Live Music: Chief Ahamefule J. Oluo

6/8. 8p. FREE

Chief Ahamefule J. Oluo (he/they/them) is a Nigerian-American multi-instrumentalist, composer, writer, comedian, and creator of live performance and theater. They were a founding member of the award-winning experimental jazz quartet Industrial Revelation, a Mellon Creative Research Fellow, a Creative Capital awardee, an ArtistTrust Arts Innovators award recipient, and a semi-finalist in NBC’s Stand Up for Diversity comedy competition. Oluo co-produced comedian Hari Kondabolu’s Waiting for 2042 and Mainstream American Comic for Kill Rock Stars, and the album Who the Hell is Dwayne Kennedy? by the eponymous stand-up legend. They premiered two autobiographical music-based performances at The Public Theater’s Under the Radar Festival: Now I’m Fine (2016), which the New York Times described as “a New Orleans funeral march orchestrated by Arnold Schoenberg,” and of which Time Out New York said, “A day later, it’s as though I grabbed a live wire; I can still feel the electricity in my skin”; and Susan (2020), which Brantley called “virtuosic” and “crackerjack.” Oluo has written for television, including the stop-motion animated comedy Santa Inc.on HBO Max, starring Sarah Silverman and Seth Rogen. They have also appeared on This American Life. Now I’m Fine was adapted into the film Thin Skin, starring Oluo, who also wrote the score and co-wrote the script. Thin Skin won Best Director at the Harlem Film Festival. Oluo’s work has been commissioned, presented, or invited by On the Boards, PICA, the Meany Center, the Clarice, Seattle Theater Group, and REDCAT.

Nick Delffs: Presented by Sou’wester Arts

Nick Delffs grew up in Mendocino County, a lawless stretch of coastline that’s hard to get to and, for many, hard to escape. Nick did — emerging in the early aughts as the frontman for Portland band The Shaky Hands, whose sharp, jittery rock was anchored by Nick’s quavering vocals and questing lyrics. The Shaky Hands were mainstays of Portland on the verge of a major shift, and they rode that shift a while, signing to Kill Rock Stars and touring internationally with some of the bigger names in indie rock. But a hiatus in 2011 became indefinite and Nick Delffs was once again cast into the world: working as a sideman, releasing solo records, doing manual labor, going deeper into his spiritual practices, and, crucially, becoming a father.

Becoming a parent can affect different artists in different ways. Nick rode that change with surpassing grace and maturity. 2017’s Redesign, his first full-length under his own name, reflected the transition. In “Song for Aja”, Nick touched on other concerns familiar to those who follow his work: love of the natural world; longing for spiritual and physical connection; the desire to suffer with meaning and exult with abandon, to embrace somehow the world in its maddening contradictions and find the unity at the core.

Childhood Pastimes, his second release on Mama Bird Recording Co., is both more focused and, despite being technically an EP, more ambitious. It’s a four-song cycle — one song with many movements or four songs that bleed into one another, depending on how you hear it — that can be viewed either as a personal journey or an archetypal passage of a human being through four discrete stages: roughly, the movement from childhood innocence into adolescent adventure (The Escape); the sudden immersion into a life of discovery and excitement (The Dream); the first experience of romantic love, followed by the onset of heartbreak, dissolution, breakdown of self (The Affair); the emergence into a new way of thinking, a fresh perspective that encompasses all the suffering and joy into a balanced whole (The Outside).

Nick plays nearly all of the instruments here and the result is a unified aesthetic, born ultimately of his deep-seated love of rhythm: the thrum and throb of the acoustic guitars, the percussive melodic bang of the elegantly-crafted piano lines, and always, always the insistent, driving drums, propelling the record, and the listener, on this journey as the four tracks bleed into one another, one body, one blood, one beating heart. The concept of four songs that are really one suite of music requires a sure hand, and Nick’s never shakes: the way the songs blend together while retaining their distinctiveness — from the poppy exaltation of “The Escape” to the cold intensity, almost like an acoustic Kraftwerk, of “The Affair” — shows a songwriter and musician who has fully grown into his powers.

Those who have followed Nick’s career may see this as a culmination of years and years of honing and fine-tuning his bountiful gifts, and wonder with delight what might come next. For those who haven’t listened to Nick before, Childhood Pastimes is the perfect entry point, a distillation of what’s come before and the promise of a new beginning.

Live Music: Generifus

6/29. 8. FREE

Lê Almeida & Melanie Radford: Presented by Sou’wester Arts

Live Music: Lindsay Clark and Half Shadow

7/20. 8p. Free

Lindsay Clark:

Lindsay Clark finds balance between traditional folk, English folk, country and her own version of experimental folk that seems to come from within. With influences ranging from the Beach Boys, Elizabeth Cotton, Joni Mitchell, Appalachian folk, her classical upbringing and her father’s record collection, she blends many worlds into a uniquely warm sound. She has carved out a unique and vibrant place as an artist with her penchant for poetry, rich harmony and a style of self-taught fingerpicking influenced by Nick Drake, John Fahey, and others.

Originally from the small gold rush town of Nevada City, CA, she now resides in Portland, OR. She has shared the stage with musicians such as Alela Diane, Adam Torres, Nat Baldwin (Dirty Projectors), Ryan Francesconi (Joanna Newsom), Jolie Holland, and Michael Hurley. Her sound has been described as “folk with angelic vocals washing over smooth edges” (1859 Magazine), with her recent album Carpe Noctem called “stunning” by NPR Music. The album features William Tyler, Alela Diane, Sage Fisher (Dolphin Midwives), & Andy Rayborn (Paper Gates) and was engineered, co-produced, co-arranged with Jeremy Harris (Fruit Bats / Hand Habits). She has also recently contributed to Michael Hurley’s latest release, Time of the Foxgloves.

Half Shadow:

For the past decade Half Shadow, the midnight-blue songwriting moniker of Portland’s Jesse Carsten, has been unfurling an enigmatic, windswept music: equal parts earthen folk and cosmic rock and roll, with a primal pop experimentalism seeping from the edges. Wedding an expansive, transcendent poetics to a fiercely home-spun aesthetic, Carsten creates joyful, eclectic song-collages that embrace the experimental singer-songwriter tradition of the Pacific Northwest while enfolding an array of canonical art-voicings; songs range from abstract finger-picked poems to heart-tugged acapella treaties and repetitive art-rock incantations. Half Shadow’s performances are recognized as deep feeling, immersive events. The Portland Mercury has praised Carsten’s shows as “invariably powerful, full of wonder, and unlike anything else.”

Following a steady string of homemade cassettes, CD-Rs, and digital one-off releases, Carsten birthed the first fully formed Half Shadow LP in 2019, Dream Weather Its Electric Song, which was hailed by Antiquated Future as “a carefully thought-out work…of poetic devotionals to the natural world, the subconscious, other realms.” The record was celebrated for its ability to work tangible magic. As Queen City Sounds put it, Dream Weather deconstructs “familiar songwriting styles, bringing the logical mind into alternate pathways of operating.” Following Dream Weather, on which Half Shadow toured in late 2019, and which after followed the world-crashing pandemic, Carsten released At Home With My Candles (Bud Tapes/Dove Cove Records), an album of mythopoetic paeans to the domestic uncanny, the mysterious and unseen worlds experienced at home. Expanding the project’s intimate poetics into something more sonically encompassing, Carsten conjured intimate folk song epics, lo-fi dirges, and primal pop experiments that effectively connect the domestic and the cosmic, the ordinary and the surreal. The album displays, according to Various Small Flames, “an uncanny marriage between personal insight and a wider mystical experience” and was celebrated by a small but fervent cadre of international listeners in the know.

Carsten’s non-linear and environmental dream-lyrics place him in the company of like-minded contemporaries such as Mega Bog’s Erin Birgy, Yves Jarvis, and Ruth Garbus, for whom songwriting is an attempt at surreal levels of poetic feeling. Having been called “one of Portland’s best kept secrets,” it is paradoxically Half Shadow’s mystery-inspired, DIY ethos that spirits Carsten’s ever-evolving project out of the home-recordist’s cave and onto more illuminated stages. When it does, Half Shadow is ready to wrap listeners in the dark, sparkling hues and mossy undergrowth that have become the poetic trademark of this singular undertaking.

Kinsey Lee Presented by Sou’wester Arts!

Kinsey Lee is a member of the American indie folk band, The Wild Reeds. The Wild Reeds are known for their beautiful harmonies, poignant lyrics, and captivating performances. Kinsey Lee’s vocals are a central part of The Wild Reeds’ sound. She contributes her distinct voice and songwriting abilities to the band’s repertoire. With 10 years of writing, touring, and performing on her resume she has begun to find her voice as a solo artist. Kinsey recently debuted her first solo track “Lover’s song” recorded by Duff Thompson and Steph Green of Mashed Potato Records. She is currently working on a record as a follow up. Kinsey hopes to be like Bonnie Raitt, Carole King, Brandi Carlile,  and Lucinda Williams when she grows up. Musicians with strong lyrics, true grit, and a heartfelt story to tell. 

Live Music: Ezza Rose

8/17/2024 FREE AND OPEN TO ALL at The Sou’wester Lodge

Sunbathe and Strange Pilgrim

live at The Sou’wester Lodge 9/7/24

Free and open to the public

Sunbathe and Strange Pilgrim, two indie rock projects exploring themes of displacement and longing, are joining forces for a stripped-down duo show. Maggie Morris, the driving force behind Sunbathe, is known for her raw, soaring vocals and dynamic songwriting, spanning dreamy pop to garage rock. Josh Barnhart, the multi-instrumentalist behind Strange Pilgrim, creates psychedelic-infused soundscapes and introspective lyrics that evoke both the natural world and the anxieties of modern life. Together, they promise a unique and intimate performance, blending their distinctive styles for a memorable evening.

Olivia Awbrey Live at The Sou’wester Lodge

9/21/2024 

Free & open to the public

Olivia Awbrey is an Oregon-based songwriter and multi-instrumentalist whose work blends traditional folk with modern indie-rock and fingerpicking blues. She has released two EPs, one full-length album, and is the recipient of arts grants from RACC, the Grammy Foundation, and Oregon Arts Commission. Her debut album, Dishonorable Harvest (Quick Pickle Records), showcased at festivals and venues across the Pacific Northwest and the UK. She lives in Willamina, Oregon.

E. Ellison Live at The Sou’wester Lodge

10/5/2024

Free & open to the public

Previously under the moniker Cardioid and former Radiation City member, this new project from Lizzy Ellison is wrought with self discovery (not unlike previous works), but prodding deeper into the connection we have between the creation of music and ourselves.  Her new record, Pillars, evokes a semblance of control, when in fact during the creation of it, her life felt contrary to this.  The process was long as she allowed the songs to take shape in their own way, attempting to decode her methods in song-writing and creating new recording practices.  Staying true to the autobiographical form Ellison typically shares, these songs ebb and flow through different terrains of darkness and light, hope and despair, discomfort and peace, while describing the details of her life, and more specifically the struggles. Textural is an understatement;  almost bizarrely architectural in form.  At times predictable, alluring the listener, but often with questions unanswered. The palette of instrumentation is voluptuous and colorfully rich, using a classical acoustic guitar as the main inspiration and augmenting this with synths, layers of choral vocals, piano, fuzzed-out electric guitars, and raw lead vocals using as little effect as possible.  Pillars will be out this fall via Doe Records, Ellison’s Portland based record label.