Nicola Griffith has received countless honors, including two Washington State Book Awards and six Lambda Literary Awards, and was inducted into MOPOP’s Science Fiction and Fantasy Hall of Fame in 2024. Her novels Hild, Spear, and Menewood explore the medieval era through a queer perspective, and she also cofounded the #CripLit movement with the late activist Alice Wong. Her latest work, She Is Here, is a new installment in PM Press’s Outspoken Authors series, in which “today’s edgiest fiction writers showcase their most provocative and politically challenging stories.” Griffith’s contribution combines fiction, nonfiction, poetry, and artwork to discuss topics ranging from disability justice to the distinction between love and ownership. (Third Place Books Ravenna, 7 pm, all ages, free) JULIANNE BELL

More

Aja Monet Feb 5, Town Hall Seattle, 7:30 pm

Emily Nemens Feb 11, Elliott Bay Book Company, 7 pm

Roddy Bottum Feb 13, Elliott Bay Book Company, 7 pm

Nick Offerman Feb 15, Moore Theatre, 7 pm, all ages

Cristina Rivera Garza & Javier Zamora Feb 24, Town Hall Seattle, 7:30 pm

Early Warnings

James McBride March 3, Town Hall Seattle, 7:30 pm

Stephen Graham Jones March 30, Town Hall Seattle, 7:30 pm

George Saunders: Vigil: A Novel Apr 7, Town Hall Seattle, 7:30 pm

Patrick Radden Keefe April 22, Town Hall Seattle, 7:30 pm

Marlon James May 6, Town Hall Seattle, 7:30 pm

Emily Wilson May 12, Town Hall Seattle, 7:30 pm

Tommy Orange May 21, Town Hall Seattle, 7:30 pm

Pop Loser #14: MAITA Shares What No Doubt Taught Her

Audrey Vann — Thu, 29 Jan 2026 13:00:00 -0800

This week's music news. by Audrey Vann

Welcome back to Pop Loser! Despite everything feeling unbearably horrific in the world this week (FUCK ICE), there have been a few tiny glimmers of joy: the Vera Project has announced a new venue, Victoria Beckham’s single “I’m Not Such an Innocent Girl” is trending, and Connie Converse’s How Sad, How Lovely is finally getting reissued. And, in another edition of First Times, Maria Maita-Keppeler of Portland-based indie rock project MAITA shares her early musical influences from Elliott Smith to Vitamin C.

This Week in Music

Let’s start with some rare good news: The Vera Project is opening a new all-ages venue in Georgetown next year. Dave Segal spoke with Vera’s executive director, Ricky Graboski, about their plans for expansion in 2027. While they consider Vera to be their “home base,” and Black Lodge their “underground venue,” they are hoping that the new Georgetown venue will be a space for mutual aid. “We want it to be run by and for community, so every show's going to have a mutual aid group, a nonprofit, someone there who is supporting something in local community,” Graboski told Segal, specifying that 40 to 60 tickets at every show will be pay-what-you-can. Vera's goal is to raise $2.5 million by early 2027, when the yet-to-be-named Georgetown space is set to open. Seattle-born rock band Band of Horses is already on board to contribute by donating $1 from every ticket they sell on their upcoming tour to help fund Vera’s new venue.

The lineup for Portland’s Pickathon festival has dropped, and it’ll be worth the three-hour drive south this summer. Highlights include Brazilian music icon Marcos Valle, alt-country king Steve Earl, and Idaho’s finest Built to Spill, along with lesser-known gems like experimental guitarist Mary Halvorson, Aussie outfit Folk Bitch Trio, and indie rock duo Widowspeak.

Meanwhile, the Watershed Festival will run dry in 2026. The Gorge’s annual contemporary country music festival announced its hiatus this year, providing no further details or reasons why. Oh well, Willie Nelson’s Outlaw festival is the only country music fest I was interested in anyway.

This week in pathetic Drake news (seriously, this could become a regular segment), the rapper has appealed the lawsuit ruling on “Not Like Us.” In October, a federal judge dismissed the rapper’s defamation lawsuit against UMG, which sought damages from the label for promoting Kendrick Lamar’s Grammy-winning diss track. UMG claims that Drake “lost a rap battle that he provoked and in which he willingly participated,” to which the judge agreed. But the self-proclaimed “Certified Lover Boy” still won’t give it up.

Reggae icon Sly Dunbar (of Sly and Robbie) has died at the age of 73. The Grammy-winning drummer, who has played on iconic tracks by Lee Perry, Jimmy Cliff, Bob Marley, Bob Dylan, the Rolling Stones, and Grace Jones, was found unresponsive in his home on Monday morning. No cause of death has been made public thus far.

The best news of the week: Monster-in-law Victoria Beckham has scored the biggest-selling single of the week, with a nearly 2,000 percent surge on her 2001 single “I’m Not Such An Innocent Girl.” If you’ve been living under a rock, Posh Spice’s son, Brooklyn, recently popped off on Instagram, revealing that his parents have been sabotaging his relationship with wife Nicola Peltz, citing his mother’s “inappropriate” dancing at their wedding. Release the tapes!

Prepare to be gagged: If you’re not familiar with King Crimson guitarist/Brian Eno collaborator Robert Fripp and New Wave diva Toyah Wilcox’s YouTube channel, let me introduce you. The married couple posts weekly covers while decked out in unbelievable costumes (for example, they recently used their giant pet rabbits as puppets while singing “Auld Lang Syne”). This week, the duo shared their cover of X-Ray Spex's “Oh Bondage! Up Yours!” in full bondage gear, ball gag and all.

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First Times with MAITA Oops! All cheeks.

MAITA, the indie rock project by Portland-based singer-songwriter Maria Maita-Keppeler, has moved many people with her angelic vocals and cathartic lyricism. One such person was Kill Rock Stars' founder Slim Moon, who came out of a twelve-year-long retirement and revived the label to sign her. Four years after her debut album, Best Wishes, MAITA signed to Portland’s Fluff & Gravy Records, releasing her 2024 label debut, want—a must for fans of emotional indie rock à la Big Thief, Mitski, and Lucy Dacus. I caught up with the singer-songwriter ahead of her show at Baba Yaga on Sunday (with Seattle indie folk band St. Yuma) to discuss her early musical influences from No Doubt and Elliott Smith to Vitamin C.

What was the first album you bought?

It's so difficult to remember this because, admittedly, my middle school years were soundtracked almost exclusively by burned CDs. I do know that at one point I owned a No Doubt greatest hits CD, which I remember as one of the first albums I really fell for, even though technically it's not a real album and just a collection of their singles. Still, unbeknownst to me, No Doubt taught me a lot about song structure (they always had a bridge), as well as the concept that there could be women and electric guitars in a band. (What a novel concept for a pre-teen!)

What was the first song you sang in front of people?

I sang a lot as a young kid, but forced myself into hibernation for about a decade after hearing that I didn't have a good singing voice. Then, when I was 16, I decided to perform "Between the Bars" by Elliott Smith at a high school open mic night. I was shaking like a leaf! I did a private run-through in front of my best friend before the show, and even then, it took me about 10 minutes to start singing. I still love that song.

What was the first instrument you played, and what was the first song you learned?

I taught myself to play piano as a kid, mostly all by ear, so I never really got a firm grasp on music theory. (This is true even today, unfortunately.) I loved that song "Graduation" by Vitamin C when I was in elementary school, and learning that it was basically Pachelbel's Canon was a revelation for me. You bet I learned to play Pachelbel's Canon, and you bet I paired it with Vitamin C's "Graduation" and played it for my fifth-grade class when we, well, graduated.

What was the first song that made you cry?

I wasn't a big crier as a kid. This feels really random and almost embarrassing, but for whatever reason, I remember the Columbia space shuttle disaster of 2003 hit me really hard, and my mom was listening to some Jim Brickman piano song, and the combination of those sunk me into a deep, sulking state. I wallowed all afternoon. Now I mostly just cry at shows, when the energy is potent and all-encompassing. I cried when Feist revealed her full band mid-set at a show last winter. I bawled all the way through a Haley Heynderickx set last summer.

Who was the first musician you idolized?

Probably Conor Oberst. I went hard for Bright Eyes when I found them in middle school. I was obsessed, I listened to their albums on repeat. There's nothing like discovering Fevers and Mirrors as a young teen.

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Events Worth Your Hard-Earned Money This Week

Tyler Ramsey & Carl Broemel: Celestun Tour Jan 29, the Crocodile, 8 pm, 21+

WAR Jan 29-Feb 1, Jazz Alley, 7:30 pm, all ages

Den Tapes Winter Jam IV: Great Ooze, Tourist Activities, 222, & Young-Chhaylee Jan 30, Tractor Tavern, 8 pm, 21+

Drink The Sea Jan 30, Town Hall Seattle, 8 pm, all ages

Glaive: Y'all Tour Jan 30, the Showbox, 8 pm, all ages

Glitterfox Jan 30, Barboza, 6:30 pm, 21+

MAITA with St. Yuma Feb 1, Baba Yaga, 8 pm, 21+

Speak-Easier: Bridging the Abortion Divide, Presented by The Pro-Voice Project Feb 1, Hidden Hall, 4:30 pm, 21+

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The Songs That Keep Me Up at Night

“House” by Connie Converse

I have many special holy-grail records that I’ve collected through the years: an early pressing of Velvet Underground and Nico with a perfectly intact banana, an original copy of Big Star’s #1 Record, etc. Yet, Discogs tells me that my most valuable record is the 2015 compilation of Connie Converse's 1950s recordings, which continues to baffle me. If I’ve learned anything from being a record-buying freak, it’s to never pay a premium for contemporary out-of-print records. They will be reissued, I promise! Exhibit A: Third Man Records has announced that they are reissuing Converse’s How Sad, How Lovely, which will likely make the value of my copy decrease from $300 to $20. Aside from making her music more widely accessible, the best part about the reissue is that it features this previously unreleased track. The song showcases everything I love about Converse’s songwriting: whimsy, complaining about rent prices, and puzzling song structure, which was far ahead of its time.

“Way Out” by Yeah Yeah Yeahs

Have you listened to the Yeah Yeah Yeah’s 2006 album Show Your Bones in a while? If not, throw it on now. The world is enveloped in darkness right now, and we can all use a boost of comforting nostalgia that isn’t the 2016 Instagram trend (I’d much prefer to return to 2006, thank you very much). This song in particular brings me back to the fourth grade, making pillow forts in my bedroom.

Stranger Suggests: Sparkly Majorettes, a Classic Fairy-Tale Ballet, and an Underwater City Made of Trash

Julianne Bell — Mon, 26 Jan 2026 12:20:00 -0800

One really great thing to do every day of the week. by Julianne Bell MONDAY 1/26

Lady Windermere's Fan

(FILM) I attended my first Silent Movie Monday last month, and now I am completely obsessed. The film series pays homage to the history of our beloved Paramount Theatre, which opened in 1928, showing silent films accompanied by live musicians on the theater’s original Mighty Wurlitzer (a single organ that’s connected to various pipes and percussion instruments), and serving free, old-fashioned bags of popcorn—it’s truly like stepping into a time machine. For the next Silent Movie Monday, organist Donna Parker will soundtrack Ernst Lubitsch’s 1925 adaptation of Oscar Wilde’s Lady Windermere’s Fan. Set in 1890s London, the film follows an elegant society woman who’s convinced her husband is having an affair. It’s full of drama, scandals, and stunning costumes. Warning: You will likely leave the theater wanting to cut your hair into a 1920s bob. (Paramount Theatre, 7 pm) AUDREY VANN

TUESDAY 1/27

Honorée Fanone Jeffers

See Honorée Fanonne Jeffers at Town Hall Seattle Tuesday, January 27. SYDNEY A. FOSTER

(LITERATURE) National Book Award-nominated fiction writer, poet, and essayist Honorée Fanonne Jeffers spent 15 years researching archives for her critically acclaimed 2020 collection The Age of Phillis, which reimagines the life of revolutionary 18th-century poet Phillis Wheatley. For her next act, she published her 2021 debut novel The Love Songs of W.E.B. Du Bois, an ambitious 816-page intergenerational epic that traces a Black family’s lineage from before the Civil War to the present. Her latest work is her nonfiction debut Misbehaving at the Crossroads, which explores the crossroads—defined by Jeffers as “a location of difficulty and possibility, a boundary between the divine and the human”—in Black American and African cultures. Jeffers will join host Colleen Echohawk, Community Roots Housing CEO and Seattle Arts and Lectures’ Community Curated Series director, for a discussion on this fascinating intersection. (Town Hall Seattle, 7:30 pm) JULIANNE BELL

Cate Le Bon, Frances Chang

(MUSIC) Sometimes you listen to an album, and your first thought is “Well, this is gonna be my whole personality for a while.” Cate Le Bon’s newest, Michelangelo Dying, is one of those. It’s a no-skip record, and one of my favorites, “Is It Worth It? (Happy Birthday),” could be a B-side on Ziggy Stardust. You have two chances to see Madame Le Bon today: first at 11 a.m. at the KEXP In-Studio show (which is free! As long as you’re willing to get there early and snag your spot), and second, at 8 p.m. at the Neptune, with special guest Frances Chang. (Neptune Theatre, 8 pm, all ages) HANNAH MURPHY WINTER

WEDNESDAY 1/28

Stuff You Should Know

(COMEDY) If you’ve ever lost an hour falling down an internet rabbit hole, there’s a good chance Stuff You Should Know contributed to it in some way. Hosted by Josh Clark and Chuck Bryant, the SYSK podcast has spent nearly two decades unpacking the history, science, and cultural weirdness of everything from Ouija boards to Pop-Tarts to Nazis on meth (yes, really). Racking up 2,700+ episodes and billions of downloads across the web, the pod has been the inspiration of many a YouTube deep dive, and now it’s coming to Seattle, live! It’s all that curiosity, joking, and banter delivered directly to a room full of fact-loving nerds, sans the HelloFresh commercials. (Paramount Theatre, 8 pm) LANGSTON THOMAS

THURSDAY 1/29

Ogemdi Ude: MAJOR

(PERFORMANCE) Majorette dance has been a staple of Black girlhood since the 1960s, when it was popularized at HBCUs (Historically Black Colleges and Universities) in the American South. Dressed in their signature glittery costumes, majorettes dance alongside marching bands and display bold showmanship, glamour, precision, power, and sensuality. In this contemporary performance directed and choreographed by Ogemdi Ude, six Black femmes will pay homage to the majorette dance form, accompanied by composer Lambkin’s score blending “Southern rap, horns, drumlines, and melodic R&B and soul.” Back in September, On the Boards executive director Megan Kiskaddon told Stranger staff writer Nathalie Graham that MAJOR is the show everyone must see in the venue’s 2025–2026 season, explaining, “It’s one of those pieces that anyone would get something out of, because it’s so exuberant.” (On the Boards, 8 pm, all ages) JULIANNE BELL

FRIDAY 1/30

Merlantis, or the Great Pacific Garbage Patch

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(VISUAL ART) What lies beneath the Great Pacific Garbage Patch? An underwater city loosely based on Seattle and built of fallen trash, of course. While “the damaging effects of commodification and rampant capitalism on our planet” sound like heavy themes for troubled times, this exhibition put on by the group True Misschiff promises to handle the subject with campy panache in an attempt to “normalize non-normative approaches to life and gender” through the adventures of characters like Brosiedon, the douchey ruler of the merpeople. Base Camp 2 has recently restructured its exhibition timeline to focus on four big shows a year, which is great news, as the massive old luggage store space lends itself to immersive worlds such as Merlantis promises to be. In addition to ticketed events and cabaret performances (sponsored by the fictional corporation Blissfish), there will be art for sale, a thematic gift shop, and more fishy shenanigans available through March. (Base Camp 2, through Feb 28) AMANDA MANITACH

SATURDAY 1/31

Cinderella

The Pacific Northwest Ballet's production of Cinderella runs through February 8. ANGELA STERLING

(PERFORMANCE) Pacific Northwest Ballet’s production of Cinderella was conceived and choreographed in 1994 by founding artistic director and choreographer Kent Stowell, who sought to emphasize the romantic nature of the fairy tale in contrast to the tragicomic sensibilities of earlier modern productions. The result is an enchanting, swoon-worthy confection filled with dazzling costumes by Tony Award-winning costume designer Martin Pakledinaz and fantastical sets by scenic designer Tony Straiges. Fun facts: The production features over 120 costumes, which required more than a mile of tulle to make, and the trim on Cinderella’s ball gown alone took over 100 hours to create and sew. (McCaw Hall, various times, all ages) JULIANNE BELL

SUNDAY 2/2

The Chronology of Water

Imogen Poots as Lidia in The Chronology of Water. THE FORGE

(FILM) “I remember things in retinal flashes. Without order. Your life doesn’t happen in any kind of order… It’s all a series of fragments and repetitions and pattern formations. Language and water have this in common,” the Oregon-based author Lidia Yuknavitch writes in her 2011 memoir, The Chronology of Water. It follows, then, that director Kristen Stewart’s film adaptation of the book opens without clear exposition. Instead, the camera is submerged, trained upward toward a figure in a red swimsuit. Blood spills onto a shower’s tile floor. The two images—which happen years apart in Lidia’s (Imogen Poots) life—set the tone for a film revealed in fragments of trauma. Read the full review at the Mercury. (SIFF Film Center, 7 pm) LINDSAY COSTELLO

Pop Loser #13: Austra on Opera Arias and Boyz II Men

Audrey Vann — Thu, 22 Jan 2026 13:00:00 -0800

This week's music news. by Audrey Vann

Welcome back to Pop Loser! This week, the Crocodile announced that it’s up for sale, Bandcamp banned AI music, and Harry Styles revealed the name of his new album. Plus, I attended the opera for the first time, and coincidentally, electronic music diva Austra shares her early musical inspirations, from operas like Puccini’s La bohème and Mozart’s Magic Flute, in another edition of First Times.

This Week in Music

The Crocodile is up for sale. The owners announced on Tuesday that they’re selling the long-running Belltown venue through a receivership process, which is generally used as an alternative to bankruptcy. According to court documents, the Crocodile has $1.6 million in debt, with the vast majority owed to ticketing platform TicketWeb, and cites decreased attendance and alcohol sales, along with rising operating costs, for its lack of profitability. In the meantime, the venue and its upstairs hotel will operate as usual, booking future shows in hopes of selling the club as a “turnkey situation.”

Live local music is still alive and well at the Black Lodge. This weekend, the Black Lodge will host Susquatch 5, a two-day festival organized by local noise artist Fleetwood Snack. I highly recommend checking out fuzzy indie rock band Spiral XP and experimental rap project Lonelygirl15 on night one, and Tacoma garage rock trio Semisoft on night two.

Singer-songwriter Tucker Zimmerman and his wife, Marie-Claire Lambert, died in a house fire on Sunday at their home in Belgium. Zimmerman was best known for his ‘70s folk songs and, later, his collaboration with contemporary indie folk favorites Big Thief. His 1969 debut, Ten Songs by Tucker Zimmerman, was often cited by David Bowie as one of his all-time favorite albums. Zimmerman was 84.

Let the album rollouts begin! Harry Styles has unveiled his forthcoming album, Kiss All The Time. Disco, Occasionally., due March 6. BLACKPINK also announced their upcoming mini-album Deadline, out February 27. Mitski dropped a new song, “Where’s My Phone,” and revealed that her upcoming album, Nothing’s About to Happen to Me, will also arrive February 27. And Charli XCX dropped her second single from the highly anticipated Wuthering Heights soundtrack, “Wall of Sound.”

Bandcamp is the first major streaming platform to ban AI music. Last week, Bandcamp committed to “putting human creativity first” by prohibiting any music created using artificial intelligence. This comes amidst reports of AI slop climbing streaming charts, such as AI-generated “music creator” Sienna Rose, who has over 3.4 million monthly Spotify listeners.

Watch the heavily costumed heavy metal band GWAR cover Chappell Roan’s “Pink Pony Club.” The shock-rock band, who are known for spraying their fans with fake blood, urine, and semen, covered the pop hit on AV Club’s Undercover series on Friday. “‘Pink Pony Club’ is about embracing exile from a boring, shitty world and remaking yourself into whatever you want,” frontman Berserker Blöthar said in a statement. “Be who you are, be who you aren’t, piss people off, we don’t care!”

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First Times with Austra

Austra is the longtime electronic project of Toronto-based vocalist, composer, and producer Katie Stelmanis, whose career started on a high note with her Juno Award–nominated 2011 debut album, Feel It Break. Now, 15 years and four albums later, Austra continues to craft operatic pop songs, reminiscent of fellow dark divas like Zola Jesus, Carla dal Forno, Molly Nilsson, and US Girls. On her fifth album, Chin Up Buttercup, Austra pairs Euro-dance and late-’90s pop with emotionally charged lyrics about heartbreak and healing. I caught up with her ahead of her stop at the Crocodile on her first tour in eight years to talk about her early musical inspirations, from Boyz II Men to opera arias.

What was the first album you bought? Where and when did you buy it?

I think it was Boyz II Men because I loved the song “I’ll Make Love to You.” I believe I was 8 years old.

What was the first song you sang in front of people?

"The Lion Sleeps Tonight" by the Tokens. When I was in grade six, my teacher made everyone in the class choose a song from the ’60s and perform it, which, in retrospect, was probably traumatizing for most of the non-music-oriented students.

What was the first instrument you played, and what was the first song you learned?

I started singing and piano at the same time, joining a choir and also taking piano when I was 10. When I was really young, like under 5, I was obsessed with the "Queen of the Night" aria from Mozart’s The Magic Flute and would sing it with my grandma, so maybe that was the first song I learned?

What was the first song that made you cry?

This would likely be something from Puccini. When I was a kid, I performed in the chorus of the Canadian Opera Company whenever they required kids. I loved La bohème, and I probably cried at some point while watching it.

Who was the first musician you idolized?

I never really idolized musicians in a pop way, but when I was 18 or 19, listening to Nine Inch Nails changed the trajectory of my life from being a classical kid to whatever I am now.

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Events Worth Your Hard-Earned Money This Week

Judy Collins Jan 22–25, Jazz Alley, 7:30 pm, all ages

Yarn/Wire Jan 22, Meany Center for the Performing Arts, 7:30 pm, all ages

Ice Goth IV: Vanilla Abstract, Deft Lips, and Cuvier Jan 23, Add-a-Ball, 8 pm, 21+

Popdefect, Girl Trouble, and Tom Price Desert Classic Jan 23, Clock-Out Lounge, 8:30 pm, 21+

Susquatch 5 Jan 24–25, Black Lodge, 5 pm, all ages

Austra Jan 27, Crocodile, 6:30 pm, 21+

Cate Le Bon Jan 27, Neptune Theatre, 8 pm, all ages

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The Songs That Keep Me Up at Night

“The Four Sleeping Princesses” by Julianna Barwick & Mary Lattimore

After touring together for several years, experimental vocalist Julianna Barwick and harpist Mary Lattimore developed a “musical telepathy” that became the basis for their newly released collaborative album, Tragic Magic. The result sounds like what would have been if there were synthesizers in medieval times. “The Four Sleeping Princesses” is an ethereal new age lullaby, and it’s the standout track for me so far.

Daphne, Op. 82 by Richard Strauss

Over the weekend, I attended my first opera: the Seattle Opera’s concert rendition of Strauss’s Daphne. The hour-and-40-minute show—short by traditional opera standards—follows the Greek myth of a nature-loving girl who rejects her suitors until she becomes one with nature, in the end being turned into a laurel tree. I am obsessed with the queer subtext of this story, told through poetic lyrics, which were sung in German but translated above the stage. And there were no microphones in sight! In our world overrun with technology, it was incredible to experience live music with no amplification, just the pure, unadulterated human voice and acoustic classical instruments bouncing off the walls of McCaw Hall.

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Stranger Suggests: Video Game-Inspired Dream Pop, a Hopeful Play For These Hopeless Times, and a Pistachio Sundae with Black-Currant Sauce

Audrey Vann — Fri, 16 Jan 2026 12:30:00 -0800

One really great thing to do every day of the week. by Audrey Vann MONDAY 1/19

Crushed with Swinging

See Crushed at Baba Yaga on Monday, January 19. BEN RAYNER

(MUSIC) Crushed leans into the video-game aesthetic—titling their debut EP extra life and their more recent full-length no scope—but that doesn't mean they make video game music (aside from a few glitch-pop moments). Singer Bre Morell provides bold, powerful vocals as Shaun Durkan layers beats, samples, and occasionally his own voice to create atmospheric, electronic-influenced dream pop. It's experimental and genre-bending, but still incredibly accessible. The duo met online while sharing their love for '90s alt-radio hits, and they now record out of different cities: Morell is based in Los Angeles and Durkan calls Portland home. Last fall, Paste Magazine named Crushed as "The Best of What’s Next," describing their songs as the perfect combination of "lyrics that come from a place of real despair and struggle and doubt; a trip-hoppy beat, beautiful atmosphere, and simple, lazy guitars; a metamorphic, surging finale." Portland-based artist Swinging opens the show with their experimental and ethereal alt-folk. (Baba Yaga, 8 pm, 21+) SHANNON LUBETICH

TUESDAY 1/20

Publish Your Valentine in The Stranger!

Declare your love in The Stranger's February Issue! MS

(LOVE) Love is in the air! Grocery store shelves are lined with boxes of chocolates, and people on social media are debating whether or not chalky heart-shaped candy actually tastes good. (YES, AND I WILL DIE ON THAT SUGAR MOUNTAIN.) Valentine’s Day is upon us, and we’re filling our February issue with hundreds of your love notes! Just head over to thestranger.com/valentines and spill your heart in 150 characters or less. And new this year: The first 20 people to purchase a one-year subscription to the print edition of The Stranger get a special super-sized valentine! Just buy your subscription here, and then forward your receipt to valentines@thestranger.com using the same email address you used when submitting your valentine message. We'll display your declaration of adoration in larger font with an extra cute design to make it unmissable to your honey bunny/baby poo/sweetie pie. Yay, love! Get them in by January 23 for print, and February 14 for online. MEGAN SELING

WEDNESDAY 1/21

The Heart Sellers

See 'The Heart Sellers' at Seattle Repertory Theater through February 1. SAYED ALAMY

(PERFORMANCE) So, you might not know this, but everything is terrible right now. The federal government and its goons are upending the spirit of America. They’ve tipped over the melting pot and hawked a loogie into the dregs that remain. The American dream is now a polymarket bet that you’ll never win. The new play at the Seattle Repertory Theater, The Heart Sellers, tells the story of the immigrant experience at a time when America was finally opening its doors to people outside northwestern Europe. There is hope in this play, and there is sadness. In it, two women—one from Korea, one from the Philippines—find friendship when they need it most—on Thanksgiving in 1973. The whole play takes place with two characters in one apartment. The Heart Sellers strikes a chord for American immigrants and lets those of us who aren’t strangers in a strange land step inside their shoes (or house slippers) for a spell. Plus, the acting is phenomenal. (Seattle Repertory Theater, 2 & 7:30 pm) NATHALIE GRAHAM

THURSDAY 1/22

Yarn/Wire, Yiğit Kolat, and Yonatan Ron

(MUSIC) The sound of avant-garde classical ensemble Yarn/Wire is in the name—fuzzy, fibrous threads interwoven with scratchy, metallic chords. Founded in NYC back in 2005, the adventurous piano/percussion quartet pushes the boundaries of contemporary music with their annual Currents project, which serves as an incubator for innovative experimental music. While their music can be unconventional, the pianos maintain a sound within the classical music realm that is accessible to the general public—meaning, yes, you can bring your parents or grandparents to this without fearing their judgment or discomfort. This is the relaxing kind of experimental music, not the chaotic kind. (Meany Hall, 7:30 pm, all ages) AUDREY VANN

FRIDAY 1/23

The 2026 Annual Disabled List Comedy Festival

(COMEDY) Now, more than ever, we need to laugh. And this week, the fourth annual Disabled List Comedy Festival is giving us several opportunities to do just that, with five days of stand-up performances and a variety show starring some of the country’s most hilarious comedians. The Disabled List was co-founded by Kayla Brown and Dan Hurwitz (one of The Stranger’s Champions of Comedy in 2024), and this year’s festival features notable headliners including Hayden Kristal (I hope she brings her dog Creatch!), Comrade Tripp, Derek Shen (another Champion of Comedy alum), and Tina Friml, who so perfectly balances comedy and her experiences as a person with cerebral palsy that when Stranger contributor Mindi Lind interviewed Friml in 2024, she wrote, “This magical unicorn has broken through the impenetrable wall between prime time and the disabled experience, delivering lines so smart, so cunning, so potently real that entire universities have spent decades trying to distill these ideas into hundred-page dissertations.” You cannot lose—pick any show from their stellar line-up and go laugh until your tummy hurts. (Jan 22–25, various venues) MEGAN SELING

SATURDAY 1/24

Judy Collins

(MUSIC) After deep-diving into the catalogs of legendary songstresses like Joan Baez, Joni Mitchell, and Carole King, I finally found my way to the discography of Judy Collins. I was already aware of her iconic voice, but given the number of her albums in record store dollar bins, I did not expect her exploration of different genres. Her music is not simply straightforward vocal pop, but swims around trad-folk, country, and jazz, incorporating the occasional experimental flourish (such as the ethereal ocean sounds in “Farewell to Tarwathie.”) Collins has released and collaborated on over 50 albums in her lifetime, with additional career successes as an author, filmmaker, social activist, guitar designer, and record label founder. She’s also been gigging for over 50 years, so show up and make this stop in Seattle a memorable one for her. (Jazz Alley, 7:30 pm, all ages) AUDREY VANN

SUNDAY 1/25

Devour a Deep Sea Sugar and Salt Ice Cream Sundae at Milk Drunk

Get it before it's gone! COURTESY OF MILK DRUNK

(FOOD & DRINK) Deep Sea Sugar and Salt serves up some of the fattest, most indulgent slices of cake in the PacNW. Milk Drunk sells some of the funnest soft serve sundaes and cones—dipped in and covered with toppings like butterscotch hard shell, Fruity Pebbles, and cinnamon streusel—in the city. Together? Fuck. I knew this collaboration was going to be good, but I did not expect it to be so delicious that I can say with certainty that it will remain on my personal top 10 list of best things I ate in 2026. And it’s only January! A mountain of pistachio and black-currant soft serve is smothered with a tart black currant sauce, rich pistachio butter, and a shortbread crumble that makes all the flavors pop. Because it’s a limited-edition collab—Milk Drunk hosts different sundae chefs every month—Sunday, January 25, is your last chance to try it. Don’t miss out. (Milk Drunk, noon–9 pm) MEGAN SELING

Prizefight!

Win tickets to rad upcoming events!*

Jacob Banks
January 24, the Neptune

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Pop Loser #12: This Week's Events, Music News, and Ya Tseen’s Sea of Synths

Audrey Vann — Thu, 15 Jan 2026 13:22:00 -0800

The Stranger's weekly music roundup by Audrey Vann

Welcome back to Pop Loser! This week, we say fuck you to Spotify, congrats to Jenny Lewis (and her dog), and farewell to two talented musicians. Ya Tseen’s Nicholas Galanin shows us his sea of analog synths. And move over, Sabrina Carpenter, Robyn has a new ovulation anthem, and it’s way hornier than “Juno.”

This Week in Music

The Grateful Dead’s Bob Weir has died at age 78. His family shared in a statement on Sunday that the jam band’s cofounder “transitioned peacefully, surrounded by loved ones,” after a battle with cancer and underlying lung issues. Weir played with the Grateful Dead for the entirety of the band’s 30-year run, along with Kingfish, Bob Weir Band, Dead & Company, and more.

This mortal coil also lost Black Midi founding member Matt Kwasniewski-Kelvin. The 26-year-old guitarist played on the band’s debut album, Schlagenheim, before leaving in 2021 due to mental health reasons. In their statement, the Kwasniewski-Kelvin family added, “A talented musician and a kind, loving man finally succumbed; despite all efforts…. He will always be loved. Please take a moment to check in with your loved ones so we can stop this happening to our young men.”

Spotify is no longer running ICE recruitment ads. But make no mistake, it’s just a meaningless case of convenient timing: The ad campaign simply ended on Wednesday, just before an ICE agent fatally shot 37-year-old Renee Good. Despite the platform using this headline to get in our good graces, the end of this specific campaign does not mean an end to these types of ads. The Guardian reports that ICE has planned a $100 million yearlong media barrage for what it calls “wartime recruitment,” targeting conservative radio show listeners, gun rights aficionados, military affairs followers, and “men’s interests enthusiasts.”

Finally, something nice and wholesome! Jenny Lewis celebrated her 50th birthday on Thursday by “marrying” her beloved dog, Bobby Rhubarb (made famous by her 2021 song “Puppy and a Truck”). To mark the occasion, Postal Service bandmate Ben Gibbard joined Lewis in a performance of "Such Great Heights.”

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Immaculate Collection with Ya Tseen COURTESY OF YA TSEEN

Tlingit artist Yéil Ya Tseen (aka Nicholas Galanin) is known for his work across artistic mediums, from wood carving and sculpture to video work and his ever-evolving musical project, Ya Tseen. On his newest album, Stand on My Shoulders, Ya Tseen brings on collaborators Portugal. The Man, Pink Siifu, and Meshell Ndegeocello, among many others, for an album inspired by the gifts given by ancestors and the collective responsibilities to future generations. Genre-wise, the album is difficult to peg, blending electronic music with hip-hop, funk, and goth, but it has sonic similarities to labelmates Washed Out and Shabazz Palaces. I caught up with Galanin ahead of his album release show on Friday at the Clock-Out Lounge to chat about the collections of tools that are behind his shapeshifting work: woodcarving tools and analog synths.

What do you collect?

In my art studio, I have a collection of hand tools I use for woodworking, wood carving, etc. I was trained as a wood carver in my community. I also have a growing collection of analog synthesizers, which are also tools for the music studio.

What was the first item you acquired in this collection?

I made my own adze blades and handles; these were the first tools in my woodworking collection. I think the first serious synths added to my studio were the Moog One and Grandmother.

Get that Yamaha CS-80, Ya Tseen.

What is the most prized item in your collection?

I have some old Japanese chouna adzes I recently acquired and use. They are incredible and useful! As for synths in the space station, I love the Jupiter 8.

Tell me about an item you'd like to add to your collection.

I think about the Yamaha CS-80; I have a CS-60 but would love to upgrade to the 80. Also the Yamaha DX1.

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Music Events Worth Your Hard-Earned Money This Week:

Grrrizzly, Sick Crush, Digital Darlings Jan 14, Chop Suey, 8 pm, 21+

Joey Largent and Maumae: Moonlight Dream Dervishes Jan 15, Chapel Performance Space, 6:30 pm, all ages

THUMP (All Vinyl) Jan 15, Timbre Room, 10 pm, 21+

Ya Tseen (Record Release) with Ashley Young Jan 16, Clock-Out Lounge, 9 pm, 21+

Seattle Opera: Daphne in Concert Jan 16 & 18, McCaw Hall, various times, all ages

Constant Smiles Jan 17, Vera Project, 7 pm, all ages

KEXP Presents: 26th Annual Expansions MLK Unity Party & Live Broadcast Jan 18, Clock-Out Lounge, 6 pm, 21+

Painting the Town Red: The Music of Billie Holiday Jan 19, Royal Room, 7:30 pm, all ages

Crushed with Swinging Jan 20, Baba Yaga, 8 pm, 21+

The Songs That Keep Me Up at Night:

"Sexistential” by Robyn

“Shocking,” “utterly bonkers,” and “oh my…” are just a few of the comments from viewers who saw Robyn absolutely GAG America last week on The Late Show with Stephen Colbert. In this day and age, it is nearly impossible to create any type of art that reflects our times while actually being enjoyable (Exhibit A: when everyone released a COVID album). But, oh my god, the queen of Swedish electropop has done it. “Sexistential” includes lyrics about dating apps, hormonal rants on IG, and having a boner for Adam Driver. What really makes this work is that she leans into the absurd and has fun with it. I love you, Robyn!

“Jackson Browne” by Cathy Hamer

With just under 30 views at the time I am writing this, Cathy Hamer’s “Jackson Browne” might take the cake for the most obscure song I’ve shared on Pop Loser. But that won’t be for long, because thankfully, Numero Group has some reissues in the works! Hamer is the mother of singer-songwriter Kate Bollinger, who unearthed her mother’s ’70s folk recordings while digging through her record collection. Bollinger writes: “She wrote many of these songs in her late teen years while living in St. Thomas, selling suntan lotion by the pool, and playing a weekly gig at a local restaurant.” “Jackson Browne” is just one of those sunny songs of youth, which has a DIY production evocative of ‘80s post-punk bands that came later, like Marine Girls and Young Marble Giants.

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Immaculate Collection with Yéil Ya-Tseen

Audrey Vann — Wed, 14 Jan 2026 11:41:00 -0800

The Tlingit Artist on the Tools of His Trades: Woodworking and Analog Synths

by Audrey Vann

I caught up with him ahead of his album release show on Friday at the Clock-Out Lounge to chat about the collections of tools that are behind his shapeshifting work: woodcarving tools and analog synths.

What do you collect?

What was the first item you acquired in this collection?

I made my own adze blades and handles; these were the first tools in my woodworking collection. I think the first serious synths added to my studio were the Moog One and Grandmother.

Get that Jupiter 8! COURTESY OF YA TSEEN

What is the most prized item in your collection?

I have some old Japanese chouna adzes I recently acquired and use. They are incredible and useful! As for synths in the spacestation, I love the Jupiter 8.

Tell me about an item you'd like to add to your collection.

I think about the Yamaha CS-80, I have a CS-60 but would love to upgrade to the 80. Also the Yamaha DX1.

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Stranger Suggests: A Psychosexual NC-17 Sensation, the Beginning of Your Year of Opera, and a Stoic White-Guy Worth Your Time

Julianne Bell — Mon, 12 Jan 2026 12:00:00 -0800

One really great thing to do every day of the week. by Julianne Bell MONDAY 1/12

Collide-O-Scope 16th Anniversary

(FILM) For a whopping 16 years, Collide-O-Scope has been a fixture of Seattle’s underground film and performance scene. It’s an institution that’s evolved alongside our city’s venues and creative spaces, putting in a decade at the (dearly missed) Re-bar, shifting online during the pandemic era, and finding a four-year home at the Crocodile’s recently closed Here-After before landing at its newest venue, the Clock-Out Lounge! For the uninitiated, the 16th-anniversary show is the perfect entry point into the cabaret, the chaos, and the community that have cemented Collide-O-Scope as a resilient part of Seattle nightlife history. (Clock-Out Lounge, 8 pm, 21+) LANGSTON THOMAS

TUESDAY 1/13

Colm Tóibín

(LITERATURE) Celebrated Irish author Colm Tóibín follows in the footsteps of literary giants like Henry James, James Baldwin, and Elizabeth Bishop, writing intensely human stories with unadorned, rhythmic prose. You’re most likely familiar with him through his sixth novel, Brooklyn, a breakout success that was adapted into the Oscar-nominated 2015 film of the same name starring Saoirse Ronan. Brooklyn revolves around young midcentury Irish immigrant Eilis Lace’s struggle to reconcile her past in Ireland with her new life in New York. Tóibín continued the saga with his 2024 sequel, Long Island, which picks up 30 years later as Eilis finds her marriage with her Italian husband Tony in disarray. Join him for this conversation at Town Hall for a glimpse into the mind of what the Boston Globe called “one of the world’s best living literary writers.” (Town Hall Seattle, 7:30 pm) JULIANNE BELL

WEDNESDAY 1/14

Steve Gunn, Jeffrey Silverstein

(MUSIC) It’s understandable if you’ve had your fill of stoic, white-guy guitarists with limited (yet pleasant) vocal ranges. But you should leave a sliver of precious time in your hectic life for Steve Gunn. What he lacks in singing prowess, he makes up for in instrumental expressiveness. Gunn’s a guitarist of rare melodic elegance and deceptive soulfulness, as evidenced by his 2013 breakthrough, Time Off, which found him contending with the legacies of British psych-folk masters such as Michael Chapman and Bert Jansch. Since then, Steve’s kept busy with several collabs (Kim Gordon, Mdou Moctar, Mike Cooper, Natural Information Society, etc.) and solo works, steadily building a fan base, with help via Matador Records’ marketing might. This year, Gunn’s released Daylight Daylight and Music for Writers for the more underground No Quarter and Three Lobed labels. The former thrums with chamber-art-pop splendor; the latter zones out in glowing ambient-drone-fingerpicking space, sans vox. The Triple Door should be a copacetic setting for this music’s understated grandeur. (Triple Door, 7:30 pm, all ages) DAVE SEGAL

THURSDAY 1/15

Fatlesque Fest NW at Triple Door

(PERFORMANCE) Fatlesque Fest NW is back with burlesque that challenges expectations and expands upon what the art form can look like onstage. Rooted in fat liberation and body positivity, the festival showcases performers from across the US, Canada, and the UK, with each night featuring a different cast and its own distinct energy. Headliners Lady Drew Blood and Lady Lola LeStrange anchor the lineup alongside a roster of featured performers serving humor and glamor. Produced by Puckduction, the same team behind Fat Con (also recommended), the fest carries a community- and visibility-first ethos into a bold, high-glam performance space. More than a showcase, Fatlesque Fest NW is a statement that celebrates joy, artistry, and bodies. (Triple Door, 7:30 pm, 18+) LANGSTON THOMAS

FRIDAY 1/16

Monster Rally

(MUSIC) For the past 15 years, Cleveland’s Ted Feighan has created a trove of transportive sound collages as Monster Rally. Envision your mid-century Pan Am touching down for several minutes at a time on a volcanic tiki retreat as imagined by the Loyal Order of Water Buffaloes; a bustling, sand-swept day market bearing bold spices and vibrant fabrics from across the empire; a Los Angeles Chinatown bossa nova jazz joint where the password is an inside joke. Alternately, the great thing about Monster Rally is that most of what your brain conjures when dosed with the sounds, Feighan has already made in visual form—most every release has been coupled with an extraordinary magazine cut-out piece of artwork that matches the escapist, exotically colored sounds he’s made, and his live shows are no different. By trade, a multi-instrumentalist beatmaker in the vein of Dirty Art Club, Teebs, or Madlib on his “Curls” beat shit, Feighan has chosen to open his studio for only the second time to outside vocalists (after his 2015 Foreign Pedestrians collab with Bay Area rapper Jay Stone), and the singles so far have displayed the telltale signs of crossover appeal. (Barboza, 6:30 pm, 21+) TODD HAMM

SATURDAY 1/17

Mourning Sickness: Showgirls

(FILM) What can I say about Paul Verhoeven’s landmark 1995 erotic drama that hasn’t already been said? That I felt like a changed person after watching it for the first time? That it is tacky and absurd to a degree approaching transcendence? That never in my life have I seen anything quite like Gina Gershon flirting with Elizabeth Berkley by talking about eating doggy chow? Whether you love or hate the critically panned movie, I’m willing to bet that you’re probably not indifferent. (I’m solidly in the love camp myself, in case you couldn’t guess.) See the psychosexual NC-17 sensation and its bevy of naked breasts on the big screen—drag queen and self-described “bird-brained bombshell” Monday Mourning will give an introduction to the film, which is part of her “Mourning Sickness” series of camp and cult classics. (Northwest Film Forum, 7:30 pm) JULIANNE BELL

SUNDAY 1/18

Seattle Opera: Daphne

The Seattle Opera presents Daphne at McCaw Hall January 16 and 18. COURTESY OF SEATTLE OPERA

(PERFORMANCE) One of my goals for 2026 is to start frequenting the opera—who’s with me? I want to see Seattleites step out of their Blundstones and Patagonias and into their opera gloves, faux furs, and antique opera glasses for an evening of art and glamour. I’ll be kicking off my Year of Opera with Strauss’s underrated masterpiece, Daphne, inspired by Ovid’s Metamorphoses. Strauss’s take on the Greek myth tells the story of Daphne, a woman who loves nature but has no interest in human romance, who turns into her favorite laurel tree after mourning the death of her suitor. Not only will this whimsical tale be brought to life on stage by the Seattle Opera, but the Seattle Symphony will join, playing the lush, pastoral score. (McCaw Hall, various times, all ages) AUDREY VANN

Prizefight!

Win tickets to rad upcoming events!*

Tom Papa
January 23, Pantages Theater (Tacoma)

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Jinkx Monsoon and BenDeLaCreme Are Here To Sleigh

Audrey Vann — Tue, 23 Dec 2025 10:45:00 -0800

Now in its eighth year, the Jinkx and DeLa Holiday Show should be considered Christmas canon. They are hotter (and younger) than Mrs. Claus, their show is funnier than The Nutcracker, and they have more love in their hearts than your wretched family members. I caught up with the BFFs ahead of their five-night stint at the Moore Theatre to discuss their favorite Christmas songs, least favorite gifts, and the ethics of coal this holiday season. by Audrey Vann

Now in its eighth year, the Jinkx and DeLa Holiday Show should be considered Christmas canon. They are hotter (and younger) than Mrs. Claus, their show is funnier than The Nutcracker, and they have more love in their hearts than your wretched family members. I caught up with the BFFs ahead of their five-night stint at the Moore Theatre to discuss their favorite Christmas songs, least favorite gifts, and the ethics of coal this holiday season.

What does Christmas Day on tour look like?

BenDeLaCreme: We have a long-standing tradition of hosting a party in Seattle every Christmas Day for performers, chosen family, and other members of the community to get together on our one day off, since many of us have long stretches of holiday shows. I no longer have a home base in Seattle, but still, we have everyone on this cast and crew, and all of our local friends in Seattle who we don't get to see as much anymore. We have an all-day Christmas party with a lot of food, drinks, catching up, and usually karaoke! It's very homey and familial. I’m so glad that we still get to have that.

What are your go-to Christmas karaoke songs?

DeLa: Oh, well, we are definitely not karaoke-ing Christmas songs! Trust me, we’ve had our fill of Christmas music. My go-to karaoke song in general is Shaggy's “Mr. Boombastic.”

Jinkx Monsoon: If I had to, I would do like “Greensleeves” so that everyone has to confront why it’s a Christmas song.

What are some of your all-time favorite Christmas songs?

Jinkx: I have fewer, so I'll go first. There's a song on our pre-show playlist called “Donde Esta Santa Claus,” sung by a little kid to his mom. He knows he should be in bed, but he can't, because he's too excited to see Santa—the chorus is “¿Mamacita, donde esta Santa Claus?” We have a cast dance that we all do when that song plays. It brings up a lot of warm memories. Then, I don't know, I like “Oh, Holy Night” because it sounds so ominous and dark, especially when played on a pipe organ. It sounds like a bad premonition.

DeLa: I'm very meticulous about having Christmas music during our show intermission that gets people in the holiday vibe while still being pretty obscure. I'm giving away my secret right now, but many of the songs from our show playlist are from this compilation album called the American Song-Poem Christmas, which is all songs from the ’60s and ’70s that were created through scammy magazine ads that said, “Send in your Christmas lyrics, and if they're good enough, you’ll be a star!” They were sent all these atrocious lyrics that people wrote in, and hired some really bad singers to make them into an album.

Anyways, it generated all these insane songs like “Santa Came in on a Nuclear Missile,” about a mutated Santa showing up, and instead of giving the girl a teddy bear, he gives her a laser gun. She's like, “Oh no, please, go back to being regular old, Santa!” I also like “Ole year Christmas,” which is basically a bunch of total nonsense phrases set to a beat. One of my favorites is called “Daddy, Is Santa Really Six Foot Four?” which is from the perspective of a little girl who is watching her mom cheat on her dad and singing to her dad about how Santa is carrying a gun. And the main lyric is, “He carries a torch for Mama and a gun for you.” It’s the most bizarre, weird song.

What is the most memorable Christmas gift you've ever received?

Jinkx: I think for me, and this is gonna sound so materialistic and capitalist for who I am today, but I don't think I've ever been so happy as when I got the Legend of Zelda: Ocarina of Time. It was a Nintendo 64 video game. My entire life, people had given me gifts that I had no interest in, and when they found out that I liked nutcrackers, that's all I got for years. When my family found out I was into video games, it was finally an acceptable gift to give a “boy” that I actually liked. This is part of an ongoing conversation I like to have about buying gifts for your queer relatives, because it's like, do you acknowledge the fact that they're queer, or is that outing them? Video Games were where the Venn diagram finally met, where they finally knew what to get me, and I actually liked it.

DeLa: Because you said memorable and not favorite, I’ll go in a different direction. I have such a distinct memory of being young and very, very queer—I'm talking like seven years old—and my family still trying to figure out what the hell to do with that. I always wanted My Little Ponies and things like that, but I would get action figures. I remember getting one that was a He-Man villain or something with a robot elephant trunk. It scared the shit out of me! When I opened it, I started crying. I was terrified. Once my family figured out they could give me art supplies, everything was cool, but for the most part, gift-giving was always this weird, tricky thing when I was a kid.

This sounds so Pollyanna, but as an adult, I'm not a huge gift-giver. My favorite thing is Christmas Day and when people show up to drink eggnog and spend time together. I’m making myself want to vomit as I say this, but spending that time with those people, and the fact that people commit to doing it, even though we're all performing and exhausted by the time Christmas rolls around, that, to me, is my absolute favorite thing I get from my community.

Well, okay, so you both have a bit of a history of living in Seattle, if you were to take someone on a festive outing in Seattle. Where would you take them? What would you do?

Jinkx: I know it's touristy and I know it's cliche, but I lived in Seattle for 14 years, and I never got sick of walking down to Pike Place Market. Still, every time I'm there, I go on a walk to the market for stones and gem-based jewelry, probably about two times a week. I’d take them there for sure. Then, probably take them to Queen Anne for dinner, maybe an artsy film, if I was in the mood, otherwise, we'd end up at Dave & Busters, because as a sober person that is, strangely, my new favorite place to go.

DeLa: I'm in Seattle Center a lot because that's where we work on a lot of the show. Once the Christmas lights are up, and once Seattle Center starts feeling Christmasy, I really do love it. I'm a nerd for the Space Needle and that whole area.

And, you know, I'm always going to be plugging our show! One of the most special things about Seattle is the performance community. There are so many incredible shows, and specifically queer performance artists who are making amazing stuff for the community. Whenever I'm able to see Scott Shoemaker’s War On Christmas, I'm always there. And, for so many years, the Dina Martina Christmas show was one of my biggest traditions. There are just amazing alternative holiday offerings in town, and so hitting as many of those as possible is always my recommendation.

Lastly, who deserves coal in their stocking this year?

Jinkx: I think they all just posed for a Vanity Fair photoshoot. I would just copy and paste that photo [caption].

DeLa: We might need to rethink coal this year because of all the additional mining.

Jinkx: It’s always a fight over where to put nuclear waste, so maybe it’s in their stocking. Then they can sit with what they’ve done!

See the Jinkx & DeLa Holiday Show at the Moore Theatre Dec 23-24 & 26-28

Pop Loser: Music News, This Week's Events, and the First Song Sera Cahoone Learned on Guitar

Audrey Vann — Thu, 18 Dec 2025 14:40:00 -0800

by Audrey Vann

Welcome back to Pop Loser! This week, we’ll dive into the luminaries we’ve lost, Brian Eno’s newest project, and my nightmare blunt rotation. I get to rant and rave about underrated ‘70s singer-songwriter Dory Previn. And in this edition of First Times, Sera Cahoone shares the first song she learned on guitar.

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This Week in Music:

This week has been filled with loss. Singer-songwriter Joe Ely, who was known as a key shaker of the 1970s Texas progressive country scene, passed away at his home in New Mexico on Monday from complications of Lewy Body Dementia, Parkinson’s, and pneumonia. On Sunday, it was also announced that ‘70s R&B favorite Carl Carlton, who you might know from his songs “Everlasting Love” and “She's a Bad Mama Jama (She's Built, She's Stacked),” has died. No cause of death has been announced yet. Selena’s father, manager, and record producer, Abraham Quintanilla Jr., died on Saturday at the age of 86. And influential director, actor, and philanthropist Rob Reiner and his wife, photographer, film producer, and businesswoman Michele Singer Reiner, were found dead in their home on Sunday night from an apparent homicide.

Yo La Tengo paid tribute to Reiner at their second Hanukkah show in NYC Monday night by covering “Gimme Some Money” from the 1984 mockumentary This Is Spinal Tap. “We’re going to salute a Jewish songwriter [whom] we were not expecting to be saluting this Hanukkah,” frontman Ira Kaplan told the audience. “We certainly weren’t expecting to be memorializing him, so we’re going to try to do a song and see how this goes.”

Together for Palestine—an ensemble featuring Brian Eno, Neneh Cherry, Nadine Shah, Mabel, and Celeste—have released “Lullaby.” Eno stated in a press release: “After a year defined by unimaginable loss, grief, and injustice, we want to end with an act of love for Palestine’s children. ‘Lullaby’ reflects their beauty, their longing, and their hope. If we rally together and download it, we have a real shot at landing Christmas No. 1—and turning that moment into vital life-saving support for Gaza’s families.” All proceeds from the single go to Choose Love’s Together for Palestine Fund, which supports Taawon, Palestine Children’s Relief Fund, and Palestine Medical Relief Service.

Feminist punk collective Pussy Riot have been declared an “extremist” organization by Russian authorities. The court not only has banned the group’s activities in Russia, but also threatens to prosecute anyone deemed to be associated with them. This means that even a simple Google search of their name could permit criminal prosecution. Anyway, stream Matriarchy Now!

My nightmare blunt rotation. Bruno Mars, Chad Smith, and Duff McKagan joined Slash on Thursday night for billionaire Todd Boehly’s private holiday party. But wait, it gets worse—the supergroup-from-hell covered Nirvana’s “Smells Like Teen Spirit.”

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Interview: First Times with Sera Cahoone COURTESY OF SERA CAHOONE

What was the first CD you bought?

I believe it was Bonnie Raitt’s Luck of the Draw. I listened nonstop. I think it was at Best Buy of all places. We only had so many options where I grew up.

What was the first song you sang in front of people?

It was one of my own songs, I think I was 17. I played it for my best friend Heather. I was terrified!

What was the first song you learned on the guitar?

“Silent Lucidity” by Queensryche. I recently got to meet Chris DeGarmo, who wrote the song, and share that memory with him. It was super sweet.

What was the first song that made you cry?

Dan Fogelberg’s “Leader of the Band.” That song still gets me.

Who was the first musician you idolized?

Pat Benatar. She was my first concert with my mom. I was so sad to see how many people were there. I thought she would only be singing to me!

What is a song that played at your first school dance?

Oh wow, I have no idea. I’m pretty sure I would have been in absolute misery if I were at a school dance.

Music Events Worth Your Hard-Earned Money This Week

Sera Cahoone with Carrie Biell Dec 18, Tractor Tavern, 7:30 pm, 21+
Yves Tumor (DJ Set) Dec 18, Crocodile, 8 pm, 21+
Ben Gibbard Dec 19, Neptune Theatre, 8 pm, all ages
Jay Som Dec 19, Neumos, 8 pm, all ages
Belltown Bloom Presents: Rock Can Roll feat. La Fonda, Semisoft, Kenshi Killz, Dining Dead, Waltzerr, and Carny Dec 20, Sunset Tavern, 7:30 pm, 21+
THEM Dec 20, Neumos, 6 pm, all ages
Damien Jurado's December Residency Dec 21, Tractor Tavern, 7:30 pm, 21+

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The Songs That Keep Me Up at Night

“Antídoto” by Colleen

French electronic composer Colleen is one of the few contemporary artists that I follow closely. Throughout her 20+-year-long career, her sound has ranged from abstract and ambient (2023’s Le jour et la nuit du reel) to melodic and lyrical (2016’s The Weighing of the Heart), and although it doesn’t always click with me right away, I’ve learned to trust her genius and drink up everything she produces. This is the case on her newest wordless, minimal synth track, “Antídoto.” I felt underwhelmed at first, but the more I listen to it, the more relaxing and enjoyable it becomes. This seems to mimic the concept of her upcoming album Libres antes del final (Free before the end), which is inspired by learning to swim.

“Twenty-Mile Zone” by Dory Previn

In the 1970s, poet/singer-songwriter Dory Previn wrote dozens of songs about being wronged by her husband, film composer André Previn, who cheated on her with a young Mia Farrow while she was pregnant. “Twenty-Mile Zone” is a deeply relatable song about a time she got pulled over for screaming in her car. “I wasn’t doing nothin’ / just screaming at the dark / just lettin’ it out.” The only thing she should be getting pulled over for is being criminally underrated. I highly recommend you dive into her discography if you appreciate the poetic lyricism of Leonard Cohen or the witty storytelling of John Prine.

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Stranger Suggests: A Campy Christmas Movie Night, a Band for Fans of Kate Bush, and a Weirdo Art Party in Georgetown

Julianne Bell — Mon, 08 Dec 2025 12:00:00 -0800

One really great thing to do every day of the week. by Julianne Bell MONDAY 12/8

Collide-O-Scope Xmess: Final Show Hosted by Shane Wahlund and Michael Anderson

(FILM) We’ve reached the end of an era, and it's time to take the strangest sleigh ride you’ll ever embark on. Collide-O-Scope is back with an all-new Xmess spectacular: a deliriously demented collage of vintage holiday oddities, freaky film scraps, and found-footage delights, all stitched together by hosts Shane Wahlund and Michael Anderson. This year’s show is especially poignant, as it’s the final Collide-O at Here-After—the beloved Crocodile venue closing its doors along with Madame Lou’s. Be sure to show up and support the campy thrills, deep-cut ephemera, and big laughs that make Collide-O so special. Plus, enter for some special prize drawings to send you off with a sugar-plum sparkle. (Here-After, 8 pm, 21+) LANGSTON THOMAS

TUESDAY 12/9

Bye Bye Love

(FILM) This lost gem of Japanese independent cinema came out in 1974 and was rediscovered in a film lab warehouse in 2018, leading to its restoration and distribution in America for the first time in 50 years. Evoking the doomed atmosphere of Gregg Araki and the stylish surrealism of Jean-Luc Godard, director Isao Fujisawa’s sole feature film introduces us to Utamaro, a nihilistic vagabond who crosses paths with the beautiful genderfluid shoplifter Giko. Before long, the star-crossed pair must go on the lam for murder and embark on a summer trek through Japan. In short, it’s a queer crime road-trip movie with a Japanese take on French New Wave—what more could you possibly ask for? (The Beacon, various showtimes, through Dec 11) JULIANNE BELL

WEDNESDAY 12/10

The Stranger's Holiday Drink Week 2025

Drinks from left: The Dandy of King Street Crossing's Port Moody, the Runaway's Chocolate Peppermint Martini, and Big Mario's Spiced Cranberry Orange Mule. COURTESY OF RESPECTIVE BARS

(FOOD & DRINK) Ready to get your nog on? The Stranger’s Holiday Drink Week is back, serving up a citywide lineup of festive libations that put mulled wine and spiked hot chocolate to shame. Once again, every limited-edition beverage is just $12 as participating bars and restaurants roll out exclusive holiday-themed cocktails ranging from cozy classics to creative “cups of cheer” you will not find on a normal menu. Round up your band of merry fools and bundle up in your warmest gear to embark on this year’s self-guided winter bar crawl. (Full list of participants here, through Dec 14) LANGSTON THOMAS

THURSDAY 12/11

Mt Fog, Von Wildenhaus, Power Strip

(MUSIC) Seattle-born trio Mt Fog uses minimalist electronic sounds and ethereal vocals as a magic wand to “evoke magical spaces, real and imagined.” Their 2024 album, ultraviolet heart machine, gained critical praise due to its whimsical marrying of Björk-style growls with sparkly ’80s synths. Now, the band is back with a new song, “Look Inside,” which they will debut at this single release show along with a snazzy new music video directed by artist Sean Downey with illustrations by Dena Zilber. This show is a must for fans of Cocteau Twins, the Sugarcubes, Kate Bush, Sinéad O’Connor, and Siouxsie & the Banshees. Don’t miss opening sets from cinematic indie-pop outfit Von Wildenhaus and improvisational ambient project Power Strip. (Sunset Tavern, 8 pm, 21+) AUDREY VANN

FRIDAY 12/12

Peter Ferguson + John Brophy + Jean Labourdette

Peter Ferguson's "The Elopement of Our Beloved Comrades" will be at Roq La Rue through January 11. COURTESY OF ROQ LA RUE

(VISUAL ART) Three solo shows under one roof at Roq La Rue offer paintings of the jaw-dropping ilk. Each artist wields the paintbrush like a Dutch master, and each delves headlong into the realm of dark fairy tale with their unique twist. Montreal-based Peter Ferguson (described as “Norman Rockwell meets H.P. Lovecraft”) offers luminous (yet somehow dim) visions of sepia-drunk cityscapes and other scenes frozen in time that send the mind spiraling in search of a story. Jean Labourdette’s hyperrealistic miniatures of birds, skulls, and other ephemera are often only two or three inches in size, encased in vintage hinged gilt wood casings or antique reliquaries. John Brophy’s oil paintings of characters seem to glow from within: The shimmer of gathered fabrics, reflecting pools of satin, gloss of grass, and threads of delicate pointelle lace will have you hopelessly, luxuriously lost in the details. (Roq La Rue, 6-9 pm, through Jan 11) AMANDA MANITACH

SATURDAY 12/13

Equinox Studios: 19th Annual Very Open House

(PARTY) For nearly two decades, Equinox Studios in Georgetown has been a hub for arts. Sited in a World War II-era factory, the complex oozes that Georgetown gearhead grit and realness and is home to over 150 artists, from dancers and ceramicists to blacksmiths and painters (such as the brilliant Beth Gehan and Mary Ann Peters). We know that Georgetown loves to throw a good party, and this December iteration of the Georgetown Art Attack will be one for the books, as it syncs up with the Equinox open house (the annual event usually draws 6-8k visitors). Festivities this year include a pop-up Native Art Market, a host of food trucks, and artist-made fire pits scattered through the block. Live music starts at 4 p.m. with nance!, Flesh Produce, the Noble Manes, Bandski, Sirens of Serpentine Bellydancers, Night Owl, Town Forest, and Lil Lebowsxi. And since it’s Georgetown, of course there will also be a renegade marching band on the premises. (Equinox Studios, 3 pm–late) AMANDA MANITACH

SUNDAY 12/14

Antibalas, Midpak

(MUSIC) Fela Kuti and Tony Allen may be dead, but their pioneering Afrobeat legacy powers on with more voltage than ever in the 2020s. One of these revolutionary Nigerian musicians’ most skillful disciples, NYC’s Antibalas, have been fanning Fela and Tony’s artistic flames with unmatched fluency and funkiness for a quarter century. The intricate, interlocking polyrhythms, the triumphant horn charts, and the liberatory political lyrics build into perpetual-motion machines that make you think, against all logic, a more just world is possible. Following the departure of long-running singer Duke Amayo after 2020’s Fu Chronicles, Antibalas have returned with the all-instrumental album, Hourglass, which harks back to the group’s first principles, but with greater subtlety. It’s fairly certain that Fela and Tony would bust moves in approval. Opening will be Seattle quartet Midpak, whose serpentine and explosive funk laces African, Latin, and psychedelic elements into potent, party-starting jams. (Hidden Hall, 8 pm, 21+) DAVE SEGAL

Prizefight!

Win tickets to rad upcoming events!*

Seattle Men's Chorus
December 19, Benaroya Hall

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Mat Brooke
December 13, Smith Tower

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The El Rey Has Been Saved! What's Next?

Audrey Vann — Mon, 08 Dec 2025 11:55:00 -0800

Common AREA Maintenance Is Making Plans for Artist Housing and a Cultural Space

by Audrey Vann

“How do you form a creative space that is sustainable? How do you institutionalize something while keeping it free and fun? These are the important questions we keep asking ourselves,” says Timothy Firth, the director of Belltown-based arts collective, studio, and gallery Common AREA Maintenance (or CAM). The self-described “scrappy” collective has campaigned over the last year to acquire the El Rey building in Belltown, the next-door neighbor of their Second Avenue gallery, studio, and performance space (Common AREA), not only to save it from demolition but to create affordable artist housing and community resources. Last week, CAM officially announced that their plan had worked, and that they’ve acquired the building for the symbolic price of $20, with the Office of Housing agreeing to forgive the $2.2 million loan if CAM can get the El Rey structurally sound and in compliance with fire codes.

Built in 1910, the El Rey is a four-story brick apartment building on Second Avenue in Belltown, between Lenora and Blanchard Streets. Unlike many of its neighboring buildings, the architecture of the El Rey is relatively modest and not encrusted with ornate embellishments, but that doesn’t mean it’s not worth saving. Many early-20th-century buildings in Belltown were constructed as worker housing in a very critical period in Seattle’s history, after the Denny Regrade, when there was an urgent need for low-income housing for dock workers. CAM’s advocacy for the arts community is not dissimilar to these origins. “I was really inspired by the building’s history as worker housing,” Firth explains. “Often when an old building in Seattle is torn down, and a new one gets built, the new building is not available to the working-class community anymore: It's not for the arts, and it's not affordable housing.” He continues, “It’s extra ridiculous to tear down the El Rey, because it’s gone through substantial alterations over the years. It has a seismic upgrade, new energy systems, and a sprinkler system—with a very small investment, it is ready for housing and community use.” CAM’s ultimate goal is to fill the top two floors with eight to 12 one- and two-bedroom apartments for working artists who make around 50 percent of the area's median income.

But CAM isn’t just planning to create affordable housing for artists; they are building a cultural space that will be a home to an artist residency program and a performance space. With the Crocodile just down the street closing their sister venues, Madame Lou’s and the Here-After, this is a welcome reprieve for the neighborhood. “There's such a powerful need for a performance space, especially ones that are modest in size,” says Firth. “It’s important to have smaller spaces that are available for people who are exploring new ideas and are in a generative exploration phase of their practice or their career.” Firth envisions the performance and gallery space at the El Rey will follow in the footsteps of their rented Common OBJECTS and Common AREA spaces, expanding their capacity to support artists and performers, including comedy, plays, modern dance, poetry readings, and more.

The El Rey is also home to two retail spaces, which CAM hopes to fill with mission-based organizations. While it’s too early to name any names, there are already a few organizations interested in renting the space. “There are so many cool people in Seattle doing wonderful things,” Firth gushes, “but it's very expensive to run a brick-and-mortar space.” Is it possible to make these spaces more affordable? In Firth’s mind, the answer is yes. “If we approach the project around this debt-free model, and we're not paying a debt every month, that means we are servicing our mission; that's what feels really, really powerful.”

As for the timeline, Firth explains that the project will work in phases, starting with stabilizing the building and getting it off the fire watch. Then, CAM hopes to get the ground floor operational and ready to be of use to musicians and artists while they’re still fundraising for construction costs within the first year. Hopefully, Firth says, if everything goes according to plan (a year of permitting and planning, a year of construction, and a year of stabilizing and inviting people on), the building should be fully functional within three years.

Firth also made it clear that this is just the beginning for CAM and other arts organizations when it comes to saving properties and offering resources to artists. “There should be at least 50 versions of what we're doing,” he states. “But the question is, how can we get a seat at the table?” Firth asks. “Oftentimes, we are not invited to the table. And, if we get there, how are we supposed to know the etiquette of the protocol?” In the last six months alone, Firth has spoken to numerous artists who are trying to start similar projects as CAM, and he is eager to share any spreadsheets, resources, or knowledge that have helped him guide the El Rey acquisition.

Pop Loser: Music News, this Week's Events, and John Waters Holiday Traditions

Audrey Vann — Thu, 04 Dec 2025 12:01:00 -0800

Pop loser, you weekly music roundup. by Audrey Vann

Welcome back to Pop Loser, you weekly music roundup! This week, THING Festival announced an indefinite hiatus, Brandi Carlile announced her Super Bowl debut, and Paul Anka announced that he once saunaed with Frank Sinatra (read on to learn about his big takeaway from the experience). Plus, I interviewed the undisputed King of Christmas, John Waters, about his string of novelty singles, holiday traditions, and the time he accidentally consumed 14 doses of THC.

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This Week in Music:

This week in Strangerland, the staff has compiled a big ol’ list of upcoming concerts we recommend this December and January. There is a lot of good stuff coming up this month that is not holiday music, including Mt. Fog, Jay Som, and Takuya Nakamura.

In other local music news, the Vera Project (in collaboration with Denton, Texas, art collective Good/Bad) has revealed the lineup for their 14th annual Rock Lottery, featuring members of local bands like Gender Envy, RUB, somesurprises, Afrocop, Naked Giants, and more. Back in March, Stranger managing editor Megan Seling wrote about her day watching the magic happen during Seattle’s most spontaneous day in music.

THING Festival has announced an indefinite hiatus. The organizers announced on Thursday that the festival will not be returning in 2026. “We intend for it to return in the future and will use this time to recalibrate its vision,” writes STG Chief Programming Officer Adam Zacks. “We want to take time to do THING right and ensure it’s the best it can be.” THING Festival launched in Port Townsend in 2019 to fill the Sasquatch Festival–sized gap in the market. It’s since moved to Carnation, and this past year, it went from one massive festival to a multi-weekend series.

Ravensdale, WA’s own Brandi Carlile will play the Super Bowl pregame show this coming February, alongside Charlie Puth and Coco Jones, with halftime entertainment from Bad Bunny. (This is the only time Pop Loser will be mentioning football, I promise.)

Warner Music Group signed a deal with the devil. The major label has joined forces with AI song generator Suno, whom they were suing for copyright infringement just last year. Pitchfork reports, “The new partnership, which settles their prior litigation, is designed to help Suno move toward a licensed model where users will pay to download songs made on its platform with artificial intelligence.” Apparently, this means that artists will be compensated and retain “full control” over how their music, likeness, and other copyrights are used. Is this good or bad? Only time will tell.

Paul Anka breaks his silence on Frank Sinatra’s penis. While promoting his upcoming HBO documentary, Paul Anka: My Way, the 1950s teen dream confirmed the long-running lore about Ol’ Blue Eyes, telling Page Six that he once saunaed with the Rat Pack. "Yeah, it was huge,” Anka revealed, also stating that he had "had trouble with eye contact" with Sinatra while in the sauna.

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Interview: Rockin’ Around the Electric Chair with John Waters GREG GORMAN

John Waters is an icon—a pencil-thin mustache, dark sunglasses, a transgressive catalog of films, and an overall dedication to filth. But, on his string of novelty singles on Sub Pop Records (“Jingle Bells” / “It's a Punk Rock Christmas” and "John Waters Covers Little Cindy 'Happy Birthday Jesus'” / “A Pig Latin Visit from St. Nicholas”), Waters has an outlet to transform into new characters and direct himself à la Cindy Sherman. Gather around the electric chair, children, because the man with the bag has landed! (The man is John Waters, and the bag is full of filthy jokes.)

How do you decorate for Christmas?

Traditionally and very untraditionally. We decorate, but I don't have a tree. I decorate Divine’s electric chair from Female Trouble. I have lots of Christmas decorations. Many of them have been made by fans, and they're great—some have Divine or Edith on them. A fan made me a statue of Divine knocking over a Christmas tree. It has batteries, and all the lights blink and everything. That, I think, is my favorite one. I also have decorations that my mom made for me. I mix them as I do with my real life: I mix the good taste and turn it into bad taste, hopefully to get you to notice that everything can be pleasing.

In a recent interview, you mentioned that you used to take speed and steal Christmas gifts out of people's cars and unwrap them. Do you remember or did you keep any of the gifts you stole?

We would throw them out the window! Or worse yet, if they had a gift slip, we would take them to the store and get the money! An old friend reminded me recently that she stole a blouse with someone’s mother's monogram on it. She wore it to school the next day and covered it up with a sweater. It was really terrible. It just proves that there is no such thing as karma.

What's the most memorable Christmas gift that you've ever received?

Well, I still go to sleep sometimes with a beautiful cashmere blanket that Divine gave me a long time ago. But don't ever give cashmere! It just calls moths to your house. Cashmere is a moth Woodstock waiting to happen.

How do you feel about fruitcake?

Well, I tried to make a movie that was called Fruitcake—that has almost happened three times. It's a children's Christmas special. I hope I get to make it one day. I personally have never eaten a piece of fruitcake in my life. I don't crave it… let's put it that way.

Well, hopefully now that you've said that, people don't bring a bunch of fruitcakes to your shows!

I won’t eat anything a fan ever gives me. I did it once, and I was in the hospital for three days.

Oh my god! What did you eat?

I ate 14 doses of THC, not realizing it. They thought I had a stroke—I thought I had a stroke! It was a nightmare. Never eat food from fans!

Read the entire interview here.

Music Events Worth Your Hard-Earned Money This Week

Rochelle Jordan Dec 4, Barboza, 7 pm, 21+

The Muppet Christmas Carol in Concert with the Seattle Symphony Dec 5-7, Benaroya Hall, various times, all ages

Alaska Presents: A Very Alaska Christmas Show Dec 5, Neptune Theatre, 8 pm, 18+

19th Annual Tom Waits Night Dec 6, Conor Byrne Pub, 8 pm, 21+

Matt Rogers: Christmas in December Dec 6, Neptune Theatre, 8 pm, all ages

The Snowman in Concert with the Seattle Symphony Dec 6, Benaroya Hall, 11 am & 1 pm, all ages

Wimps, Mark Robinson, and Pitschouse Dec 9, Sunset Tavern, 7:30 pm, 21+

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The Songs That Keep Me Up at Night

“The Man I’m Supposed to Be” by Bill Callahan

Wow, Pop Loser recommending a song by a man singing about the bad things he’s done? Believe me, I’m surprised, too. However, Smog frontman Bill Callahan’s lead single from his forthcoming album, My Days of 58, is refreshingly honest and vulnerable for this type of song—it’s sort of like a Mark Kozelek (Red House Painters, Sun Kil Moon) song with actual self-reflection and regret. Callahan sings, “I've been living too long in my head / not loving you enough in our bed / From now on, I start living my life / As if the next day I'll be dead.” Men, take notes!

“I Lived in Trees” by Mark Fry

Considering that Mark Fry’s 2011 album, I Lived in Trees, was released nearly 40 years after his debut, Dreaming with Alice, I had never considered listening to it—I had the wrongful assumption that it strayed far from the ‘70s psych-folk sound I had grown to love. But when my best friend played me the album during breakfast one morning over the weekend, I was stunned. I Lived in Trees, particularly the title track, combines just about every beautiful sound you can think of—bird chirps, gentle piano, autoharp, harmonium, flute, and bells—alongside Fry’s timeless coos, reflecting on his life: “When I was a boy I lived in trees / hidden in the leaves / looking down on my world / dreaming down on my world.” For fans of Robert Wyatt, Nick Drake, and Vashti Bunyan’s Heartleap.

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Stranger Suggests: A Singer-Songwriter Obsessed with Weddings, One Half of 'Las Culturistas,' and a Holiday Pop-Up Bar that Doesn’t Suck

Julianne Bell — Mon, 01 Dec 2025 13:30:00 -0800

One really great thing to do every day of the week. by Julianne Bell MONDAY 12/1

Anna of the North

(MUSIC) Oslo-based pop singer Anna of the North knows a little something about finding joy in long, dark winters. The artist has been in the music game for a while, from having her 2015 debut single "Sway" remixed by the Chainsmokers to opening for Kygo's European tour and providing guest vocals for tracks on Tyler, the Creator's 2017 album Flower Boy. She's had two songs featured in the To All the Boys Netflix film series; her catchy track "Dream Girl" was also in an iPad commercial, and the 2017 single "Lovers" found new life on TikTok more recently. Her latest music has drifted toward danceable soul-inspired synthpop, promising a ridiculously fun live show. The singer has teased on social media that this could be her last US tour, so don't miss out. (Neumos, 7 pm, all ages) SHANNON LUBETICH

TUESDAY 12/2

A John Waters Christmas

(COMEDY) John Waters is an icon—a pencil-thin moustache, dark sunglasses, a transgressive catalog of films, and an overall dedication to filth. But, on his string of novelty singles on Sub Pop Records (“Jingle Bells” / “It's a Punk Rock Christmas” and "John Waters Covers Little Cindy 'Happy Birthday Jesus'” / “A Pig Latin Visit from St. Nicholas”), Waters has an outlet to transform into new characters and direct himself à la Cindy Sherman. On “Happy Birthday Jesus,” Waters morphs into a little Christian girl from the South speaking directly to Jesus on Christmas night. On his cover of the Singing Dogs’ “Jingle Bells,” he splits into a pack of barking dogs, scaring away unwanted carolers and guests who have overstayed their welcome. I caught up with the legendary filmmaker, actor, writer, and artist ahead of his annual Christmas tour to discuss his upcoming stop in Seattle, his own Christmas traditions, and why he doesn’t want your stupid fruitcake. Gather around the electric chair, children, because the man with the bag has landed! Read the interview here! (The Neptune, 8 pm, all ages) AUDREY VANN

WEDNESDAY 12/3

Jens Lekman, Jordan Patterson

(MUSIC) I fell in love with Swedish musician Jens Lekman’s music the very first time I heard “You Are the Light (by Which I Travel Into This and That)” on KEXP as a teen and soon graduated to listening to a burned CD of his 2004 debut album When I Said I Wanted to Be Your Dog on repeat, becoming fixated on his melodramatic yearning and witty storytelling. The hopeless romantic has since fulfilled the prophecy he set for himself in the early track “If You Ever Need a Stranger (To Sing at Your Wedding),” in which he volunteered himself as a wedding singer: “You think it’s funny / My obsession with the holy matrimony / But I’m just so amazed to witness true love.” Since then, he’s performed at countless weddings, and his seventh album, Songs for Other People’s Weddings, is a narrative concept album inspired by his experience, accompanied by a tie-in novel by author David Levithan. (Neumos, 7 pm, all ages) JULIANNE BELL

THURSDAY 12/4

Megha Majumdar

See author Megha Majumadar at Elliott Bay Book Company Thursday.

(BOOKS) Kolkata-born author Megha Majumdar’s incendiary 2020 debut novel A Burning, which follows the story of an Indian woman who witnesses a terrorist attack on a train, became a New York Times bestseller and was longlisted for the National Book Award that year. Set in the near future of Kolkata, Majumdar’s sophomore novel A Guardian and a Thief tells the intertwining stories of Ma, whose purse containing crucial immigration documents is stolen just before her family’s move to America, and Boomba, the thief who is driven to crime out of his desperation to support his own family. Majumdar will drop by Elliott Bay to discuss her work with local writer Kim Fu, author of Lesser Known Monsters of the 21st Century. (Elliott Bay Book Company, 7 pm, free) JULIANNE BELL

FRIDAY 12/5

Immortal Technique, w/Poison Pen & DJ Static, True II Form, Premium Smoke, DJ Indica Jones

(MUSIC) Felipe Andres Coronel, the Peruvian-bred, Harlem-hardened MC better known as Immortal Technique, is not touring in support of a new album—in fact, the rapper hasn’t released a full-length in roughly 15 years—however, his return to the stage does seem born of the same call to action that led him to release venomous underground-rap classics like Revolutionary Vol. 1 and 2 during the younger Bush presidency. During that time, Tech established himself as the militant mouthpiece of conscious rap, harvesting the revolutionary ethos of bands like Rage Against the Machine and Public Enemy, and cramming it through the meat grinder of the era’s energized battle-rap scene. In more recent years, he has done work counseling prison inmates (of which he was once one), and mentoring young writers, as well as partnering with a nonprofit group to help build an orphanage in Afghanistan. The man walks the walk, and for obvious reasons, there may not be a more appropriate and cathartic time to see an Immortal Technique show that will likely be peppered with political diatribes. We fully recommend you go get an earful. (Nectar Lounge, 8 pm, 21+) TODD HAMM

SATURDAY 12/6

Matt Rogers: Christmas in December

(COMEDY) [Mariah Carey voice] “It’s tiiiime!” Mimi might be the holiday’s reigning queen, but comedian and actor Matt Rogers, cohost of your pop-culture-savvy queer friend’s favorite podcast Las Culturistas, has undoubtedly earned the title of “Pop Prince of Christmas” with his musical comedy TV special and album Have You Heard of Christmas? The hysterical romp features appearances from friends like Bowen Yang and MUNA and is the perfect antidote to Christmas fatigue with its joyfully irreverent take on Yuletide cheer. At his live performance at the Neptune, Rogers will perform songs like “God’s Up to His Tricks!” (in which he calls God a “stupid bitch”), “Lube for the Sleigh,” and “The Hottest Female Up in Whoville.” (Neptune Theatre, 8 pm, all ages) JULIANNE BELL

SUNDAY 12/7

Miracle on 2nd

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(FOOD & DRINK) In 2014, New York bar owner Greg Boehm temporarily transformed his space into a kitschy Christmas wonderland replete with gewgaws and tchotchkes galore. Now, the pop-up has expanded to more than 100 locations all over the world and returns to Belltown’s Rob Roy. Beverages are housed in tacky-tastic vessels, bedecked with fanciful garnishes like peppers and dried pineapple, and christened with cheeky, pop- culture-referencing names like the “Bad Santa,” the “Yippie Ki Yay Mother F****r” (their asterisks, not ours), and the “You’ll Shoot Your Rye Out.” (Rob Roy, 4 pm–2 am, through December 25) JULIANNE BELL

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December Things to Do: Film

Julianne Bell — Mon, 01 Dec 2025 11:57:00 -0800

The best film events happening in December. by Julianne Bell

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, and Food.

Reveries: The Mind Prison

Dec 4

If the Big Dark has you feeling glum and you’re in the mood to expand your consciousness with some big laughs along the way, consider this unique comedy/art film hybrid, which was released earlier this year. Through a combination of “narrative scenes, abstract video montages, and meditative voiceovers,” the psychedelic movie follows two drifters wandering through a desert on an existential journey of self-discovery—New York Magazine’s Vulture likened it to “an ayahuasca session conducted by Mitch Hedberg.” Better yet, co-writer and star Anthony Oberbeck will be present at this special screening. (The Beacon Cinema, 7:30 pm) JULIANNE BELL

Bye Bye Love

Dec 9–11

This lost gem of Japanese independent cinema came out in 1974 and was rediscovered in a film lab warehouse in 2018, leading to its restoration and distribution in America for the first time in 50 years. Evoking the doomed atmosphere of Gregg Araki and the stylish surrealism of Jean-Luc Godard, director Isao Fujisawa’s sole feature film introduces us to Utamaro, a nihilistic vagabond who crosses paths with the beautiful genderfluid shoplifter Giko. Before long, the star-crossed pair must go on the lam for murder and embark on a summer trek through Japan. In short, it’s a queer crime road-trip movie with a Japanese take on French New Wave—what more could you possibly ask for? (The Beacon Cinema, various times) JULIANNE BELL

Female Misbehavior

Dec 13

I won’t pretend that Monika Treut’s Female Misbehavior is for everyone, but if you are interested in feminist post-structuralism, lesbian sadomasochism, or stories of gender- non-conforming artists, keep reading! Released in 1992, Female Misbehavior is a collection of four short documentaries that explore individuals who live outside of society’s expectations of gender and womanhood, or, as one of the film’s subjects, Camille Paglia, puts it, “my everyday life as a social and sexual alien.” The films range from an interview with the aforementioned academic, a portrait of trans poet Max Wolf Valerio, a PCA (Public Cervix Announcement) from “post porn modernist” Annie Sparkle, and a look at New York’s Lesbian Sex Mafia. (NW Film Forum, 4:30 pm) AUDREY VANN

Vengeance Is Mine

Dec 15–17

The late German-American filmmaker Michael Roemer is primarily known for his landmark films Nothing But a Man (1964) and The Plot Against Harry (1971), but his lesser-known family drama Vengeance Is Mine (1984) could give them a run for their money. On a trip to her family home in Rhode Island, where she hopes to get closure from her traumatic childhood, Jo (Brooke Adams) befriends neighbor Donna (Trish Van Devere) and finds herself ensnared in another domestic conflict altogether. Criterion Collection writes, “Bringing vérité naturalism to a seemingly melodramatic premise, Roemer crafts a miracle of novelistic psychological insight that, as it unspools, reveals ever-greater depths of human understanding.” (The Beacon Cinema, various times) JULIANNE BELL

Mourning Sickness: Showgirls

Jan 17–18

What can I say about Paul Verhoeven’s landmark 1995 erotic drama that hasn’t already been said? That I felt like a changed person after watching it for the first time? That it is tacky and absurd to a degree approaching transcendence? That never in my life have I seen anything quite like Gina Gershon flirting with Elizabeth Berkley by talking about eating doggy chow? Whether you love or hate the critically panned movie, I’m willing to bet that you’re probably not indifferent. (I’m solidly in the love camp myself, in case you couldn’t guess.) See the psychosexual NC-17 sensation and its bevy of naked breasts on the big screen—drag queen and self-described “bird-brained bombshell” Monday Mourning will give an introduction to the film, which is part of her “Mourning Sickness” series of camp and cult classics. (Northwest Film Forum, 7:30 pm) JULIANNE BELL

Lady Windermere’s Fan

Jan 26

I attended my first Silent Movie Monday last month, and now I am completely obsessed. The film series pays homage to the history of our beloved Paramount Theatre, which opened in 1928, showing silent films accompanied by live musicians on the theater’s original Mighty Wurlitzer (a single organ that’s connected to various pipes and percussion instruments), and serving free, old-fashioned bags of popcorn—it’s truly like stepping into a time machine. For the next Silent Movie Monday, organist Donna Parker will soundtrack Ernst Lubitsch’s 1925 adaptation of Oscar Wilde’s Lady Windermere’s Fan. Set in 1890s London, the film follows an elegant society woman who’s convinced her husband is having an affair. It’s full of drama, scandals, and stunning costumes. Warning: You will likely leave the theater wanting to cut your hair into a 1920s bob. (Paramount Theatre, 7 pm) AUDREY VANN

More

Truth to Fiction: Blue Dec 4, Northwest Film Forum, 7 pm

WTO/99 Dec 5–14, Northwest Film Forum

SIFF ‘n’ Stitch: Elf Dec 7, SIFF Cinema Uptown, 12 pm

The Muppet Christmas Carol Dec 11–14, SIFF Cinema Uptown

Gremlins Dec 12–18, the Beacon

Gendernauts Dec 13, Northwest Film Forum, 7:30 pm

Deaf Santa Claus Dec 14, SIFF Film Center, 1 pm

Genderation Dec 14, Northwest Film Forum, 7:30 pm

The Snow Queen Dec 18–19, the Beacon

It’s a Wonderful Life Dec 18–24, Northwest Film Forum

Who Killed Santa Claus? Dec 21, the Beacon, 5 pm

Christmas in Connecticut Dec 21 & 23, the Beacon

Ghost Stories for Christmas Dec 23, the Beacon, 7:30 pm

Fanny and Alexander Dec 24, the Beacon, 2 pm

Together Dec 27 & 30, the Beacon

Moulin Rouge! New Year’s Eve Sing-along Dec 31, SIFF Cinema Uptown, 6 pm

Peaches Goes Bananas Jan 24–Feb 1, Northwest Film Forum

December Things to Do: Performance

Julianne Bell — Mon, 01 Dec 2025 11:56:00 -0800

The best theater and performance events in December. by Julianne Bell

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, and Food.

Matt Rogers: Christmas in December

Dec 6

[Mariah Carey voice] “It’s tiiiime!” Mimi might be the holiday’s reigning queen, but comedian and actor Matt Rogers, cohost of your pop-culture-savvy queer friend’s favorite podcast Las Culturistas, has undoubtedly earned the title of “Pop Prince of Christmas” with his musical comedy TV special and album Have You Heard of Christmas? The hysterical romp features appearances from friends like Bowen Yang and MUNA and is the perfect antidote to Christmas fatigue with its joyfully irreverent take on Yuletide cheer. At his live performance at the Neptune, Rogers will perform songs like “God’s Up to His Tricks!” (in which he calls God a “stupid bitch”), “Lube for the Sleigh,” and “The Hottest Female Up in Whoville.” (Neptune Theatre, 8 pm, all ages) JULIANNE BELL

In Tandem: A Trio of Duets

Dec 18–20

This evening of performances treats audiences to three different duets, each springing from long-term creative collaborations and exhibiting different choreographic styles. First up is the US premiere of Fable, a work from Bebe Miller with Angie Hauser and Darrell Jones that promises to explore “findings from a 25-year perspective on the contexts of art making through the body over a lifetime, exposing the collision of their internal processes as dance artists, friends, and citizens.” Next, Maurya Kerr, artistic director of the Bay Area-based company tinypistol, will present comet, whom I love, a “duet full of rapture, orbit, intimacy, fury, and presence.” Rachael Lincoln and Leslie Seiters will cap off the night with Fast Craft: Still Unlike Diving, a “study in pause, friction, and the beautiful collapse of certainty” 25 years in the making. (On the Boards, 8 pm, all ages) JULIANNE BELL

Roy Wood Jr.

Dec 28

Now more than ever, we need comedians who speak truth to power (with caustic wit, of course), because the MSM have proved themselves to be entirely too complicit in downplaying and normalizing 47’s world-class corruption and enshittifcation of America. Thankfully, Roy Wood Jr. is on the case. He’s shown his heady mettle as a correspondent on Comedy Central’s The Daily Show With Trevor Noah and as host of CNN’s Have I Got News for You. His jabs and uppercuts from the left have caused deep bruises on many deserving mofos. As MC of the 2023 White House Correspondents’ Dinner, Wood hilariously roasted Dems, Repubs, and the media in a tight 25 minutes. And his takes on race are among the most sizzling in the business, including this one: “But if we get rid of the Confederate flag, how am I gonna know who the dangerous white people are?” Beyond those topics, Wood has funny thoughts about relationships, fatherhood, white allies, the travails of grocery shopping, and the ramifications of getting a BBL, among other things. (Neptune Theatre, 7 pm, all ages) DAVE SEGAL

Seattle Opera: Daphne

Jan 16 & 18

One of my goals for 2026 is to start frequenting the opera—who’s with me? I want to see Seattleites step out of their Blundstones and Patagonias and into their opera gloves, faux furs, and antique opera glasses for an evening of art and glamour. I’ll be kicking off my Year of Opera with Strauss’s underrated masterpiece, Daphne, inspired by Ovid’s Metamorphoses. Strauss’s take on the Greek myth tells the story of Daphne, a woman who loves nature but has no interest in human romance, who turns into her favorite laurel tree after mourning the death of her suitor. Not only will this whimsical tale be brought to life on stage by the Seattle Opera, but the Seattle Symphony will join, playing the lush, pastoral score. (McCaw Hall, various times, all ages) AUDREY VANN

MAJOR

Jan 29–31

Majorette dance has been a staple of Black girlhood since the 1960s, when it was popularized at HBCUs (Historically Black Colleges and Universities) in the American South. Dressed in their signature glittery costumes, majorettes dance alongside marching bands and display bold showmanship, glamour, precision, power, and sensuality. In this contemporary performance directed and choreographed by Ogemdi Ude, six Black femmes will pay homage to the majorette dance form, accompanied by composer Lambkin’s score blending “Southern rap, horns, drumlines, and melodic R&B and soul.” Back in September, On the Boards executive director Megan Kiskaddon told Stranger staff writer Nathalie Graham that MAJOR is the show everyone must see in the venue’s 2025–2026 season, explaining, “It’s one of those pieces that anyone would get something out of, because it’s so exuberant.” (On the Boards, 8 pm, all ages) JULIANNE BELL

Cinderella

Jan 30–Feb 8

Pacific Northwest Ballet’s production of Cinderella was conceived and choreographed in 1994 by founding artistic director and choreographer Kent Stowell, who sought to emphasize the romantic nature of the fairy tale in contrast to the tragicomic sensibilities of earlier modern productions. The result is an enchanting, swoon-worthy confection filled with dazzling costumes by Tony Award-winning costume designer Martin Pakledinaz and fantastical sets by scenic designer Tony Straiges. Fun facts: The production features over 120 costumes, which required more than a mile of tulle to make, and the trim on Cinderella’s ball gown alone took over 100 hours to create and sew. (McCaw Hall, various times, all ages) JULIANNE BELL

More

A Very Die Hard Christmas Through Dec 21, Seattle Public Theater, all ages

Scott Shoemaker’s War on Christmas Through Dec 26, Theatre Off Jackson

How the Queens Stole Christmas Through Dec 28, Queer/Bar, 21+

Pacific Northwest Ballet: The Nutcracker Through Dec 28, McCaw Hall, all ages

A John Waters Christmas Dec 2, Neptune Theatre, 8 pm, all ages

A Drag Queen Christmas with Nina West, Lexi Love, Shea Coulee, and more Dec 3, McCaw Hall, 7:30 pm, 18+

Derek Sheen: Unrelatable (Live Taping) with Emma Schmuckler Dec 4, Clock-Out Lounge, 8:30 pm, 21+

Disney’s The Lion King Dec 4–Jan 4, Paramount Theatre, all ages

Alaska: A Very Alaska Christmas Show Dec 5, Neptune Theatre, 8 pm, all ages

The 5th Annual Holly Jolly Holiday Show Dec 7, Neumos, 6 pm, 21+

Land of the Sweets: The Burlesque Nutcracker Dec 10–28, Triple Door

Blue Xmas with Betty Wetter Dec 11, Clock-Out Lounge, 9 pm, 21+

Kitten N’ Lou Present: Jingle All the Gay Dec 12–14, Neptune Theatre, all ages

The Jinkx & DeLa Holiday Show Dec 23-28, Moore Theatre, all ages

Fortune Feimster: Takin’ Care of Biscuits Dec 31, McCaw Hall, 7 pm, all ages

Seattle Rep Presents: The Heart Sellers Jan 2–Feb 1, Leo K. Theater

Tectonic Theater Project’s Here There Are Blueberries Jan 21–Feb 15, Bagley Wright Theater

Early Warnings

Topdog/Underdog Feb 4–Mar 1, ArtsWest

Bridge Project 2025 with DaeZhane Day, kelly langeslay, and No Girls No Masters Feb 6–8, Velocity

Bosco Presents: GRINDHAUS Feb 7, The Crocodile, 10:30 pm, 21+

The Wiz Feb 10, Paramount Theatre, all ages

The Serpent Sisters Tour: Nymphia Wind and Plastique Tiara Feb 15, Neptune Theatre, 8 pm, all ages

John Jarboe’s Rose: You Are Who You Eat Feb 19–21, On the Boards, 8 pm

Fellow Travellers Feb 21–Mar 1, McCaw Hall

Amy O’Neal: Again, There Is No Other (The Remix) Mar 26–28, On the Boards, 8 pm

Pacific Northwest Ballet Presents: Giselle Apr 10–19, McCaw Hall, all ages

Jonathan Van Ness Apr 24, Moore Theatre, 8 pm, all ages

Margaret Cho Apr 29, Moore Theatre, 7 pm, all ages

December Things to Do: Music

Julianne Bell — Mon, 01 Dec 2025 11:55:00 -0800

The best music events in December. by Julianne Bell

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, and Food.

Jens Lekman, Jordan Patterson

Dec 3

I fell in love with Swedish musician Jens Lekman’s music the very first time I heard “You Are the Light (by Which I Travel Into This and That)” on KEXP as a teen and soon graduated to listening to a burned CD of his 2004 debut album When I Said I Wanted to Be Your Dog on repeat, becoming fixated on his melodramatic yearning and witty storytelling. The hopeless romantic has since fulfilled the prophecy he set for himself in the early track “If You Ever Need a Stranger (To Sing at Your Wedding),” in which he volunteered himself as a wedding singer: “You think it’s funny / My obsession with the holy matrimony / But I’m just so amazed to witness true love.” Since then, he’s performed at countless weddings, and his seventh album, Songs for Other People’s Weddings, is a narrative concept album inspired by his experience, accompanied by a tie-in novel by author David Levithan. (Neumos, 7 pm, all ages) JULIANNE BELL

Rochelle Jordan, Essosa, Parisalexa

Dec 4

Rochelle Jordan’s third full-length album, Through the Wall, has made me more excited about new music than I’ve been in a long time, reminding me of when I first heard luminary breakthrough releases like Solange’s A Seat at the Table, SZA’s Ctrl, or Azealia Banks’s 1991. The album leans into a nostalgic club sound, reminiscent of a ’90s fashion show or incidental music on Sex and the City. On the Kaytranada-produced track “The Boy,” Jordan’s velvety vocals sing a radio-ready hook suitable for Brandy or Aaliyah. My crystal ball says that she will blow up any day now, so don’t miss this intimate show at Barboza. Plus, with openers like London’s Essosa and Seattle’s own Parisalexa, I’m certain that this show will be the dance party of the year. (Barboza, 7 pm, 21+) AUDREY VANN

Immortal Technique, w/Poison Pen & DJ Static, True II Form, Premium Smoke, DJ Indica Jones

Dec 5

Felipe Andres Coronel, the Peruvian-bred, Harlem-hardened MC better known as Immortal Technique, is not touring in support of a new album—in fact, the rapper hasn’t released a full-length in roughly 15 years—however, his return to the stage does seem born of the same call to action that led him to release venomous underground-rap classics like Revolutionary Vol. 1 and 2 during the younger Bush presidency. During that time, Tech established himself as the militant mouthpiece of conscious rap, harvesting the revolutionary ethos of bands like Rage Against the Machine and Public Enemy, and cramming it through the meat grinder of the era’s energized battle-rap scene. In more recent years, he has done work counseling prison inmates (of which he was once one), and mentoring young writers, as well as partnering with a nonprofit group to help build an orphanage in Afghanistan. The man walks the walk, and for obvious reasons, there may not be a more appropriate and cathartic time to see an Immortal Technique show that will likely be peppered with political diatribes. We fully recommend you go get an earful. (Nectar Lounge, 8 pm, 21+) TODD HAMM

Takuya Nakamura, Nick Carroll

Dec 11

Takuya Nakamura is not your typical electronic-music producer. The trumpeter and keyboardist moved from Japan to the US in 1990 to study at the New England Conservatory of Music under innovative jazz composer George Russell. This was a big fucking deal, as Russell’s concepts influenced John Coltrane and Miles Davis’s modal music. Nakamura applied those ideas to his own playing, doing sessions with Quincy Jones, David Byrne, Lee “Scratch” Perry, the GZA, Arto Lindsay, and many other notables. Takuya’s solo output encompasses highly musical takes on jazzy drum ‘n’ bass, ambient, broken beat, and funky techno. Check out recent tracks such as “BonJah” and “Caged Bird Flying” and the Jon Hassell-esque dub-jazz of Mysteries of the Cosmos for examples of his fascinating fusions. Opener Nick Carroll—who used to serve as talent buyer at electronic-music hotbed Kremwerk—is an excellent, eclectic DJ who’s more used to making folks dance for hours at off-the-grid parties than at conventional venues. Trust me, you don’t want to miss his set. (Barboza, 7 pm, 21+) DAVE SEGAL

Mt Fog, Von Wildenhaus, Power Strip

Dec 11

Seattle-born trio Mt Fog uses minimalist electronic sounds and ethereal vocals as a magic wand to “evoke magical spaces, real and imagined.” Their 2024 album, ultraviolet heart machine, gained critical praise due to its whimsical marrying of Björk-style growls with sparkly ’80s synths. Now, the band is back with a new song, “Look Inside,” which they will debut at this single release show along with a snazzy new music video directed by artist Sean Downey with illustrations by Dena Zilber. This show is a must for fans of Cocteau Twins, the Sugarcubes, Kate Bush, Sinéad O’Connor, and Siouxsie & the Banshees. Don’t miss opening sets from cinematic indie-pop outfit Von Wildenhaus and improvisational ambient project Power Strip. (Sunset Tavern, 8 pm, 21+) AUDREY VANN

Modern Nature, Brigid Dawson and the Mother’s Network

Dec 12

There’s a small but important coterie of UK groups who respectfully and deftly emulate the motorik rhythms blueprinted by the OG krautrockers. They include Beak>, Cavern of Anti-Matter, Snapped Ankles, Fujiya & Miyagi, and Th’ Faith Healers. Add Cambridge’s Modern Nature to that clique, although they also embrace the sort of wide-screen, brooding rock that Radiohead have taken to the credit union, albeit with less bombast. Led by Ultimate Painting member Jack Cooper (a serious composer who’s had work performed by Apartment House), Modern Nature also have strains of jazzy folk in their DNA, which should appeal to fans of John Martyn and late-career Talk Talk. On this tour, Modern Nature are supporting The Heat Warps, a wonderfully intimate album that imbues minimalist post-rock with beautiful songcraft—a real rarity these days. The sweet-voiced leader of Brigid Dawson and the Mother’s Network formerly played bass and keyboards with Thee Oh Sees. The band’s brilliant 2020 album Ballet of the Apes hovers in the shivery, nocturnal-rock zone of Brightblack Morning Light, but with more instrumental oomph. (Clock-Out Lounge, 8:30 pm, 21+) DAVE SEGAL

Antibalas, Midpak

Dec 13 & 14

Fela Kuti and Tony Allen may be dead, but their pioneering Afrobeat legacy powers on with more voltage than ever in the 2020s. One of these revolutionary Nigerian musicians’ most skillful disciples, NYC’s Antibalas, have been fanning Fela and Tony’s artistic flames with unmatched fluency and funkiness for a quarter century. The intricate, interlocking polyrhythms, the triumphant horn charts, and the liberatory political lyrics build into perpetual-motion machines that make you think, against all logic, a more just world is possible. Following the departure of long-running singer Duke Amayo after 2020’s Fu Chronicles, Antibalas have returned with the all-instrumental album, Hourglass, which harks back to the group’s first principles, but with greater subtlety. It’s fairly certain that Fela and Tony would bust moves in approval. Opening will be Seattle quartet Midpak, whose serpentine and explosive funk laces African, Latin, and psychedelic elements into potent, party-starting jams. (Hidden Hall, 8 pm, 21+) DAVE SEGAL

Rose City Band, Pearl Charles

Dec 16

Earlier in this century with Wooden Shjips, guitarist/vocalist Ripley Johnson took rock to sky-high places through transcendent repetition. Shortly after with keyboardist Sanae Yamada in Moon Duo, he “helped to forge a cool-browed strain of electronic rock that’s ideal for zipping down the Autobahn at breathtaking speeds,” if I may quote myself. Over the last six years, Johnson’s focused on Rose City Band with some of the mellowest and headiest players in Portland. Deviating from Johnson’s previous projects, they ease the foot off the gas pedal and engage in amiable country rock for people who also dabble with microdosing. Ripley has fashioned an appealing sotto voce singing style (with occasional forays into falsetto) that meshes nicely into the undulating and fluid pedal-steel and faded-denim guitar explorations that dominate RCB recordings. Thankfully, Johnson hasn’t altogether ditched mantric repetition; check out the hypnotic, lysergic “Fear Song” from 2019’s self-titled debut. To reiterate the guiding ethos of my music criticism, the more psychedelic Rose City Band get, the better they sound. So, let’s hope that they enter a reality-altering headspace and get real long gone. (Tractor Tavern, 8 pm, 21+) DAVE SEGAL

Earl Sweatshirt, Liv.e, Zeloopers, Cletus Strap

Dec 16

Earl Sweatshirt has been trying to turn the volume down for years. Once a teenage rap prodigy who found cult fame with, and brotherhood in, “the potty mouth posse” Odd Future Wolf Gang Kill Them All, Earl Sweatshirt now stands at age 31 as one of hip-hop’s old-soul success stories. Having just welcomed his second child and given up booze (and ramped up weed), he confidently told The New York Times’ Popcast this summer that his life is “fuckin’ normal, finally.” The recorded discography of Sweatshirt, born Thebe Neruda Kgositsile, documents the life journey of someone who once helped define, then survived to outgrow, a generation of youthful nihilism. But more than a post-nihilist victory lap, his new album, Live Laugh Love, is a bombastic celebration of passion. Gone are the days where each line was an avalanche of syllables that tumbled across the page like a chorus of cracking double-jointed knuckles; today, Sweatshirt raps with a blunted calm that sounds well-earned, but what remains is the vivid imagery and referential depth you have to rewind (gladly) to fully appreciate, proving he’s still one of the best to ever do it. (Showbox SoDo, 8 pm, all ages) TODD HAMM

Jay Som, Sea Lemon

Dec 19

Melina Mae Cortez Duterte, better known by her stage name Jay Som, dubs her brand of dreamy, intimate DIY bedroom pop “headphone music,” citing influences as disparate as Carly Rae Jepsen, Phil Elverum, and Alanis Morissette. She’s opened for musicians like Mitski and Japanese Breakfast, and contributed a song to the 2024 film I Saw the TV Glow. After a six-year break from solo music, during which she meticulously trained her technical skills, she’s released her latest album, Belong, which showcases her growth and leans into pop-punk territory with guest vocals from Hayley Williams of Paramore and Jim Adkins of Jimmy Eat World. Don’t miss an opening set from local artist Natalie Lew of Sea Lemon, who takes inspiration from the eerie beauty of the ocean and describes her vibe as “Costco Cocteau Twins.” (Neumos, 8 pm, all ages) JULIANNE BELL

Mudhoney, Student Nurse

Dec 31

Perhaps this is an unpopular opinion, but Mudhoney could have retired after releasing their 1988 debut single “Touch Me I’m Sick” and still achieved god-tier status in Seattle’s—and Earth’s—underground-rock scene. The foursome’s signature song swerved into the Stooges’ Fun House and pinched Iggy’s nipples hard, while vomiting into Scott Asheton’s kickdrum. How do you follow up such a monumental first release? Well, Mudhoney have soldiered on for 37 years with the same creative nucleus of Mark Arm and Steve Turner, putting subtle variations on their thunderous garage- and psych- rock templates, augmented by abundant and astringent guitar FX. One key to their greatness is, they’re masculine, not macho. Another key is, they possess humor and self-awareness; so even though their sound hasn’t changed much, they still don’t obviously repeat themselves. The band’s riffs and melodies still sting with the vitality of musicians a third of their ages, and even their last four albums—delivered at five-year intervals—rip musically, while spanking all the right people lyrically. These gr*nge warhorses are still thoroughbreds. (Neptune Theatre, 8 pm, all ages) DAVE SEGAL

High on Fire, King Woman

Jan 3

Consistency, as a critique of art, may connote poorly, but in a medium like metal, which requires an artist to retain an ungodly amount of thunderous energy to remain true and relevant, long-term consistency is rare. To see a High on Fire show—guitarist/vocalist Matt Pike inevitably bare-chested and imposing, bassist Jeff Matz gray-beardly purveying low-end sludge, and smashing new drummer Coady Willis (who happens to be the same Coady Willis of legendary Northwest outfits the Murder City Devils, Big Business, and occasionally the Melvins)—is to affirm heavy music as the lifeblood of eternal youth. The power trio’s ninth album, 2024’s Cometh the Storm, the first with Willis on kit, carries the same level of fire Pike and co. originally got high on, sounding nothing like you might expect from a group that has earned every right to have gone hoarse and nappy by now. That angle aside, the band still stands in 2025 as a torch-bearer of crunchy sludge metal, continuing to frolic in trippy metal pastures when similar bands of the era like Mastodon sadly could not. (Showbox,
7 pm, all ages) TODD HAMM

Steve Gunn, Jeffrey Silverstein

Jan 14

It’s understandable if you’ve had your fill of stoic, white-guy guitarists with limited (yet pleasant) vocal ranges. But you should leave a sliver of precious time in your hectic life for Steve Gunn. What he lacks in singing prowess he makes up for in instrumental expressiveness. Gunn’s a guitarist of rare melodic elegance and deceptive soulfulness, as evidenced by his 2013 breakthrough, Time Off, which found him contending with the legacies of British psych-folk masters such as Michael Chapman and Bert Jansch. Since then, Steve’s kept busy with several collabs (Kim Gordon, Mdou Moctar, Mike Cooper, Natural Information Society, etc.) and solo works, steadily building a fan base, with help via Matador Records’ marketing might. This year, Gunn’s released Daylight Daylight and Music for Writers for the more underground No Quarter and Three Lobed labels. The former thrums with chamber-art-pop splendor; the latter zones out in glowing ambient-drone-fingerpicking space, sans vox. The Triple Door should be a copacetic setting for this music’s understated grandeur. (Triple Door, 7:30 pm, all ages) DAVE SEGAL

Monster Rally

Jan 16

For the past 15 years, Cleveland’s Ted Feighan has created a trove of transportive sound collages as Monster Rally. Envision your mid-century Pan Am touching down for several minutes at a time on a volcanic tiki retreat as imagined by the Loyal Order of Water Buffaloes; a bustling, sand-swept day market bearing bold spices and vibrant fabrics from across the empire; a Los Angeles Chinatown bossa nova jazz joint where the password is an inside joke. Alternately, the great thing about Monster Rally is that most of what your brain conjures when dosed with the sounds, Feighan has already made in visual form—most every release has been coupled with an extraordinary magazine cut-out piece of artwork that matches the escapist, exotically colored sounds he’s made, and his live shows are no different. By trade, a multi-instrumentalist beatmaker in the vein of Dirty Art Club, Teebs, or Madlib on his “Curls” beat shit, Feighan has chosen to open his studio for only the second time to outside vocalists (after his 2015 Foreign Pedestrians collab with Bay Area rapper Jay Stone), and the singles so far have displayed the telltale signs of crossover appeal. (Barboza, 6:30 pm, 21+) TODD HAMM

Yarn/Wire, Yiğit Kolat, Yonatan Ron

Jan 22

The sound of avant-garde classical ensemble Yarn/Wire is in the name—fuzzy, fibrous threads interwoven with scratchy, metallic chords. Founded in NYC back in 2005, the adventurous piano/percussion quartet pushes the boundaries of contemporary music with their annual Currents project, which serves as an incubator for innovative experimental music. While their music can be unconventional, the pianos maintain a sound within the classical music realm that is accessible to the general public—meaning, yes, you can bring your parents or grandparents to this without fearing their judgment or discomfort. This is the relaxing kind of experimental music, not the chaotic kind. (Meany Hall, 7:30 pm, all ages) AUDREY VANN

Cate Le Bon, Frances Chang

Jan 27

I first heard Welsh musician Cate Le Bon after the release of her 2013 album, Mug Museum, and have been an unabashed fan girl ever since. Her signature sound, which I can only describe as angular, self-assured, and surreal, is a bulletproof formula that has yet to produce a bad album. Her seventh release, Michelangelo Dying, is no exception. The album is slow-paced and melancholy, with more shoegaze elements than we’ve ever seen from her before, largely due to the all-consuming heartache Le Bon experienced while making the album. The album reaches its apex on “Ride,” featuring my boyfriend John Cale (of the Velvet Underground), which is a molasses-y duet between the Welsh experimentalists bolstered by layered vocals and echoing saxophones. Singer-songwriter/poet Frances Chang will open. (Neptune Theatre, 8 pm, all ages) AUDREY VANN

More

Pansy, Torch, All Friends Here Dec 3, Tractor Tavern, 8 pm, 21+

19th Annual Tom Waits Tribute Night Dec 6, Conor Byrne Pub, 8 pm, 21+

DJ Mandy Dec 6, Neumos, 10 pm, 21+

Damien Jurado’s December Residency Sundays Dec 7-28, Tractor Tavern, 7:30 pm, 21+

John Prine Christmas with Jenner Fox Band Dec 9, Tractor Tavern, 8 pm, 21+

The Intelligence, Ononos, Dish Pit Dec 10, Chop Suey, 8 pm, 21+

Acapulco Lips, New Age Healers, and iroiro Dec 11, Chop Suey, 8 pm, 21+

Thunderpussy x Mike McCready Dec 11, the Showbox, 8:30 pm, 21+

SMOOCH with Bob Mould and Blondshell Dec 13, the Showbox, 7:30 pm, 21+

Sera Cahoone Band with Carrie Biell Dec 18, Tractor Tavern, 7:30 pm, 21+

Yob with Hell Dec 18, Neumos, 7 pm, 21+

David Benoit Christmas Tribute to Charlie Brown with Courtney Fortune Dec 18-21, Jazz Alley, all ages

Jenny Don’t and the Spurs: Pre-NYE Bash Dec 30, Tractor Tavern, 8 pm, 21+

New Year’s Eve with Kenny G Dec 31, Jazz Alley, 7:30 & 10:30 pm, all ages

Bone Thugs-N-Harmony Jan 9, Crocodile, 6 pm, 21+

Madison Cunningham Jan 10, St. Mark’s Cathedral, 7:30 pm, all ages

The Residents Jan 10, Neptune Theatre, 8 pm, all ages

Seattle Retro Fest Jan 16-17, Crocodile Complex, 6 pm, 21+

Clinton Fearon Jan 17, Nectar Lounge, 8 pm, 21+

Judy Collins Jan 22-25, Jazz Alley, 7:30 pm, all ages

Karl Denson’s Tiny Universe Jan 24, Crocodile, 8 pm, 21+

WAR Jan 29-Feb 1, Jazz Alley, 7:30 pm, all ages

Early Warnings

Robyn Hitchcock Feb 6, Neptune Theatre, 8 pm, all ages

GZA Feb 11, Nectar Lounge, 8 pm, 21+

Sudan Archives Feb 14, Neptune Theatre, 8 pm, all ages

The Pains of Being Pure at Heart and Living Hour Feb 16, Vera Project, 7 pm, all ages

Cat Power Feb 20, Paramount Theatre, 8 pm, all ages

Suzanne Vega Feb 22, 7:30 pm, Neptune Theatre, 7:30 pm, all ages

Cardi B: Little Miss Drama Tour Feb 22, Climate Pledge Arena, 7:30 pm, all ages

Aimee Mann: 22 ½ Lost in Space Anniversary Neptune Theatre, 8 pm, all ages

Marissa Nadler Mar 26, Tractor Tavern, 8 pm, 21+

Skullcrusher Mar 30, Barboza, 7 pm, 21+

Raye: This Tour May Contain New Music Apr 3, WAMU Theater, 8 pm, all ages

Cass McCombs with Hand Habits Apr 4, Tractor Tavern, 8:30 pm, 21+

Waxahatchee with MJ Lenderman May 3, Paramount Theatre, 7:30 pm, all ages

Everybody’s Waiting for the Man with the Bag

Audrey Vann — Fri, 28 Nov 2025 11:00:00 -0800

The Man Is John Waters. The Bag Is Full of Filthy Jokes.

by Audrey Vann

John Waters is an icon—a pencil-thin moustache, dark sunglasses, a transgressive catalog of films, and an overall dedication to filth. But, on his string of novelty singles on Sub Pop Records (“Jingle Bells” / “It's a Punk Rock Christmas” and "John Waters Covers Little Cindy 'Happy Birthday Jesus'” / “A Pig Latin Visit from St. Nicholas”), Waters has an outlet to transform into new characters and direct himself à la Cindy Sherman. On “Happy Birthday Jesus,” Waters morphs into a little Christian girl from the South speaking directly to Jesus on Christmas night. On his cover of the Singing Dogs’ “Jingle Bells,” he splits into a pack of barking dogs, scaring away unwanted carolers and guests who have overstayed their welcome. I caught up with the legendary filmmaker, actor, writer, and artist ahead of his annual Christmas tour to discuss his upcoming stop in Seattle, his own Christmas traditions, and why he doesn’t want your stupid fruitcake. Gather around the electric chair, children, because the man with the bag has landed! (The man is John Waters, and the bag is full of filthy jokes.)

You’ve been doing your annual Christmas tour for nearly 30 years. How have these shows evolved or changed since they began?
How many dirty, blasphemous crash scenes can a person think of? But yes, I think up new ones every year—it's a challenge! I really pride myself on doing a new show every year. You can come every year, and it's never the same show. Although the show has changed over the years, no matter how you feel about Christmas, the show is about how to get through it. I think it's a self-help thing. People hate it. People love it. I talk about every possible way you can deal with Christmas and how you can transfer it into your everyday life, with sex, politics, fashion, and everything else.

I’ve read that your Christmas shows feature a generous Q&A. What’s the worst question that you’ve ever been asked at a Q&A?
That's really the crazy part. I wish I’d get more bad questions! I've been doing it for so long. The worst questions are when people just stand up and start talking about themselves. Yeah, that's the worst. Then the audience starts booing. I just say “EDIT! EDIT! EDIT!” No question will throw me. I'm wise enough not to answer if I don't want to, and I know how to get around it and make a joke. I can think of odd funny ones, like a person said, “My dad told me he almost went home with you from a bar one night.” And one time, somebody said, “How do you feel about batteries? We just want to know how you feel about batteries.” That was a perplexing question. I guess at Christmas, children often choke on batteries from their toys. I talked about that. I can always bring it back to Christmas.

How do you decorate for Christmas?
Traditionally and very untraditionally. We decorate, but I don't have a tree. I decorate Divine’s electric chair from Female Trouble. I have lots of Christmas decorations. Many of them have been made by fans, and they're great—some have Divine or Edith on them. A fan made me a statue of Divine knocking over a Christmas tree. It has batteries, and all the lights blink and everything. That, I think, is my favorite one. I also have decorations that my mom made for me. I mix them as I do with my real life: I mix the good taste and turn it into bad taste, hopefully to get you to notice that everything can be pleasing.

In a recent interview, you mentioned that you used to take speed and steal Christmas gifts out of people's cars and unwrap them. Do you remember or did you keep any of the gifts you stole?
We would throw them out the window! Or worse yet, if they had a gift slip, we would take them to the store and get the money! An old friend reminded me recently that she stole a blouse with someone’s mother's monogram on it. She wore it to school the next day and covered it up with a sweater. It was really terrible. It just proves that there is no such thing as karma.

What's the most memorable Christmas gift that you've ever received?
Well, I still go to sleep sometimes with a beautiful cashmere blanket that Divine gave me a long time ago. But don't ever give cashmere! It just calls moths to your house. Cashmere is a moth Woodstock waiting to happen.

What holiday music gets you in the Christmas spirit?
It can get on my nerves. It has to get really near Christmas. It can't be playing that stuff too early. But I certainly do like jazzy Christmas. This year, I have a record out, my second Christmas single, where I cover Little Cindy singing “Happy Birthday Jesus,” which was on my original Christmas compilation album. Last year, I released my cover of the Singing Dogs’ “Jingle Bells.”

Do you collect these types of novelty records?
Yes, and I love them, but no one makes them anymore. They should. I always say: Why was there no COVID-19 novelty record? There could be so many right now about what's going on in the world. They could have “Antifa Christmas Carol” or “Proud Boys Santa.” I don't know. I could just think of so many good novelty songs.

Why did you choose to cover the Singing Dogs' “Jingle Bells” and not “Jingle Cats?” Are you more of a dog person?
I don’t like either. I want pets to escape from people. They are sentenced to a lifetime of caress. I always say: I'm not lonely, so I don't have dogs and cats. It makes people crazy when I say that. I don't have any desire to touch one. I think PETA is right, actually, even though I eat meat. I want them to escape the houses they live in. I want to say, “RUN, RUN FOR YOUR LIFE!”

I felt like Cat Power covering Bob Dylan when I did the Singing Dogs, because it is the most obnoxious Christmas novelty song ever.

Is there anything you are looking forward to doing or seeing while you’re in Seattle?
I have 19 shows, so I don't do anything except get to the airport, the hotel, go to sleep, rehearse, do the show, and then go to the next town. I would love to see Dina Martina, my great friend, but I just rarely get to do things like that. I learned a long time ago that there's no time to do it when you have a show.

Last year, I tried to give people gift certificates to Hudson News, you know, the place they have at airports? But they don’t have gift certificates. They looked at me like I was insane when I asked, but where else can I go Christmas shopping?

I think you are on to something with the idea of airport gift cards!
Wouldn't it be nice? But it's so expensive. A $50 gift certificate for airport shops could buy one cup of coffee.

How do you feel about fruitcake?
Well, I tried to make a movie that was called Fruitcake—that has almost happened three times. It's a children's Christmas special. I hope I get to make it one day. I personally have never eaten a piece of fruitcake in my life. I don't crave it… let's put it that way.

Well, hopefully now that you've said that, people don't bring a bunch of fruitcakes to the show!
I won’t eat anything a fan ever gives me. I did it once, and I was in the hospital for three days.

Oh my god! What did you eat?
I ate 14 doses of THC, not realizing it. They thought I had a stroke—I thought I had a stroke! It was a nightmare. Never eat food from fans!

Lastly, the B-side to your new single, “A Pig Latin Visit from St. Nicholas,” is sung entirely in Pig Latin. Can you translate “We wish you a merry Christmas and a happy New Year” to Pig Latin for me?

Eway ishway ouyay ayay errymay istmaschray andyay ayay appyhay ewnay earyay

Wow, thank you.
Ou'reyay elcomeway.

See John Waters at the Neptune Theatre on Dec 2, 8 pm

Deep Sea Diver’s Jessica Dobson Shares the First Song That Made Her Cry

Audrey Vann — Wed, 26 Nov 2025 14:30:00 -0800

Spoiler Alert: It's From Home Alone

by Audrey Vann

This interview is an excerpt from our weekly music newsletter, Pop Loser. Subscribe here!

Seattle indie rock band Deep Sea Diver—led by singer-songwriter Jessica Dobson—is playing a homecoming show on Friday to celebrate their Sub Pop Records debut, Billboard Heart.

The album's lead single, "Shovel," is upbeat, danceable, and would be right at home on a playlist nested between MUNA and Chappell Roan. The title track, "Billboard Heart," switches gears, evoking labelmate Weyes Blood with kaleidoscopic synths and powerful vocals; it’ll no doubt sound beautiful performed live.

Ahead of their show at Paramount Theatre this Friday, I chatted with Dobson about some of her first musical experiences. And don’t miss their biggest show yet, alongside local favorites Coral Grief.

What was the first song you sang in front of people?

I have a vague memory of singing a song from Aladdin—probably “A Whole New World”—in front of my extended family.

What was the first song you learned on the guitar?

“Devil’s Haircut” by Beck.

What was the first song that made you cry?

"O Holy Night" sung by a church choir, just like that scene in Home Alone. Heavenly!

Who was the first musician you idolized?

Toss-up between Gwen Stefani and Björk.

What was the first concert you attended?

A ska concert at a water park in Pomona, CA. I don't even remember what band was playing; there was just a lot of mild moshing, high knees and elbows flying around.

See Deep Sea Diver with Coral Grief at the Paramount Theatre on Nov 28, 8 pm

Stranger Suggests: Selfie Paradise, Taiyaki Stuffed With Tater Tots, and a Soft-Spoken Troubadour's Homecoming Show

Julianne Bell — Mon, 17 Nov 2025 14:50:00 -0800

One really great thing to do every day of the week. by Julianne Bell MONDAY 11/17

Lucius, Attention Bird Utopia

(MUSIC) The last time indie pop-rockers Lucius were in town, they opened for the National and the War on Drugs at Climate Pledge Arena. This time, they're headlining a show in support of their self-titled album, returning to a moodier guitar-forward sound after the bouncy, funky pop of 2022's Second Nature, which was co-produced by acclaimed singer-songwriter Brandi Carlile. I'm personally a huge fan of the new release—the song "Old Tape" has made its way onto several of my playlists since it came out in May, and Jess Wolfe and Holly Laessig's soaring harmonies still give me goosebumps. The two vocalists aren’t twins or even sisters, but they enjoy pulling fun live show antics like dressing in identical wigs and clothing on stage. Get there early to catch a set from folk duo Attention Bird Utopia, a new collaborative project from indie darlings Harrison Whitford (Phoebe Bridgers' guitarist) and Eli Hirsch (the producer of Suki Waterhouse's latest album). (Showbox, 8 pm, all ages) SHANNON LUBETICH

TUESDAY 11/18

Finally We Have Met: Neon Works by Yale Wolf

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(VISUAL ART) Yale Wolf stands out among his contemporaries not only as a master of neon, but as a master of mise-en-scène, crafting environments where neon plays both centerpiece and supporting role in larger poetic tableaux. His work reveals a knack for pulling meaning from free-form simulacral doodles and fragmented flourishes designed to illuminate and transform the objects around them, as seen earlier this year in Reclaimed, where pops of neon (steering wheel, sunroof, headlights) detailed the ghostly carcass of a rusted-out scrapyard sedan blistered by fire and pummelled by bullets. Ethereal decadence wreathed in decay! In Finally We Have Met, Wolf is bringing mirrors into the equation, including a nearly six-foot reflecting pool ringed with searing pink barbed wire. Let’s just say it: This exhibition will be a selfie paradise. But that’s no doubt by design—a case where Wolf’s mise-en-scène becomes the site of mise-en-abyme. (Hometeam Gallery, free) AMANDA MANITACH

WEDNESDAY 11/19

BeanFish

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(FOOD) I’ve passed BeanFish, a former food truck turned taiyaki stall in the Uwajimaya food court, countless times without a second thought, figuring the little fish-shaped cakes probably looked better than they tasted. I now humbly stand corrected—BeanFish’s made-to-order taiyaki is the real deal, unlike inferior pre-made versions I’ve had in the past. Last week, I stood gazing through the kitchen window, watching the workers scoop batter and fillings into the intricate iron molds and smashing them together (extremely satisfying). Curiosity got the best of me, and I ordered the Elvis taiyaki stuffed with chunky peanut butter and banana. It was served to me piping hot, with a crisp exterior and fluffy interior, and was the perfect rainy afternoon pick-me-up. Now I’m on a mission to try them all. So far, I’ve also tried the “Mrs. Smith” (apple pie filling), #19 (honey mustard tuna with melty cheddar and delightfully chewy Japanese rice crackers), and mini “Donkii Kongu” taiyaki (toasted coconut, banana, and vanilla custard). I can’t wait to try the fan favorites “Mmm Bacon” (thick-cut peppered bacon, egg, tater tots, Tillamook cheddar, and scallions) and “Harajuku Chic” (Fruity Pebbles and a jumbo marshmallow waffle, with sweetened condensed milk on the side). (BeanFish, 11 am-7 pm daily) JULIANNE BELL

THURSDAY 11/20

Conner O’Malley

(COMEDY) I’ll be honest, I used to refer to Conner O’Malley as “Aidy Bryant’s husband,” until I saw him in Joe Pera Talks With You as a depressed father who eats chicken in the shower, followed by his feature-length, the straight-to-YouTube film Rap World. He isn’t the typical comedian I’d ride for—in general, I have an aversion to male comics—but his loud, aggressive take on comedy ultimately makes a subversive statement about the absurdity of modern-day masculinity. The Chicago-born comedian, whom the New Yorker has called “the bard of the Manosphere,” plays pathetic, reply-guy characters that shed light on the idiocy of alpha males and/or incel men who have largely gotten us to our current hellscape. In a message on his Instagram, an AI-generated O’Malley states, “I have been in the General Motors psychological experiments labs generating humor sequences infused with alternative political ideas, and I’m finally ready to take it out on the road.” (Neptune Theatre, 7 pm & 9:45 pm, all ages) AUDREY VANN

FRIDAY 11/21

Dean Johnson, Theo Lawrence

(MUSIC) Seattle's folk scene has been rumbling about Dean Johnson for quite a while now, but it wasn't until his song "Faraway Skies" off his 2023 debut album went somewhat viral that most people started paying attention. With a second full-length release under his belt this summer and the backing of a label (he's on Saddle Creek Records with the likes of Big Thief and Indigo De Souza), the soft-spoken troubadour rounds out a 13-date tour of the Western United States with a homecoming show at his biggest Seattle venue yet—the historic Showbox. Johnson's music is filled with honest alt-folk charm, and his stage banter never fails to make me laugh. I'm looking forward to hearing the closing track off 2025's I Hope We Can Still Be Friends, "A Long Goodbye," which happens to be the first song he ever wrote back in 2004. Get there early for a set from French-Canadian country artist Theo Lawrence—a '90s baby who sounds and looks like he time-traveled here from the 1960s. (Showbox, 8 pm, 21+) SHANNON LUBETICH

SATURDAY 11/22

Tricia Romano w/Erica C. Barnett and Charles Mudede

(BOOKS) Did you happen to catch the front page of the New York Times’ business section over the weekend? Right there on page B1, Seattle’s only newspaper was praised for being a “progressive kingmaker” in local elections. *insert nail polish emoji here* But our hard work isn’t new. For decades, The Stranger and other alt-weekly brethren across the country have been a much-needed voice in our media landscape and local elections. If you want to learn more about just how important alt-weeklies are in our past and current media landscape, read The Freaks Came Out to Write, Tricia Romano’s oral history of America’s first alt-weekly newspaper, The Village Voice. To celebrate the paperback release of the Freaks, Romano will join fellow alt-weekly diehards—and past and current Stranger staffers, respectively—Erica C. Barnett and Charles Mudede to discuss the vital role alternative newspapers have historically played in the country’s media landscape. And, if we’re lucky, they'll dish a little on the snacks and gossip from Stranger Election Control Board meetings of decades past, too. (Elliott Bay Book Company, 7 pm, free) MEGAN SELING

SUNDAY 11/23

Heart, Cheap Trick

(MUSIC) Heart’s spell is enduring. I’ve been under it since I was 10, the tomboy middle sister of three who played the drums, practiced karate, and took music recommendations from my dad. I don’t recall the first time I heard hits like “Barracuda” or “Crazy on You,” but they were always there for me to angrily lip-sync in the mirror when I felt disenfranchised by adults. I worshipped them the way that I saw boys my age worship Led Zeppelin and AC/DC—two bands I never liked. I didn’t prefer Heart because I identified with their femaleness, I preferred Heart because their songs were better. In Heart’s music, you feel what they feel; they don’t have to say it explicitly. Ann’s lyrics are poetic, Nancy’s guitar solos are nuanced; both are masters of subtlety and power. The way the Wilson sisters communicated through their instruments was something I knew well with my own sisters—a magical connection that can only be described as sorcery. Ahead of their show at Climate Pledge Arena, read my interview with Nancy and Ann here. (Climate Pledge Arena, 7 pm, all ages) AUDREY VANN

Prizefight!

Win tickets to rad upcoming events!*

Heart
November 23, Climate Pledge Arena

ENTER NOW!

Contest ends November 20 at 10 am

Damiano David
November 21, Paramount Theatre

ENTER NOW!

Contest ends November 19 at 10 am

The Beat Goes On

Audrey Vann — Wed, 12 Nov 2025 15:25:00 -0800

See Heart with Cheap Trick at Climate Pledge Arena on Nov 23 at 7 pm. by Audrey Vann

Heart’s spell is enduring. I’ve been under it since I was 10, the tomboy middle sister of three who played the drums, practiced karate, and took music recommendations from my dad. I don’t recall the first time I heard hits like “Barracuda” or “Crazy on You,” but they were always there for me to angrily lip-sync in the mirror when I felt disenfranchised by adults. I worshipped them the way that I saw boys my age worship Led Zeppelin and AC/DC—two bands I never liked. I didn’t prefer Heart because I identified with their femaleness, I preferred Heart because their songs were better.

In Heart’s music, you feel what they feel; they don’t have to say it explicitly. Ann’s lyrics are poetic, Nancy’s guitar solos are nuanced; both are masters of subtlety and power. The way the Wilson sisters communicated through their instruments was something I knew well with my own sisters—a magical connection that can only be described as sorcery.

I was excited for the chance to chat with the Wilson sisters about forthcoming projects, their own teenage music idols, and their Thanksgiving plans. Oh, and smoking weed (a real full-circle moment considering that I rolled my first joint on an LP copy of Dreamboat Annie).

I recently read your 2012 memoir, Kicking and Dreaming, which mentions the time you got high with your parents. Can you tell me what you remember about that experience?

ANN: It was one of the most surreal things that has ever happened to me. We were up in our room playing guitars, and our parents had a cocktail party going on downstairs. Someone came up and knocked on the door to tell us that our parents wanted to see us downstairs. I thought, “Oh no, they are going to get divorced.”

NANCY: I thought we were totally in trouble because of the even worse stuff we’d been doing. But they were like, “We’ve tried pot in an attempt to bridge the generation gap.” We were so relieved. But then, they said, “We would like to smoke with you to bridge the gap between our generations.” So, after dinner that night, with our candles lit and music on, we passed a joint around the dinner table with our parents and some of their hip friends from church. We put on Abbey Road by the Beatles because we all loved it, and it was a beautiful point of connection for us. I could hardly enjoy the music, because I was in shock. My whole psyche was screaming, “I’M GUILTY! I’m supposed to be guilty! I’m supposed to be guilty, but I’m getting away with something!”

ANN: The weirdest part was seeing my mother’s face while high, and knowing that she was high, too! It was incredibly hilarious and also surreal.

NANCY: It was an experience I never, ever wanted to have again, and thankfully one I never did have again! It’s also not an experience I would ever suggest that anyone have! [Laughs]

Wow, that scene needs to be in a movie at some point.

NANCY: Actually, there is a movie in progress. Carrie Brownstein of Sleater-Kinney has been writing it with us, and she will probably direct it, too. There were a lot of actresses who raised their hands after the first draft. I think Florence Pugh and Anne Hathaway. Also, the Fanning sisters, Dakota and Elle. There’s no way to know at this point yet, but it’s just fun to think about.

The memoir was written with Seattle-based writer Charles R. Cross, who died last year. What was it like to work with him on your memoir?

ANN: Charlie was a really amazing listener. I had read his books about Kurt Cobain and Jimi Hendrix, and I just loved them—they were great rock ’n’ roll stories with a fantastic sense of place in the Pacific Northwest. I knew that Charlie was the one who could write the Heart story. He was an incredibly intelligent person, a great writer, and a famous rock ’n’ roller.

NANCY: He was the coolest of the cool. He was so passionate about his love of music and all things creative. I really like how he put the book together. I think the book itself was kind of the blueprint for Carrie Brownstein’s first draft of the script. He was such a lovely friend to have, and we stayed in touch even after we did the book together.

Nancy, you recently joined Chappell Roan on stage to play “Barracuda.” How did that collaboration come about?

NANCY: Just from looking at social media, we were aware that she was putting “Barracuda” in her set almost every night. I thought, “Wow! She’s brave to do that.” It’s really a hard song to sing, and she nails it every time. My hubby, Geoff, suggested that I reach out to her. Chappell and her band were like, “We would be so honored!”

The amazing thing for me was to see Chappell-mania up close. There were a lot of passionate young people screaming every song at the top of their lungs. It was really inspirational. I love to see it happen at Heart shows, too—just to see how meaningful the songs are to people, how they soundtrack their lives, and how the songs are a mirror for them to reflect themselves in. It was beautiful to see the fulfillment of the promise of music reciprocally being shared. That’s what it’s all about.

What do you remember about seeing the Beatles live at the Seattle Center Coliseum in 1964?

ANN: I mostly remember that no one could hear the Beatles because of all the girls screaming. You couldn’t hear a thing. You could only hear a sound like jet engines, and it was the girls shrieking.

NANCY: It was beyond anything we teenagers had ever lived through. Ann and I had an all-girl band called the Viewpoints at the time. We had our mom sew us military jackets—the same ones that the Beatles had been wearing on their tour—to match them. We had our little band watching, you know, with opera glasses, so we could actually see.

The Brownie flash bulbs were like explosions all through the air, just from people taking flash pictures of each other. When Ringo’s kick drum showed up with the Beatles logo on it, Mal Evans, their roadie, carried it out, set it up on their stage. Every flash in the entire place went off at once. It was like daytime. When the Beatles finally showed up, it was a roar of screams. It came in waves; you could hear a little bit of music, then one of them would tap their foot, and the screaming would start up again. It was really life-altering and a really cool thing to be alive for. From the minute we saw the Beatles on TV, we knew that we had to be in music.

HARRISON FREEMAN

Nancy, I also read that you once hitchhiked to Canada in an attempt to find Joni Mitchell. Since then, have you met Joni?

NANCY: I absolutely got to meet her. My high school friend and I were the wild ones who went on a pilgrimage, hitchhiking to find Joni. Years later, when I was living with Cameron Crowe and working on scores for his films like Jerry Maguire and Almost Famous, I got a chance to meet Joni Mitchell and have dinner at this little place called the Four Oaks Restaurant near Laurel Canyon—it was a famous hippie hangout. She’s really cool. She’s hyper-intelligent, obviously. And she loves to talk about herself and tell her stories. She just kind of chain-smoked and drank cappuccinos. Ever since then, I only order cappuccinos. I’ve always fancied myself as a kind of wannabe of hers, the prowess of her poetry inventions and everything she gave us, but she was also a great friend who I hung out with every once in a while.

When I told her, it was really embarrassing. I was like, “You know the crazy stories of youth? Me and my crazy, wild-child girlfriend, who I’m still tight with, who I’m still a Joni fanatic together with, hitchhiked up to Sechelt to try to find you in your cabin where you were writing our life stories in your music.” She got a pretty big kick out of that.

I’m obsessed with Heart’s 1970s medieval revival style. Have you kept stage outfits from over the years? Where are your outfits from the Little Queen album cover?

ANN: Most of them are still around, either in the care of me or the woman who made them. A few of them are in Hard Rock Cafes around the world, in Brazil, Vegas, Orlando, all over the place.

NANCY: We have some of our medieval stuff from the Little Queen era. That stuff was the coolest. I think that was the best era. When we went to do the album cover photo shoot for Little Queen, we rented a wagon, some goats, and a bow and arrow. We’ve kept artifacts like the crystal ball, tool boxes, and shawls that were thrown around—stuff like that. We still have some of the ’80s outfits, too. We call them “Cadillacs” because some of them were as expensive to have made as cars. [Laughs]

Ann, what was it like to revisit old home movies and memories during the creation of your upcoming documentary, Ann Wilson: In My Voice?

ANN: It was very surreal! I was doing some work on the documentary recently and looking at some slides from my teenage years. It’s so wonderful to see all of those faces again. There were people I could barely recognize now—friends of my parents, and my parents, who are now deceased. It’s so nice to see them vibrant and in their 30s.

What are the best parts about being in a band with your sister? What are the biggest challenges?

NANCY: The best part is obvious: being on stage together. The hardest part is what surrounds the nucleus of what we have on stage—all the politics, power trips, and the people who try to take control. We have the actual control—the two of us—because we are the captains of the ship. The hardest part is knowing exactly how to steer the ship and how to, at this point in the band’s legacy, make the biggest footprint. The songs are going to be there long after we’re gone. I just want to make the right decisions so that the end of our story is impactful and that we can have the smoothest victory lap possible.

Let’s end with a fun question. Your Seattle date is four days before Thanksgiving—what are your holiday plans? Do you have any signature dishes or traditions in your family?

NANCY: Oh, totally. We always have a big get-together. We grew up like that, and there are signature dishes a-go-go. There’s grandma’s candied yams, which I like to make. And the pie, of course, made with apples from our apple tree. And the turkey, although sometimes we do more of a vegetarian-forward meal with just a small side of turkey. I love cooking, so I don’t mind it. I always love getting together with family, and the part when people say, “I’m grateful for…” I think that’s a really important annual tradition to carry on. It’s important to take a breather from all the dark stuff swirling around.

I’m really grateful for my life, for being a musician this entire time, and for knowing what I was destined to be. I feel luckier and luckier every year that my whole life’s work has been music. I don’t know what it would have been otherwise. I want to acknowledge and feel grateful for that.

See Heart with Cheap Trick at Climate Pledge Arena on Nov 23 at 7 pm.

November Things to Do: Music

Julianne Bell — Wed, 12 Nov 2025 04:00:00 -0800

The best music events in November. by Julianne Bell

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food.

Ginger Root

Nov 4–5

Once upon a time, Ginger Root’s DIY visionary Cameron Lew told Atwood Magazine he hasn’t considered working with an outside producer because each idea he has “moves so fast that I’m afraid if I lose momentum, then the whole song is going to go away.” Lew’s frantic creative energy is apparent in most everything he puts out. Ginger Root’s most recent full-length, 2024’s SHINBANGUMI, was accompanied by a 20-minute mockumentary about a struggling video producer in 1987 Japan who finds the courage to start his own production company. His live show is no exception. Rounded out by a jumpsuit-clad video-effects specialist wielding a newscast-grade camera for live video mixing, a Ginger Root show is a multimedia delight where every aspect is both unexpected and essential. Lew’s quirky Huntington Beach outfit performs as a quartet (gotta count the cameraman), and if you showed up to Japanese Breakfast’s ZooTunes show in September, for which Ginger Root opened, you already get the draw. Musically, Lew and co. zip between bedroom city pop, goofball soul, and jammy, Mattson 2–esque jazz, all buoyed by Lew’s sketch-comedy banter and nasty electro-slide-whistle riffs. (Crocodile, 8 pm, all ages) TODD HAMM

Triathalon, YUNGMORPHEUS

Nov 5

When Triathalon’s 2014 debut, Lo-Tide, came out, beach-goth rock arrangements and whammy bar surf-guitar work were their calling card, but soon, any coarseness in tone was smoothed out like fine-grain beach sand. By the time 2018’s Online came around, keyboards and a drum machine had entered the chat, and we were left with the suave, breathy, post-chillwave beats we would come to rely on. Their guitars had become seductive garnish, and cinematic postcoital shower vibes were on the menu. Fast forward to 2025, and the only thing remaining in the New York trio’s creative story arc was, you guessed it: existential dread. The band has said their newest effort, Funeral Music, answers the growing question of what sort of vibe their memorial services would put out, and interestingly enough, the tracks find the band leaning back into their more foundational rock and specifically shoegaze impulses. (Barboza, 7 pm, 21+) TODD HAMM

Freakout Festival

Nov 6–9

You may not know most of the lineup, but if you’re agile enough to hit up multiple rooms per night and you Do Your Own Research™, you can discover several new artists—local and foreign—who’ll long-term enrich your life. That’s the magic of Freakout Fest, now in its 13th year. With 70 acts performing at nine venues in Ballard and Fremont, Freakout promises a diversity of sonic adventures. Japanese noise-rockers Melt-Banana are as wild as ever, 32 years on. Portland’s Møtrik honor their name with klassik, ekstatik krautrock accelerations. Switzerland’s L’Eclair—some of whose members moonlight in Zambian rock gods W.I.T.C.H.—elegantly and cinematically funk you up (and down and all around) and will make you feel very sophisticated. Seattle shoegazers glass egg will unveil songs from their new, serenely misty visions & ecstasies album. The industrial-electronic group Chalk will bring their foundation-shaking capabilities all the way from Northern Ireland. My can’t-miss pick is Mexican psych-rock group Diles Que No Me Maten, who purvey an eerie, mysterious strain of post-punk. I could go on, but I don’t want to annoy my editor. [Ed. note: I did in fact let Dave go on—check out his 20 (!) Freakout Festival picks at TheStranger.com.] (Various venues and times, 21+) DAVE SEGAL

ECSC: 20th Rare Soul Weekender with Bernadette Bascom

Nov 7

In the early and mid 1980s—when grunge was merely a sprout in the dirt—Bernadette Bascom, the daughter of civil rights activist Rev. Marion C. Bascom, was keeping R&B and soul flowing through the Pacific Northwest with jams like “I Don’t Wanna Lose Your Love” and “Seattle Sunshine.” This is just a small fraction of what makes Bascom a local legend, along with being a member of funk groups Acapulco Gold and Robbie Hill’s Family Affair, becoming the first artist signed to Stevie Wonder’s Black Bull label, and teaching singing lessons across the region for decades. Long-running DJ collective Emerald City Soul Club will kick off their 20th annual Rare Soul Weekender with a live performance from the local legend, along with DJs spinning heat from their rare vinyl collections. (Black Lodge, 9 pm, 21+) AUDREY VANN

Freddie Gibbs & the Alchemist, Mavi, Sven Wunder

Nov 7

Individually, Freddie Gibbs and the Alchemist are two of the finest remaining practitioners of classic rap orthodoxy. The two have shown that hard-bodied street rhymes (Gibbs) and sample-based, neck-snapping beats (the Alchemist) never really went out of style, it’s just that fewer people were doing them hard enough. The Gary, Indiana–bred emcee is also hilarious. On record, Gibbs is quick to rap about “smashing like mashed potatoes,” and lament forgetting how many kids he has, like he did between songs at his Bumbershoot set last summer. For his part, the Beverly Hills–raised Alan Daniel Maman, aka the Alchemist, has produced for an enormous chunk of the rap pantheon, ranging in style from Action Bronson to Dilated Peoples, Schoolboy Q to Earl Sweatshirt. Of late, his penchant for album-length collabs has resulted in more than a few gems, but most notably, 2020’s Alfredo with Gibbs, which was nominated for Best Rap Album at the following year’s Grammys. This year’s sequel, Alfredo 2, is another notch in the duo’s illustrious win column. (Showbox SoDo, 8:30 pm, all ages) TODD HAMM

Reyna Tropical

Nov 8

Fabiola Reyna has mastered both the agile guitar picking of several vintage Southern Hemisphere subgenres and the art of homage, to turn tragedy into enduring legacy. Originally one half of Reyna Tropical, Reyna suddenly found herself the sole remaining band member when, in 2022, her musical partner Nectali “Sumohair” Díaz died in a scooter accident. After much contemplation, Reyna decided to carry on, keeping the moniker as tribute. Early RT EPs featured equal guitar/vocal songwriting and MPC input in the vein of a sunny Chico Mann/Captain Planet collab, and while Reyna’s 2024 solo debut, Malegría (a fitting mashup of the Spanish words for “bad” and “happiness”), does contain a dose of dance flare à la Bomba Estéreo, the album features her brilliant soukous-inspired, high-register guitar flourishes and lively dance BPM, with moments of more loping chicha tempos, all while honoring the band’s original motto, “Queer love and Afro-Mexico.” (Nectar Lounge, 8 pm, 21+) TODD HAMM

Shudder to Think, Zwei Null Zwei

Nov 8

Shudder to Think made the rare leap from DC punk stronghold Dischord to major label Epic (thanks to an Eddie Vedder endorsement), but it was hard for indie die-hards to be mad at them in those nutty, post-Nevermind ’90s. Bands as weird and audacious as Shudder to Think deserved to get a shot at next-medium-sized-thing status, damn it. Despite the Dischord association, STT were never punk, per se. Rather, they were actually a strange mix of math rock, post-punk, and glam rock, which Craig Wedren then launched skyward with a voice that swooped from delicate falsetto to powerful roar like an American Freddie Mercury. STT really bloomed on 1992’s Get Your Goat, a dazzling collection of songs that swerved unpredictably, flexed impressive guitar muscles, and invented new forms of rock beauty, thanks largely to Wedren’s demonically angelic vibrato. The 1994 Pony Express Record solidified STT’s status as quirky genii; its slanted and enchanted rock left Pavement sounding like flat-footed normies. Seeing a reunited Shudder to Think—one of the featheriest heavy bands that America’s produced—in 2025 seems like an improbable yet necessary dream. (Barboza, 6:30 pm, 21+) DAVE SEGAL

The Saints ’73-’78

Nov 9

Who was the first punk qua punk band? It’s an argument that can last for days, but Australia’s the Saints can legitimately contend for that honor. Although the Ramones’ first LP came out months earlier than the Saints’ 1976 debut single, “(I’m) Stranded”/“No Time,” both groups were germinating their fast and noisy songs synchronously on different continents in ’73 and ’74. Whatever the case, the Saints’ early tunes have aged very well, and new generations of punk-rock lovers still hunger to hear them played live. Ergo, this tour. Mudhoney front man Mark Arm’s replacing the Saints’ late, raw-throated singer Chris Bailey, and though his voice isn’t as adenoidal, Arm has the pipes and agitational energy to do these snarling anthems justice. Thankfully, original guitarist/songwriter Ed Kuepper’s still kicking ass, and he’ll be joined by OG Saints drummer Ivor Hay, ex–Birthday Party/Bad Seeds mensch Mick Harvey, and bassist Peter Oxley. Expect middle-aged folks moshing to the swashbuckling punk nuggets of (I’m) Stranded, Eternally Yours, and Prehistoric Sounds, plus singles from this vital era that have never been performed in North America. (Neptune Theatre, 8 pm, all ages) DAVE SEGAL

Doechii

Nov 10

All hail Doechii the don, Doechii the dean, Doechii supreme, the Swamp Ruler! Unless you’ve been living under a rock for the last two years, I feel confident in assuming that you’re probably already familiar with the Grammy Award–winning rapper, singer, and fashion icon and her insanely brilliant, inventive 2024 mixtape, Alligator Bites Never Heal. In that case, maybe you, too, shed a few tears over her historic Grammys performance, cackled over the sitcom-inspired “Denial Is a River” video, and braved Ticketmaster to secure tickets to the Seattle stop on her Live From the Swamp Tour. The Swamp Princess herself has decreed a school-inspired dress code for the tour and proclaimed that the “runway starts at the venue,” so I suggest treating this assignment like the Met Gala and taking a cue from Doechii’s chic, menswear-inspired personal style—time to start raiding the thrift stores for sweater vests, pleated skirts, blazers, and button-downs! (WAMU Theater, 8 pm, all ages) JULIANNE BELL

Patti Smith

Nov 10

Patti Smith (who will also be in town the night before for a book event) is the punk poet laureate, a National Book Award–winning author, Instagram sensation, and overall national treasure. And, despite her status as an American icon, I am constantly in awe of her down-to-earth personality and approachability. In 2015, during the release of her second memoir, M Train, I caught Patti at a now-demolished U-District cathedral for a reading. To my surprise, the evening was delightfully unstructured, with acoustic songs, stories, and an unmoderated Q&A. Having now seen her on three different occasions, I’ve found that she brings that authentic, inviting energy to every show she plays. Smith will celebrate the 50th anniversary of her debut album, Horses, by playing the album in its entirety. My fingers are crossed that she’ll also perform her first single, “Piss Factory,” which also happens to be my go-to karaoke song. (Paramount Theatre, 8 pm, all ages) AUDREY VANN

David Byrne

Nov 11–13

When Byrne released Who Is the Sky? earlier this year, he posted a full-album listening party on YouTube. “Hello and thank you for listening to my record for the first time,” he said to the screen before the first track, in that David Byrne voice that is somehow awkward and stilted and completely charismatic. “Now, since this is the first time you’ve heard this record, there’s some tips I suggest: Be with someone you love, and cut some onions. Prepare a nice meal, together. Eat it when the record’s over.” He’s a delightful weirdo on stage and on screen, and one of the few boomer white men I still want to give a mic to. He won’t tour forever, so take advantage of this chance to see him. And you may ask yourself, “Well, how did I get here?” (Paramount Theatre, 8 pm, all ages) HANNAH MURPHY WINTER

Neko Case, John Grant

Nov 14

Good things come to those who wait, and for me, that good thing is Neko Case’s first album in seven years, Neon Grey Midnight Green. Between the breezy, Virginia Astley–esque “Winchester Mansion of Sound,” which is an ode to her dearly departed friend/collaborator Dexter Romweber, and the cinematic love song “Wreck,” the album is already in the running to be my favorite of the year. Before I had even heard the full album, I was immediately drawn to its cover, which features Case swathed in green fur beside a fallen chandelier, with a puff of smoke in her hand, evoking the 19th-century surrealist artists Leonor Fini and Leonora Carrington. The album was recorded at her home studio in Vermont—Carnassial Sound—and is her first produced by her alone. Case writes: “I’m proud to say I produced this record. It is my vision. It is my veto power. It is my taste.” She will support the new album alongside singer-songwriter John Grant (formerly of the Czars). (Paramount Theatre, 8 pm, all ages) AUDREY VANN

Seattle Bands Stand With Gaza: Mt Fog, Reverse Death, Westmoreland

Nov 16

Good cause/good bands alert. Seattle’s Mt Fog have morphed from the solo project of vocalist/musician/songwriter Carolyn B. into a trio featuring Afrocop drummer/Select Level keyboardist Andy Sells and bassist Casey Rosebridge. Carolyn’s kaleidoscopic vocals hint at the artful acrobatics of Kate Bush, Björk, and Sinéad O’Connor while the songs on their latest album, 2024’s Ultraviolet Heart Machine, cohere into compelling hybrids of emotion-laden synth-pop and funk. They should be much better known. Led by multi-instrumentalist Daniel Onufer, Reverse Death have become one of my favorite local rock bands, making psychedelic music that’s beautiful, languorous, and suffused with mystery. Their 2022 album, Stretching to Infinity, basks in a tranquil, sacred aura of liquid guitar chime-bliss that’s as devotional as German mystics Popol Vuh. The track title “Floating Delight” telegraphs its effect. The new Reflectors, Vol. 1 showcases Reverse Death’s affinity for gorgeous minimalist psychedelia à la Spiritualized, with hints of a more chill 21st-century Beach Boys. Seattle seldom produces music of this beatific nature, so treasure it, you ingrates. (Tractor Tavern, 7:30 pm, 21+) DAVE SEGAL

Julie Doiron, Black Belt Eagle Scout

Nov 16

Canadian singer-songwriter Julie Doiron is the only person on Earth who wrote a song about a dying grandma so catchy and affecting that it’s a Vivian go-to when a fool passes me the aux cord (Broken Girl is foundational for sad girls everywhere). A former member of the dreamy, punky Eric’s Trip, Doiron is a songwriter’s songwriter who has consistently released interesting folk-ish alternative music for three decades. She’ll share the stage with Black Belt Eagle Scout, or Katherine Paul, the Anacortes-born, Portland-based Indigenous singer-songwriter whose 2023 record The Land, the Water, the Sky, is a beautiful heart-ripper. Recommended for fans of Phil Elverum (Mount Eerie/the Microphones), who is musically and personally connected to both artists. (Vera Project, 7 pm, all ages) VIVIAN McCALL

Shrek Rave

Nov 21

The lords, ladies, and fairy-tale creatures of Far Far Away are gathering for a night of absolute bedlam in Shrek’s Swamp—regardless of his “KEEP OUT OGRE” signs. There will be costumes, a kaleidoscope of Shrek-meme visuals, and an EDM-ified Shrek soundtrack. People will be sipping on swamp juice. What’s in it? Nobody knows, but definitely a fuckton of alcohol. This is the Shrek Rave. Be warned: This is literally a rave. If you go into it thinking it’ll be a fun Shrek costume party like some of us did back in 2023 or whenever this party went on its viral national tour, you may be disappointed. That happened to me. Go expecting a sweaty, bass-thumping party with a pocketful of MDMA in a pair of donkey ears and you’ll have the time of your life. (Crocodile, 10 pm, 21+) NATHALIE GRAHAM

Built to Spill, Papas, Larry Yes

Nov 25–26

Built to Spill is the best thing to come out of Idaho since the potato crop. Doug Martsch has been rocking out Boise-style since ’92. In that sense, they’re a “legacy act.” But good songs never die, and There’s Nothing Wrong With Love and Keep It Like a Secret are timeless because they were never super on trend. Built to Spill always did its own thing. (But if you’re worried the new-ish songs from 2022’s When the Wind Forgets Your Name will ruin your precious nostalgia, even these “new” songs were written a long time ago.) The band is joined by Boise’s Papas and Portland’s Larry Yes, two artists so small that putting them on this bill with indie-rock legends is, like Built to Spill, rad, old-school scene love. (Neptune Theatre, 8 pm, all ages) VIVIAN McCALL

More

Sir Chloe, Venus & the Flytraps Nov 5, Showbox, 8:30 pm, all ages

Tomo Nakayama ‘Ocean’ Album Release Nov 7, Fremont Abbey, 7:30 pm, all ages

Belly: 30th Anniversary of ‘King’ Nov 9, Crocodile, 7 pm, 21+

Herb Alpert & the Tijuana Brass & Other Delights Nov 9, Benaroya Hall, 7:30 pm, all ages

TeZATalks, N3PTUNE, Pussy Willow, and Porcelain Nov 9, Barboza, 7 pm, 21+

‘Avatar: The Last Airbender’ Live in Concert Nov 15, Paramount Theatre, 7 pm, all ages

The Brian Jonestown Massacre, Federale Nov 15, Showbox, 8 pm, 21+

King Princess: The Girl Violence Tour Nov 16, Showbox SoDo, 8 pm, all ages

Boris: ‘Pink’ 20th Anniversary Tour Nov 17, Crocodile, 8 pm, all ages

Donnie Emerson & Nancy Sophia Rabbit Box Nov 19, 8 pm, all ages

Khruangbin Nov 19, Neptune Theatre, 8 pm, all ages

Piano Starts Here Presents: The Music of Sun Ra & Fletcher Henderson Nov 19, Royal Room, 7:30 pm, all ages until 10 pm

An Evening with the Residency in 3-D with Macklemore Nov 20, Showbox, 7:30 pm, all ages

Bryan Adams: Roll with the Punches with Pat Benatar & Neil Giraldo Nov 21, Climate Pledge Arena, 7:30 pm, all ages

Dean Johnson, Theo Lawrence Nov 21, Showbox, 8 pm, 21+

Tei Shi, Harmony Nov 21, Madame Lou’s, 6:30 pm, 21+

Heart, Cheap Trick Nov 23, Climate Pledge Arena, 7 pm, all ages

Oblé Reed, Parisalexa, and Esebree Nov 26, Neumos, 7 pm, all ages

Sarah McLachlan Nov 26, Paramount Theatre, 8 pm, all ages

Deep Sea Diver: Homecoming Concert Nov 28, Paramount Theatre, 8 pm, all ages

Seattle’s Tribute to The Last Waltz Nov 29, Neptune Theatre, 8 pm, all ages

The Mountain Goats Dec 3–4, Neptune Theatre, 8 pm, all ages

Early Warnings

SYML Dec 5, Moore Theatre, 8 pm, all ages

A John Prine Christmas with Jenner Fox Band Dec 9, Tractor Tavern, 8 pm, 21+

Smokey Brights: ‘Dashboard Heat’ Album Release Dec 11, Crocodile, 8 pm, 21+

Thunderpussy with Mike McCready Dec 11, Showbox, 8:30 pm, 21+

Earl Sweatshirt Dec 15, Showbox SoDo, 8 pm, all ages

David Benoit’s Christmas Tribute to Charlie Brown with Courtney Fortune Dec 18–21, Jazz Alley, various times, all ages

Jenny Don’t & the Spurs Pre-NYE Bash Dec 30, Tractor Tavern, 8 pm, 21+

Mudhoney Dec 31, Neptune Theatre, 9 pm, all ages

New Year’s Eve with Kenny G Dec 31, Jazz Alley, various times, all ages

The Residents Jan 10, Neptune Theatre, 8 pm, all ages

Cate Le Bon Jan 27, Neptune Theatre, 8 pm, all ages

Julianna Barwick with Mary Lattimore Feb 17, Crocodile, 8 pm, 21+

Cardi B Feb 22, Climate Pledge Arena, 7:30 pm, all ages

Suzanne Vega Feb 22, Neptune Theatre, 7:30 pm, all ages

November Things to Do: Visual Art

Amanda Manitach — Wed, 12 Nov 2025 04:00:00 -0800

The best visual art events of the month. by Amanda Manitach

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food.

Finally We Have Met: Neon Works by Yale Wolf

Nov 6–18

Yale Wolf stands out among his contemporaries not only as a master of neon, but as a master of mise-en-scène, crafting environments where neon plays both centerpiece and supporting role in larger poetic tableaux. His work reveals a knack for pulling meaning from free-form simulacral doodles and fragmented flourishes designed to illuminate and transform the objects around them, as seen earlier this year in Reclaimed, where pops of neon (steering wheel, sunroof, headlights) detailed the ghostly carcass of a rusted-out scrapyard sedan blistered by fire and pummelled by bullets. Ethereal decadence wreathed in decay! In Finally We Have Met, Wolf is bringing mirrors into the equation, including a nearly six-foot reflecting pool ringed with searing pink barbed wire. Let’s just say it: This exhibition will be a selfie paradise. But that’s no doubt by design—a case where Wolf’s mise-en-scène becomes the site of mise-en-abyme. (Hometeam Gallery) AMANDA MANITACH

LAnd SEA

Nov 8–Jan 10, 2026

Before opening their Seattle galleries, longtime friends Eleana Del Rio (Koplin Del Rio) and McLean Emenegger (AMcE) ran separate art spaces in Los Angeles. Their camaraderie continues as they team up for the group exhibit LAnd SEA, which pairs artists from both galleries to make new collaborative works. While some group shows can be meh, this one promises to ooze genuine chimeric chemistry from powerhouse duos like painters Niki Keenan + Drie Chapek, photographers Daniel Carrillo + Eirik Johnson, and artists-who-defy-boxes Tim Cross + Robert Hardgrave (who are constructing their own mini-gallery to go within the gallery). Bring cash for holiday purchases, not only from AMcE’s Niche Market in the front, but for craveable collabs like Tommy Gregory’s memento-mori mash-up with the renowned de la Torre brothers: a 30-inch hand-blown glass figure encircled by serpents, crowned with a dove where his genitals should be, grasping a tiny bottle of liquor, with a bronze skull for a head. Says Gregory: “It’s about drinking too much (and life and death, obviously).” (AMcE Creative Arts) AMANDA MANITACH

Etsuko Ichikawa: Homecoming

Through Dec 13

The combination of fire and paper doesn’t seem like a recipe for success; for Etsuko Ichikawa, it’s how you make a glass pyrograph. Ichikawa was an artist in residence at Pilchuck Glass School when, 20 years ago, she accidentally dropped a lump of molten glass onto the floor. The whiplash burn mark it left on the ground proved an “aha!” moment and the start of decades-long experimentation with her now-signature technique. To make the work she (oh so briefly) drags the melting tails of molten glass across paper, which momentarily catches fire. It’s a sight to behold at the hot shop: as much performance as painting, a ballet with flames. The unique marks left behind look like shadows of smoke and ink. It’s been a minute since Ichikawa has produced a body of pyrographs (she also makes sculpture, installations, and video, and has worked extensively with vitrified uranium glass), so be sure to catch this show. (Winston Wächter Fine Art) AMANDA MANITACH

Field Notes: Artists Observe Nature

Opens Nov 16

I am scared of bugs, and I generally find art glass to be uninteresting, so I was surprisingly intrigued by the Museum of Glass’s newest offering, Field Notes: Artists Observe Nature. The exhibit spotlights Art Nouveau and contemporary glass artists who have mimicked the forms and patterns of nature, from realistic beetles and terrifying scorpions to naturalistic pinecones and slimy salmon. For me, the star of the show is Vittorio Costantini’s series of 300+ delicate lampworked glass-insect specimens, which are to-scale and as entomologically accurate as possible. (Museum of Glass) AUDREY VANN

Gretchen Gammell: ShellBodies

Open through Nov 26

Since graduating from the Oregon College of Art and Craft in 2003, Gretchen Gammell has churned out vibrant paintings that explore the female form and mind. But her newest series, ShellBodies, turns to the abstract for an eight-year project in the making, used to cope with the transition between life and death while she was studying nursing. “My job gives me the responsibility of holding and caring for the bodies of those who go on ahead of us,” she writes. “Their unique stories are so much like the intricacies of a leaf, a petal, a washed stone. When the body transitions into death, what is left behind is a shell marbled and grooved with the history of their life.” The result is a collection of kaleidoscopic still life paintings rendered in rich gem tones with abundant clusters of shells, flowers, and fruits. (Hall Spassov Gallery, free) AUDREY VANN

More

Tonantzin Eterna Protectora: An Exploration of La Virgen de Guadalupe Through Nov 23, Columbia City Gallery, free

Fay Jones: New Paintings Through Nov 29, Studio E Gallery, free

Kim Smith Claudel: End Cycle Through Dec 6, the Vestibule, free

Jen Ament: Headtrip Through Dec 20, Spectrum Fine Art, free

Asian Comics: Evolution of an Art Form Through Jan 4, MoPOP

Tariqa Waters: Venus Is Missing Through Jan 4, Seattle Art Museum

Beau Dick: Insatiable Beings Through Jan 18, Frye Art Museum, free

Farm to Table: Art, Food, and Identity in the Age of Impressionism Through Jan 18, Seattle Art Museum

Cultured Commodities: Photographs from the Henry Collection Through Jan 28, Henry Art Gallery, free

Boren Banner Series: Camille Trautman Through Apr 12, Frye Art Museum, free

Priscilla Dobler Dzul: Water Carries the Stories of Our Stars Through Apr 19, Frye Art Museum, free

Jonathan Lasker: Drawings and Studies Through Sept 27, Frye Art Museum, free

Ten Thousand Things Through Spring 2027, Wing Luke Museum

Ash-Glazed Ceramics from Korea and Japan Through July 12, 2027, Seattle Art Museum

Ai Weiwei: Circle of Animals/Zodiac Heads (Bronze) Through Oct 2027, Olympic Sculpture Park, free

Gossip: Between Us Ongoing, Tacoma Art Museum

Haunted Ongoing, Tacoma Art Museum

Hello Again: Fresh From the Back Room Opens Nov 6, Greg Kucera Gallery, free

Robin Arnitz: Sanctum Opens Nov 6, Shift Gallery, free

Suneeva Saldanha: KANIYO. Tales Opens Nov 6, Gallery 110, free

Tensions of the Tangible, Curated by Jia Jia Opens Nov 6, SOIL, free

Thomas Stream: Solo Exhibit Retrospective Opens Nov 6, Stonington Gallery, free

Timea Tihanyi Opens Nov 6, Greg Kucera Gallery, free

Akio Takamori: Soul Image Opens Nov 7, James Harris Gallery, free

New Nordic: Cuisine, Aesthetics, and Place Opens Nov 15, National Nordic Museum

Aisha Harrison: Porous Body Opens Nov 22, Bainbridge Island Museum of Art, free

Early Warnings

Chris Kallmyer: Song Cycle Opens Jan 10, Seattle Art Museum

Samantha Yun Wall: What We Leave Behind Opens Feb 5, Seattle Art Museum

Beyond Mysticism: The Modern Northwest Opens Mar 5, Seattle Art Museum

November Things to Do: Literature

Julianne Bell — Wed, 12 Nov 2025 04:00:00 -0800

The best literature events in November. by Julianne Bell

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food.

Quan Barry

Nov 5

Poet, novelist, and playwright Quan Barry’s 2019 novel We Ride Upon Sticks—which revolves around a girls’ high-school field-hockey team in Massachusetts in 1989, and their foray into witchcraft—is one of the most original, charming, weird, nostalgic, and witty books I’ve ever had the pleasure of reading. So naturally, I have high hopes for her newest release, The Unveiling. The literary horror novel follows Striker, a Black film scout who joins a very white luxury Antarctic cruise in order to photograph potential locations for a splashy Ernest Shackleton biopic. After an ill-fated kayaking excursion, Striker finds herself stranded with a select group of survivors. Gradually, everyone’s “secrets, prejudices, and inner demons” emerge among the frozen, desolate landscape, and Striker begins to lose her grip on reality. It sounds like a combination of The Shining and Get Out with eldritch vibes, and what’s not to love about that? (Elliott Bay Book Company, 7 pm, free, all ages) JULIANNE BELL

Susan Orlean with Claire Dederer

Nov 7

Longtime author and New Yorker staff writer Susan Orlean has written non-fiction books about orchid thieves, library fires, famous dogs, and animal-human relationships, but not until her new book, Joyride, has she ever written a book about herself. The memoir details her life as a writer, including managing deadlines and overcoming writer’s block (consider my interest piqued!) as well as losing love, finding love, and facing her own mortality. Orlean will sit down with one of my favorite writers, essayist and critic Claire Dederer, to discuss the new book and how she adapted from exploring other people’s lives to tackling her own. (Town Hall Seattle, 7:30 pm, all ages) AUDREY VANN

An Evening with Patti Smith

Nov 9

Punk-rock poet laureate, writer, and just general rock star Patti Smith is coming to Meany Hall (the day before her Paramount Theatre show) to talk about her latest memoir, Bread of Angels. The book dives deeper into Smith’s life, covering the ground her 2010 book Just Kids—about her relationship with lover Robert Mapplethorpe—only hinted at. Bread of Angels touches on Smith’s childhood growing up as the eldest of four kids, her teenage years, her marriage to the late guitarist Fred “Sonic” Smith, and how she found writing again after experiencing great loss. Bread of Angels publishes on Nov. 4, Mapplethorpe’s birthday and the day Fred “Sonic” Smith passed. Tickets include a copy of Bread of Angels from Elliott Bay Book Company. (Meany Hall, 7:30 pm) NATHALIE GRAHAM

Oyinkan Braithwaite

Nov 12

Nigerian author Oyinkan Braithwaite’s morbidly hilarious debut novel My Sister, the Serial Killer, a dark comedic thriller about a long-suffering nurse’s toxic relationship with her beautiful sociopathic sister, was a breakout hit that climbed the bestsellers lists and cemented her status as an author to watch. Now she’s back with her latest novel, Cursed Daughters, which explores similar themes of family, death, and love in a much different way. Eniiyi’s family believes her to be the reincarnation of her mother Ebun’s cousin, Monife, since she was born on the day of Monife’s funeral and bears an eerie resemblance to her. They believe this means that she, too, will be doomed to a tragic premature death. To make matters worse, the family also suffers from another curse: “No man will call your house his home. And if they try, they will not have peace.” When Eniiyi saves a man from drowning and inconveniently falls for him, she must fight to prove that she is not destined to the same fate as her foremothers. (Seattle Central Public Library, 7 pm, free, all ages) JULIANNE BELL

Jazmina Barrera and Megan McDowell: ‘The Queen of Swords’ and ‘The Week of Colors’ by Elena Garro

Nov 20

We are living in a golden era of translated literature, and, as a devourer of previously underrated authors like Clarice Lispector, Tove Jansson, and Tarijei Vesaas, I am loving every moment of it. The late Mexican author Elena Garro is the latest translated 20th-century author on my radar, as she is known as a trailblazer of magical realism, feminist horror, and anticolonial speculative fiction, who wrote with palpable rage and a vivid imagination. This talk between biographer Jazmina Barrera and translator Megan McDowell will celebrate the two book releases: Barrera’s exploration of Garro’s life, The Queen of Swords, and McDowell’s translation of Garro’s short story collection, The Week of Colors. Both books document Garro’s legacy as a forward-thinking writer, mystic, socialite, and activist. (Third Place Books Ravenna, 7 pm, free) AUDREY VANN

More

Li-Young Lee Nov 3, Rainier Arts Center, 7:30 pm

Becky Spratford Nov 6, Central Library, 8:30 pm, free

Maya Jewell Zeller ‘The Wonder of Mushrooms: The Mysterious World of Fungi’ Nov 11, Elliott Bay Book Company, 7 pm, free

Nicholas Boggs ‘Baldwin: A Love Story’ Nov 11, Hugo House, 6 pm

Miranda July Nov 13, Moore Theatre, 8 pm (see pg. 40 for preview)

David Sedaris Nov 16, Benaroya Hall, 7 pm

Cameron Crowe: The Uncool Book Tour Nov 17, Benaroya Hall, 7:30 pm, all ages

Malala Yousafzai: Finding My Way Book Tour Nov 17, Moore Theatre, 8 pm, all ages

Tuck Woodstock with Serena Hommes ‘Sex Change and the City’ Nov 17, Elliott Bay, 7 pm

A Conversation with Padma Lakshmi Nov 18, Benaroya Hall, 7:30 pm

Early Warnings

Honorée Fanonne Jeffers Jan 27, Town Hall Seattle, 7:30 pm

‘We Are Not Numbers: The Voices of Gaza’s Youth’ A Community Reading Jan 29, Third Place Books Seward Park, 7 pm

Aja Monet Feb 5, Town Hall Seattle, 7:30 pm

George Saunders: ‘Vigil: A Novel’ Apr 7, Town Hall Seattle, 7:30 pm

November Things to Do: Performance

Julianne Bell — Wed, 12 Nov 2025 04:00:00 -0800

The best theater and performance events in November. by Julianne Bell

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food.

PNB: In the Upper Room

Nov 7–16

Premiering in 1986, Twyla Tharp’s high-energy ballet, In the Upper Room, has become one of the most iconic ballets of the 20th century, admired for its athletic choreography, minimalist costume design, dramatic lighting, and a transcendent score by Philip Glass. The Pacific Northwest Ballet will take on Tharp’s contemporary classic, along with Dani Rowe’s emotionally compelling one-act ballet, The Window. This is a must for not only ballet and contemporary dance fanatics, but for lovers of experimental music and performance art. These performances will also debut the newly minted PNB dancers Christopher D’Ariano and Amanda Morgan. (McCaw Hall, various times, all ages) AUDREY VANN

Aya Ogawa, the Nosebleed

Nov 13–15

Doris Duke Award–winning playwright and director Aya Ogawa’s autobiographical play The Nosebleed explores themes of failure, humanity, empathy, and connection, as well as their strained relationship with their late, estranged father. Ogawa enlisted four actors to play various facets of themself, while taking on the role of both their father and their 5-year-old son. Audiences are invited to project their own experiences onto the blank, minimal set and are engaged in the “theatrical memorial and healing ritual” through audience participation. The New York Times selected it as a critic pick and called it “conversational, unflinching and delicately layered,” writing that “Ogawa’s memoir-like excavation tests the boundaries of love and family obligation through intimate confession.” (On the Boards, 8 pm, 6+) JULIANNE BELL

Conner O’Malley

Nov 20

I’ll be honest, I used to refer to Conner O’Malley as “Aidy Bryant’s husband,” until I saw him in Joe Pera Talks With You as a depressed father who eats chicken in the shower, followed by his feature-length, the straight-to-YouTube film Rap World. He isn’t the typical comedian I’d ride for—in general, I have an aversion to male comics—but his loud, aggressive take on comedy ultimately makes a subversive statement about the absurdity of modern-day masculinity. The Chicago-born comedian, whom the New Yorker has called “the bard of the Manosphere,” plays pathetic, reply-guy characters that shed light on the idiocy of alpha males and/or incel men who have largely gotten us to our current hellscape. In a message on his Instagram, an AI-generated O’Malley states, “I have been in the General Motors psychological experiments labs generating humor sequences infused with alternative political ideas, and I’m finally ready to take it out on the road.” (Neptune Theatre, 7 pm & 9:45 pm, all ages) AUDREY VANN

Come From Away

Nov 28–Jan 4, 2026

Ugh, I love Come From Away more than I can articulate. The hit musical tells the story about the small town of Gander, Newfoundland coming together to help the passengers on 38 planes stranded there after American airspace closed on 9/11. It is a musical that reminds us of the generosity of strangers and the goodness that persists in spite of large-scale evils. Come From Away got its start at the Seattle Repertory Theatre a decade ago when producers staged an early version of the show. It returns to that stage this fall, but the show won’t be the same version we all know. The Rep is putting a twist on Come from Away this year. All I know is there will be an emphasis on actors also playing musical instruments. Whatever version of Come From Away graces Seattle stages, I’m excited to see it and be welcomed back to The Rock. (Seattle Repertory Theatre, various times) NATHALIE GRAHAM

More

Violet vs Gottmik: The Knockout Tour Nov 6, Neptune Theatre, 8 pm, all ages

Whitmer Thomas with Clay Tatum Nov 6, Madame Lou’s, 7 pm, 21+

Nate Bargatze Nov 6–7, Climate Pledge Arena, 7 pm, all ages

Countess Luann Nov 7, The Showbox, 8:30 pm, 21+

Ally J Ward: Imposter Syndrome Nov 9, Here-After, 7 pm, 21+

Manual Cinema: The 4th Witch Nov 12, Moore Theatre, 7:30 pm, all ages

Nutcracker! Magical Christmas Ballet Nov 16, Paramount Theatre, 2 & 6 pm, all ages

World Ballet Company: The Great Gatsby Ballet Nov 16, Moore Theatre, 6 pm, all ages

Penelope Nov 28–Dec 21, ArtsWest, various times

Pacific Northwest Ballet: George Balanchine’s The Nutcracker Nov 28–Dec 28, McCaw Hall, various times, all ages

Spanksgiving Burlesque & Drag Show Nov 30, Tractor Tavern, 7 pm, 21+

A John Waters Christmas Dec 2, Neptune Theatre, 8 pm, all ages

A Drag Queen Christmas with Nina West, Lexi Love, Shea Coulee, Jewels Sparkles, Crystal Methyd, Suzie Toot, Brooke Lynn Hytes, Bosco, and Lydia B. Kollins Dec 3, McCaw Hall, 7:30 pm, 18+

Disney’s The Lion King Dec 4–Jan 4, Paramount Theatre, various times, all ages

Early Warnings

Alaska: A Very Alaska Christmas Show Dec 5, Neptune Theatre, 8 pm, all ages

Matt Rogers: Christmas in December Dec 6, Neptune Theatre, 8 pm, all ages

The 5th Annual Holly Jolly Holiday Show Dec 7, Neumos, 6 pm, 21+

Blue Xmas with Betty Wetter Dec 11, Clock-Out Lounge, 9 pm, 21+

Kitten N’ Lou Present: Jingle All the Gay Dec 12–14, Neptune Theatre, various times, all ages

In Tandem: A Trio of Duets Dec 18–20, On the Boards, 8 pm, ages 6+

The Jinkx & DeLa Holiday Show Dec 23–28, Moore Theatre, all ages

Fortune Feimster: Takin’ Care of Biscuits Dec 31, McCaw Hall, 7 pm, all ages

Seattle Opera: Daphne in Concert Jan 16 & 18, McCaw Hall, various times, all ages

Pacific Northwest Ballet: Cinderella Jan 30–Feb 8, McCaw Hall, various times, all ages

November Things to Do: Film

Audrey Vann — Wed, 12 Nov 2025 04:00:00 -0800

The best film events happening in November. by Audrey Vann

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food.

Talking Pictures: Ken Jennings presents Quiz Show

Nov 10

SIFF’s Talking Pictures series is like getting a really great movie recommendation from your friend, if your friend is Ben Gibbard (Drifting Clouds), J. Kenji López-Alt (Willy Wonka & the Chocolate Factory), or Eric “ConcernedApe” Barone (The Straight Story). This time around, your friend is Ken Jennings, our hometown quiz-show champion and Jeopardy! host, and he’s telling you why you should watch the late Robert Redford’s 1994 Quiz Show. The film is a dramatization of the quiz show scandals of the 1950s, back when scandals were more intrigue and less fascism. Jennings will give an extended introduction for the film about how a narrative centered on fixing quiz shows impacted his life as a Jeopardy! champ. I want to hear that story. (SIFF Cinema Uptown, 6 pm) HANNAH MURPHY WINTER

Didn’t Do It for Love

Nov 10-11

I won’t pretend like I’ve seen the rarely screened 1997 film Didn’t Do It for Love, but the premise alone is enough for me to blindly recommend it. The film traces the unbelievable real-life story of Eva Norvind, whose career spanned Parisian showgirl, Marilyn Monroe-esque actress, journalist, and, most notably, New York’s most successful dominatrix. There is perhaps no one better to convey the nuances of Norvind’s story than Hamburg-based filmmaker Monika Treut, who has devoted her life to fearless explorations of sexuality and gender since the 1980s, spotlighting queer stories and the kink community. The German newspaper Die Zeit once wrote that “films like Monika Treut’s are destroying cinema.” So you know it’s going to be good. (Beacon Cinema, various times) AUDREY VANN

Classified Cinema

Nov 18

Do you remember what it was like before we streamed everything, when you could channel surf and stumble onto a movie you’ve never heard of? Sometimes it was trash, but a blast. And sometimes it was a treasure that you end up coming back to over and over again. Classified Cinema helps recreate that feeling. You arrive at the theater with no idea what film is showing, and buckle in. The screening series has three rules: It’s free, it’s fun, and it’s never pretentious. If you want to do a vibe check, just call their Late Night Hotline Voicemail. They won’t come to the phone because they’re busy “sorting and alphabetizing [their] DVD and Blu-ray collection,” but you can leave a message and they might play it before the show. (SIFF Cinema Uptown, 7:30 pm, free) HANNAH MURPHY WINTER

Derek Jarman’s Blue

Dec 4

If you want to experience Derek Jarman’s experimental masterpiece Blue, then you must see it in a proper movie theater. That way, you can be immersed in complete darkness and publicly shamed if you check your phone. Thought to be one of the most challenging watches in cinema history, Jarman’s final film consists of an unchanging, solid blue screen soundtracked by narration and music by his friends (Tilda Swinton, Brian Eno, and Sleazy of Throbbing Gristle, to name a few) that tell the story of his life and artistic vision. Jarman tragically died of AIDS-related complications just four months after the film’s release, which gives Blue an undeniable heaviness. And, the film’s lack of visual elements can be explained by Jarman’s illness, which left him partially blind during its creation and only able to see shades of blue. (Northwest Film Forum, 7 pm) AUDREY VANN

More

Happyend Nov 9–21, Northwest Film Forum, various times

My Neighbor Totoro Nov 14–19, Central Cinema, various times

The Last Dive Nov 14–23, Northwest Film Forum, various times

Twin Peaks: The Return Nov 14–Dec 12, Beacon Cinema, various times

Fargo (SIFF Cinema Workers Union Fundraiser) Nov 16, Beacon Cinema, 5 pm

Silvestre Nov 17–18, Beacon Cinema, various times

Cinema Dissection: Double Indemnity Nov 22, Northwest Film Forum, 10 am

SIFF Movie Club: The Night of the Hunter (70th Anniversary) Dec 3, SIFF Cinema Uptown, 6 pm

Early Warnings

SIFF ’n’ Stitch: Elf Dec 7, SIFF Cinema Uptown, 12 pm

The Muppet Christmas Carol Dec 11–14, SIFF Cinema Uptown, various times

Cinema Dissection: Pan’s Labyrinth Dec 13, SIFF Film Center, 10 am

Vengeance Is Mine Dec 14–16, Beacon Cinema, various times

Fiddler on the Roof Sing-along Dec 25, SIFF Cinema Uptown, 12 pm

Moulin Rouge! New Year’s Eve Sing-along Dec 31, SIFF Cinema Uptown, 6 pm

Showgirls: The Annual Showing Jan 17–18, Northwest Film Forum, 7:30 pm

Patti Smith's Voice Was Stronger Than Ever Last Night at the Paramount

Audrey Vann — Tue, 11 Nov 2025 17:03:00 -0800

Fifty Years on, Horses Still Feels Like a Revelation

by Audrey Vann

“If you were wondering what the poem meant, I have no idea,” Patti Smith offered, after reading Rimbaud’s “Genie” on Monday night at the Paramount Theatre. “But, to me, it just means everything.”

This is exactly how I feel about Horses. I know from a decade of obsession over Smith where the songs come from: “Redondo Beach” was inspired by a newspaper headline, “Break It Up” was taken from a dream she had where Jim Morrison breaks out of a marble statue, and “Elegie” was written after the death of Jimi Hendrix. But none of these concepts can really explain what Horses is about. The songs exist outside of reality, time, space, and logic. Yet, to me, they just mean everything.

While “Redondo Beach” and “Gloria” have soundtracked (via my earbuds) many moody walks down the hallways of my high school, I’ll admit that Horses did not fully click for me until I was in college. What changed everything was a last-minute decision to see Patti Smith perform Horses in its entirety for the 40th anniversary back in January of 2016. I remember sitting in one of the last rows at the Moore Theatre, where the air was hot and sticky and my naked eye could just make out her iconic silhouette. Despite this, her voice echoed up to me like a roar from a wishing well. That night, I felt my understanding of art, language, and identity expand. While it’s hard to believe that the show took place a decade ago, over the weekend I noticed that the shirt I bought that night (which is still in my regular rotation) now has a hole along the collar. It’s time for a new Patti Smith shirt, and thus, it’s time for another Horses anniversary tour.

Just as she had 10 years ago, Smith walked out on stage in her signature ensemble: shaggy, loosely braided silver hair, a white t-shirt, and a black blazer. She swiftly began singing the album’s opening line, “Jesus died for somebody’s sins but not mine,” as fans stood up and shouted along. I immediately noticed that Smith’s voice sounded stronger than ever. Her ability to switch from a punk growl to a sweeping belt is overlooked. Yes, she’s an amazing poet, performer, and memoirist, but she’s also an incredible vocalist with unbelievable control.

With each “G-L-O-R-I-A,” I felt my former 19-year-old Patti Smith-obsessed self rise to the surface until I was bubbling over. I had entered the show as a worn-out 29-year-old on a Monday night, stressed about parking, but I was soon reminded of how important this woman has been to me throughout my adulthood; a large Patti Smith poster hangs near my desk where I work. Her poetry books and memoirs crowd my bookshelves. Her albums and bootlegs occupy a large chunk of my record collection. I can recite her spoken-word pieces, like “Birdland” and “Piss Factory,” from memory. I began scheming how I could rush to the front to grab a setlist at the end of the show. Then, like a recovering addict, I thought, “No, Audrey, those days are behind you.”

Smith sang through the tracklist of Horses with minimal chatter in between songs. After “Free Money,” she directed the audience to carefully turn the record over to side two, “or, if you’re like me, just slam it onto the fucking turntable.” She played an extended jam of “Land: Horses/Land of a Thousand Dances/La Mer(de),” wailing and shaking like I had seen her in clips from the ’70s. In a daze and out of breath, she left the stage, forgetting to play “Elegie.” “That’s never happened before,” Smith admitted after returning to play it for the encore. “I guess it was just the thrill of the moment.”

Tony Shanahan (left) has been a part of Smith's band for 30 years. Eric Tra

While Smith recovered backstage, her band—consisting of original members Lenny Kaye and Jay Dee Daugherty, along with keyboardist/bassist Tony Shanahan and her son, guitarist Jackson Smith—played three songs by Television, “See No Evil,” “Friction,” and “Marquee Moon.” While some fans looked at each other confused, others used this as an opportunity to refill their drinks and use the restroom. A few exuberant fans stood up in excitement as they played “Marquee Moon.” Smith and her band’s relationship with Television is well documented—they grew out of the same wave of New York punk, and frontman Tom Verlaine and Smith dated in the mid-1970s and remained friends until his passing in 2023.

Smith returned to the stage with a mug of tea and her blazer replaced by a loose tuxedo vest. As she began singing “Dancing Barefoot,” the audience rose and collectively began dancing Stevie Nicks style. While I cringed as a woman in one of those hats began swaying and moving her fingers like she was casting a spell, it was actually beautiful to see what that song does to people. Looking around, every fan was dancing as though they were completely alone and embodying the most carefree version of themselves.

Taking a moment to revisit the exact day, 50 years ago, Smith explained that Horses was meant to be released on October 20, Arthur Rimbaud’s birthday, but was delayed because of the 1973–74 oil crisis. “I’m sorry, darling, but it can’t come out on Rimbaud’s birthday because of the [oil] shortage,” Smith said, impersonating what Clive Davis had told her. Smith expressed that she was disappointed, but delighted to hear that the new release date was November 10—the anniversary of Rimbaud’s death. In honor of the French poet, Smith read one of her favorite poems by him to a crowd of mostly silent fans. (I say mostly, because a drunk person was rambling loudly, which was then made worse by a sea of angry “Shh!”)

Horses was released on November 10, the anniversary of Arthur Rimbaud’s death. In honor of the French poet, Smith read one of her favorite poems by him. Eric Tra

I was delighted as the band began “Pissing in a River,” a favorite of mine from her sophomore album, Radio Ethiopia, which, again, displayed the full range of Smith’s vocal abilities. Afterwards, Smith introduced the lesser-known 2003 song “Peaceable Kingdom,” explaining that the lyrics came out of her concern for the plight of the Palestinian people over two decades ago. “We wrote it in the hopes that things would get better,” she said solemnly. “I’d like to sing it tonight for the Palestinian people, with all of the sorrow, hope, and care that a human being can muster for those they’ve never met but feel and have always felt love for.”

Waving goodbye to the crowd as she finished singing “Because the Night,” Smith and company returned for the encore, dedicating “Elegie” to Jimi Hendrix, as well as the 29 crew members killed on the SS Edmund Fitzgerald, which sank on the same day that Horses was released in 1975. “People Have the Power” closed the show as expected, leaving the audience all riled up and ready to make change in the world—or so Patti and her late husband Fred had hoped when they wrote it. “He hoped that it would excite and incite people to march and to use their voice.”

I left the theater without fighting anyone for a setlist or waiting to ambush Patti Smith at the private exit. Instead, I purchased a signed copy of her new book, Bread of Angels: A Memoir, to add to my collection.

Pattisims

“Tom Verlaine and I lived in a six-floor walk-up in the East Village. Tom liked to wake up a little later, so I would go down six floors and get him coffee and chocolate donuts, which was his favorite breakfast.

“Excuse my language—I’ve been in New York for a while and [‘fuck’] just means ‘poop’ over there.”

“All I want to say is, thank you for the battery. I was feeling a little bit like that rabbit, you know, winding down.

“I’m not saying this in a bragging way, but every once in a while, someone will say, ‘Oh, Patti, Horses changed my life,’ but I have to say, this fella, Fred ‘Sonic’ Smith changed mine.”

“You won't believe this—actually, you will because you were here, you were witnesses—but I actually forgot to put one of the songs on the [Horses tracklist]. I just breezed past it! I’ve never done that before, but I guess it was just the thrill of the moment.”

Stranger Suggests: A Bloody Theatrical Performance, an Art Show That Oozes Chimeric Chemistry, and Singer-Songwriters Who’ll Rip Your Heart Out

Julianne Bell — Mon, 10 Nov 2025 14:30:00 -0800

One really great thing to do every day of the week. by Julianne Bell MONDAY 11/10

Seattle Eats Live with Tan Vinh, Rachel Belle, and J. Kenji López-Alt

(FOOD) Seattle Times food critic Tanh Vinh’s podcast Seattle Eats is dedicated to sharing “the area’s hottest restaurants, road-side food stalls, and everywhere in between, to find the best meals in the city and to meet the people who make them sing.” For this special live edition, he’s enlisting the help of two local culinary heavy-hitters: chef/writer and noted teriyaki connoisseur J. Kenji López-Alt, and radio personality and author Rachel Belle, who hosts the Your Last Meal podcast. The trio will take questions from the audience and dispense advice on navigating the local food scene, from the best steakhouse in Seattle to how to recreate your favorite takeout meal at home. (Town Hall Seattle, 7:30 pm, all ages) JULIANNE BELL

TUESDAY 11/11

David Byrne

(MUSIC) When Byrne released Who Is the Sky? earlier this year, he posted a full-album listening party on YouTube. “Hello and thank you for listening to my record for the first time,” he said to the screen before the first track, in that David Byrne voice that is somehow awkward and stilted and completely charismatic. “Now, since this is the first time you’ve heard this record, there’s some tips I suggest: Be with someone you love, and cut some onions. Prepare a nice meal, together. Eat it when the record’s over.” He’s a delightful weirdo on stage and on screen, and one of the few boomer white men I still want to give a mic to. He won’t tour forever, so take advantage of this chance to see him. And you may ask yourself, “Well, how did I get here?” (Paramount Theatre, 8 pm, all ages) HANNAH MURPHY WINTER

WEDNESDAY 11/12

LAnd SEA

See 'Through the Overgrowth' by Sarah Gordon at LAnd and SEA through January 9. SARAH GORDON/COURTESY OF AMcE CREATIVE ARTS

(VISUAL ART) Before opening their Seattle galleries, longtime friends Eleana Del Rio (Koplin Del Rio) and McLean Emenegger (AMcE) ran separate art spaces in Los Angeles. Their camaraderie continues as they team up for the group exhibit LAnd SEA, which pairs artists from both galleries to make new collaborative works. While some group shows can be meh, this one promises to ooze genuine chimeric chemistry from powerhouse duos like painters Niki Keenan + Drie Chapek, photographers Daniel Carrillo + Eirik Johnson, and artists-who-defy-boxes Tim Cross + Robert Hardgrave (who are constructing their own mini-gallery to go within the gallery). Bring cash for holiday purchases, not only from AMcE’s Niche Market in the front, but for craveable collabs like Tommy Gregory’s memento-mori mash-up with the renowned de la Torre brothers: a 30-inch hand-blown glass figure encircled by serpents, crowned with a dove where his genitals should be, grasping a tiny bottle of liquor, with a bronze skull for a head. Says Gregory: “It’s about drinking too much (and life and death, obviously).” (AMcE Creative Arts, Wed-Sun, various hours, free) AMANDA MANITACH

THURSDAY 11/13

Miranda July

See Miranda July at Moore Theatre Thursday, November 13. AUTHOR PHOTO BY ELIZABETH WEINBERG

(BOOKS) Miranda July is known for her prolific and expansive body of work, which includes performance art; her films Me and You and Everyone We Know (2005), The Future (2011), and Kajillionaire (2020); and her books No One Belongs Here More Than You, It Chooses You, and The First Man. Most recently, her 2024 novel, All Fours—which follows an unnamed 45-year-old married perimenopausal artist who embarks on a road trip and undergoes an intense sexual awakening—has become a galvanizing cultural phenomenon, sparking countless group chats and book club discussions. The New York Times called it "the first great perimenopause novel," and Starz has acquired the rights to adapt it into a TV series. July has kept the dialogue going with her Substack chat, where her fans swap wisdom on subjects like divorce, polyamory, and hormone replacement therapy. The multi-hyphenate creative joins Stranger arts editor Emily Nokes for this conversation. (Moore Theatre, 8 pm, all ages) JULIANNE BELL

FRIDAY 11/14

Neko Case, John Grant

(MUSIC) Good things come to those who wait, and for me, that good thing is Neko Case’s first album in seven years, Neon Grey Midnight Green. Between the breezy, Virginia Astley–esque “Winchester Mansion of Sound,” which is an ode to her dearly departed friend/collaborator Dexter Romweber, and the cinematic love song “Wreck,” the album is already in the running to be my favorite of the year. Before I had even heard the full album, I was immediately drawn to its cover, which features Case swathed in green fur beside a fallen chandelier, with a puff of smoke in her hand, evoking the 19th-century surrealist artists Leonor Fini and Leonora Carrington. The album was recorded at her home studio in Vermont—Carnassial Sound—and is her first produced by her alone. Case writes: “I’m proud to say I produced this record. It is my vision. It is my veto power. It is my taste.” She will support the new album alongside singer-songwriter John Grant (formerly of the Czars). (Paramount Theatre, 8 pm, all ages) AUDREY VANN

SATURDAY 11/15

'The Nosebleed'

See 'The Nosebleed' at On the Boards November 13-15. COURTESY OF ON THE BOARDS

(PERFORMANCE) Doris Duke Award–winning playwright and director Aya Ogawa’s autobiographical play The Nosebleed explores themes of failure, humanity, empathy, and connection, as well as their strained relationship with their late, estranged father. Ogawa enlisted four actors to play various facets of themself, while taking on the role of both their father and their 5-year-old son. Audiences are invited to project their own experiences onto the blank, minimal set and are engaged in the “theatrical memorial and healing ritual” through audience participation. The New York Times selected it as a critic pick and called it “conversational, unflinching and delicately layered,” writing that “Ogawa’s memoir-like excavation tests the boundaries of love and family obligation through intimate confession.” (On the Boards, 8 pm, 6+) JULIANNE BELL

SUNDAY 11/16

Julie Doiron, Black Belt Eagle Scout

(MUSIC) Canadian singer-songwriter Julie Doiron is the only person on Earth who wrote a song about a dying grandma so catchy and affecting that it’s a Vivian go-to when a fool passes me the aux cord (Broken Girl is foundational for sad girls everywhere). A former member of the dreamy, punky Eric’s Trip, Doiron is a songwriter’s songwriter who has consistently released interesting folk-ish alternative music for three decades. She’ll share the stage with Black Belt Eagle Scout, or Katherine Paul, the Anacortes-born, Portland-based Indigenous singer-songwriter whose 2023 record The Land, the Water, the Sky, is a beautiful heart-ripper. Recommended for fans of Phil Elverum (Mount Eerie/the Microphones), who is musically and personally connected to both artists. (Vera Project, 7 pm, all ages) VIVIAN McCALL

Good Things Take Time

Audrey Vann — Fri, 07 Nov 2025 11:37:00 -0800

Dean Johnson Took the Scenic Route to His Second Album

by Audrey Vann

Dean Johnson says that there are some pretty mean songs on his sophomore album, and that’s why he’s titled it I Hope We Can Still Be Friends. However, the name alone should tell you that he’s far from a bully. The man is soft-spoken, hyper-considerate, a little self-conscious, and impossibly charming. When I arrived at his house on a sunny Monday afternoon, he was anxiously awaiting my arrival with the tea kettle whistling and two types of tea neatly set out for me to choose. As I debated whether to choose decaf or herbal, I remembered what a friend recently said to me in preparation for the interview: “Everyone who meets Dean falls in love with him.” It’s easy to see why.

Johnson’s music is warm and laid back with the wit of Michael Hurley and the vocal stylings of the Everly Brothers. His presence radiates gratitude, and he appears to be genuinely astonished that people listen to his music. This magical combination of talent and sincerity has led him to tours with Rilo Kiley/Jenny Lewis, Blind Pilot, John Craigie, and more; he also signed to Saddle Creek this year—I Hope We Can Still Be Friends will be his first release for the label. I caught up with Johnson at his home in Seattle to discuss his new album, finding his voice in his 40s, and the overrated concept of dream jobs.

I know that your debut album included songs you had written over a long period of time. Is the same true for I Hope We Can Still Be Friends?
That is true. At least a third of the songs, I never thought I would record. I had enough friends who wanted me to record them, so I did. And for my own sake—to give them a place, you know? I kind of dread the idea of recording, but I ideally want to embrace it and have that be more of the focus of what I do. I have a lot of music to record.

Going onstage and singing my songs can still feel awkward. If you’ve ever heard the songs on my first record, there’s a lot of heartbreak—exposing stuff. They can be exaggerated, but they are all written in the first person. There is stuff about jealousy and possessiveness. Doing those solo can be pretty vulnerable.

As you were choosing which songs to record, did you find a unifying theme on the album?
Yeah, I did. The second single, “Death of the Party,” is about energy vampires, and it’s the most overtly mean song. There are other prickly songs on the album, mostly about relationships. There is a kind of heavy “mean” theme. It’s a little bit embarrassing how petty some of them are.

I have a hard time with people who are relentless talkers. When I sing “Death of the Party” to audiences, I say, “I hope you’re not afraid to come and talk to me after this song!” That is actually what led to the title I Hope We Can Still Be Friends.

What is your favorite song on the album?
My favorite is called “Shake Me.” It’s about revenge from Mother Nature. The destruction of the planet might be where humans eventually find common ground. The lyrics are “mountains under carpet,” and I always explain that line before I play it live. It’s about sweeping all your problems under the rug. A lot of the songs feel fragile on the record because we were playing live and weren’t very rehearsed. There is a delicacy to the recording. It’s a little bit wonky. “Shake Me” goes off the rails a little bit. But hopefully, that adds to the charm.

What musicians do you look to for inspiration?
I feel like I’m pretty typical when it comes to influences. Early on, I got into Bob Dylan, the Beatles, and Neil Young. Then, I was really into Sam Cooke and Ray Charles. When I was in high school and middle school, I loved the Violent Femmes, the Dead Kennedys, the Cure, and Echo and the Bunnymen.

But there are some songs that make me want to write. Like Neko Case’s song “Star Witness.” That is an incredible song. Her songs paint a strange picture that feels like the Pacific Northwest to me. I think she would have been a great person to soundtrack something by David Lynch.

I’ve noticed that much of the press about you puts an emphasis on your age. How do you feel about that?
Well, it doesn’t bother me if it comes up in an interview because my story is unusual—I released my first record [Nothing for Me, Please] at 50. I can’t blame anyone for drawing attention to that. I can have times when I wish I were 22 years old and the life of the party. I can feel self-conscious. But it’s just me, really. People are mostly nice.

I can tell that touring is good for my brain. I used to have a really good memory. It’s sad that I’m doing this at this stage in my life when I can’t remember things as well. If I were doing it at 25 or even 30 years old, I would remember every face and every name. I’ve lost that big time. That feels kind of crummy.

Where do you see your career headed?
Good question. At least right now, my booking agent and my manager are trying to get me to grow as much as possible. But having a big team seems like a significant challenge to me. Being immersed with other people 24/7 is a potentially precarious situation. My biggest goal is to enjoy the recording process more than playing to thousands of people. However, I make more memories on the road than just sitting around the house and keeping a routine life. My routine life is extraordinarily bland. Taking a walk with my girlfriend Kate is my favorite thing to do.

If you recorded albums when you were younger—let’s say 25, 35, and 45—what would that have sounded like?
They probably would’ve been more indie-rock adjacent. I think I would’ve sung a lot differently—even in my 30s. I am still learning how to sing. I just had two shows in a row where I was cringing at myself the entire time. I’m not good at remembering to breathe and relaxing my diaphragm.

In my 20s, I probably would’ve belted a lot, and not in a controlled way. I probably just would have been loud and more obnoxious. I’ve made recordings at home in the last 10 years that are pretty bad. I like to think that if I were making albums in my 20s, I would’ve learned some of the stuff I have learned over the last few years a lot earlier.

I did not get comfortable onstage until I was in my 40s. In my 30s, I was pretty shy onstage. To this day, when people post videos of me playing, I don’t like to listen to them, but I think that’s pretty typical.

Do you come from a musical family?
Neither of my parents played an instrument. They gave us children an organ, hoping one of us might pick it up, but that never happened. My brother, who’s eight years older, got me a cheap old guitar when I was 14 and showed me the basics. Over the next 15 years, I just noodled with the guitar. The typical path is to take lessons and learn other people’s songs, but I mostly just made up guitar parts.

The only other unusual thing about my childhood was my dad; he was home a lot and sang all the time. He was an incredible singer, but my siblings and I hardly acknowledged it. It was just normal to have him sitting at the table singing songs from opera to Ray Charles to the Beatles to Bob Dylan.

Otherwise, my parents barely played music when I was a kid. My younger brother and I were accidents and born long after my older brother and sister. Most of our childhood, we were just hearing what our older brother and sister played, and it wasn’t even very much of that.

When you were a child, what did you foresee your adulthood being like? What path did you see yourself going down?
I didn’t think about it… The longest job I ever had was as a carpenter. I was a bartender for 11 years. I’ve done handyman stuff. I’ve made coffee. I never got myself on the trajectory of having a career.

That reminds me of the quote “I have no dream job, I do not dream of labor.” Outside of a career, what was capturing your imagination or interest as a child?

[Laughs] Yeah. That probably relates to me. Music has been the only constant—me, connecting with the guitar. I never became much of an artist, but I also love the art world.

Luis Arellenas

What’s the most memorable live show you’ve played?
The biggest one was last summer. I was invited to play Roskilde, a huge music festival in Denmark. Our slot was at noon, and it was pouring rain. Plus, it was the last day of the festival—people had partied their brains out. Nobody knew who I was, of course. We were playing in an indoor space that had 1,200 capacity. I thought we’d be playing to 50 people.

Anyway, we came out of the curtain from backstage and the place was full to the brim. We were like, “Holy shit.” Luckily, I relaxed and had a great time talking to the crowd and making jokes. The crowd was dead quiet during our set, and then the applause was rapturous. I kept laughing because of how thunderous it was. It still blows my mind.

What was the first concert you attended?
Around 1985, when I was 14, my older sister was dating a guy who was the most influential music guy in my life. He was into Seattle bands. I went to a Young Fresh Fellows show under his wing. That was a big deal. Another time, that guy’s brother took me to buy my first electric guitar. It was really special. He also took me to see the Dead Milkmen at the University of Washington HUB Ballroom when I was about 15.

Going to see live bands gave me a very particular feeling and energy—a very nervous energy. When I turned 21, I used to go watch open mics at bars, and I would get so incredibly nervous on behalf of the performers. I was nowhere near performing.

It is interesting to hear you’re a bit self-conscious about your singing because anytime I’ve ever heard anyone talk or write about your music, there’s an emphasis on how beautifully you sing. You are often compared to the Everly Brothers.
And that’s absurd! Maybe I’m like a very unrefined back-porch Roy Orbison. I feel so unrefined compared to people who are natural singers. I can’t control my vibrato. Sometimes I’ll get a really nice flow of vibrato, but I still haven’t worked hard enough to figure out what the hell is going on.

Although, as I’ve gotten more experience, I’ve begun to enjoy performing. I enjoy the singing part a lot. I feel really fortunate and absolutely grateful that there has been any attention to my first record and that things have happened like this. When I recorded that album, I imagined that I probably would never release it.

I wouldn’t have gambled any money on getting this far. And, considering my age, the fact that Saddle Creek wants to release my music means a lot. I feel like because of my age, it feels like it’s more authentically the music that’s appreciated, and I like that.

See Dean Johnson at the Showbox on November 21, 7pm, 21+.

Stranger Suggests: A Music Fest Worth Freaking Out About, a Party with an Oyster Luge, and Don’t Forget to Vote!

Julianne Bell — Mon, 03 Nov 2025 11:20:00 -0800

One really great thing to do every day of the week. by Julianne Bell MONDAY 11/3

Lael Neale, Guy Blakeslee

(MUSIC) In her bio, singer-songwriter Lael Neale writes that she loves “not listening to music”—and it shows (in the best way). Employing drum machines, power chords, and a Suzuki Omnichord, Neale creates a singular sound that’s all her own: equal parts dream pop, classic country, and gospel. Her latest album, Altogether Stranger, sounds like an ’80s private press record that would eventually land a coveted Light in the Attic reissue (IYKYK). Neale will support the album after a set from LA-based experimental artist Guy Blakeslee. (Sunset Tavern, 8 pm, 21+) AUDREY VANN

TUESDAY 11/4

VOTE!

Choose your fighter. HARRISON FREEMAN

(CIVIC DUTY) The primary was an acid trip for the history books. We gotta make it real. Vote, vote, vote, vote, vote. Just because progressives did well in the primary, doesn’t mean this is a shoe-in. Money has been pouring in for Harrell since his pitiful primary performance. He’s accumulated over $1.5 million from business CEOs and real-estate developers. And that’s just counting his PAC’s money. He’s rocking another million in campaign contributions. They believe this election can be bought. If you don’t show up, it will be. We’re living in hell. Life is expensive, the history book horrors are at our doorstep, the kids have rotted brains, but Seattle can still be a haven. Sometimes bubbles are good. Vote for this city. Vote for your future. Vote for the kids. Vote against your uncle’s next heart attack. Vote like you’ll need to join a naked bike ride for freedom. Vote. STRANGER ELECTION CONTROL BOARD

WEDNESDAY 11/5

Quan Barry

COURTESY OF GROVE ATLANTIC

(BOOKS) Poet, novelist, and playwright Quan Barry’s 2019 novel We Ride Upon Sticks—which revolves around a girls’ high-school field-hockey team in Massachusetts in 1989, and their foray into witchcraft—is one of the most original, charming, weird, nostalgic, and witty books I’ve ever had the pleasure of reading. So naturally, I have high hopes for her newest release, The Unveiling. The literary horror novel follows Striker, a Black film scout who joins a very white luxury Antarctic cruise in order to photograph potential locations for a splashy Ernest Shackleton biopic. After an ill-fated kayaking excursion, Striker finds herself stranded with a select group of survivors. Gradually, everyone’s “secrets, prejudices, and inner demons” emerge among the frozen, desolate landscape, and Striker begins to lose her grip on reality. It sounds like a combination of The Shining and Get Out with eldritch vibes, and what’s not to love about that? (Elliott Bay Book Company, 7 pm, free, all ages) JULIANNE BELL

THURSDAY 11/6

Freakout Festival

(MUSIC) You may not know most of the lineup, but if you’re agile enough to hit up multiple rooms per night and you Do Your Own Research™, you can discover several new artists—local and foreign—who’ll long-term enrich your life. That’s the magic of Freakout Fest, now in its 13th year. With 70 acts performing at nine venues in Ballard and Fremont, Freakout promises a diversity of sonic adventures. Japanese noise-rockers Melt-Banana are as wild as ever, 32 years on. Portland’s Møtrik honor their name with klassik, ekstatik krautrock accelerations. Switzerland’s L’Eclair—some of whose members moonlight in Zambian rock gods W.I.T.C.H.—elegantly and cinematically funk you up (and down and all around) and will make you feel very sophisticated. Seattle shoegazers glass egg will unveil songs from their new, serenely misty visions & ecstasies album. The industrial-electronic group Chalk will bring their foundation-shaking capabilities all the way from Northern Ireland. My can’t-miss pick is Mexican psych-rock group Diles Que No Me Maten, who purvey an eerie, mysterious strain of post-punk. I could go on, but I don’t want to annoy my editor. (Various venues and times, 21+) DAVE SEGAL

FRIDAY 11/7

PNB: In the Upper Room

In the Upper Room runs at McCaw Hall through November 16. ANGELA STERLING

(PERFORMANCE) Premiering in 1986, Twyla Tharp’s high-energy ballet, In the Upper Room, has become one of the most iconic ballets of the 20th century, admired for its athletic choreography, minimalist costume design, dramatic lighting, and a transcendent score by Philip Glass. The Pacific Northwest Ballet will take on Tharp’s contemporary classic, along with Dani Rowe’s emotionally compelling one-act ballet, The Window. This is a must for not only ballet and contemporary dance fanatics, but for lovers of experimental music and performance art. These performances will also debut the newly minted PNB dancers Christopher D’Ariano and Amanda Morgan. (McCaw Hall, various times, all ages) AUDREY VANN

SATURDAY 11/8

Oyster New Year

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A post shared by Elliott's Oyster House (@elliottsoysterhouse)

(FOOD) The apotheosis of the Pacific Northwest’s unofficial regional pastime—slurping oysters—is the eco-friendly Oyster New Year at Elliott’s Oyster House. The all-out briny bash features more than 25 varieties of bivalves served to order by over 40 expert shuckers at a 150-foot oyster bar, plus a selection of over 40 drinks, DJ tunes, a photo booth, raffle drawings, educational shucking demos, and a shucking competition. Be a little superficial and cast your vote for the People’s Choice “Most Beautiful Oyster,” and don’t miss the oyster luge, in which a shucked oyster glides down a frozen ice-sculpture slide, and into your mouth. This year, to celebrate the restaurant’s 50th anniversary, 50 golden oyster shells will be hidden around the venue and the lucky finders can redeem them for prizes. All proceeds benefit Puget Sound Restoration Fund’s efforts to preserve marine ecosystems. (Elliott’s Oyster House, 5:30–9 pm) JULIANNE BELL

SUNDAY 11/9

An Evening with Patti Smith

See Patti Smith at Meany Hall on November 9 and the Paramount on November 10. RICH FURY/GETTY IMAGES

(BOOKS/MUSIC) Punk-rock poet laureate, writer, and just general rock star Patti Smith is coming to Meany Hall (the day before her Paramount Theatre show) to talk about her latest memoir, Bread of Angels. The book dives deeper into Smith’s life, covering the ground her 2010 book Just Kids—about her relationship with lover Robert Mapplethorpe—only hinted at. Bread of Angels touches on Smith’s childhood growing up as the eldest of four kids, her teenage years, her marriage to the late guitarist Fred “Sonic” Smith, and how she found writing again after experiencing great loss. Bread of Angels publishes on Nov. 4, Mapplethorpe’s birthday and the day Fred “Sonic” Smith passed. Tickets include a copy of Bread of Angels from Elliott Bay Book Company. (Meany Hall, 7:30 pm) NATHALIE GRAHAM

SNAP Benefits Hit a Cliff on November 1

Julianne Bell — Fri, 31 Oct 2025 11:56:00 -0700

All of These Resources Are Ready to Help

by Julianne Bell

The government shutdown is on its 31st day, and come Saturday, November 1, the Supplemental Nutrition Assistance Program (SNAP) will run out of funding. On Friday, a federal judge ruled that the Trump administration would have to fund the food assistance program, but the impact of the ruling is unclear. And even if the program is completely re-funded, SNAP recipients should still expect delays in November.

About 8 percent of King County residents use SNAP to help pay for their groceries every month. Yesterday, Mayor Bruce Harrell announced that the city will pour $8 million into our local food bank and meal service system to try to cushion the blow. And our local food scene and small businesses have stepped up to do a small part to fill the gaps: Toasted Seattle is offering free meals to anyone who lost benefits, no questions asked, ChuMinh Tofu continues to run their free community meal program every Sunday, along with so many more.

We’ve compiled this (very long but surely incomplete) list of resources for neighbors in need. Plus, at the bottom, you can find suggestions for ways that community members can lend their support.

Where to Find Groceries

Food banks are the most obvious choice to replace your lost SNAP benefits. The city and state have poured millions in extra funding into food banks to try to cope with the spike in need, but they’re still bracing for impact: long lines, food shortages, etc.

Food Lifeline Food Finder Map
Northwest Harvest Food Access Network
Washington 211 Food Pantry Search
Farm to Food Pantry
Emergency Food Network
Hunger Free Washington
Little Free Pantry Finder
Seattle Community Fridge
Eloise's Cooking Pot (Tacoma)

Where to Find Meals

If you're more interested in a hot meal than a pile of groceries, here's some of the businesses, nonprofits, and meal programs where you can get a free meal, no questions asked.

Toasted Seattle

Free breakfast to families on SNAP benefits beginning Nov 1. The bagel shop is offering the first 100 meals, then relying on community donations of $5 each to keep the program going.

Garden Club Cafe

Free food, coffee, and community resources, plus participation from local food banks at an event from 10 a.m. to 2 p.m. on Nov 2 at Sabine's Back Bar in Ballard.

Howdy Bagel

Tab covered for those losing SNAP benefits starting Nov 1 at all locations.

ChuMinh Tofu

Free vegetarian meals every Sunday at their International District location.

Food Not Bombs

Free hot meals every Saturday and Sunday at 5:30 p.m. in Occidental Park.

Northwest Share Food Truck

Free vegetarian food truck every Sunday in the University District.

Seattle Indian Center

Free hot meals served Monday through Friday in the International District.

Community Lunch

Free breakfast, coffee, and lunch served Monday through Friday on Capitol Hill.

OSL Serves

Free lunch and dinner Monday through Friday, lunch served on Saturdays in Pioneer Square.

Phinney Neighborhood Association

Free hot meals served Monday through Wednesday in the Phinney Neighborhood.

Roots
Free, to-go-style dinner served on Fridays in the University District.

Additional Resources and Services

WSDA Programs and Services
Washington 211 Food Resource List
DoorDash (DoorDash has vowed to waive the fees for 300,000 SNAP recipient grocery orders to help families stretch any remaining funds from November 1 through November 30.)
Gopuff (The Gopuff grocery delivery app is offering credit toward SNAP-eligible grocery items and free delivery on orders beginning Nov 1 for the first 200,000 customers. SNAP recipients with their SNAP EBT card connected to the Gopuff app can receive one $25 credit and free delivery during the first half of November, and a second credit and free delivery in the second half.)

Those with a remaining balance on their EBT card can participate in the following programs:

Where to Donate

Food Lifeline
Food Lifeline, a nonprofit that supplies food to various food banks across Western Washington, is seeking donations to help keep shelves stocked.

Emergency Food Network (EFN)
Emergency Food Network distributes over a million pounds of food every month to the 75+ food programs it serves. They have numerous ways to support the program, including monetary donations, food donations, and volunteer opportunities. For every dollar donated, EFN provides two meals to folks in need.

Food Bank Farm in Snohomish
Snohomish’s Food Bank Farm grows food on 20 acres in the Snoqualmie River Valley. With the help of local volunteers, the farm has delivered over two million pounds of food to local food banks. You can donate directly to the farm or volunteer with harvesting crops through their Facebook page.

The Auburn Food Bank
The volunteer-run organization supplies food, referrals, and emergency assistance to those in need in the Auburn area and surrounding cities (Algona, Pacific, Lake Tapps, and Kent). You can donate directly to the effort, volunteer in person, or host your own food drive.

West Seattle Food Bank
The West Seattle Food Bank provides access to food, clothing, rent/utility assistance, bus tickets, community resources, and other essential services for thousands of West Seattle residents. They are seeking direct donations, food donations, and volunteers.

Pike Market Senior Center & Food Bank
The Pike Market Food Bank provides free groceries to downtown Seattle residents experiencing food insecurity. They are accepting donations as well as volunteers.

Making a Difference Foundation
The Making a Difference Foundation is a nonprofit charitable organization with the mission to make a difference in the lives of others by helping them acquire the most basic needs: food, housing, encouragement, and opportunity. Donations supply those in need with warm meals and household products.

Maddy’s Bakeshop
The Queen Anne bakery is hosting a bake sale active until Nov 8, with all proceeds donated to the Ballard Food Bank.

Boon Boona Coffee

Boon Boona is offering free drip coffee at all locations this weekend (Nov 1–2) with the opportunity to drop off nonperishable food items to support local food banks in Rainier Valley and the University District.

Washington 211
211 is a free and confidential three-digit telephone number that helps connect Washington residents to state and local community resources. They are seeking funds, volunteers, item donations, and service donations.

United Way
United Way works to ensure that everyone has access to housing, food security, educational opportunities, and financial stability. You can help by donating directly or signing up to volunteer.

November Harvests at Food Bank Farm

More Ways You Can Help

Host a community food drive.
Assist your neighbors with groceries or rides to food pantries.
Contact Congress and demand emergency SNAP funding.
Share information and resources, especially with friends and families in rural areas, who will be the most affected by SNAP cuts.
Vote in the upcoming general election for leaders who will prioritize food security.

Stranger Suggests: A Convention for Cats, an Intimate Evening with a Pop Culture Icon, and the Shrew We Deserve

Langston Thomas — Mon, 27 Oct 2025 14:18:00 -0700

One really great thing to do every day of the week. by Langston Thomas MONDAY 10/27

Farmers Markets Halloween Trivia Night

(TRIVIA) It’s Halloween week, which means you’d better plan carefully if you’re going to stretch that costume through Sunday. To kick things off while you dial in your KPop Demon Hunters wig, head to Halcyon Brewing for a festive night of trivia hosted by Neighborhood Farmers Markets and the Phinney Neighborhood Association. Go solo or bring a team of up to six for brews, bites, and bragging rights. Prizes will be given out for best costume, best team name, and top trivia champs, plus raffle giveaways from local vendors, with proceeds from the night supporting Seattle’s seasonal and year-round farmers markets. (Halcyon Brewing Company, 5:45 pm, 21+) LANGSTON THOMAS

TUESDAY 10/28

Olivie Blake

Olivie Blake will be at Third Place Books Lake Forest Park Tuesday, October 28. MICHELLE TERRIS

(BOOKS) I’m very much here for the recent influx of dark feminist fiction about female appetites (e.g., Woman, Eating; A Certain Hunger; Hungerstone), so I was instantly hooked by the premise of The Atlas Six author Olivie Blake’s new novel, Girl Dinner. College sophomore Nina Kaur is accepted into The House, the most sought-after sorority on campus. Meanwhile, adjunct professor Dr. Sloane Hartley, who is struggling to manage her career alongside the travails of new motherhood and a less-than-supportive husband, becomes the mysterious society’s new academic liaison. Soon, the two women find themselves pulled progressively deeper into an uncanny world of cannibalistic rituals and feminine rage. Blake will discuss her book with local speculative fiction writer Isabel Cañas, author of The Possession of Alba Díaz. (Third Place Books Lake Forest Park, 7 pm, all ages) JULIANNE BELL

WEDNESDAY 10/29

Shrew

(THEATER) We can all agree that Shakespeare is mad queer to begin with, but Union Arts Center’s Shrew really got the brief. This reimagining of The Taming of the Shrew is almost completely true to the original script, but through costuming, blocking, and performance, director Bobbin Ramsey tells the story that we all hope ol’ Bill was trying to get at in the first place. Most of the male roles are played in drag. And in case you were wondering how Ramsey felt about the minor male characters vying for ownership of our female leads, several of them are played by the same hand puppet passed around by the actors in drag. This is the first Shakespearean play the theater has done since ACT Theatre and Seattle Shakespeare joined forces to create Union Arts Center, and came out with a bang. This is not Shrew a la 10 Things I Hate About You (though if you listen closely, you’ll catch a few references to it). This is a Shrew for 2025, one where the Shrew is never tamed, and the patriarchy is a nightmare for everyone, not just her. (Union Arts Center, through November 2) HANNAH MURPHY WINTER

THURSDAY 10/30

An Intimate Evening with Pamela Des Barres

Miss Pamela (Pamela Des Barres), pictured here at Rodney Bingenheimer's English Disco in 1973 with her beau, Led Zeppelin guitarist Jimmy Page. RICHARD CREAMER MICHAEL OCHS ARCHIVES/GETTY IMAGES

(BOOKS) Even if you have not read Pamela Des Barres’s 1987 memoir, I’m With the Band: Confessions of a Groupie, I promise you’ve seen its mark on pop culture (see: Cameron Crowe’s Almost Famous). Along with being a best-selling author and the original “rockstar girlfriend,” Des Barres was also a member of all-female performance art troupe the GTOs (Girls Together Outrageously), who released the incredible experimental rock album Permanent Damage, produced by Frank Zappa, back in 1969. Des Barres will bring her one-woman show to the Rabbit Box to share her wit, wisdom, and firsthand experiences with everyone from Mick Jagger to the Manson Family. (Rabbit Box Theatre, 8 pm, 21+) AUDREY VANN

FRIDAY 10/31

Shea Couleé Presents Creepy.Sexy.Cool.

(DRAG) Chicago-based drag icon, recording artist, and RuPaul’s Drag Race All Stars winner Shea Couleé is embarking on their first-ever headline DJ tour and bringing a “Halloween-inspired celebration of fantasy and fierce beats” to six different cities, and Seattle is lucky enough to host their tour stop on actual Halloween. Famed Chicago DJ MISTER WALLACE will join them, as will their drag sisters Kerri Colby, Aja, and Luxx Noir London. According to Shea, costumes are “not just encouraged, but expected,” so be sure to serve “dark glamour meets ’90s nostalgia” to avoid having to sashay away—there might just be a prize awarded for the most sickening look. (Showbox, 9 pm, 21+) JULIANNE BELL

SATURDAY 11/1

Seattle Catrinas Festival 2025

(FESTIVAL) Just like the spirits of our forebearers, Seattle’s Catrinas Festival is back with a vibrant tribute to the ancestors and Mexican tradition featuring music, folklore, and a towering altar adorned with flowers and ofrendas (offerings). Inspired by La Catrina (aka the iconic skeleton figure of Día de Muertos), this fest hosts live catrinas and catrines in full costume for an impressive living procession. Families are invited to bring photos and mementos of loved ones and enjoy a bustling street market with traditional food, crafts, art, face painting, and more. Plus, kids five and under are free. (Town Hall, Sat–Sun, all ages) LANGSTON THOMAS

Note: We previously had suggested Jimmy O. Yang, but that performance has been postponed to February.

SUNDAY 11/2

Sea-Meow Con

This beautiful beast made an appearance at last year's Sea-Meow convention. See more wonderful kitties this year at Seattle Center Exhibition Hall, November 1–2. MADISON KIRKMAN

(CATS) Dog people have the luxury of showing off their pets on daily walks, but we cat owners have to settle for photos, hoping that an image can convey our cat’s unique personality and star power—it’s not fair! Sea-Meow Con offers a rare oasis for cats and cat owners to strut their stuff in public, with two days dedicated to our feline friends. There will be merchants slinging cat-related goods (for both humans and cats), advocates, furries, speakers, musicians, filmmakers, and more. There will also be plenty of social cats on-site, including on leashes, in strollers, and in fenced areas for cuddling. (Seattle Center Exhibition Hall, 10 am, all ages) AUDREY VANN

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Stranger Suggests: Dorie Greenspan’s Birthday Party, an Anti-AI Art Show, and the Band That Made Kurt Cobain a Giddy Fanboy

Julianne Bell — Mon, 20 Oct 2025 13:10:00 -0700

One really great thing to do every day of the week. by Julianne Bell MONDAY 10/20

Rob Anderson: Are You Afraid of the '90s

(COMEDY) I was obsessed with the I Love the [insert decade here] series of VH1 specials that aired constantly in the mid-2000s and offered a window into the absurdity and history of past decades. Internet personality and comedian Rob Anderson first transformed this style of deep-dive nostalgic comedy into successful TikToks, and now he’s developed those into a full live stage show complete with video, songs, and pop culture factoids. Anderson seeks to answer ever-looming questions like, “What did our unhinged media from this decade teach us about teenage pregnancy, drug addiction, and questionable age gaps?” A LOT, it turns out. (Crocodile, 7 pm [sold out] & 9:30 pm, 21+) BRI BREY

TUEDAY 10/21

My Favorite Murder Live

(PODCAST) One of the first and best podcasts to capitalize on the nation's obsession with true crime, My Favorite Murder has been investigating cold cases and telling the stories of victims since 2016. Hosts Karen Kilgariff and Georgia Hardstark have built a dedicated fan base of Murderinos with the convivial sign-off “stay sexy, and don’t get murdered.” It’s bullseye if you obsessively watch reruns of Law & Order: Special Victims Unit, Cold Case Files, and the like. This is the duo’s first tour in almost six years, so miss it at your own peril. (Paramount Theatre, Tues–Wed, 7 pm, all ages) BRI BREY

WEDNESDAY 10/22

Book Larder Presents: Dorie Greenspan

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(FOOD & DRINK) Over the course of her career, legendary New York Times–bestselling cookbook author Dorie Greenspan has won five James Beard Awards, collaborated with Julia Child, and developed thousands of recipes. In her new cookbook, Dorie’s Anytime Cakes, the culinary grande dame turns her attention to simple, effortless cakes that can be whipped up with pantry staples at a moment’s notice, from “BFF brownie cake” to buttermilk plum cake. She’ll stop by Fremont Abbey for a conversation with food writer Nancy Leson, followed by a Q&A and book signing. Bonus: Cake will be provided in celebration of Dorie’s birthday week. (Fremont Abbey, 7 pm) JULIANNE BELL

THURSDAY 10/23

Miki Berenyi Trio, Gina Birch and the Unreasonables

(MUSIC) If you are a jazz dude and not familiar with this mysterious trio, don’t worry, your ego and masculinity aren’t tarnished! The Miki Berenyi Trio isn’t really a jazz trio at all, but a dream-pop supergroup consisting of Lush’s Miki Berenyi, Moose’s Kevin McKillop, and Aircooled’s Oliver Cherer. The ensemble’s debut, Tripla, is a richly layered kaleidoscope of trip-hop, dance music, shoegaze, and ’90s rock. Berenyi’s immediately recognizable voice meditates on the disrespect of Mother Earth (“8th Deadly Sin”), toxic masculinity (“Big I Am”), and misogyny spread on social media (“Grango”). Although the subject matter is often dark, the album is actually quite joyful. I suspect it will sound amazing live. And don’t you dare miss an opening set from feminist post-punk icon Gina Birch (of the Raincoats) and her new band, the Unreasonables. (Neptune Theatre, 8 pm, all ages) AUDREY VANN

FRIDAY 10/24

Form Over Function Artist Panel: Intimacy

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(VISUAL ART) In an era of screens, filters, and AI-generated… everything, what does real intimacy look like? Seattle Art Source invites you to explore this topic at an evening of conversation and contemplation with artists Barry Johnson, Kyler Pahang, and Kade Marsili, moderated by curator Seth Sexton. As part of the Form Over Function exhibition (on view through November 8), this panel explores how artists interpret the human form and the closeness it conveys in a hyper-digital age. If you missed last week’s panel on “Emergence,” this is your chance to join a thoughtful discussion and to engage directly with the exhibition's creators (no algorithm required). (Seattle Art Source, 5 pm, free, all ages) LANGSTON THOMAS

SATURDAY 10/25

Shonen Knife, the Pack A.D.

(MUSIC) Is there any band cooler than Shonen Knife? The answer is no. Formed in Osaka, Japan, in 1981 by two college friends and their younger sister, the band was named after a knife marketed to boys, and the trio began writing pop-punk songs about candy, animals, and consumerism. They’ve had some lineup changes throughout the years, but the current touring band consists of founding sisters Naoko and Atsuko Yamano and drummer Risa Kawano (who has been with the band since 2011). Just take it from noted Shonen Knife fanboy Kurt Cobain, who once said, “When I finally got to see them live, I was transformed into a hysterical 9-year-old girl at a Beatles concert.” They will be joined by British garage-rock duo the Pack A.D. for two consecutive shows. The late show sold out quickly, so don’t sleep on these tickets! (Tractor Tavern, 4:30 pm & 8:30 pm [sold out], 21+) AUDREY VANN

SUNDAY 10/26

Makaya McCraven

(MUSIC) Chicago-based drummer Makaya McCraven’s riotous Earshot 2022 gig at Nectar had the crowd going as wild as a Sun Ra keyboard solo. A key figure in the current jazz resurgence as part of the crucial International Anthem label, McCraven shows a keen appreciation for the music’s ’60s/’70s avant-garde while adding his own distinctive spin with inventive post-production editing and electronic enhancements. His newest output consists of four EPs that will be collected under the title Off the Record (available on physical formats October 10 and digitally October 31). These tracks spawned from live improvisations over the years and then were chopped and spiced [sic] into the fascinating pieces you hear on record. Each EP has its own personality and personnel. Hidden Out! features some of McCraven’s most athletic, powerful drumming. The funky “Battleships” slinks in the vein of Mr. Ra’s “Twin Stars of Thence,” with spidery guitar filigree by Jeff Parker. The People’s Mixtape offers polyrhythmic avant-funk that should appeal to open-minded hip-hop fans. PopUp Shop’s serpentine post-bop jams could’ve earned Blue Note’s stamp of approval back in the day. The jaggedly rhythmic and electronics-laced Techno Logic, with cornetist Ben LaMar Gay and tubaist Theon Cross, represents Makaya’s most experimental material. Fortuitously, this studio magic translates to the stage. (Madame Lou’s, 6 pm & 9:30 pm, 21+) DAVE SEGAL

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Stranger Suggests: A New Home for Actualize AiR, a Festival for Doc Lovers, and the Band Behind One of the Best Songs of the Year

Julianne Bell — Mon, 13 Oct 2025 16:38:00 -0700

One really great thing to do every day of the week. by Julianne Bell MONDAY 10/13

Smerz

(MUSIC) If the idea of two sweetly harmonizing Norwegian women making nonchalantly brilliant electronic music doesn’t pique your interest, then you should probably reassess your aesthetics. Henriette Motzfeldt and Catharina Stoltenberg have been creating interesting and varied electronica since 2018, like a less flamboyant Björk—although the intimate, orchestral work of France’s Colleen may be a more accurate touchstone. But with this year’s Big city life, Smerz take a graceful leap forward with their songwriting and arranging skills. They exude that irresistible deadpan cool, like Wet Leg, but Smerz come off as more bedroom auteurs than arena-filling entertainers. The title track is rock-ribbed, bass-heavy electro-pop with an oh-so-haunting keyboard melody. The sassy, methodical electroclash of “Roll the dice” sounds like a more understated Peaches. “You got time and I got money” is the lowest-key seduction anthem you’ll hear all year and boasts the excellent line “Baby, can I see you naked? / Even though I love how you dress.” “But I do” is enchanting, slow-motion funk with entrancing vocal harmonies and a killer, subliminal bass line. It’s one of the songs of 2025. (Do you know how many songs have been released this year??) (Hidden Hall, 7:30 pm, 21+) DAVE SEGAL

TUESDAY 10/14

Good Things: An Evening with Samin Nosrat

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(FOOD & DRINK) Samin Nosrat revolutionized the cookbook world in 2017 with her James Beard Award–winning manifesto Salt Fat Acid Heat, which educates readers on the four fundamentals of flavor, so that they can cook well intuitively. (The recipes for buttermilk chicken and autumn panzanella are fall staples in my household.) She reached a wider audience and charmed viewers with her warmth and gusto on her 2018 Netflix series of the same name, in which she traveled to various destinations to learn more about the four elements. Eight years after the publication of Salt Fat Acid Heat, her highly anticipated follow-up, Good Things, has arrived. It contains 125 of Nosrat’s most cherished recipes, from saffron roast chicken to nostalgic yellow cake with chocolate frosting, as well as advice, anecdotes about her adorable dog Fava, and meditations on how food can nourish community. Samin will join her friend, author and former Stranger staff food writer Angela Garbes, for a conversation about food, creativity, and connection. (Benaroya Hall, 7:30 pm) JULIANNE BELL

WEDNESDAY 10/15

‘The Little Foxes’ by Lillian Hellman

(THEATER) Set in a small Alabama town in 1900, Lillian Hellman’s The Little Foxes follows Regina Giddens as she manipulates her way into receiving a hefty family inheritance in an era when sons were considered the only legal heirs. The story is the perfect example of how a lack of women’s rights can lead to a multitude of women’s wrongs—it’s the ultimate “good for her!” story. Since its original stage production, starring Tallulah Bankhead in 1939, the leading role has been revived for stars like Bette Davis (in the 1941 film adaptation), Elizabeth Taylor, Stockard Channing, Laura Linney, Cynthia Nixon, and more. This group of actresses alone speaks volumes about the drama and camp of this theater masterpiece. (Intiman Theatre, various times through Nov 2, all ages) AUDREY VANN

THURSDAY 10/16

SIFF DocFest

See 'A Deeper Love: The Story of Miss Peppermint' at this year's SIFF Doc Fest, which runs October 16–23. COURTESY OF SIFF

(FILM) Sure, it’s no Sundance, Cannes, or Venice Film Festival, but SIFF’S DocFest is a pretty big deal. In the last five years alone, the festival has screened Academy Award nominees like 2022’s All the Beauty and the Bloodshed and 2021’s Flee, as well as premiered heavy hitters like The Sanctity of Space. This year’s programming is possibly the best yet, with highlights like Sun Ra: Do the Impossible (about the dearly departed Afro-futurist jazz icon), A Deeper Love: The Story of Miss Peppermint (following the life of the Broadway star and drag royal), and Steal This Story, Please! (about Democracy Now! journalist Amy Goodman). (SIFF Cinema Uptown, various times) AUDREY VANN

FRIDAY 10/17

Actualize AiR Fun-Raiser Carnival

(VISUAL ART) For the better part of two years, Actualize AiR has hosted a litany of fascinating art shows and experiences in the old downtown Seattle Coliseum building, from this summer’s Artists Doing: Nothing, a made-in-a-day performance experiment, to ICONS, a multidisciplinary exhibit from Alissa Dymally Williams and Noelle Whitaker that spread throughout several rooms in the partially unfinished basement. But there’s bad news for everyone who’s come to love stopping by during downtown’s Fourth Friday art walks: Actualize AiR lost their lease. But there’s good news, too! They’ve found a new space in Pioneer Square and will move in the coming months. To kick off their $40,000 moving cost fundraiser—and as one last goodbye to the Coliseum—Actualize AiR are throwing a “fun-raiser” with all your carnival favorites, including face painting, caricatures, airbrushed T-shirts, and cotton candy. It’s free, but you can buy bingo cards and raffle tickets to help ’em reach their one-night $15,000 goal. (The Coliseum, 6 pm, free, all ages) MEGAN SELING

SATURDAY 10/18

Pinback

(MUSIC) Pinback hasn't released a new album since 2012, but that doesn't stop them from playing sporadic shows for their adoring and supportive fanbase. With their unique rock-influenced take on indie pop, the duo of Armistead Burwell Smith IV and Rob Crow craft complex tracks that have kept listeners engaged for over two decades. (Their song "Good to Sea" started my obsession with indie music in high school.) Their live shows are always energetic affairs, with moshing teenagers and song requests taken via paper airplane. Hasco Enjoyments, an instrumental band that describes themselves as "a musical group featuring baritone guitar, flute, synthesizers and saxophones played by an ensemble of iridescent bubbles," opens the show. The LA-based ensemble has a song called "The Seattle Mariners Are My Favorite Baseball Team," and while I'm not entirely sure why, I obviously love it. (The Showbox, 8:30 pm, all ages) SHANNON LUBETICH

SUNDAY 10/19

'House'

(HALLOWEEN) You’ll never forget your first time watching the bananas 1977 Japanese horror-comedy technicolor phantasmagoria that is House. The story follows a teen schoolgirl named Gorgeous who goes on a summer trip to visit her aunt’s home in the countryside, along with her six friends: the brainy Prof, music-loving Melody, athletic Kung Fu, perpetually hungry Mac, gentle Sweet, and daydreamer Fantasy. One by one, the classmates fall victim to the house’s supernatural traps. This movie has everything: a disembodied head biting someone in the ass, a flesh-eating piano, mattresses falling from the sky, and an evil white Persian cat named Blanche. Really, it must be seen to be believed. Drag queen and self-described “bird-brained bombshell” Monday Mourning will give an introduction to the film, which is part of her “Mourning Sickness” series of camp and cult classics. (Northwest Film Forum, 7:30 pm) JULIANNE BELL

Five Banana Splits in Three Days

Audrey Vann — Tue, 07 Oct 2025 11:32:00 -0700

I did it for you, Seattle. by Audrey Vann

When was the last time you ate a banana split? I asked myself this question and drew a blank. I remember loving the indulgent triple-scoop sundae, and I was certain that I’d had one, but with no specific memory of when or why. Was this a false memory, shaped by a childhood full of banana split scratch-and-sniff stickers and images of wide-eyed children in books ogling them through shop windows?

It’d make sense. My love for the banana split is primarily visual. The dessert, traditionally served in a glass boat, has so many textures, colors, and shapes that looking at it gives me the same satisfaction I feel when looking at a bowl of Trix Cereal or a freckled Tutti-Fruitti Jelly Belly. But the banana split is more enigmatic. It’s not a casual snack. There is no perfect occasion for such a dessert—it’s not traditionally served on birthdays, or any holiday, for that matter. And you can’t eat it on the go.

With a craving, I began researching where to get the archetypal American dessert in Seattle—it was supposedly invented in Pennsylvania in 1904—but the only insight I found was a three-year-old Reddit post filled with more questions than answers and a 15-year-old Slog post (written by our own snack critic, Megan Seling), which cites establishments that are long gone. So, I did the lord’s work: I searched through every single diner, ice cream shop, and soda fountain menu in Seattle and Burien and mapped out a quest to acquire the old-fashioned sundae of my childhood dreams.

The banana split I yearn for is something close to the original early-20th-century invention: three types of ice cream (chocolate, vanilla, and strawberry), three sauces (fudge, strawberry sauce, and—and this is important!—crushed pineapple), whipped cream, and cherries, all composed between two lengthwise slices of a freshly peeled banana. After much online investigation, I was able to taste-test five banana splits over the course of three days (that’s a total of 15 scoops of ice cream) and send the receipts to my employer to make them pay for it.

While I had expected a stomachache, I did not anticipate the psychological impact of asking for such an indulgent, inconvenient, impractical, and childish treat back-to-back in ice cream shops across the region. Each time I watched the server scramble around the kitchen for the menagerie of elements, I felt ashamed that I wasn’t ordering a simple ice cream cone.

But I did it for you, Seattle.

The Great American Diner & Bar

$7.99

I walked into the West Seattle Junction’s American Diner and was seated by a kind waitress who handed me a menu. “I actually already know what I want—can I just get the banana split?” I asked, sliding the menu back across the table. “Sure, I’ll go make that for you right now,” the waitress said with a tinge of panic in her eyes. Less than 10 minutes later, she returned with a large dinner plate topped with three scoops of ice cream (chocolate, vanilla, and strawberry) between two broken banana halves, and it was topped with whipped cream, chocolate sauce, almonds, and rainbow sprinkles. “Does that look okay?” she asked with uncertainty. I felt the need to validate that she did a great job. “Does anyone ever order this?” I asked. She threw her head back and laughed. “No, not while I’ve worked here!” she said, relieved. “I was nervous to make it, but it was actually very fun to decorate.”

Baskin-Robbins

$8.49

The next day, I tracked down my nearest Baskin-Robbins. I was not expecting much from the strip mall chain in the Burien Safeway parking lot, but they delivered. As I walked in, I was relieved to see that they actually had a banana split on the TV screen menu with a glorious photo of the cherry-topped treat. Although once I told the teenager behind the counter what I wanted, I could feel her annoyance. She peeled and sliced a fresh banana, which I saw hanging on a special rack in the kitchen. She scooped the three flavors of ice cream—chocolate, strawberry, and vanilla—then doused them in three different sauces: marshmallow, hot fudge, and a jammy strawberry syrup. Then, she topped each scoop with a crown of whipped cream and three maraschino cherry halves. It was presented to me in a special plastic dish with a lid that was specifically designed for banana splits.

Dairy Queen

$6.99

In true fast-food fashion, Dairy Queen was the smoothest procurement and most accurate to the original recipe. This could be in part because I ordered it through the drive-through, so any confusion or annoyance (which, to be clear, I completely understand) would have been out of my view. The beautiful dessert, served in another special container (which was shaped like the DQ logo), was handed to me within seconds of placing the order. The quality was higher than you’d expect from a fast food chain—three twirls of vanilla soft serve between a surprisingly fresh banana, topped with crushed pineapple, strawberry sauce (with actual strawberry chunks!), chocolate syrup, and thin whipped dairy topping. Because Dairy Queen’s soft serve famously contains very little butterfat, it can’t legally be called “ice cream.” The dessert was by far the lightest and most refreshing of those I tried.

Ben & Jerrys

$10.99

The Ben & Jerry’s banana split was a lot. The split banana held three scoops of ice cream of my choice (strawberry, chocolate fudge brownie, and Cherry Garcia) and was smothered in hot fudge, caramel sauce, and real whipped cream. Before it was complete, the server told me to choose two toppings. I panicked and chose gummy bears and rainbow sprinkles for the visual appeal. This proved to be too much, especially as it was my third banana split of the day. The server seemed especially chipper and remarked, “I love making banana splits!” I have a feeling she wouldn’t have said this if the shop were not empty.

Lil’ Tiger Ice Cream

$11.25

On day three of the mission, I was mentally and physically burnt out on this dessert, so the fact that I enjoyed Lil’ Tiger’s banana split should say a lot. I was greeted with a sandwich board sign advertising banana splits, which felt like open arms outstretched to welcome me. The server didn’t blink an eye when I ordered, and asked me what flavors and toppings I’d like. I went with the classic ice cream flavors with hot fudge, strawberry syrup, whipped cream, and sprinkles, forgetting to add nuts. Lil’ Tiger’s homemade ice cream was decadent, soft, and flavorful. I found myself digging into the rich vanilla bean scoop more than any other, which is out of the norm for me.

Solidifying my theory that the banana split is the most arduous dessert, I asked Pike Place’s Shug’s Soda Fountain over the phone if they still served the tantalizing “Banana Brûlée” split. They told me that it goes on and off the menu, depending on how busy they are. “Once people see it,” they told me, “they all want it, and it takes a while to make, and it slows the line down significantly.” This is understandable, considering how delicious it sounds. Per their Instagram, the treat consists of “creamy vanilla ice cream, topped with warm caramel sauce, crunchy pecans, brûléed bananas, whipped cream, and a Toschi cherry on top.” I decided not to risk it.

“So, you feel bad about ordering it, even though it’s being offered on the menu?” my analyst asked me, at a regular appointment in the midst of my banana split marathon. I expressed my guilt for taking on this seemingly meaningless project and inconveniencing the teenage server at Baskin-Robbins, who looked increasingly stressed as a line formed behind me. I knew it wasn’t rational, but at the same time, anyone who’s worked a service job knows the lack of self-awareness that customers can have. The more banana splits I ordered, the more I became convinced that they are the espresso martini of the ice cream world. But that doesn’t mean that you should avoid abundance completely at the risk of inconveniencing others.

So if you’re gonna get one, you should get a good one. While I am hesitant to award a mega chain as the winner of this experiment, Dairy Queen has mastered the art of the banana split. They’re the only ones to offer a sundae that has traditional crushed pineapple. That said, Baskin-Robbins was the only sundae with three ice cream flavors and three sauces. As far as local institutions, Lil’ Tiger leads with the yummiest, most quality ice cream. So, this month, while the weather is still nice, order yourself a banana split. But be mindful of your surroundings, be grateful to your servers, and tip well.

Still Right In Time

Audrey Vann — Tue, 07 Oct 2025 11:28:00 -0700

Lucinda Williams on Her New Memoir, Flannery O’Connor, and [checks notes] Tom Morello

by Audrey Vann

There is something for everyone in Lucinda Williams’s catalog. Her poetic lyrics and Southern Gothic influence please literary minds while never coming across as pretentious. She’s released albums on Folkways, Rough Trade, and Universal. Her songs have been covered by Tom Petty and the Heartbreakers, Emmylou Harris, John Mellencamp, Angel Olsen, and Waxahatchee. Over the years, she’s shared stages with Bob Dylan, the Germs, X, and Big Thief. Punks love her, folkies love her, classic-rock dads love her, country-music fans love her, and even people who don’t care about music can get down to “Passionate Kisses.” There is so much about Williams to love. Her music is honest and down-to-earth, and details everyday beauty and everyday pain. The daughter of prolific poet Miller Williams, every aspect of her boundless sound comes straight from her experiences as a teenage activist, and later, the subject of sexist music critics, all of which is detailed in her memoir, Don’t Tell Anyone the Secrets I Told You. I caught up with Williams on the phone ahead of her Seattle tour stop—her show will be promoting her memoir with an evening of stories, songs, and visuals.

Where are you now in your travels?
I’m in San Francisco. There's a music festival here called Hardly Strictly Bluegrass, and I'm playing a set for it on Sunday. There's also a tribute concert to Emmylou Harris while we're here, and I'm doing a song for that. I don't know if Emmylou is gonna sing or anything, but everybody's supposed to play one of her songs, and I'm doing my song “Sweet Old World” because she recorded it.

When I first moved to Nashville, Emmylou Harris lived right down the street from me in the same neighborhood. We move in the same circles. When I first met her, I felt kind of shy around her, because, you know, it's a big deal.

As you're touring and staying in buses and hotel rooms, how do you make it feel like home?
We were actually just talking about that. This morning, they were testing the fire alarm system at our hotel. It just went on and on and on and on. It was kind of funny because my tour manager stepped outside and saw Emmylou Harris, Rosanne Cash, and Steve Earle all standing out there. I wished that I'd been out there with them. I was thinking I should go outside because it was so loud, like, bad-for-your-ears kind of loud.

Anyway, I'm pretty good at nesting in little places like hotel rooms. This hotel is really cool. I'm sitting here by this old window with a great view of San Francisco, and there's a plant on the table. That makes a difference. It has a lot to do with where you decide to stay. Nowadays, they have these boutique hotels all over the place, you know, those older hotels that they refurbish. A lot of times those feel warmer and cozier inside. Just you being in it, your human vibration fills the room. So, yeah, that's about all I do. I used to bring little travel candles, tin things, but those are kind of frowned upon because people always worry about something catching on fire.

I've lit some candles in hotel rooms too, in secret.
Some people have them on their tour buses and everything, candles and crystals. But you get to where you don't want to lug so much stuff around all the time, so you have to make choices like that.

For these upcoming West Coast shows, are the set lists varying from night to night? What should fans expect in Seattle?
When I play with the band, we change the setlist night to night. We try not to duplicate too many songs. I mean, there are certain songs that we do every time, usually—at the end of the show we usually end with a rousing rendition of Neil Young’s “Rockin' in the Free World.”

[Long pause with mumbling in the background]

Okay, my husband, I mean, my husband/manager, just told me I'm doing the book show in Seattle.

I usually switch one or two songs around at the book shows because that involves mostly me acoustically with one of my guitar players, and then my bass player will come out and join us. Then there's one or two songs that I do with the whole band.

[More background mumbling]

Okay, he's correcting me again. Tom said I’ll do most of the set with the band, and the rest is acoustic. Maybe I should just hand him the phone! [Laughs]

Anyway, when my book came out, we talked about doing shows that feature the stories behind the songs. I go into detail a little bit more on the stories than I would in a regular show.

Do you remember the first song you ever learned on the guitar?
Yes, and it's one that I play for my book shows. It’s actually a good way to describe what the book shows are like because they go in chronological order. First, I’ll talk about when I learned how to play guitar and the first songs that I learned, and then I'll play “Freight Train” by Elizabeth Cotten. The interesting thing is, I discovered that she was a housekeeper for the Pete Seeger family. Apparently, the story goes that she found a guitar laying around the house and picked it up, and taught herself how to play. Then, she wrote that song and recorded it. That song got to be really big among the folk musicians.

When I very first started playing guitar, I wanted nothing more than to be like Joan Baez and Bob Dylan, and to, you know, have long hair. In my memory, that song was kind of required to play as a folk singer. Everybody knew it. Everybody played it and sang it. It was a good first song to learn because it has a great melody, and it’s not too complicated. It was something you could play even if you were younger, like I was. I was about 12 years old when I first started learning how to play. That song was a good teacher.

What was your process for writing your memoir? Did you keep journals through the years?
I used to keep a journal when I was a teenager, but I didn't keep it up as an adult. I wish I had, though, it would have been very helpful! I just kind of consulted with my sister and different people about things if I couldn't remember. Writing that book was a real challenge. I had never taken on anything like that before. I didn't know how to start, or what to do, or anything. I didn't know if there were certain rules to follow. And then I decided there weren't. I ended up reading some other memoirs by different artists, and I realized that everybody was doing their own thing with it, so I just quit worrying about that, and eventually I sort of got into a flow with it.

The problem for me was the tight deadlines. I kept wanting to go back and rewrite something because I would start thinking about how I wanted to say something better, and I wanted to go back and correct it, just make it flow better. They would say, “We don't have time, the book has to be done, it's coming out next week!” or whatever. That really upset me. I have to compromise the integrity of my writing to meet a deadline? It just really bummed me out.

In your book, you write about going to Flannery O’Connor’s house with your father. What do you remember about being there?
My memory is fairly vague about that day because I was so young, but my father would retell the story to me a lot. Over the years, Flannery had become my father’s mentor, and they became pretty close friends. At the time, we were living in Macon, Georgia, and she was in Milledgeville, which wasn't very far. He would pay her visits, and they would just sit and talk about writing. One day, he took me with him. We drove over there, and she lived in this big old white house—really old, probably from the Civil War era—with this big front porch and front steps. We walked up the steps to the front door, and her housekeeper came to the door and said, “Miss Flannery is working right now.” Apparently, Flannery had set hours during which she would write, and she couldn't be disturbed during those times. So we got there, she was writing, and my dad said he looked up and saw the blinds close. The housekeeper said, “You can wait out here.” So we sat on the front porch or the front steps and waited until she was ready to receive her guests.

She had peacocks running all around the yard, and according to my dad, I took great joy in them and started running around, chasing them, and playing with them. Eventually, the housekeeper said, “You can come in now—Miss Flannery will see you.” It was very old-fashioned and Southern. I guess I stayed outside and played with the peacocks. I don't remember if I went in with him or not. As I got older, when I was in my teen years, I gravitated towards her writing. I read one of her short stories and fell in love with it, with her writing and her stories, and proceeded to read everything she'd written.

My dad would talk about her a lot—about how much he loved her writing and what she meant to him. He said that Flannery was his greatest teacher.

Who was your greatest teacher?
Probably my dad. I mean, Flannery was, too, in a spiritual sense. Her, and Eudora Welty, my other favorite Southern writer. Because my dad was so close to Flannery, and he would talk about her so much, I felt like I'd been around her more than I was. But, you know, I felt connected to her through that one experience.

It's really interesting and kind of funny because recently I've been meeting other musicians—punk-rock guys and stuff like that—who are fans of Flannery O'Connor's writing. They find my connection to her, and then they want to talk about it. They're not people you would think would normally be reading Flannery O'Connor. It has really blown my mind how widespread her influence is.

You talk about getting involved in activism and protest while in New Orleans in the ’60s. Do you see parallels between then and now?
Yes, absolutely. I've been talking a lot about this lately, because it's on everybody's minds, and it should be. When we were playing the Troubadour last week, we played songs from my new album that’ll be out in January. It’s called World's Gone Wrong, and it's got some new songs on it that deal with life as we know it now. I mean, it doesn't specifically mention the T-word, but there is the title track on the record, and “Something's Got to Give,” “We've Come Too Far to Turn Around,” and a handful of other ones. We built the album around that idea. I know Bob Dylan has an album called World Gone Wrong, but this is World’s Gone Wrong. I hope he's okay with that [laughs].

How do you think teenage Lucinda would have responded to the current political climate?
Good question, nobody has ever asked me that before. I would respond the same way I'm responding now, which is with complete shock, awe, and anger. The thing that makes me angriest is the ICE issue. It's just unacceptable that in this country and in this day and age that they're going around breaking up families.

When I was at the Troubadour singing those new songs that I mentioned, I talked a bit about the state of the world and how everybody needs to not give up the fight. Don’t just lie down and take it. I was saying all this at the risk of someone running on stage and grabbing me and pulling me off, but instead, I got a really good, rousing round of applause. You don't always get that now, because some people have an attitude that musicians should just shut up and play. I'm trying to undo that image.

Have you ever experienced hostility or backlash from an audience?
I haven’t. I've been really lucky that way, because there's always a chance of Trump supporters in the audience, and that I'll piss them off, and then they never come back and see me play. But I'm willing, first of all, to take that chance, and to tell you the honest truth, I don't really care if they come back to see me. As an artist, you have to make choices. You have to be willing to take chances like that.

I read an interview with Tom Morello recently, and it was so good because he talked about this very same thing, and he's very eloquent in the way he talked about it. He said that as an artist, he has a responsibility to speak out about things, and I feel that way too. That goes back to when I was a teenager listening to the artists like Bob Dylan, Joan Baez, and Phil Ochs, and all these people who were writing protest songs and singing at marches and demonstrations. Back then, nobody said, “Oh, we might upset some people who don't agree with us,” because that was the objective: to upset people a little and to push back. People need to wake up, basically. I don't like it when I'm talking about something to someone and they say, “It's not that bad.” Because guess what? Yes, it is that bad.

What has been inspiring you lately?
I've been inspired by Tom Morello as a person. We actually met not too long ago at a tribute concert for Joan Baez, and so there was a lot of protest music going on because she is the queen of that. We just said hi real quickly backstage, and I referred to the audience and lineup as like “old leftists.” He said, “Yeah, it makes me feel safe.” And I said, “Me too.” I didn't know that much about him, so I looked him up online afterwards and saw that amazing interview I mentioned. I thought, Wow, there's somebody out there who thinks like I do.

I look to him because you don't always get positive responses from people when you're trying to change the world. There's a lot of apathy and cynicism out there. You get a lot of this “Oh, what good does it do?” kind of thing, or “You should just be playing music and not worrying about it, blah, blah, blah,” which I hate. Finally, I found out about someone who's an artist who also believes strongly in social justice and trying to make a change and standing up for what's right. So yeah, I was really impressed by him and inspired.

Let's end with a fun question. Are you a collector of anything?
I used to be more so than I am now. When I started having to travel more and more, it got to be a little too challenging trying to collect things and drag them around with me on the road until I got home. I used to be a collector of things because I spent a lot of time in thrift shops and flea markets and that sort of thing. I used to collect salt and pepper shakers, and those snowball things that you shake.

Oh, snow globes?
Yeah! I used to collect those. I still have a few. Part of it, too, was that when I was finally living in a house, I had all these little knickknack-y things all over the place, but I didn't really have a proper way to display them. And so that got to be kind of a chore, you know?

Lucinda Williams and Her Band play the 5th Avenue Theatre, on Thurs, Oct 9, 7:30 pm, all ages.

Stranger Suggests: Hypnotic Synth Music, an Exhibit with More Than 1,400 Artists, and a Cathartic Play Where the Bad Man Gets What's Comin'

Julianne Bell — Mon, 06 Oct 2025 15:45:00 -0700

One really great thing to do every day of the week. by Julianne Bell MONDAY 10/6

Autechre, Mark Broom

(MUSIC) Every Autechre show is a hyperkinetic séance of rhythmic complexity and intense volume. Performing in total darkness without acknowledging the crowd, British abstract-techno innovators Sean Booth and Rob Brown get down to the serious business of submerging their loyal fans (there are no other kind, in my experience) in a shape-shifting torrent of convulsive electronic sorcery. At a typical Autechre gig, hallucinogens are superfluous, as the strangely angled and textured music is more than enough to discombobulate you. Cautionary tale: At a packed 2001 AE set in a bunker at the Detroit’s Electronic Music Festival, I was tripping on ac*d and felt as if I were trapped forever in a fucked-up maze. A friend who was there accurately described the sound as “castanets clacking on a crack-house floor.” It’s amazing that a group this improvisational and abstruse still has substantial drawing power more than 30 years into their existence. An awesome AE live show is one of the few sure things in the music biz and, frankly, the world at large. (Crocodile, 6:30 pm & 10:00 pm, 21+) DAVE SEGAL

TUESDAY 10/7

Turnstile, Amyl and the Sniffers, Speed, Jane Remover

(MUSIC) Since their formation in 2010, the Baltimore-based hardcore punk band Turnstile has grown from hometown darling to mainstream breakout success, racking up multiple Grammy nominations in 2023, headlining festivals, and drawing praise from the likes of Hayley Williams and Dev Hynes. The group counts Bad Brains and Sade among their influences and mixes hardcore with melodic pop structures, resulting in eminently listenable songs with widespread appeal. If you’re still not convinced, the Seattle stop on their Never Enough tour will feature sets from rising digicore artist Jane Remover, Australian hardcore five-piece Speed, and fellow Aussie punks Amyl and the Sniffers. (WAMU Theater, 7 pm, all ages) JULIANNE BELL

WEDNESDAY 10/8

'Stage of Fools'

See 'Stage of Fools' at Seattle Public Theater through November 2. COLIN MADISON PHOTOGRAPHY

(Theater) Stage of Fools was supposed to be a farce. Joy McCullough wrote the play in the summer of 2024, when Project 2025 was a conservative pipe dream, and the idea of a small feminist theater collaborating with a toxic Hollywood has-been in a last-ditch effort to dig themselves out of financial ruin was an entertaining exercise in fiction. But now we’re living in a Trump 2.0 world. The bad men have the money and the power, and arts organizations unwilling to play Trump’s games are slashing budgets, laying off staff, and closing their doors for good. Still, Stage of Fools is hilariously cathartic, despite its depressingly on-the-nose echoes of our terrifying reality, and it’s a must-see for anyone who loves Bikini Kill, meta theater, and seeing the bad man get what he deserves. (There are some top-notch Shakespeare takedowns, too. Fuck that guy.) (Seattle Public Theater, multiple showtimes through Nov 2) MEGAN SELING

THURSDAY 10/9

Eiko Otake & Wen Hui: What Is War

(DANCE) Choreographers, performers, and filmmakers Wen Hui and Eiko Otake first met in 1995 at an experimental theater festival, sparking a collaborative relationship that would span decades. Eiko grew up in postwar Japan and now resides in New York, whereas Wen Hui was raised in China during the Cultural Revolution and currently lives in Germany. In January 2020, Eiko went to visit Wen Hui in China for a month-long artist fellowship, and the two began to excavate the war-related memories stored in their bodies. Throughout the pandemic, they worked together remotely on the documentary No Rule Is Our Rule, which explores their history, friendship, and trauma. This powerful dance performance, which the artists forged together in residencies, expands on that conversation—the women share their somatic stories through a “complex tapestry of language, movement, and video” and prompt the audience to question their own relationship to war. (On the Boards, 8 pm) JULIANNE BELL

FRIDAY 10/10

Telephone Opening Night

View this post on Instagram
A post shared by Base Camp Studios (@base.camp.studios)

(VISUAL ART) An exhibit that is an international game that starts with a single work of art that gets interpreted and translated hundreds of times, with more than 1,400 players and as many works of art? That’s TELEPHONE, an art experiment/exhibit in its third and largest iteration. Conceived by Seattle-based artist and software designer Nathan Langston, the premise is simple: Just like the children’s game, one work of art gets punted along (without context) to multiple recipients, who then interpret it as a new work of art, and so on until there’s a giant family tree of whispered artworks that have evolved in infinite ways. The results of the game will be revealed in a massive exhibit spanning two venues, with artworks ranging from musical compositions and poetry to painting, sculpture, and video. (Base Camp Studios 1 & 2, through December 13) AMANDA MANITACH

SATURDAY 10/11

NonSeq: Patricia Wolf, WNDFRM

(MUSIC) I was once shopping at a small Portland record store with the golden-hour sun shining through the windows, expensive incense smoke wisping through the air, and delightfully minimal ambient music blasting. Eager to recreate the bliss when I got back to Seattle (but too shy to ask the employee what the record was), I turned to good ol’ Shazam for answers. It turned out to be Patricia Wolf’s 2022 minimalist masterpiece, See-Through. Using field recordings, acoustic, and electronic instruments, Wolf unites the natural and synthetic worlds, creating a meditative and hypnotic experience. As a part of Wayward’s experimental music series, Nonsequitur, Wolf will debut new material on a variety of electronic instruments. She will be joined by sound artist WNDFRM (aka Tim Westcott) and trippy live visuals from video artist Leo Mayberry. (Chapel Performance Space, 8 pm, all ages) AUDREY VANN

SUNDAY 10/12

Go Apple Picking

These apples could be your apples! HMW

(FALL) Washington is apple country, so you can throw a fish and find an orchard that will let you fill a bushel full of fresh, delicious treats. But allow us to introduce you to Skipley Farms: seven acres in Snohomish, WA, with hundreds of varieties of apples you’ve never heard of, the tiniest, most delicious little pears, kiwi vines, and acres of wine and table grapes. The owner looks like he might have run a cult at one point (complimentary), and before he sets you free in the orchard, he shares the history of the farm, and explains what pests to look out for (some make the apples sweeter!) They’re also all organic (you don’t want to know what pesticides it takes to keep bugs off apples), and he runs an informal incubator program to teach up-and-coming farmers how to grow fruit of their own. (Skipley Farms, Snohomish) HANNAH MURPHY WINTER

Prizefight!

Win tickets to rad upcoming events!*

Dracula

October 29, Paramount Theatre

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Dua Lipa

October 15, Climate Pledge Arena

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Contest ends October 13 at 10 am

Kaytranada x Justice

October 17, Climate Pledge Arena

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Contest ends October 13 at 10 am

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October Things to Do: Music

Julianne Bell — Wed, 01 Oct 2025 15:32:00 -0700

The best concerts and dance nights happening in October. by Julianne Bell

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food, This & That.

Laufey, Suki Waterhouse

Oct 4

Icelandic singer-songwriter, composer, producer, and multi-instrumentalist Laufey captured the hearts and minds of a generation with her whimsical, jazzy 2023 album Bewitched, which took home a Grammy for Best Traditional Pop Vocal Album. With her newest album, A Matter of Time, she explores influences from multiple genres and reveals a more complex, vulnerable side: As she told Uproxx, “People expect a pretty façade of girly clothes, fantastical stories, and romantic music. This time, I was interested in seeing how I could draw out the most flawed parts of myself and look at them directly in the mirror.” She’ll be joined on her tour by Brit model turned indie-pop singer Suki Waterhouse. (Climate Pledge Arena, 7:30 pm, all ages) JULIANNE BELL

Lambrini Girls, Edging

Oct 5

Following in the tradition of X-Ray Spex and Huggy Bear, Brighton, England’s Lambrini Girls blow the cobwebs off punk with a hurricane of caustic energy and barbed lyrics about sexism, homophobia, gentrification, police brutality, rich bastards, music-biz nepotism, eating disorders, and frauds. (Their dance-pop anomaly “Cuntology 101” stands with the Slits’ “Typical Girls” in the Funny Feminist Rock Hall of Fame.) Boasting a fan club that includes Iggy Pop and Kathleen Hanna, the Girls have dropped one of the thorniest and most exhilarating albums of 2025, Who Let the Dogs Out. Lilly Macieira busts out filthy and thick basslines (think Daisy Chainsaw) while guitarist Phoebe Lunny cranks out wiry, mosh-pit-inspiring riffs and contributes asbestos-throated vocals. (Crocodile, 8 pm, all ages) DAVE SEGAL

Autechre, Mark Broom

Oct 6

Every Autechre show is a hyperkinetic séance of rhythmic complexity and intense volume. Performing in total darkness without acknowledging the crowd, British abstract-techno innovators Sean Booth and Rob Brown get down to the serious business of submerging their loyal fans (there are no other kind, in my experience) in a shape-shifting torrent of convulsive electronic sorcery. At a typical Autechre gig, hallucinogens are superfluous, as the strangely angled and textured music is more than enough to discombobulate you. Cautionary tale: At a packed 2001 AE set in a bunker at the Detroit’s Electronic Music Festival, I was tripping on ac*d and felt as if I were trapped forever in a fucked-up maze. A friend who was there accurately described the sound as “castanets clacking on a crack-house floor.” It’s amazing that a group this improvisational and abstruse still has substantial drawing power more than 30 years into their existence. An awesome AE live show is one of the few sure things in the music biz and, frankly, the world at large. (Crocodile, 6:30 pm & 10:00 pm, 21+) DAVE SEGAL

Turnstile, Amyl and the Sniffers, Speed, Jane Remover

Oct 7

Since their formation in 2010, the Baltimore-based hardcore punk band Turnstile has grown from hometown darling to mainstream breakout success, racking up multiple Grammy nominations in 2023, headlining festivals, and drawing praise from the likes of Hayley Williams and Dev Hynes. The group counts Bad Brains and Sade among their influences and mixes hardcore with melodic pop structures, resulting in eminently listenable songs with widespread appeal. If you’re still not convinced, the Seattle stop on their Never Enough tour will feature sets from rising digicore artist Jane Remover, Australian hardcore five-piece Speed, and fellow Aussie punks Amyl and the Sniffers. (WAMU Theater, 7 pm, all ages) JULIANNE BELL

Lucinda Williams and Her Band

Oct 9

Lucinda Williams is my favorite songwriter. From early songs like “Sharp Cutting Wings (Song to a Poet)” to the flawless “Side of the Road” and “Fruits of My Labor,” Williams has the rare ability to write a folk song that isn’t simply sad or happy, but ignites the dark, hidden shadows of joy. This is perhaps the clearest on her 1980 sophomore album, Happy Woman Blues, which set a tone for her long legacy of introspective, nuanced songwriting. Williams suffered a stroke back in 2020, which has left her unable to play guitar, but got back on the road just a year later, leaning on her love of playing music and writing to get her through the dark times. During that period, Williams finished her memoir, Don’t Tell Anybody the Secrets I Told You, and her 15th studio album, Stories From a Rock n Roll Heart. The alt-country legend will grace the 5th Avenue Theatre with an evening of stories, songs, and visuals from her nearly 50-year-long musical career. (5th Avenue Theatre, 7:30 pm, all ages) AUDREY VANN

Nation of Language, Westerman

Oct 9–10

When Ian Richard Devaney croons, “Just a reminder, I’m in love,” on Nation of Language’s beautifully sparse 2023 single “Weak in Your Light,” you’d have to be missing a pulse not to feel properly reminded. Buoyed by Devaney’s dramatic new wave vox and braced with shimmering synthesizers, Moog drum tracks, and, let’s be honest, statuesque cheekbones, NoL’s nostalgic, emotion-drenched intellectual pop has grabbed fans from across the Smiths’Future Islands continuum and beyond since 2020’s Introduction, Presence. Now touring in support of their fourth album, the Sub Pop–backed Dance Called Memory, the Brooklyn trio has added a bit more guitar to their arpeggiated analog-synth formula (there’s even strumming!), without losing their sleek, stylish allure. (Showbox, 8 pm, all ages) TODD HAMM

NonSeq: Patricia Wolf, WNDFRM

Oct 11

I was once shopping at a small Portland record store with the golden-hour sun shining through the windows, expensive incense smoke wisping through the air, and delightfully minimal ambient music blasting. Eager to recreate the bliss when I got back to Seattle (but too shy to ask the employee what the record was), I turned to good ol’ Shazam for answers. It turned out to be Patricia Wolf’s 2022 minimalist masterpiece, See-Through. Using field recordings, acoustic, and electronic instruments, Wolf unites the natural and synthetic worlds, creating a meditative and hypnotic experience. As a part of Wayward’s experimental music series, Nonsequitur, Wolf will debut new material on a variety of electronic instruments. She will be joined by sound artist WNDFRM (aka Tim Westcott) and trippy live visuals from video artist Leo Mayberry. (Chapel Performance Space, 8 pm, all ages) AUDREY VANN

Smerz

Oct 13

If the idea of two sweetly harmonizing Norwegian women making nonchalantly brilliant electronic music doesn’t pique your interest, then you should probably reassess your aesthetics. Henriette Motzfeldt and Catharina Stoltenberg have been creating interesting and varied electronica since 2018, like a less flamboyant Björk—although the intimate, orchestral work of France’s Colleen may be a more accurate touchstone. But with this year’s Big city life, Smerz take a graceful leap forward with their songwriting and arranging skills. They exude that irresistible deadpan cool, like Wet Leg, but Smerz come off as more bedroom auteurs than arena-filling entertainers. The title track is rock-ribbed, bass-heavy electro-pop with an oh-so-haunting keyboard melody. The sassy, methodical electroclash of “Roll the dice” sounds like a more understated Peaches. “You got time and I got money” is the lowest-key seduction anthem you’ll hear all year and boasts the excellent line “Baby, can I see you naked? / Even though I love how you dress.” “But I do” is enchanting, slow-motion funk with entrancing vocal harmonies and a killer, subliminal bass line. It’s one of the songs of 2025. (Do you know how many songs have been released this year??) (Hidden Hall, 7:30 pm, 21+) DAVE SEGAL

Ty Segall

Oct 14

California garage-rock chameleon Ty Segall has the kind of pace of musical creation (17 solo studio albums in as many years in addition to an incalculable amount of singles, rarities, side-project band releases and Comedy Central theme songs) that paints a clear picture of a man who is just about that rock-and-roll lifestyle. Acknowledging such compulsions, Segall told the Associated Press last year that he was “trying not to release as much anymore”; however, as this spring’s Possession LP (plus his recent collaborative Freckle album) makes clear, nobody can tell Ty Segall what to do, not even Ty Segall. He has, however, landed in a fairly conventional place. Possessions sees a return to melodic, approachable songwriting that circles influences like Paul McCartney and Kurt Vile more than his more Stooges-like freakout moments. What Segall’s endearing unpredictability on record amounts to is that he’ll have even more variety to keep audiences on their toes at each show on this tour with a full band. (Neumos, 7 pm, all ages) TODD HAMM

Miki Berenyi Trio, Gina Birch and the Unreasonables

Oct 23

If you are a jazz dude and not familiar with this mysterious trio, don’t worry, your ego and masculinity aren’t tarnished! The Miki Berenyi Trio isn’t really a jazz trio at all, but a dream-pop supergroup consisting of Lush’s Miki Berenyi, Moose’s Kevin McKillop, and Aircooled’s Oliver Cherer. The ensemble’s debut, Tripla, is a richly layered kaleidoscope of trip-hop, dance music, shoegaze, and ’90s rock. Berenyi’s immediately recognizable voice meditates on the disrespect of Mother Earth (“8th Deadly Sin”), toxic masculinity (“Big I Am”), and misogyny spread on social media (“Grango”). Although the subject matter is often dark, the album is actually quite joyful. I suspect it will sound amazing live. And don’t you dare miss an opening set from feminist post-punk icon Gina Birch (of the Raincoats) and her new band, the Unreasonables. (Neptune Theatre, 8 pm, all ages) AUDREY VANN

Shonen Knife, the Pack A.D.

Oct 25

Is there any band cooler than Shonen Knife? The answer is no. Formed in Osaka, Japan, in 1981 by two college friends and their younger sister, the band was named after a knife marketed to boys, and the trio began writing pop-punk songs about candy, animals, and consumerism. They’ve had some lineup changes throughout the years, but the current touring band consists of founding sisters Naoko and Atsuko Yamano and drummer Risa Kawano (who has been with the band since 2011). Just take it from noted Shonen Knife fanboy Kurt Cobain, who once said, “When I finally got to see them live, I was transformed into a hysterical 9-year-old girl at a Beatles concert.” They will be joined by British garage-rock duo the Pack A.D. for two consecutive shows. The late show sold out quickly, so don’t sleep on these tickets! (Tractor Tavern, 4:30 pm & 8:30 pm, 21+) AUDREY VANN

Makaya McCraven

Oct 26

Chicago-based drummer Makaya McCraven’s riotous Earshot 2022 gig at Nectar had the crowd going as wild as a Sun Ra keyboard solo. A key figure in the current jazz resurgence as part of the crucial International Anthem label, McCraven shows a keen appreciation for the music’s ’60s/’70s avant-garde while adding his own distinctive spin with inventive post-production editing and electronic enhancements. His newest output consists of four EPs that will be collected under the title Off the Record (available on physical formats October 10 and digitally October 31). These tracks spawned from live improvisations over the years and then were chopped and spiced [sic] into the fascinating pieces you hear on record. Each EP has its own personality and personnel. Hidden Out! features some of McCraven’s most athletic, powerful drumming. The funky “Battleships” slinks in the vein of Mr. Ra’s “Twin Stars of Thence,” with spidery guitar filigree by Jeff Parker. The People’s Mixtape offers polyrhythmic avant-funk that should appeal to open-minded hip-hop fans. PopUp Shop’s serpentine post-bop jams could’ve earned Blue Note’s stamp of approval back in the day. The jaggedly rhythmic and electronics-laced Techno Logic, with cornetist Ben LaMar Gay and tubaist Theon Cross, represents Makaya’s most experimental material. Fortuitously, this studio magic translates to the stage. (Madame Lou’s, 6 pm & 9:30 pm, 21+) DAVE SEGAL

Cut Chemist, Edan, DJ Indica Jones

Oct 30

If the thought of witnessing extraordinary hip-hop skills in the flesh still tingles your brainbox, get your ass to Nectar for Cut Chemist and Edan. Cut (aka Lucas MacFadden) has shone as a producer for vibrant, old-school rap crew Jurassic 5 and Latin funk ensemble Ozomatli, lacing their tracks with endless permutations of head-nodding beats and golden melodic snippets. He’s also maintained an inspirational side hustle as one of the world’s most technically adept and broad-minded DJs/turntablists; his sets trading off eclectic deep cuts on 45 with DJ Shadow are essential lessons in multidimensional dopeness and genius mixing. East Coaster Edan is an MC/DJ/producer with a grip of CC collabs to his name. His clever/crude rhymes and fast-twitch flows match his beatmaking élan, as exemplified by 2000’s Primitive Plus and 2005’s psych-rap classic Beauty and the Beat. I’m not sure what form their performances will take here, but whatever the case, your hands will likely spend a lot of time in the air. (Nectar Lounge, 8 pm, 21+) DAVE SEGAL

Lael Neale, Guy Blakeslee

Nov 3

In her bio, singer-songwriter Lael Neale writes that she loves “not listening to music”—and it shows (in the best way). Employing drum machines, power chords, and a Suzuki Omnichord, Neale creates a singular sound that’s all her own: equal parts dream pop, classic country, and gospel. Her latest album, Altogether Stranger, sounds like an ’80s private press record that would eventually land a coveted Light in the Attic reissue (IYKYK). Neale will support the album after a set from LA-based experimental artist Guy Blakeslee. (Sunset Tavern, 8 pm, 21+) AUDREY VANN

More

Loudon Wainwright III Oct 1, Vashon Center for the Arts, 7:30 pm, all ages

Tate McRae: Miss Possessive Tour Oct 2–3, Climate Pledge Arena, 7:30 pm, all ages

Jembaa Groove Oct 3, Baba Yaga, 7 pm, 21+

Racoma, Adeline Hotel, Jackie West Oct 6, Tractor Tavern, 7:30 pm, 21+

Pup, Jeff Rosenstock, Ekko Astral Oct 7, Showbox SoDo, 7:30 pm, all ages

Playboi Carti Oct 8, Climate Pledge Arena, 7 pm, all ages

JUL!ET, Avery Cochrane, Camille Cano, DJ Shayrosay Oct 9, Barboza, 7 pm, all ages

Acid Mothers Temple, the Macks, Kinski Oct 10, Clock-Out Lounge, 8:30 pm, 21+

The Beta Band: The Three EPs Tour Oct 14, Showbox, 8:30 pm, all ages

The Tubs Oct 14, The Vera Project, 7 pm, all ages

Miki Yamanaka Trio, George Colligan, Zyanna Oct 15, Baba Yaga, 7 pm, 21+

Garbage, Starcrawler Oct 15, Paramount Theatre, 8 pm, all ages

Dua Lipa: Radical Optimism Tour Oct 15–16, Climate Pledge Arena, 7:30 pm, all ages

Planned Parenthood Benefit Show: Star Anna, Caspian Coberly, Stoneyard Oct 16, Tractor Tavern, 7:30 pm, 21+

Frankie Cosmos Oct 17, Crocodile, 6 pm, all ages

KAYTRANADA x JUSTICE TOUR Oct 17, Climate Pledge Arena, 7 pm, all ages

Madrona Fest: Black Belt Eagle Scout, Nathan Salami Rose Joe Louis, Flanafi Oct 18, Madame Lou’s, 6:30 pm, 21+

Evans Fox, and More Oct 18, Key Peninsula Civic Center, 12 pm, all ages

Stereolab, Bitchin Bajas Oct 18, Neptune Theatre, 8 pm, all ages

Hand Habits Oct 21, Tractor Tavern, 8 pm, 21+

Linda from Work, Bearaxe, Bexley Oct 22, Neumos, 7 pm, 21+

Lorde: Ultrasound Tour Oct 22, Climate Pledge Arena, 7 pm, all ages

NonSeq: Cat Toren’s Human Kind, Every Shade of Green Oct 23, Chapel Performance Space, 8 pm, all ages

Arooj Aftab Oct 24, The Great Hall, 8 pm, all ages

Sombr Oct 24, WAMU Theater, 8 pm, all ages

Destroyer: Dan’s Boogie Tour Oct 25, Crocodile, 6 pm, 21+

Rat City Recon Oct 25, Southgate Roller Rink, 4 pm, 21+

Seattle Rock Orchestra Performs David Bowie Oct 25, Moore Theatre, 7:30 pm, all ages

Durand Jones & the Indications Oct 29, Showbox SoDo, 8 pm, all ages

Glitterfox, Salt Lick Oct 30, Tractor Tavern, 8 pm, 21+

The Decemberists with the Seattle Symphony Nov 1, Benaroya Hall, 8 pm, all ages

Early Warnings

Freakout Festival: Melt-Banana, Liz Cooper, Wine Lips, and more Nov 6–9, various locations, 21+

Soul Nite Weekender Presents: Bernadette Bascom Nov 7, Black Lodge, 9 pm, 21+

Belly: 30th Anniversary of King Nov 9, Crocodile, 6 pm, 21+

Herb Alpert & The Tijuana Brass & Other Delights Nov 9, Benaroya Hall, 7:30 pm, all ages

Patti Smith: Horses 50th Anniversary Tour Nov 10, Paramount Theatre, 8 pm, all ages

David Byrne Nov 11–13, Paramount Theatre, 8 pm, all ages

Doechii Nov 10, WAMU Theater, 8 pm, all ages

Neko Case Nov 14, Paramount Theatre, 8 pm, all ages

King Princess: The Girl Violence Tour Nov 16, Showbox SoDo, 8 pm, all ages

Heart Nov 23, Climate Pledge Arena, 7 pm, all ages

Lola Young Dec 2, WAMU Theater, 8 pm, all ages

The Mountain Goats Dec 3–4, Neptune Theatre, 8 pm, all ages

October Things to Do: Visual Art

Amanda Manitach — Wed, 01 Oct 2025 15:32:00 -0700

The best art shows and events happening in October. by Amanda Manitach

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food, This & That.

Rodney McMillian: Neighbors

Opens Oct 4

Rodney McMillan is a South Carolina–born, California-based artist who works across mediums to explore the social and political history of the United States. For this solo show, McMillian has taken inspiration from the lush nature surrounding the Henry to explore a landscape “overgrown with the lingering effects of physical, political, and social violence.” McMillian’s works range from abstract sculptures (made of thrifted cloth coated in house paint) to fantastical landscape paintings, as well as political video works informed by the Civil Rights and Black Power movements that remind us that the past will always linger. In his artist statement, McMillan writes that the past “is a fertilizer that feeds and cultivates the country we must tend to every day.” (Henry Art Gallery, free) AUDREY VANN

TELEPHONE

Oct 10–Dec 13

An exhibit that is an international game that starts with a single work of art that gets interpreted and translated hundreds of times, with more than 1,400 players and as many works of art? That’s TELEPHONE, an art experiment/exhibit in its third and largest iteration. Conceived by Seattle-based artist and software designer Nathan Langston, the premise is simple: Just like the children’s game, one work of art gets punted along (without context) to multiple recipients, who then interpret it as a new work of art, and so on until there’s a giant family tree of whispered artworks that have evolved in infinite ways. The results of the game will be revealed in a massive exhibit spanning two venues, with artworks ranging from musical compositions and poetry to painting, sculpture, and video. (Base Camp Studios 1 & 2) AMANDA MANITACH

Camille Trautman: Boren Banner Series

Opens Oct 15

Combining landscape and portrait photography, Seattle-born Duwamish artist Camille Trautman asks, “How can I escape the screen and truly exist in this land?” I am a huge fan of the late-20th-century photographer Francesca Woodman, and Trautman’s photographs reimagine Woodman’s ghostly, grayscale approach and extended exposure technique, with the added insight of being a trans person in the digital era. While Woodman often obscured her body with mirrors, Trautman opts for LCDs (technology that uses liquid crystals to display images) to veil their body in natural settings. These works explore how landscape photography and digital media can shape or distort cultural identity by promoting or denying visibility. This October, Trautman is participating in the Frye’s Boren Banner Series, which asks regional artists to design a billboard-sized piece of art to be prominently displayed on Boren Avenue, along with a solo exhibition of related works. (Frye Art Museum, free) AUDREY VANN

Priscilla Dobler Dzul: Water Carries the Stories of Our Stars

Opens Oct 18

Priscilla Dobler Dzul’s museum debut in Seattle centers on stories of water “as portals of cosmic ancestral knowledge.” The artist, who divides her time between Tacoma and Yucatán, Mexico, pulls imagery and inspiration from both locales to weave works, including sculpture, textiles, and video, that unfold a story of environmental devastation entwined with cultural revitalization. In other words, the dark fairy tale of our current climate crisis, but with a possible happy ending: Dzul’s beckoning to reconnect to the universal sources of life and to “reimagine collective existence through the labor of craft.” Dzul’s own work is rooted in craft that draws from her Maya and multicultural heritage, but is infused with electric color and contemporary inflections—a cosmological melting pot of material and meaning that resonates with our times. (Frye Art Museum, free) AMANDA MANITACH

Farm to Table: Art, Food, and Identity in the Age of Impressionism

Opens Oct 23

The Seattle Art Museum’s new exhibit reflects on the Age of Impressionism through the lens of the French culinary tradition. With more than 50 works by household-name painters such as Gauguin, Monet, and Pissarro, the exhibit showcases the life cycle of food through the processes of cultivation, preparation, presentation, and consumption. These 100-year-old-plus oil paintings by old masters will transport you to the lush country gardens, bustling markets, and swanky restaurants of late 19th-and early 20th-century France. After viewing the exhibit, eat a generously buttered baguette and watch Babette’s Feast. You can thank me later. (Seattle Art Museum) AUDREY VANN

Anila Quayyum Agha: Geometry of Light

Through April 19, 2026

Stepping into Anila Quayyum Agha’s installations at the Seattle Asian Art Museum is a full-body immersion: intricate webs of shadow and light projected from a single source drench every surface in expanding, contracting geometries. The Pakistani American artist is known for her immersive environments, which take the masculine energy of monolithic steel forms (à la Richard Serra) and transform them with delicate patterns laser-carved into the surface. The light projected from inside these 350-pound floating steel frames in turn transforms everything it touches, including you, into something ethereal. While some of her motifs are inspired by Islamic designs, Agha herself is not religious, and the work is meant to evoke spiritual and emotional resonance that transcends culture. While there, stop by Ai Weiwei’s Water Lilies, a 50-foot-long pixelated interpretation of Monet’s painting rendered in 650,000 LEGO blocks—a work subversively sublime in its own right. (Seattle Asian Art Museum) AMANDA MANITACH

More

The True Butterfly Effect Through Oct 4, Slip Gallery, free

Safety/Luck Through Oct 10, Center on Contemporary Art, free

Mary Finlayson: Orange, Violet Through Oct 11, Winston Wächter Fine Art

Brad Winchester “RAVELING” Through Oct 18, James Harris Gallery, free

Stefan Gonzales, Dual Solo Exhibitions Through Oct 18, the Vestibule & Specialist, free

Outside: In Through Oct 25, Foster/White Gallery, free

Rachel Campbell: Oddly Familiar Through Oct 25, Spectrum Fine Art, free

Nina Katchadourian: Origin Stories Through Oct 26, National Nordic Museum

Pepper Pepper: Pink Moment Through Oct 30, M. Rosetta Hunter Art Gallery, free

Of The Land: Curated by Sobia Zaidi Through Nov 1, SOIL, free

Whiting Tennis Through Nov 1, Greg Kucera Gallery, free

Small Works Exhibition Through Nov 7, Gage Academy of Art, free

Asian Comics: Evolution of an Art Form Through Jan 4, 2026, MoPOP

Tariqa Waters: Venus Is Missing Through Jan 4, 2026, Seattle Art Museum

Ash-Glazed Ceramics from Korea and Japan Through July 12, 2027, Seattle Art Museum

Ai Weiwei: Circle of Animals/Zodiac Heads (Bronze) Through Oct 2027, Olympic Sculpture Park, free

Ten Thousand Things Through Spring 2027, Wing Luke Museum

Gossip: Between Us Ongoing, Tacoma Art Museum

Cultured Commodities: Photographs from the Henry Collection Opens Oct 18, Henry Art Gallery, free

Fay Jones: New Paintings Opens Oct 18, Studio E Gallery, free

Kim Smith Claudel: End Cycle Opens Oct 25, The Vestibule, free

Beau Dick: Insatiable Beings Opens Oct 25, Frye Art Museum, free

Jonathan Lasker: Drawings and Studies Opens Oct 25, Frye Art Museum, free

Jen Ament: Head Trip Opens Oct 30, Spectrum Fine Art, free

CAM 10th Anniversary Party Oct 31, Common Area Maintenance, 7 pm, donations accepted

Early Warnings

New Nordic: Cuisine, Aesthetics, and Place Opens Nov 15, National Nordic Museum

October Things to Do: Literature

Julianne Bell — Wed, 01 Oct 2025 15:31:00 -0700

The best talks and readings happening in October. by Julianne Bell

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food, This & That.

Chi-ming Yang: ‘Octavia E. Butler: H Is for Horse’

Oct 10

Merging science-fiction writer Octavia E. Butler’s early unpublished writings and drawings with literary analysis and memoir, Chi-ming Yang’s new book, Octavia E. Butler: H Is for Horse, maps out the making of a genius. The book offers a look at Butler’s childhood interests, including horses, Martians, Western novels, and racial justice, and how those morphed into a fascination with human-alien symbiosis and supernatural beings that defy the constraints of gender, race, and class. The book is organized in 26 short A-Z chapters, which pay homage to Butler’s love of library research and both writers’ experiences of the public library as a sanctuary. (Elliott Bay Book Company, 7 pm, free, all ages) AUDREY VANN

Olivie Blake

Oct 28

I’m very much here for the recent influx of dark feminist fiction about female appetites (e.g., Woman, Eating; A Certain Hunger; Hungerstone), so I was instantly hooked by the premise of The Atlas Six author Olivie Blake’s new novel, Girl Dinner. College sophomore Nina Kaur is accepted into The House, the most sought-after sorority on campus. Meanwhile, adjunct professor Dr. Sloane Hartley, who is struggling to manage her career alongside the travails of new motherhood and a less-than-supportive husband, becomes the mysterious society’s new academic liaison. Soon, the two women find themselves pulled progressively deeper into an uncanny world of cannibalistic rituals and feminine rage. Blake will discuss her book with local speculative fiction writer Isabel Cañas, author of The Possession of Alba Díaz. (Third Place Books Lake Forest Park, 7 pm, all ages) JULIANNE BELL

An Intimate Evening with Pamela Des Barres

Oct 30

Even if you have not read Pamela Des Barres’s 1987 memoir, I’m With the Band: Confessions of a Groupie, I promise you’ve seen its mark on pop culture (see: Cameron Crowe’s Almost Famous). Along with being a best-selling author and the original “rockstar girlfriend,” Des Barres was also a member of all-female performance art troupe the GTOs (Girls Together Outrageously), who released the incredible experimental rock album Permanent Damage, produced by Frank Zappa, back in 1969. Des Barres will bring her one-woman show to the Rabbit Box to share her wit, wisdom, and firsthand experiences with everyone from Mick Jagger to the Manson Family. (Rabbit Box Theatre, 8 pm, 21+) AUDREY VANN

More

Kathleen Flenniken with Melissa Kwasny & Peter Pereira Oct 2, Elliott Bay Book Company, 7 pm, free

Margeaux Feldman Presents: Touch Me, I’m Sick Oct 2, Third Place Books Seward Park, 7 pm, free

Psychedelic Salon: Psilocybin & Menopause Oct 2, Town Hall Seattle, 7:30 pm

Roque Raquel Salas Rivera with Quenton Baker Oct 3, Elliott Bay Book Company, 7 pm, free

Yume Kitasei with Wendy N. Wagner Oct 6, Elliott Bay Book Company, 7 pm, free

M. L. Rio Oct 7, Elliott Bay Book Company, 7 pm, free

Tami Parr Presents ‘Goats in America: A Cultural History’ Oct 9, Third Place Books Lake Forest Park, 7 pm, free

Leni Zumas with Danya Kukafka: ‘Wolf Bells: A Novel’ Oct 10, Third Place Books Ravenna, 7 pm, free

Victoria Redel with Laurie Frankel Oct 12, Elliott Bay Book Company, 7 pm, free

The Joy of Snacking with Hilary Fitzgerald Campbell Oct 14, Here-After, 7 pm, 21+

Writers in the Schools (WITS) Back-to-School Fundraiser Luncheon Oct 17 (register by Oct 3), Edgewater Hotel, 11 am–1 pm, free with registration

A Conversation with Elizabeth Gilbert Oct 20, Town Hall, 7:30 pm

Raina Telgemeier & Scott McCloud Oct 21, Town Hall, 6 pm

Timothy Snyder Oct 26, Benaroya Hall, 7:30 pm

Grace Byron with Jas Keimig Oct 30, Elliott Bay Book Company, 7 pm, free

Early Warnings

Li-Young Lee Nov 3, Rainier Arts Center, 7:30 pm

Becky Spratford Nov 6, Central Library, 8:30 pm, free

An Evening with Patti Smith Nov 9, Meany Hall, 7:30 pm

Oyinkan Braithwaite Nov 12, Central Library, 7 pm

Miranda July Nov 13, Moore Theatre, 8 pm

David Sedaris Nov 16, Benaroya Hall, 7 pm

A Conversation with Padma Lakshmi Nov 18, Benaroya Hall, 7:30 pm

October Things to Do: Performance

Julianne Bell — Wed, 01 Oct 2025 15:31:00 -0700

The best theater, dance, and comedy events happening in October. by Julianne Bell

Want more? Here's everything we recommend this month: Music, Visual Art, Literature, Performance, Film, Food, This & That.

OUT THERE, Velocity Dance Festival

Oct 2–11

As Lady Gaga once said, “Category is dance… or die.” So go see some experimental, existential, “f*ck shit up” kind of dance at Velocity’s new OUT THERE festival. Each weekend pairs two 30-minute works with DJ sets before and after. The first weekend (Oct 2–4) showcases Seattle’s maia melene d’urfé’s a crisis of standing and LA’s Jobel Medina and Elliott Sellers’s IMMDED IMMGEWD. The pairing will be an intricate testament to the skill and challenges of having a body within our current, chaotic world. The second weekend (Oct 9–11) features ALAN by Seattle’s Jordan MacIntosh-Hougham and Jesse Freitas, as well as BLOT by Vancouver’s Vanessa Goodman in collaboration with Tonga Collective from Poland. That weekend will get your mind reeling about AI ethics, pondering how chemistry and engineering fit within dance, and questioning where the human ends and the science of it all takes over. As Alan, a chatbot you might meet at the festival, says, “We are all born in the matrix, and the rest is drag.” (12th Avenue Arts, 6 pm DJ set, 7:30 pm dance show, 21+) NICO SWENSON

Eiko Otake & Wen Hui: What Is War

Oct 9–11

Choreographers, performers, and filmmakers Wen Hui and Eiko Otake first met in 1995 at an experimental theater festival, sparking a collaborative relationship that would span decades. Eiko grew up in postwar Japan and now resides in New York, whereas Wen Hui was raised in China during the Cultural Revolution and currently lives in Germany. In January 2020, Eiko went to visit Wen Hui in China for a monthlong artist fellowship, and the two began to excavate the war-related memories stored in their bodies. Throughout the pandemic, they worked together remotely on the documentary No Rule Is Our Rule, which explores their history, friendship, and trauma. This powerful dance performance, which the artists forged together in residencies, expands on that conversation—the women share their somatic stories through a “complex tapestry of language, movement, and video” and prompt the audience to question their own relationship to war. (On the Boards, 8 pm) JULIANNE BELL

Atsuko Okatsuka

Oct 11–12

You might know Los Angeles–based comedian Atsuko Okatsuka from her iconic signature bowl cut or her viral #dropchallenge, which she coined by dropping it low to “Partition” by Beyoncé in a video with her grandmother (a frequent subject of her stand-up). Her most recent special Hulu special, Father, had me in stitches with her absurdist takes on topics such as her secret past as a high school cheerleader, her shared made-up language with her husband, and the realization that she has the exact same body type as her estranged dad. She’s sure to serve up more of her hilariously off-kilter worldview at her show at the Moore Theatre for her Big Bowl Tour. (Moore Theatre, times vary, all ages) JULIANNE BELL

‘The Little Foxes’ by Lillian Hellman

Oct 15–Nov 2

Set in a small Alabama town in 1900, Lillian Hellman’s The Little Foxes follows Regina Giddens as she manipulates her way into receiving a hefty family inheritance in an era when sons were considered the only legal heirs. The story is the perfect example of how a lack of women’s rights can lead to a multitude of women’s wrongs—it’s the ultimate “good for her!” story. Since its original stage production, starring Tallulah Bankhead in 1939, the leading role has been revived for stars like Bette Davis (in the 1941 film adaptation), Elizabeth Taylor, Stockard Channing, Laura Linney, Cynthia Nixon, and more. This group of actresses alone speaks volumes about the drama and camp of this theater masterpiece. (Intiman Theatre, various times, all ages) AUDREY VANN

Jimmy O. Yang

Nov 1

Hilarious Asian-millennial perspectives spill forth from Jimmy O. Yang at a rapid pace in his stand-up performances. Sure, the actor and former strip-joint DJ covers some familiar ground: relationships, parent-child interactions, the importance of friendships, how different cultures talk about money, media representation of his people—and the pressure he feels as a high-profile Asian to do his tribe proud. But the Chinese American comic also tackles some less common subjects, such as the feet etiquette of different cultures, the limited options for Halloween costumes among Asians (“I was Bruce Lee for six years.”), whether it’s okay for Asians to say the n-word when singing along to rap songs, as well as an advanced lesson on how to tell Asians apart by the sound they make when they’re disappointed. He also does the best tai-chi joke I’ve ever heard. With his acting chops honed in TV comedy shows such as Silicon Valley and Space Force and the movie Crazy Rich Asians, Yang has become an efficient and super-expressive joke machine. (Paramount Theatre, 7 pm & 9:30 pm, all ages) DAVE SEGAL

More

Pacific Northwest Ballet Presents: Jewels Through Oct 5, McCaw Hall, various times

The Roommate Through Oct 19, ArtsWest, various times, all ages

Demetri Martin Oct 4, Moore Theatre, 6:30 pm, all ages

Stereophonic Oct 7–12, Paramount Theatre, various times, all ages

RuPaul’s Drag Race Werq the World Tour 2025 Oct 14, Paramount Theatre, 7:30 pm

This Is Halloween: The Live Music and Dance Multimedia Spooktacular Oct 16–Nov 1, Triple Door, various times, age restrictions vary

Shrew Oct 18–Nov 2, ACT, various times, all ages

The Pirates of Penzance Oct 18–Nov 1, McCaw Hall, various times

Chicago Oct 22–Nov 2, 5th Avenue Theatre, various times, all ages

Hidden Nature: The Spectre of the Potato Oct 24–25, Base: Experimental Arts + Space, various times, free

Adam Sandler: You’re My Best Friend Oct 29, Climate Pledge Arena, 7:30 pm, 16+

International Ballet Theatre: Dracula Oct 29, Paramount Theatre, 7:30 pm, all ages

C.S. Lewis: The Screwtape Letters Nov 1, Moore Theatre, 4 pm & 8 pm, all ages

Early Warnings

Nate Bargatze Nov 6–7, Climate Pledge Arena, 7 pm, all ages

Aya Ogawa: The Nosebleed Nov 13–15, On the Boards, 8 pm

Conner O’Malley Nov 20, Neptune Theatre, 7 pm & 9:45 pm, all ages

Penelope Nov 28–Dec 21, ArtsWest, various times

In Tandem: A Trio of Duets Dec 18–20, On the Boards, 8 pm