popwreckoning

Déjà vu couldn’t even describe how I felt last weekend when I went to see the Builders and the Butchers at the Tractor Tavern. The last time I saw a show there I seemed to have thought the Builders and the Butchers headlining, but I was wrong. Turned out that they were opening for Murder by Death. Stupid me. But this time I made sure that Builders and the Butchers were the headliners – and I was in luck – in more ways that one.  Local folk math rockers Ravenna Woods and another local band – Yuni in Taxco opened for Builders and the Butchers on this night for the Noise for the Needy festival.

The Noise for the Needy festival is Seattle’s premier benefit festival, with proceeds this year benefiting Real Change, a “reader-supported social enterprise” for Seattle’s low-income and homeless population. For more information, visit http://www.noisefortheneedy.org/.

But back to the music. Both Yuni in Taxco and Ravenna Woods were some of the few local bands I’d never seen live, and I’d been dying to see. Yuni in Taxco didn’t disappoint with their easy, beachy pop rock, and I’ll definitely try and catch them at either Bumbershoot or the Capitol Hill Block Party this summer. Their set was full of energy, however, it was apparent that they hadn’t been playing together as long as other local bands. With such an intimate venue, eye contact goes a long way. But I’ll be keeping my eye on the horizon for them to break through in 2012.

While you’re waiting, you can download their whole album for free from their bandcamp at http://yuni.bandcamp.com/. I just did.

After Yuni in Taxco left the stage, Ravenna Woods began to set up their equipment, and I must say that it was interesting setup. The drum kit consisted of a tom-tom, a bass drunk turned on its side with an egg carton below it to buff the sound, and a tambourine duct-taped to the top of a cymbal stand. And since one of the rubber foot covers was missing from the drum stand, a duct tape wallet sat beneath one of the legs to keep them all even.

Ravenna Woods MacGyver’d the crap out of that drum kit.

But I don’t see how it could have worked any other way, because they were amazing life. On their new record Valley of the Headless Men, the dark mathy rock is complex with a punk attitude, and it’s that much better live. With just the three members of the band, you see how much sound it created from Chris Cunningham’s precise acoustic guitar, Brantley Duke’s perfect harmonies, and Matt Badger’s frantic beating of his one-of-a-kind drum kit.

I’m so in love with this band’s live show, that there’s no other way to express how great it is than to show you. I captured a quick video with my new camera of the song “Tides” here, so you can see for yourself.

At this point, I would have been happy going home, but I was here to finally see Builders and the Butchers headline a show in Seattle. After seeing them three times before, once in Portland and twice in Seattle, I knew exactly what I would be getting. But like a great movie, even after watching it several times over, you often find new things to enjoy about it, and that’s what the Builders and the Butchers do.

The band broke into a plethora of new songs off their fantastic third album Dead Reckoning, and then several older ones for the quite crowded room. I wouldn’t say it was as crowded as the Murder By Death show back in February, but that show included a lot more alcohol from what I gathered, so personal space wasn’t really on anyone’s mind at that show. This was a little bit more subdued, but by no means subdued in a larger scheme of things.

Builders and the Butchers didn’t miss a beat, not even when banjo/mandolin/guitar player Harvey Tumbleson’s mandolin went out. He just kept playing, shoving the hollow of the mandolin up to the microphone so the audience could hear.

Ten years ago, if you would have told me that I would be rocking out to a band armed with a banjo, mandolin, acoustic guitar, a bass, and two drum kits, I would have scoffed at you and gone back to listening to Good Charlotte (yes I listened to Good Charlotte, I was 12, forgive me). But seeing the Builders and the Butchers live for the fourth time made me see how amazing the indie music scene is these days, especially up here in the good ol’ Pacific Northwest. I couldn’t be more thankful that I get to do this in such an innovative time for music, and in my eyes, the Builders and the Butchers is one of the bands leading the way.

I did take some video of Builders and the Butchers, but they were so loud that the sound got blown out and you can barely hear anything. Just take my word for it – they’re an amazing band.

Heading into Fremont on Wednesday for my first show at the Tractor Tavern proved to be quite an adventure. Somehow I had made myself believe that the headliners that night were the Builders and the Butchers. However, once I stepped up to the door, I saw that they were listed second after Damion Suomi and the Minor Prophets and Murder By Death, neither of which I’d heard.

No matter, as the show was amazing even if the order wasn’t what I’d expected. The Tractor is a small venue, with old signs lining the walls and a row of cowboy boots hanging from the ceiling – exactly what you’d think when you hear the “Tractor Tavern.” I felt like someone was going to start clogging on the bar or walk in with a cowboy hat, but what I got was quite a rocking show with lots of beer slinging.

Damion Suomi and the Minor Prophets were up first, fitting more band members on this tiny stage than seemed possible, and they got the room moving more than any opener than I’ve seen in awhile. The upbeat rhythms and 2-step folk rock often didn’t match the dark lyrics, but it made for an interesting listen. I mean, we were dancing around to incredibly depressing lyrics, but on the schedule for the night, the Tractor had listed it as “gothic Americana rock.” Sounds pretty odd, right?

Odd, but great.

I strongly suggest you find their stuff on iTunes, and if you’re cheap, go take a listen on their MySpace. “Burn the Pain” is a particularly spectacular tune, on record and live. If I’d known the song before, I’d have surely been singing along like the crazy drunkards standing beside me. Another of my favourites was “Save Your Ass,” which included a pessimistic, but great philosophy of life – “Nobody’s gonna save your ass, except for you.” Seriously, watch out for these guys – they’re going places.

After the surprisingly good set, the tiny floor filled up quite a bit more for the Builders and the Butchers, the band I’d come to see.

Jumping right into a few songs off their new album Dead Reckoning, this show served as a release party, as front man Ryan Sollee proclaimed. So not only did we get a sneak preview of the album live, but copies were sold at the merch table.

Starting with “I Broke The Vein,” the energy in the Tractor Tavern went up exponentially, with PBRs spilling everywhere as the crowd danced along to the dark folk music Builders and the Butchers have so mastered.

It was just like I remembered from September. I will seriously say that Builders and the Butchers is one of the best live bands I’ve ever seen. Not all the songs were new, however, as the highlight of the set was probably “Golden and Green,” with an epic finale with both drummers frantically beating at the floor toms as Sollee belted out the chorus. It’s definitely not the level of rock that you’d expect from an acoustic guitar and a plugged in banjo, but everything about this band is unexpected and amazing. I’d even say that they outdid the headliners Murder by Death.

Okay, I think I’m done gushing now.

As they stepped off stage, the floor became even more crowded and the people became more inebriated. It was fitting, because Murder by Death has plenty of songs about Whiskey and other drinks of the like.

I’ll tell you, I’m ashamed to say that I didn’t know Murder by Death before this show, but it was pleasant surprise how good they were. It’s nothing like what you’d expect from a band called Murder by Death. Think of Johnny Cash and punk rock all mushed together, and that’s what you get.

I felt like I was in an Irish pub and Western all at one time. The lead singer Adam Turla had the most interesting deep voice, but not raspy at all. It was reminiscent of 60 years ago when jazz and country pervaded the music, and it was surprisingly sexy. And along with Turla’s deep and understated voice was Sarah Balliet on electric cello (yes, electric cello). That’s something you don’t see every day. But it was cool, very cool.

Since I didn’t know any of their music, the highlight of their set was when Turla took to the stage by himself and did a killer cover of Nancy Sinatra’s “Bang Bang (My Baby Shot Me Down).” I’m not kidding. It was awesome.

While the energy in the room wasn’t something I was used to, with all the drunk people that spilled their beer on my back and my camera bag, I enjoyed Murder by Death’s music a lot more than I thought I would.

I got my first listen of a few songs off the Builders and the Butchers new album Dead Reckoning, back in September, and from what I heard I was thrilled.

This week I got to hear the whole thing, and can I just say – HOLY CRAP.

Now that’s out of the way, let’s proceed, shall we?

This Alaska-via-Portland folk band set the bar pretty high with their last album, Salvation is a Deep Dark Well, drenching it with dark mythical parables and so many heavy hooks that you wouldn’t even think it possible with an acoustic guitar, banjo, and mandolin.

But Dead Reckoning is exactly what it should be – a sequel to Salvation. It takes the dark themes that album did so splendidly and runs with them even deeper into this other world that no other band I’ve heard explore. It’s what goes through our heads on our most awful days but gives it a beat you can dance to.

The album starts with “I Broke the Vein,” an epic track that builds to a grand finish, similar to the way “Golden and Green” did on Salvation. After that comes the the soul-filled groove “Rotten to the Core,” then “It Came from the Sea,” which almost hints at a waltz, but the Builders and the Butchers are always full of surprises.

“Lullaby” is by far one of the best songs of the album with the carrying interlude of “la da da da da da das” that’s undeniably catchy.  Most of this album is catchy and full of great hooks, but a couples softer stand-outs are “All Away,” the most beautiful I’ve ever heard from the Builders and the Butchers, and “Out of the Mountain,” a bluesy lament with quite depressing lyrics about a black heart and setting the earth on fire, but hey, everyone has a bad day. It would be a pretty good soundtrack to a particularly downtrodden mood.

After the blues, we’re given what sounds like a demo version of “Blood For You,” which is completely unmastered, almost like they played it in a garage and recorded just from the ambient sound. It’s a perfect representation of the passion and sound that comes from this band. But my favourite track is “Black Elevator,” with shares the same soul of “Rotten to the Core,” and the same dark theme as well. I mean, the song is called “Black Elevator” for crying out loud. Builders and the Butchers, how is it that you can make us want to dance to a song about going to hell? I love it.

I just love Dead Reckoning. It’s amazing on record and even more amazing live, so I suggest you go see when the Builders and the Butchers are coming to your town next, because it’s an unmatched energy that you surely won’t regret taking the time to see.

Upcoming tour (with Damion Suomi and the Minor Prophets):

It would have been as long as Friday night was, with six bands at four different venues. But what’s messed up is that I missed one of the bands that I wanted to see.

See? I’m crazy.

The night started again at the Wonder Ballroom with Male Bonding, the English noise pop trio, with their lo-fi, hook-heavy songs. They were an unexpected find for me, but they were quite fun, and a nice lead-in to Surfer Blood, with a similar vibe. One of the tracks off Male Bonding’s critically acclaimed Nothing Hurts was “Year’s Not Long,” which was a fun live track, with bassist Kevin Hendrick sidestep jiving on stage with his floppy bleach-blonde hair swaying to the beat.

From there, the baby-faced Surfer Blood took the stage for a rousing hour of their upbeat brand of surf-punk songs, including a good number of songs off their debut Astro Coast as well as some new, less familiar songs.

“Portland, where you can always get the best haircut,” front man John Paul Pitts exclaimed to the crowd as they jumped into “Fast Jabroni,” which I’m still unsure of it got its name. It was weird being at a show inside a building while it was still daylight outside, but Surfer Blood managed to get the energy up in the crowded room at 5:30 in the afternoon. My favorite track of their set was the catchy “Twin Peaks” with Pitts’ goofy grooving around the stage. Plus, it really made me want to go rent the whole series of DVD. But once Pitts announced, “this next one’s pretty big on college radio,” and started off the riff to the hugely successful “Swim,” the throngs of young people surrounding me responded appropriately and sang along loudly – “swim, to reach the end!”

I’ll admit that this was the third time I’d seen Surfer Blood that week. The first time was at a Bumbershoot after party in Seattle the weekend before, then actually at Bumbershoot the next day, and this was my favorite performance of the week.

I was completely aware of any sort of stage antics of what was to come with Black Lips coming up, and my expectations were met when I felt spit fall on my head. Bassist Jared Swilley had indeed let out an inaugural spit on the crowd through his golden grill. Yes, I just said grill. I’ll admit that I was expecting more in terms of on-stage antics, but the music spoke for itself, making for an uproarious room. A few people standing behind me actually mentioned how tame it was during Surfer Blood, and people better get crazy during Black Lips, “because this is a punk show!” People certainly did, thrashing around in the mosh pit while Black Lips played the heavy hitters like the “Bad Kids,” which people overwhelmingly requested.

At one point, Cole Alexander said something about wanting some alcohol at 8 p.m. Apparently they start early, but as soon as Alexander made the hypothetical request, some guy in the front row broke out a flask and offered it to the band. Naturally, they gladly accepted. And may I remind you – this was at around 8 p.m.

Shortly after, I managed to make my way to my second venue of the night – Mississippi Studios for a reasonably calmer show. It was Seattle’s own People Eating People – what’s come out of the demise of Nouela Johnston’s old band Mon Frere. I could describe People Eating People as dark, sassy piano pop, and it carried incredibly well in the musician-built Mississippi Studios. Sadly enough, there wasn’t nearly a large enough crowd for how talented Nouela is. And apparently they almost didn’t make it to Portland, as Johnston explained.

“There was a drill at McChord [Air Force Base]…I think it was McChord. It took us four hours to get here!” To clarify – there’s always traffic on I-5 around McChord and Fort Lewis Air Force Bases, not matter what time of day, but when there’s a drill it’s impossible to get through the corridor.

But the scarcely populated room still got to enjoy the undeniably catchy pop songs like the fiery “I Hate All My Friends,” the almost waltzy “On And On,” and my favorite, “Darling.” Not that many had the chance to enjoy People Eating People, which is understandable because Mississippi Studios was by far one of the most out-of-the-way venues on the list of the MFNW venues. But I strongly suggest you seek out their music, because it’s really good.

From there I had to rush to the Hawthorne Theater to catch Morning Teleportation. Well, I rushed to get to Fred Meyer so I could park in their parking lot when walk to the Hawthorne, but anyway. With the band being local, I should have expected it to be as how and crowded as it was, but I had to be pretty shifty with my maneuvering to front area of the stage. These guys’ wacko brand of psychedelic jam band is sometimes other-worldly like the frantic horns and hand claps-driven “Snow frog vs Motor Cobra,” which is a trip to listen to, but even more a trip to see live with a room of adoring local fans. There were at least six people on stage playing various instruments, which could have equaled some muddled cluster of sounds, but it worked in the sweaty Hawthorne Theater at 10 p.m. Isaac Brock recently produced their debut album on his Glacial Pace Recordings, and I really hope the label’s moniker doesn’t attest to the rate at which the album comes out.

I mean, Morning Teleportation employs a Theremin in their music. A THEREMIN. Who does that? Well Morning Teleportation does, as well as a talk box and a whole slew of brass instruments. And with Brock backing them, this band is going to do big things.

I was going to go to the Doug Fir for the Tallest Man on Earth at midnight next, but even getting there 45 minutes early, the line spread all through the parking lot. The Doug Fir is small. And the guy at the door was letting one person in at a time as one person left at a time because it was so packed. So I bagged the Tallest Man on Earth and went to venue into the Friday night downtown nightlife along Burnside for the Builders and the Butchers at Berbati’s Pan. Needless to say, finding parking on a Friday night was horrendous, but I eventually found some in time to get into the tiny bar/venue ten minutes before the band was scheduled to start at 1 a.m. Settling behind an obvious drunk man that brought his own tambourine, I enjoyed the Builders and the Butchers heavy energetic folk rock all the way until 2:30 a.m. This had been their fourth year n a row playing Musicfest Northwest, and they certainly didn’t disappoint.

“If you all stick around with us until 2:30, we’ll make out with all of you!” Lead singer Ryan Sollee shouted to the audience, which was met with a resounding “woooo!”

Each member of this band has so many talents that you don’t realize when any one of them switches instruments. At one point Brandon Hafer and Ray Rude had both sat at a drum kit and tag teamed this awesome drum sequence during the epic “Golden and Green.” However, my favorite was during “Vampire Lake,” where Sollee cleverly preempted it.

“This next song is about vampires. And we realize that vampires have gotten really trendy lately, but these are more like True Blood vampires rather than Twilight vampires, if you get the reference.”

I got the reference.

And after that, myself and the large number of inebriated people filling Berbati’s Pan sang along to songs about Barcelona, the Devil, and of course vampires until 2:30 a.m.

Phew.

We all love a good Columbia River backdrop or acres and acres of open field at our music festivals, but what makes MusicFest Northwest different than most festivals is that it takes places within the city – at all the Portland venues you know and love. It’s not just a celebration of music but also a celebration of Portland in general.

In just under two weeks’ time, Portland’s Pulitzer-Prize-winning alt-weekly newspaper Willamette Week will be hosting its 10th annual MusicFest Northwest, which has grown to be the third-largest indoor music festival in the country.

At no other festival else can you park for free in suburbia, take a light rail downtown, then pick up an orange Tang doughnut (yes, I said Tang), and walk a block down at 1 a.m. to catch The Builders and the Butchers at Berbati’s Pan.

Voodoo Doughnuts and Berbati’s Pan are very conveniently placed literally 125 away from each other. Just a tip.

Because of this indoor, inner city set-up, you won’t have to empty your bank account for festival food, or use smelly port-a-potties. But I’d never expect anything different coming from Portland, with the casual, low-key vibe that I love about it so much.

Here’s what I’m planning on doing, but trust me – with the MAX light rail running at full capacity over the 5-day festival, you’ll have the opportunity to see so much more, whether it be a 21+ show, or an all-ages (AA) show.

Wednesday, September 8^th:

Act: Panda Bear
Time: 10 p.m.
Location: Comcast and opbmusic stage at the Crystal Ballroom

Ever since seeing Animal Collective play live over a year ago, I’ve been holding out for another chance to see any of the guys in a live capacity. To coincide with the release of his highly awaited album Tomboy, Noah “Panda Bear” Lennox will be gracing Portland with his mesmerizing presence on the first night of the festival at the Crystal Ballroom (which has floors with a bit of bounce in them). AA

Thursday, September 9^th:

Act: Ra Ra Riot
Time: 7 p.m.
Location: Nike Sportswear Stage at the Wonder Ballroom

In the past, Ra Ra Riot has opened for such amazing acts as Editors, Art Brut, and Tokyo Police Club, but now as part of their headlining tour for their new album The Orchard, Ra Ra Riot will be taking the stage at the Wonder Ballroom. I’m intrigued to see their unique brand of baroque pop live. Plus if you have time afterward, circle the block to get some pizza at Sparky’s or if you feel more adventurous, Ethiopian at Queen of Sheba.  AA

Act: Ted Leo and the Pharmacists
Time: 9 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom

For something with a bit more attitude, you can head back over to the bouncy floors of the Crystal Ballroom for Ted Leo and the Pharmacists. You’re sure to have a good time with these old school punks, and you’ll still have enough energy to go for the rest of the night afterwards. Heck, walk a few blocks down Burnside and you can still browse around Powell’s Books until 11 p.m. AA

Act: The Thermals
Time: 10:30 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom
Local darlings The Thermals will have literally released their fifth album two days before when it comes time for their show at the Crystal Ballroom. They’ve been working with Chris Walla again on Personal Life, so I’m anxious to hear what these pioneers of Portland rock of the ‘00s have put together with Mr. Walla. AA

Act: Major Lazer
Time: 11 p.m.
Location: The Roseland Theater

For the most part, I probably won’t be heading to the Roseland too much just because there are so many great bands playing everyone, and it’s already hard to choose. But I’m going to make it a priority to see Major Lazer’s reggae/hip-hop hybrid. You’ll be sure that you won’t see any other act like them at the festival, and as far as I know, there won’t be another chance to see them in the northwest for a while. AA

Act: Justin Townes Earles
Times: 11:55 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Four blocks away, you’ll find yourself back at Berbati’s Pan (and maybe after another round of Voodoo Doughnuts) for the considerably less hyphy Justin Townes Earle. It’ll be the nice way to end the night after burning all your energy at the last show. Maybe you could get a drink and relax to Earle’s mandolin-laden country folk. Earle’s blend of deep-south vintage country is so far from today’s mainstream country that you almost expect someone to be playing a water jug and a washboard.  21+

Friday, September 10^th:

Act: Surfer Blood
Time: 5:30 p.m.
Location: Nike Sportswear Stage at the Wonder Ballroom

As the start of a ridiculously full two-month tour, Surfer Blood will get to bring their beachy indie rock to the Wonder Ballroom. A friend of mine put their song “Swim” on a mix tape for me earlier this year, and ever since I saw Pitchfork give the song spot number 37 on the lost of the 100 Best Songs of 2009, I’ve been wanting to see them play live. Now you have that chance too.  AA

Act: Black Lips
Time: 7 p.m.
Location: Nike Sportswear Stage at the Wonder Ballroom

When going through the list of bands playing at this year’s festival, I immediately put Black Lips on my “list to see,” because of their extensive history, guitarist Cole Alexander’s work with Deerhunter’s Bradford Cox, as well as what I’ve heard of their chaotic stage antics (including nudity, fireworks, band members kissing, and vomiting). AA

Act: Sara Jackson-Holman
Time: 8 p.m.
Location: Ash St. Saloon

Mixing classically-influenced piano, soft and longing strings, and winsome vocals, Portland native Sara Jackson-Holman falls into the ever-growing “melancholy piano songstress” genre, but her smoky voice and strange bent harmonies make her worth seeing. Within a couple blocks of the saloon you could also hit up Esan Thai or Kells Irish Pub for dinner if you like. 21+

Act: People Eating People
Time: 9 p.m.
Location: Mississippi Studios

After the disbanding of her band Mon Frere in 2007, Seattle native Nouela Johnston decided to record some of her own stuff under the moniker People Eating People. Her powerful piano pop will be perfect for one of my favorite venues ever – Mississippi Studios, which was built for musicians, by musicians. It’s located in a residential neighborhood and you can literally park in front of someone’s house. The floor is small, but the wraparound balcony provides just as good a view. 21+

Act: Morning Teleportation
Time: 10 p.m.
Location: Hawthorne Theater

I saw Morning Teleportation in June, and they had the most inexplicably enjoyable set that it’s impossible to explain. Psychedelic, rootsy jam-band, electro-indie rock is one way I could describe it. If you’re still confused, I recommend that you make time to go see them at the Hawthorne Theater. Lead vocalist Tiger uses a Talk Box. That’s worth it enough just to see that. AA

Act: Okkervil River
Time: 11 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom

I’m not sure whether or not Roky Erickson will be gracing the stage with Okkervil River in this instance, since they just released True Love Cast Out All Evil with Erickson, but either way, the critically acclaimed Austin band is surely not one to miss. AA

Act: The Tallest Man On Earth
Time: 11:55 p.m.
Location: Toyota Antics and KEXP stage at the Doug Fir

Performing at the most comfortable venue I’ve ever been to, The Tallest Man On Earth will be bringing his bluesy brand of acoustic folk to the Doug Fir. When I first heard Kristian Matsson’s music, I didn’t realize that he was Swedish for awhile, until I eventually got how clever Matsson’s moniker is (people of Scandinavia are predominantly over 6 feet tall). 21+

Saturday, September 11^th:

Act: The Builders and the Butchers
Time: 1 a.m. (yes I just said 1 a.m.)
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Seeing the instruments that the Builders and the Butchers play, you wouldn’t expect to essentially rock out at one of their shows, but they defy all stereotypes and bring massive amounts of energy to their acoustic guitars, mandolins, and banjos. Seeing that the Builders and the Butchers are from Portland, I’m expecting this particular show to be crazy awesome. Having seen then 2 short months ago, I can back up that claim. 21+

Act: Laura Veirs
Time: 6 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

Laura Veirs will be the first of a few shows that you should absolutely check out on the main stage at Pioneer Courthouse Square. The neo-folk songstress returned to her roots with July Flame this year, her 6^th studio album, putting out hauntingly beautiful songs full of odd instrumentation and Veirs understated vocals. AA

Act: The Decemberists
Time: 7:30 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

I’ll just be sticking around at Pioneer Courthouse Square for The Decemberists after Laura Veirs, because it will surely be one of the best shows of the weekend. Even when they aren’t playing for hometown crowd, The Decemberists are awesome live, but in this instance I can only imagine. The last time I saw them, it was on the Hazards of Love tour, so this time we’ll get to hear songs from all throughout their catalogue. AA

Act: The Globes
Time: 9 p.m.
Location: Backspace

Playing at one of best coffee houses in Portland, Seattle’s own The Globes will be bringing their experimential ambient indie rock to the tiny venue. I saw them play a show in Seattle back in November with Telekinesis and The Lonely Forest, and with how much they downplay the energy, The Globes put on a great show. Think My Bloody Valentine with harder riffs and a rainy-day ready wall of sound. AA

Act: The Head and the Heart
Time: 9 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Bluesy folk with soft harmonies and bubbly beats permeate through Seattle’s own The Head and the Heart’s music, and it should be quite delightful to see them in Berbati’s Pan’s small room. Plus if you haven’t had dinner yet, you can get yourself some Greek cuisine while you’re there. 21+

Act: The Smashing Pumpkins
Time: 10:15 p.m.
Location: MusicFest Northwest and KUFO stage at The Wonder Ballroom

I honestly had no idea that the Smashing Pumpkins were playing until about five days ago, and I’m surprised that they’re playing The Wonder Ballroom, because it’s not that big. So if you want to get in at all, I suggest getting there relatively early, even if you have a wristband, because this will undoubtedly be one of the most attended shows of the festival. I can’t remember the last time they toured, so I’m pumped. AA

Act: Suckers
Time: 11 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

What’s funny is that right after playing up against each other at separate venues at MusicFest Northwest, Suckers will be going on a month-long national tour with Menomena. Employing Talking Heads-esque multi-layered vocals with the passion of former tourmates Local Natives, Suckers will definitely fill the small room with fervor. 21+

Act: Menomena
Time: 11 p.m.
Location: Comcast and KNRK Stage at the Crystal Ballroom

I have to be honest, I haven’t listened to Menomena’s new record yet, but Friend And Foe was one of my favorite records of 2007, and it’ll be interesting to see how the band’s eerie experimental indie rock will play out to their hometown crowd. Also, the band members always shuffle around who sings and who plays certain instruments, so that always makes for a more intriguing show. AA

Act: Champagne Champagne
Time: 11 p.m.
Location: Jimmy Mak’s

Seattle hip-hop favorites Champagne Champagne mixes traditional hip-hop with peppier electro-pop, and I love it. Again, I’ll reiterate my normal dislike for hip-hop, but when locals sing and rap about Molly Ringwald, I’m sold. But again, I’ll have a hard time deciding which show to hit up at 11 p.m. 21+

Act: The Dodos
Time: 11:55 p.m.
Location: Jack Daniels and opbmusic stage at Berbati’s Pan

Even though The Dodos are probably best known for having two of their songs in two separate television commercials, their albums are rich with offbeat instrumentation like toy piano and pulsating drums. And you can’t deny that if a band has their songs on television, the songs are undeniably catchy. 21+

Act: Japandroids
Time: 11:55 p.m.
Location: Toyota Antics and KEXP stage at the Doug Fir

Having two guys on stage, you wouldn’t expect them to create the sound that Japandroids manage, but the raw and fuzzy guitars will be a great way to end out the penultimate night of the festival. And while you’re there, definitely check out the restaurant upstairs. Also there’s free parking around the corner, so that’s another plus. 21+

Sunday, September 12^th:

Act: The Walkmen
Time: 6 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

It seems like it’s been way longer than 2 years since The Walkmen put out new music, but this performance will be two days before their new album Lisbon is released, so I’m happy. One of only a select few shows on the last day of the festival, The Walkmen’s drowsy surf rock should carry well through the outdoor amphitheater. AA

Act: The National
Time: 7:30 p.m.
Location: Levi’s Pioneer Stage at Pioneer Courthouse Square

After having seen The National play at the Columbia River Gorge back in May, I was anxious to see them again. Although I think The National is one of those bands that you may or may not like live. Lead singer Matt Berninger has an oddly intense stage presence, but the energy might turn some people off. If you haven’t seen them play live though, I strongly recommend giving them a shot, because they sound fantastic live. AA

However long this preview is, it’s still just a taste of what’s coming to the tenth annual MusicFest Northwest. I mean, I’m going to try to see all these bands, but who knows how full the venues will get or how quick the public transportation will run that weekend? To see the full lineup or purchase tickets, go to http://www.musicfestnw.com. General admission wristbands are still available for purchase that will guarantee entry to all club shows and all shows at Pioneer Square (however you must choose to see either The Decemberists or The National with this ticket). All show wristbands are also still available, which guarantees you entry to all shows, no exceptions. If you don’t wish to purchase a wristband, you can buy tickets at the individual venues the night of the show.

Having not been to a proper show in Seattle in a month, I couldn’t wait to go see Portugal. The Man Friday night at Neumo’s. Not only because they rocked the Sasquatch Festival last month, but also the Builders and the Butchers were opening for them, and I’ve been really digging them lately. Morning Teleportation actually started the show, and if you’re like me, you probably haven’t heard much of them, but I strongly suggest you seek them out.

It was a night of Portland music, and all three bands rocked the house. I don’t think I’d been a show in Seattle with that much energy since January.

Morning Teleportation took the stage almost looking like they’d just stepped out of a time machine from 1973, sporting shaggy haircuts and fitted patterned button-ups, but they certainly didn’t sound like it. There are quite a few words to try and describe Morning Teleportation, but if I could think of one that might give you some idea without sounding overzealous, it would be funky. They were psychedelic, rootsy and jam band all at the same time. And normally I’m not much of a jam band kinda person, but Morning Teleportation surely put on a show. I mean, how often do you see a talk box these days? And a theremin? It shouldn’t make sense, but Morning Teleportation made me a believer. Thankfully they’ll be at MusicFest Northwest in September, so I’ll get to see them again for longer than 25 minutes. For now, head to their Myspace and listen to “Snow Frog vs. Motor Cobra.” It’s a perfect representation of their sound in hyper drive. And it’s really fun if you like to dance like a crazy person at shows.

It was nearing 10 p.m., and by that time Neumo’s was still a comfortable 75 degrees, if I could guess.

The Builders and the Butchers were up next. And on this particular night, lead singer Ryan Sollee picked up an electric guitar for the first time at a gig, because apparently his band mates had said he was getting too folksy. Either way, acoustic or electric, the Builders and the Butchers were awesome. With how many instruments they implemented on the tiny Neumo’s stage, they managed to make their banjo and mandolin-laden folk rock feel hard. But with how much power they put behind their music, I’m not surprised.

The Builders and the Butchers played for a good 45 minutes, and through most of the songs off their phenomenal 2009 album Salvation Is A Deep Dark Well. Ironically enough, they’ll also be playing at MusicFest Northwest, so that is one more show I’ll be anxiously awaiting. Also ironic – both the Builders and the Butchers and Portugal. The Man are originally from Alaska, and migrated to Portland. Fun fact!

All within their set, the Builders and the Butchers shuffled through instruments and tossed maracas into the audience. I think that there had to be at least eight maracas in the crowd by the time they finished. A couple of my favorites were the building epic “Golden and Green” and “Down in this Hole,” the latter of which turned into a grand sing-along that I’m sure everyone roaming around Capitol Hill could hear. Portugal. The Man surely had a tough act to follow.

At this point I remembered how hot Neumo’s got during the summer time, because the few open doors that the security guys guarded were like a cracked window in a hot car at noon. Thank goodness I had a water bottle, or else I probably would have lost consciousness.

It also didn’t help that the smoke machine seemed to be on overdrive.

I had a perfect spot standing up front, and right before Portugal. The Man took the stage these two guys who were considerably taller than I planted their feet in front of me and the much shorter girl to my left. But eventually the front of the crowd moved around so much I had a much clearer view. Portugal. The Man came out on stage amidst the thick fog and started off with their heavy prog rock, and as frustrated as I was with the smoke and lighting, the band sounded awesome. It was as good as I remembered from…okay it was only a month ago at Sasquatch, but the crowd received Portugal much better than at the festival.

After awhile, I forgot that I couldn’t get any decent photos and just rocked out, because it was kind of a requirement for being up front where I was. We got to enjoy some tracks from this year’s American Ghetto, last year’s The Satanic Satanist, and all the way through their five-album-five-year catalogue. I didn’t realize before that Portugal. The Man has released an album every year since 2006. That’s quite a feat.

As it’s also hard to describe Portugal. The Man; it makes for a diverse live show – with southern rock anthems like “People Say,” sexy psychedelic tracks like “60 Years” and soft ballads like “Created,” which was one of the closing songs from the night. But at that point it had gotten so stuffy in front that I had to scurry to the back of the venue to avoid passing out.

By far my favorite moment from the night was during “And I” where everyone in the crowd joined in with the “ooo ooo oos” during the chorus and danced together, if you could call it dancing. More like moving. People moved a lot. Which was part of the reason that Neumo’s was at least 85 degrees by midnight.

There is one thought that I took away from that night – of all places for awesome bands to come from – Alaska?

Apparently Alaska breeds bands the right way.