SOU’WESTER EVENTS!
See what’s happening during your next stay or plan a visit around our free live music, workshops, wellness offerings and more!
Pete Krebs is an American musician from Portland, OR best known as a member of the punk-pop band Hazel, and for a split record with Elliott Smith. Krebs was inducted into the Oregon Music Hall of Fame in 2013 along with his band mates from Hazel.
Growing up splitting time between south suburban Chicago and a lake in Southwest Michigan, Brian Bovenizer has always felt the push and pull of the city and the country. This dynamic is apparent in the lyrics and in the airy western groove of the band. While packing the traditional instruments you might find from many country bands, (pedal steel, twangy lead guitar, upright bass and drums) the Koala Cowboys take a loose, off-center approach to the genre.
Residing in Astoria, OR since 2009, Bovenizer has found a peace of mind and home near the ocean. Studying the songwriting style and wit derived from artists such as John Prine and Dr. Hook (Shel Silverstein), Brian has teamed up with a heavy-handed, light-hearted band that carries a vibe the like of masters, Commander Cody and his Lost Planet Airmen.
Together, with James Greenan (Cedar Shakes), Jeff Munger (Sallie Ford and the Sound Outside), Luke Ydstie (BP, Hook & Anchor, and also Luke Ydstie) and Olaf Ydstie, the band looks to put out their first recordings early this Summer.
Barna Howard was born and raised in a quintessential Midwest town. His youth in Eureka, Missouri was pure Americana – the sort of childhood that inspired E.T.-era Spielberg – baseball cards in his bicycle spokes, flying freely down Main Street and through neighbors’ backyards.
photo by Vincent Joseph
The songs on Barna Howard’s second album, Quite A Feelin’, ruminate on his relationship with home. Now entrenched in Portland, Oregon, many of the album’s tracks immortalize and reflect on the Eureka he once knew, while others focus on the relationships that define his new home out west. Small town life has long been celebrated in country and folk music, but Barna’s knack for capturing his own deeply personal nostalgia resonates in a rarely universal way.
“A delightfully intimate affair, Barna’s 2012 self-titled debut showcased an array of delicately finger picked odes to love and loss. Steeped in traditionalist folk of yesteryear, Howard’s voice and delivery echoing a young Dylan circa 1964 just before he made the leap from protest to (accidental) punk.” Rich Thane / 13 MAY 2015 – thelineofbestfit.com
Audios Amigos is an instrumental muscle car filled with guitars and hot sauce…
Audios Amigos are an instrumental, guitar fueled musical entity, who drive between the lanes of surf, country, latin, soundtrack, garage…etc etc. They consistently bring a high energy live show that will induce voluntary and involuntary movements of the arms, legs, and any other bodily attachments. They often wear mariachi or classic western inspired suits, however authentic suits are impossible to find in Portland Oregon (especially on a musician’s budget), so the band has made their own homespun versions. The Amigos love surf music, however they are not primarily a surf band, they traverse all styles of instrumental music with experience and reverence…they have shared the gigs with Red Fang, Sir Richard Bishop, Bob Log III, The Pork Torta, Pierced Arrows, Southern Culture on the Skids, The Reigning Sound, The Chop Tops…you get the picture, a wide berth of musical styles!
Welcome Lonesome Leash opening for Nick Jaina.
Nick Jaina is a musician and writer from Portland, Oregon. His most recent album, Primary Perception, was released in April 2013 on Fluff and Gravy Records. As the Portland Mercury said, “I’d feel embarrassed describing Nick Jaina as a genius outright, and I’m sure he’d hate that too, but it’s so tempting– because he is so clearly the real deal.” He is a co-founder and musical director of the Satellite Ballet and Collective in New York City. He has composed the music for three ballets and three contemporary dances with that group, featuring dancers from the New York City Ballet, Ten Hairy Legs, and Juilliard, performing at the Baryshnikov Center and the Joyce Theater. Their most recent performance was two sold-out shows at Brooklyn Academy of Music in May 2014. Of that show, the New York Times wrote, “[The] pure, pungent, earthy music for strings, piano, and percussion… was the most physically bracing part of the night.” He released his first book, Get It While You Can, a work of non-fiction, through Perfect Day Publishing in January 2015. It is a finalist for the 2016 Oregon Book Awards.
Lonesome Leash is the solo moniker of Los Angeles-based songwriter and multi-instrumentalist Walt McClements. Known for previous involvement in Dark Dark Dark, Hurray for the Riff Raff, and Why Are We Building Such A Big Ship?, McClements, as Lonesome Leash, channels all of his musical experiences into a lean and gorgeously messy solo affair.
Acclaimed songwriter Catherine Feeny met jazz drummer Chris Johnedis after recording her rebellious fourth solo album. She had just come back from the Occupy Wall Street protests in New York, and he was returning from 2 years of working and studying in Thailand. The two hit it off, and Johnedis helped translate the varied rhythms of “America” — which ran the gamut between vintage drum machine sounds and captured field recordings — into a live show setting.
Two years later, working with producers Sebastian Rogers (Floetry) and Sheldon Gomberg (Ben Harper, Ricki Lee Jones), in a live four-day session in Silverlake, CA the two create a universe of sound that is sparse and propulsive, yet playful, for their eponymous debut as a duo.
Catherine’s career as a solo artist began with Joe Purdy recording her first album, a self-titled affair that garnered acclaim for its compelling songwriting and stark, nostalgic feel. The album won Feeny an audience in Belgium where it was championed by French-language radio station Classic 21.
However it is Feeny’s second album, 2005′s “Hurricane Glass,” for which she is best known. The song “Mr. Blue” was picked up by KCRW in LA, and later featured in “Running with Scissors,” “The O.C.,” and “Miss Conception.” The attention won by “Hurricane Glass” resulted in the album being picked up by EMI Records.
Catherine is teaching a songwriting workshop here at the Sou’wester Tuesday July 12th, Wednesday July 13th and Thursday July 14th, so this performance will be a real treat. Songwriting at its best.
Join us in Welcoming Invisible Familiars opening for Jolie Holland.
Over the span of her career, Jolie Holland has knotted together a century of American song—jazz, blues, soul, rock and roll—into some stew that is impossible to categorize with any conventional critical terminology. “Jolie Holland flows back and forth and in and out of genres like water trickling in a stream, from pedal steel cowgirl to smoky jazz diva, from soul and gospel devotee to indie chanteuse, all within the parameters of what we think of as the singer/songwriter tradition. She has a sensuous voice, marbled with a richness that’s utterly satisfying.” ~from Editors’ Notes – iTunes
Wine Dark Sea came out May 20th, 2014 on ANTI- Records.
Jolie Holland photo by Shervin Lainez Invisible Familiars photo by Nathan West
“Invisible Familiars’ debut album, Disturbing Wildlife, is out now! The band signed to Other Music this past spring, releasing the 7” single “Clever Devil” b/w “Digger’s Invitation” in June. Stereogum called it, “T. Rex in a funhouse of horrors,” advising, “Let it cast a spell on you.” Invisible Familiars is led by Jared Samuel, a New York City-based songwriter and multi-instrumentalist who has long made his living playing music and supporting a variety of NYC artists – from Sharon Jones to Martha Wainwright, and most recently, Cibo Matto and the Ghost of a Saber Tooth Tiger.” ~www.othermusicrecordingco.com
Join us in welcoming Espacio Flamenco to The Sou’wester!
BUILDING FLAMENCO HEARTS
Our goal is to create a space where flamenco arts and culture can be experienced, explored, learned and refined. We provide instruction, performance, and special events that encourage individual expression as well as collaboration and exchange among artists. We want to share our love of Flamenco with our community!
Brenna McDonald – Guitar
Randa BenAziz – Vocals
Lillie Last – Dance
Montserrat Andreys – Dance
Christina Lorentz – Dance/percussion
Nick Hutch – Cajon
Performing a special stripped down acoustic set, The Sou’wester Lodge welcomes Lost Lander with Garth Steel Klippert of Old Light playing a short solo piano set!
Before she died, Matt Sheehy’s mother used to tell him about a dream she had about Lost Land Lake—a place she spent part of her mid-western childhood. That dream inspired the name of the Juneau-born, Portland-based songwriter’s band, and her memory is imbued in Medallion, their second album. If DRRT, the group’s first independently released album, was about the confluence of nature and technology, Medallion, its latest, concerns dualities – experiences of love and loss, impermanence and longevity, death and rebirth.
The confrontation of these dualities resulted in a set of songs that explore “more human territory,” according to Sheehy, a professional forester who spend his days in Oregon’s immense wooded expanse – where he collects data while occasionally dodging 1,000-pound bull elks and the stray hunter’s bullet.
The coming-apart of Sheehy’s marriage engagement and nearly concurrent loss of his mother, followed closely by the blooming of a relationship with longtime friend and bandmate Sarah Fennell, heavily influenced the lyrics on Medallion.
“It was almost like a switch flipped,” Fennell says. “It took us a while to figure out what that meant.” The 80s British synth-pop influenced ““Gemini” deals very directly with the danger I felt in getting closer to Sarah,” says Sheehy, while Paul Simon-esque world folk number “Flinch” is a direct response to his mom’s passing.
Yet not all the songs are so directly autobiographical: “Feed the Fever” was based on a TV interview with NSA whistleblower Edward Snowden; the lyrics are direct quotes from the transcript. The swirling world beat psychedelia of “Trailer Tracks” was written whilst secluded in an Airstream during a writers’ retreat. The wide-screen Blue Velvet epic “Alpine Street” is a cinematic dream of suburban domesticity, cut with an undercurrent of sadness and dread. “Nothing lasts forever,” Matt observes. “And the seeds are already planted for the change that’s inevitable.”
Sheehy took the seeds of the songs into “the idea factory/workshop that is Brent Knopf’s brain,” he relates, “where he spits out all the bells and whistles that we hang on those structures.”
The new songs, recorded with producer Knopf (Ramona Falls, Menomena), also owe their current form to Sheehy’s bandmates; keyboardist Fennell, drummer Patrick Hughes and ex-bassist Dave Lowensohn. Medallion also features Beirut trumpet player Kelly Pratt, Akron/Family’s Dana Jenssen, and new bass and guitar player, William Seiji Marsh.
After the 2011 release of DRRT, Lost Lander went on tour for almost two years, playing 140 shows in the US, Canada, Europe, and Russia, where their collective experience resulted in the camaraderie and tightness that went into the making of Medallion. “For me, this band has been a dream come true” says Sheehy. The music business in general may be pessimistic, but not everyone in it is. We’re excited to go towards enthusiasm.”
Medallion is all about wrenching joy from despair, of finding the permanent within the temporary. “This record is an exclamation of love and loss,” Fennell declares. “It’s emotional, dealing with life in an exuberant way, even if it’s sad, hard, wonderful, and crazy. We’re all just lucky to be here to experience it.”
Country music was not always about glitz, glamour and praising the red, white and blue. In its earliest inception, it was a means for communities and families to get together, quaff whiskey from jugs and mason jars, and share stories about the hardships of life. While most mainstream country artists like to ally themselves with “real” country, few of them come within a good squirt of tobacco juice of it.
Leave it to Portland, Ore.’s Lana Rebel to hit the mark. Dusty roadhouses and the front seats of beat-up Chevys are the landscapes for her broken hearted tales, delivered in a sweet alto with just enough instrumentation to keep it interesting. Don’t expect boot-kicking barnstormers here, or sassy odes to “redneck woman” power; these are love songs, and Lana knows that that is one four-letter word that often rides with hurt.
Lana avoids many of the clichés of country music, like annoying vocal inflections and clever turns of phrases that are just too predictable. Her music falls somewhere between The Virginian-era Neko Case and Mary Gauthier records. If sad songs don’t drive you to drinkin’, and if tales of woe don’t bring you down, this record will be your friend.