At 16 years old, Michelle Zauner wore bootcut jeans and Forever 21 t-shirts while she played simple sets at WOW Hall with only an acoustic guitar.

A decade later, she joked with the crowd at another WOW Hall performance. During a homecoming show on Friday night, Zauner, who now plays under the moniker Japanese Breakfast, said, “You have these moments in your life where you think, ‘I was such hot shit.’”

Throughout the night’s set, Zauner reflected on her time growing up in Eugene between performances of glimmery pop. She displayed a distinct intimacy with the venue and the crowd. Shedding light on the various inspirations of her songs — many coming from her experiences in this city — her performance was charming and powerful.

The Canadian four-piece band Ought opened the show. The band performed artsy, post-punk songs like “Diseducation,” “Men For Miles” and “Disgraced in America.” While energetic, the performance also maintained a contemplative nature. The group was most stimulating during its breakdowns, when drummer Tim Keen kept a more complicated beat and guitarist/vocalist Tim Darcy’s distorted guitar peaked through gloomy layers of keys and bass.

Ought’s performance was more ominous than that of Japanese Breakfast, but it set the energy in the room to a mellow excitement. During the tasteful punk tracks, Darcy’s rounded vocals dripped, sometimes spilling over the music. Once they exited the stage, the crowd was in heavy anticipation for the headliner.

Zauner, wearing a green striped dress that playfully reflected the stage lights, arrived with the rest of her band on stage to great applause from the young audience. She began with “Diving Woman,” the first song from her latest album, “Soft Sounds from Another Planet.”

Michelle Zauner sings her hit, “Boyish,” passionately, prefacing the song with a story of her junior prom at South Eugene High School. Indie rocker Japanese Breakfast makes a homecoming performance to Eugene at the WOW Hall on Sept. 28, 2018. (Sarah Northrop/Emerald)

Her light-hearted demeanor allowed her to groove to her own compositions freely. Zauner’s wonderful cantations were the centerpiece of the performance; her voice fluctuated between whispers and shouts. During her performance of “Everybody Wants to Love You,” she exhibited the perfect amount of rasp — her shrieks were heartstopping. Zauner is even more captivating on stage than in her studio tracks. Despite the fact that her music is generally more saddening in nature, Zauner seemed happy to be back in a familiar place.

“This is such a crazy special show for me to play at the WOW Hall,” Zauner told the audience. “I’ve seen many a gig here and played many first shows here when I was 16 and 18. It’s really special.”

She played a white-and-black electric guitar, and sometimes put it down to focus on singing at the mic. Halfway through the show, she picked up an acoustic guitar and delivered beautiful renditions of “Till Death” and “Triple 7” with just one other band member on stage.

Throughout the show, Zauner shared a few anecdotes about her time in Eugene. She mentioned the dreaded Snowball Dances that she attended at Roosevelt Middle School (which informed her song “Boyish”), having her best friend cut her hair in her friend’s apartment on Willamette Street and junior prom, where she wore a suit and her date wore a dress. She wrote the album “Psychopomp” at her parents’ house beyond Spencer’s Butte shortly after her mom passed away from cancer.

“So many of these songs are written about my time in Eugene, so it feels really good to play them here,” she said. “But they have a sort of haunted quality. What was a really cool place to grow up turned out to be a really sad place to come back to.”

Japanese Breakfast performs “Everybody Wants to Love You.” Indie rocker Japanese Breakfast makes a homecoming performance to Eugene at the WOW Hall on Sept. 28, 2018. (Sarah Northrop/Emerald)

She exited the stage for the first time after a performance of “The Machinist.” “It’s about falling in love with a robot,” she said in a humorous tone. When the song ended, Zauner thanked the crowd and left the stage, leaving the audience at WOW Hall wanting more.

After a lasting applause and shouts of “encore,” Japanese Breakfast returned to the stage and performed a cover of The Cranberries’ “Dreams.” Zauner and the rest of her band showed much appreciation for the crowd as they rocked out for the last time. After the cover, she thanked everyone again and left the stage, professing her love for the city that she was raised in.

MORE: View the photo gallery from Japanese Breakfast’s WOW Hall performance

The post Review: Japanese Breakfast’s Michelle Zauner reflects on growing up in Eugene at intimate WOW Hall show appeared first on Emerald Media.

With the school year now in full swing, many students are trying to find ways to let loose during nights of leisure. Among the many events people can attend to enjoy Eugene’s nightlife, catching live music is one of the most sought after. That’s why the Emerald put together this lineup of upcoming concerts, while offering a little bit of insight on the venues students will likely be spending most of their time at when catching their favorite acts perform.

Here’s a list of some of the most popular venues around Eugene, and the concerts each building is scheduled to host in the coming months:

WOW Hall — 291 W 8th Ave.

WOW Hall is one of Eugene’s most trafficked and historic venues and has been a community gathering spot since the late 1800s. For nearly the first 100 years of operation, various churches sat on the corner of 8th Avenue and Lincoln Street, and the local chapter of the Woodmen of the World (WOW) philanthropic fraternal organization convened within the celebrated building, according to the venue’s website.

In 1975, with the knowledge that WOW Hall was up for sale and at risk of demolition, the Eugene community banded together to form the Community Center for the Performing Arts “to save the building and keep it in community hands,” said Bob Fennessy, who’s been WOW Hall’s publicist for the last 28 years. The impassioned group of individuals set up a multi-day entertainment fest called “WOWATHON” and raised over $10,000 to put a down payment on the venue, intending to dedicate it to progressing the local arts scene and uphold a part of Eugene’s history.

The WOW Hall was designated a historic landmark by the National Registry of Historic Places in 1996.

The 8,712-square-foot venue is largely community oriented: The nonprofit organization offers a plethora of volunteer opportunities. “A lot of the people who are employed at some of the larger venues in Eugene got the experience that they needed here at the WOW Hall,” said Fennessy. Events there also welcome patrons of all ages and backgrounds, able to fit a capacity of 600, and its art gallery features the work of a different Eugene artist every month.

Every year, WOW Hall holds a membership party where the Hall celebrates its anniversary with a night of free food and music for its members. You can become a member of the CCPA through donations or volunteering. This year’s membership party is taking place December 8.

In addition to live music, the venue holds weekly dance classes. The hall even features a floating dance floor, where there’s some space between the maple floor and the underground concrete giving the hall some bounce. This allows concert-goers and class attendees to “dance all night and not have your legs all twisted the next day,” Fennessy said. In the basement, people 21 and older can have a drink at the cash-only bar.

Many improvements have been made in the venue over the years. The WOW Hall has since been been upgraded with an adequate heating and air conditioning system, restored windows and benches, a new soundboard that was installed in 2015 and a crisp audio recording set-up onstage. The open floor plan of the venue allows for great acoustics, intimate staging and all the space needed to dance to the many performing acts that grace the WOW Hall stage.

Stelth Ulvang helps clear the dance floor for Wild Child’s Kelsey Wilson. Wild Child brings ‘Expectations’ to W.O.W. Hall on April 29, 2018. (Sarah Northrop/Emerald)

Upcoming shows at WOW Hall:
Japanese Breakfast, Friday, Sept. 28
Shellac w/ Buke & Gase, Monday, Oct. 8
Jay Rock w/ Reason, Saturday, Oct. 13
Beatles vs Stones: A Musical Showdown, Thursday, Oct. 25
Watsky w/ Chukwudi Hodge and Feed the Biirds, Saturday, Nov. 3

McDonald Theatre — 1010 Willamette St.

Built in 1925, the McDonald Theatre is another live performance venue that’s deeply embedded in Eugene’s history. Originally purposed as a movie house — sometimes featuring staged performances — the theatre was a hub for arts, knowledge and performance. It captured the attention and favor of one of the region’s most iconic figures: Ken Kesey.

“The Kesey family has kind of a special connection to [the theatre] from those days of seeing films with the rest of the community,” said Cami Thompson, the ticket manager at McDonald Theatre. The theatre’s historic significance was cemented in 1982, when it was officially recognized in the National Registry of Historic Places.

“When the opportunity came up to launch a new business, our owner, Kit Kesey, jumped at the opportunity to take over this space and turn it into a concert venue,” Thompson said. Kesey leased the McDonald Theatre in 2001, just months before Ken Kesey passed away. In 2009, the theatre was officially purchased by his family’s organization. This company, Kesey Enterprises, also has a joint concessions agreement with Double T Productions and the City of Eugene to bring concerts to another Eugene venue — the Cuthbert Amphitheatre.

Walking into the McDonald Theatre, images that encapsulate Eugene’s history within the building are proudly displayed in the hall leading to the performance space. And in trying to keep the community’s best interest in mind, the theatre also opens its doors for events that span from weddings to high school proms to non-profit fundraisers, according to the venue’s website.

The stage itself features beautiful architecture. Adjacent to the 4-foot high stage, roughly 24-foot-tall columns line up the general admission standing area’s walls, with a standing capacity of 1,300. The stage is fitted with all the LED lights needed to make any atmosphere a completely immersive one. “There’s been like little tweaks over time but a lot of the existing art deco charm of the building is still there,” Thompson says.

The sound system consists of a long list of subs and monitors to provide a heart-thumping fidelity. And if standing among the crowd isn’t your thing, there’s a 21-and-older upper balcony bar and seated section that offers a great view of the stage, architecture and crowd.

The McDonald Theatre provides one of the most complete live performance experiences that Eugene venues have to offer. And with a wide range of acts welcomed to its stage, there will be plenty of chances to catch a show at the state-of-the-art theatre.

Bassist Zachary Scott Carothers. Portugal. The Man sells out McDonald Theatre in Eugene, Ore. on Feb. 1, 2018. (Sarah Northrop/Emerald)

Upcoming shows at McDonald Theatre:
Hannibal Buress, Sunday, Sept. 30
Hobo Johnson & the Lovemakers, Wednesday, Oct. 17
Borgore w/ GG Magree and Benda, Saturday, Oct. 20
Henry Rollins, Monday, Oct. 22
Lil Yachty w/ Bhad Bhabie, Monday, Nov. 26
Louis the Child, Wednesday, Nov. 28

Matthew Knight Arena — 1390 Villard St.

Matthew Knight Arena, built in 2009-10, is the venue of preference in Eugene for the biggest acts that make their way through town, and for good reason. The arena that the UO Basketball teams call home seats 12,364, and during concerts, the iconic Kilkenny Floor is removed to open even more space for a standing crowd.

While shows are happening, some of the food and drink vendors remain open to cater to the large crowds drawn in by international touring acts.

According to its website, Matthew Knight Arena is in pursuit of becoming LEED certified, meaning that it meets enough criteria to be considered environmentally responsible by the U.S. Green Building Council. If it receives certification, according to the list of certified projects on the USGBC website, it’d be one of the first NCAA arenas to do so.

The Ducks spirit remains strong even when the event is music instead of sports. The Shroud Wall, the Hero Graphics Corners and the Anthem to the Fan, artworks highlighting the passion of Ducks everywhere, are still displayed along the arena’s interior walls.

Over the last year, Matthew Knight Arena has welcomed acts including Elton John, Journey, Foo Fighters, Santana and Tim McGraw. Though they only have one artist booked for the next few months, it’s likely that more performances will be announced in the coming weeks.

Concert-goers at Matthew Knight Arena throw their hand up for Wiz Khalifa. Snoop Dogg and Wiz Khalifa bring the 420 Wellness Retreat Tour to Matthew Knight Arena in Eugene, Ore. on April 21, 2018. (Sarah Northrop/Emerald)

Upcoming shows at Matthew Knight Arena:
Thomas Rhett, Thursday, Oct. 18

HiFi Music Hall — 44 E 7th Ave.

HiFi Music Hall may be the most casual spot to catch live music on this list. The intimate venue has two different stages that can offer two types of live music experiences.

The Main Hall is a wide open space where all-ages shows take place. The hall allows for patrons to be up close and personal with the performing acts, with a few tables in the back of the room where one can see everything going on in the open space. Behind the stage, there’s a bar and lounge area where people 21+ can hangout and grab a drink.

As the Main Hall provides a more conventional live music experience, the 21-and-older only Music Lounge offers a more relaxed atmosphere. “The vibe in the lounge is a little more artistic, a little more cozy,” said the owner of HiFi, Danny Kime. “We have a lot of neat plants, fixtures and cool artwork.”

The Music Lounge also has a full bar adjacent to the stage, and patrons can order food directly from the space. The lounge provides a cozy experience where one can either chill out on the couches or dance in the standing area to a range of performing acts.

”We don’t really stick to one niche, we do it all,” Kime said. “We can have heavy metal one night, EDM the next and Hip Hop on the following night.”

The venue is rigged with a Velvet Thunder Sound System recording setup, and the capability to live stream any event happening in the hall that night. There’s also an outside patio, where people can enjoy the food from the El Quetzal or Chaiyo Thai food trucks stationed at the venue.

“It’s gotta be the best Thai cart in town,” Kime added. He mentioned that the Chaiyo cart has recently been nominated by Eugene Weekly for the award of best food truck in Eugene.

HiFi hosts live music events most nights throughout the week, but the venue gets its fair share of big-name touring that, due to the laidback nature of the venue, are worth chilling out to.

Alvvays plays for a packed house at HiFi Music Hall. Canadian indie pop band Alvvays performs at HiFi Music Hall in Eugene, Ore. on Apr. 8, 2018. (Natalie Waitt-Gibson/Emerald)

Upcoming shows at HiFi Music Hall:
Grieves, 21+, Friday, Nov. 28
Snak the Ripper, 21+, Thursday, Oct. 18
Liz Vice, all ages, Sunday, Oct. 28
Plain White T’s, all ages, Sunday, Nov. 4
Blockhead w/ Yppah and Arms & Sleepers, 21+, Saturday, Dec. 8

Eugene Venue Honorable Mentions:

Cuthbert Amphitheater — 601 Day Island Rd
Upcoming Shows:
Deadbeats Tour 2018 ft. Zeds Dead, 16+, Saturday, Oct. 6

Hult Center — 1 Eugene Center
Upcoming Shows:
Eugene Symphony: Bernstein and Beethoven, all ages, Thursday, Oct. 18
Kip Moore, all ages, Friday, Nov. 9
Trey Anastasio (of Phish), all ages, Monday, Dec. 10

Sam Bond’s Garage — 407 Blair
Upcoming Shows:
Benyaro, 21+, Wednesday, Oct. 3
Haunted Summer, 21+, Friday, Oct. 5
The Deer, 21+, Friday, Oct. 12

Old Nick’s Pub — 211 Washington Street
Upcoming Shows:
Joe Jack Talcum (of Dead Milkmen), 21+, Monday, Oct. 8
La Cerca, 21+, Thursday, Oct. 11

Luckey’s Club — 933 Olive Street
Upcoming Shows:
The Critical Shakes, 21+, Friday, Sept. 28
Connor and my Friends, 21+, Oct. 6
Brown Stallion (Ween cover band), 21+, Oct. 27

The post A guide to Eugene’s popular music venues appeared first on Emerald Media.

Florida rapper Denzel Curry dropped his third studio album in late July, “TA13OO,” in a disjointed fashion: He released it as three separate acts on July 25, 26 and 27. Named “Light,” “Gray” and “Dark,” respectively, the acts joined together to pin up an album that toyed with varying moods. It’s bounded by sharp, dexterous raps and a persona as piercing as the self-portrait cover art.

Following the album’s critical success, Curry is embarking on an international tour. He made a much-anticipated return to Portland with fellow Floridian rapper Kid Trunks at the Hawthorne Theatre on Monday night. Curry’s performance started calm, and like the progression of “TA13OO,” it grew more and more aggressive as the night went on.

The sold-out concert began at 8 p.m. with a barren stage. As Kid Trunks entered from stage left, nothing but the DJ table and a lone mic stand were present.

The 18-year-old rapper donned a humorous bear pajama onesie, heavily contrasting with the aggressive cloud trap he delivered to the crowd of mostly young adults. Kid Trunks opened with “Take A Step Back,” a track by the Floridian rapper Ski Mask The Slump God feat. Xxxtentacion, another Florida-born MC. Both Kid Trunks and Curry showed respect to their fellow statesman multiple times throughout the night.

Kid Trunks interacted with the audience well as he went through his set that included tracks such as “Centerfold,” “Daydream,” “Invisible Klip” and “777.” After leading the crowd through numerous call-and-response chants, he ended his set with a 15-second moment of silence, followed by a two-song tribute to recently deceased rappers Lil Peep and Xxxtentacion.

“If you have a dream, you need to follow it,” he said to the crowd. “If you wanna be on this fucking stage, you could do it.” Kid Trunks then finished his set by delivering passionate renditions of “Falling Down” by Lil Peep feat. Xxxtentacion and “Sad!” by Xxxtentacion.

After a half-hour intermission and multiple “Denzel!” chants from the crowd, the lights dimmed and Curry emerged with the triple album’s opener, “Taboo.” The first act, titled “Light,” features charming, more light-hearted hip-hop tracks. These songs allowed Curry to sway back and forth with the crowd as the song’s grooves filled the theatre.

Wearing his own clothing merch and bundling his dreads atop his head, Curry played every song from the first act of his latest record, along with callbacks from his first album, “Nostalgic 64,” such as “Parents” and “Denny Cascade.” He finished the first act with a crowd favorite, “Sumo,” then exited the stage as its lighting ceased.

A brief, melancholic string interlude signified the transition into the next section, “Gray.”

Curry’s demeanor became more aggressive as he re-emerged to begin the second act of his performance — matching the album’s progression from “Light” to “Gray.” The songs “Super Saiyan Superman,” “Mad I Got It” and “Clout Cobain” yielded intense mosh pit circles from the crowd. Midway through the second act, Curry performed the poignant “Black Malone 2,” a track that didn’t make the final cut on “TA13OO.”

After another empty-staged, orchestral interlude, Curry delivered the final and most energetic leg of his performance. Along with performing the final few tracks of his album, Curry gave spoken tributes to fallen rappers Mac Miller, Lil Peep, and Xxxtentacion, with a rendition of the popular X track, “Look At Me!”

The concert reached an extreme climax when Curry performed his popular hit “Ultimate,” as yet an even more violent mosh pit broke out. At this point, Curry was so hyped up, his raps consisted of raspy shouts instead of the clear voice heard on the studio cuts.

After performing “Black Metal Terrorist,” “TA13OO’s” closer, he exited the stage, but not for the last time. The crowd broke out in yet another “Denzel!” chant, and soon, he re-emerged. In an encore, he fiercely rapped the track “Threatz” from “Nostalgic 64” to the sight of another mosh pit.

As the song reached its conclusion, Curry gave a genuine showing of appreciation to the Portland crowd and exited the stage for the last time, knowing that the city will always welcome him back whenever he tours the world again.

The post Review: Denzel Curry mirrors ‘TA13OO’s’ energy in three-act performance at Portland’s Hawthorne Theatre appeared first on Emerald Media.

After years of helping aspiring musical acts achieve their dreams, Eugene’s Sky Guasco and the Freedom Thought Collective, a local group of grass-root band managers, are now able to properly celebrate all of their hard work during a week-long, live music celebration: the Freedom Thought Fest.

Throughout the weekend, the Freedom Thought Collective teamed up with WildCraft Cider Works and Sam Bond’s Garage to host a plethora of live musical performances as part of their first festival. In addition to raising community awareness, the funds raised from the $10 admission fee will go right back into the FTC to invest further into their bands.

The festival kicked off on Friday, Sept. 14, with performances continuing on the 15th and 16th. The final show of the festival will be this Wednesday, Sept. 19.

The Freedom Thought Collective is a crew of impassioned contributors that help up-and-coming bands navigate through the murkiness of booking tours, finding transportation and employing marketing strategies, among other services. Where more traditional managers lack the experiences of being on the road and playing shows, Guasco is intimately familiar with the tour life.

For years, Guasco managed the Eugene-based reggae fusion band Sol Seed, a group that he played keyboard and vocals in.

“Once we started touring, we realized that we’re a D.I.Y. band from the beginning. I’ve always been the booking agent, the band manager out of necessity,” Guasco said. “Over the years, we learned how to do these things and it’s definitely not been easy, but it’s been extremely valuable now that we can look back on it.”

Over time, younger bands began reaching out to Guasco for guidance, and the Sol Seed keyboard and vocalist said he felt responsible to share the knowledge that he feels privileged for having.

“It does us no good to keep our knowledge close to the chest — that doesn’t help anybody grow,” he says. “But if we’re able to be that service for folks, we can help everybody grow.”

With that mindset, Freedom Thought Collective has grown into a sizable managing organization with 12 bands and 12 contributors in various spots around the country. And though his roster of performing acts spans across different genres of music, it’s the bands’ drive and passion that Guasco said ties them all together.

“I’ll get behind anybody that believes in themselves,” Guasco said.

And the Freedom Thought Fest was the perfect opportunity for the bands — and Guasco — to showcase what the collective is all about to the community that has supported them for years.

“We have kind of everything going on [at the fest,] and we’re pretty stoked to have all these different genres and musicians coming through,” Guasco said.

The festival’s featured performances began on Friday night at WildCraft as their funk and groove bands owned the stage. DJ Reggae Rob opened the night with a setlist of hip-hop and reggae breakbeats to get the atmosphere going in the venue’s upstairs loft.

The eclectic four-piece from Sacramento, California, ZuhG, offered its groovy takes of funk, reggae and folk for an hour while patrons danced along.

“I feel a real appreciation for music here in Eugene in the couple times that I’ve been here,” ZuhG guitarist Dylan Crawford said. “You never know what the general vibe of each city or each town is gonna be towards live music, and it seems to be really fertile, really dank here.”

Corvallis’ Despite The White closed the night with big band funk accented by enthralling bass lines and a section of five punchy horns. There was an element of child-like glee to their performance as they whipped through renditions of Luigi’s Mansion, Mario Kart soundtracks and the theme to Hey, Arnold!

Rapper Cerebral Cortex performs at the Freedom Thought Fest at WildCraft Cider Works in Eugene, Ore. on Sept. 15, 2018. (Sarah Northrop/Emerald)

Saturday night offered more indie and hip-hop-related acts to the WildCraft audience. The Creative Types played a mix of R&B ballads and lively hip-hop tracks to open up the night.

Smyth and Brax of the Breakfast Boys Leisure League followed this performance up with neck-snapping beats, a steady flow of bars and an outlandishly fun stage presence.

The Saturday performances came to a wonderfully charming conclusion with the Eugene-based band Laundry, who’s indie rock featured tinges of surf and blues. Coloso and Chiefed later performed at the Freedom Thought Fest after party at Sam Bond’s Garage, which celebrated 100 years of live music in Eugene.

FTC’s folk groups jammed at WildCraft on Sunday evening, as Laura Ivancie and Liz Chibucos of the band Far Out West delivered tasteful acoustic sets.

The Freedom Thought Fest will come to a close on Wednesday night, with the Collective rolling out its hand of exciting reggae bands. Carolina-based groups Treehouse! and Bubba Love will be opening up for Sol Seed to conclude the inaugural Freedom Thought Fest. The music will begin at 8 p.m. with a $10 cover at the entrance.

Guasco wants to remain realistic when it comes to the funds raised at his group’s Fest, but he holds the belief that success isn’t necessarily measured by how much money is made.

“I just think that people are gonna start looking around the room and be like ‘Wow, this is a good show,’” Guasco said. “That’s gonna lead to conversation, that’s gonna lead to questioning, that’s gonna lead to open arms and making new friends, and that’s what this is all about, man.”

The post The Freedom Thought Collective showcases multi-genre roster of bands at Freedom Thought Fest appeared first on Emerald Media.

World-renowned guitar duo Rodrigo y Gabriela have sold out venues such as the Royal Albert Hall, the Hollywood Bowl and the Sydney Opera House. On Wednesday night, they sold out the historic Arlene Schnitzer Concert Hall in Portland.

The Mexican guitarists have been to Portland many times throughout their 15-plus years of activity, including shows at the Schnitzer. But it wasn’t until Wednesday night that they performed for Portland with the help of the Oregon Symphony.

Gearing up for their first album release in four years, Rodrigo y Gabriela are in the midst of their North American tour. And what better way to generate hype for the new album then by fusing their already wildly intricate compositions with an eloquence of a state-of-the-art orchestra?

The Oregon Symphony kicked off the night with a few fitting arrangements. Norman Huynh, the youngest of the program’s conductors, commanded the symphony with intensity and precision. They began with the riveting “Gitanerias,” a piece by Cuban composer Ernesto Lecuona.

Then they delved into the famed Carmen suite, which featured excellent solos by first violinist Sarah Kwak and flutist Alicia DiDonato Paulsen. Their final piece was Arturo Márquez’s “Danzón No. 2.” Márquez’s Mexican sensibilities and the piece’s relentless Latin energy were the perfect precursor to what followed.

World-renowned guitar duo Rodrigo y Gabriela have sold out venues such as the Royal Albert Hall, the Hollywood Bowl and the Sydney Opera House. On Wednesday night, they sold out the historic Arlene Schnitzer Concert Hall in Portland.

The Mexican guitarists have been to Portland many times throughout their 15-plus years of activity, including shows at the Schnitzer. But it wasn’t until Wednesday night that they performed for Portland with the help of the Oregon Symphony.

After a short break, Rodrigo y Gabriela emerged onto the stage with Huyn to great applause. The duo wasted little time and dived into the first track “Hanuman.” The two captured more excitement in their twin acoustic guitars than most bands do with a full repertoire of instruments.

Rodrigo plucked at the lead melodies with a fiery passion. Gabriela provided the intricate rhythms, including tasteful guitar percussion, while exhibiting astounding fingering techniques. Every sound was audible, from guitarists sliding fret to fret to pressing down on their strings, and yet, through the avidly complex compositions, there were perceivable no flaws or hiccups.

Rodrigo y Gabriela executed their compositions live as masterfully as what can be heard on the studio cuts. The symphony held a relatively low profile throughout this part of the performance, allowing for the guitarists to take center stage.

The strings were the most prevalent section, providing a soft caress in contrast to the rapid punches of guitar. Not to understate its presence, the symphony complimented the guitars beautifully, whether it was adding a new layer to the melody, texturing the chords or providing a chilling fill.

The duo spent most of their time with the orchestra playing unreleased tracks from their forthcoming album. The two would hop on the mic from time to time, showing genuine gratitude for sharing the same stage with such talented musicians, all while being funny and charismatic.

After their 45 minute performance, the symphony began emptying the stage, leaving the two guitarists unaccompanied. Rodrigo y Gabriela began their solo set sitting side-by-side at center stage. They played a slower composition, playing with the plethora of melodies and rhythms at their disposal.

Then, Rodrigo introduced their next track as one that “fits with [his] lifestyle:” “Echoes” by Pink Floyd. Their rendition didn’t span the 23 minutes like the original, but the duo perfectly captured the song’s dreamy melody and the dissonant breakdowns by using haltered plucks and dragging the pick along the low E string.

There were cameras placed on the necks of both guitars, and the footage was projected behind the performers during this part of the show, showing the intricate movements each guitarist made.

Rodrigo y Gabriela closed their show with one of their biggest hits, “Diablo Rojo.” Their performance concluded with a standing ovation from those in the audience. And like their accompanying talent and the complexity of their music would suggest, the two took a tasteful bow and wished Portland goodbye until next time.

The post Review: Rodrigo y Gabriela showcase their world-class guitar skills with the help of the Oregon Symphony appeared first on Emerald Media.

English electronic dance producer Alex Crossan, who creates music under the name Mura Masa, unraveled his catalogue of riveting ballads and club hits for a near sold out crowd Thursday night at WOW Hall. Mura Masa is currently in the thick of his North American tour in support of his self-titled debut album released in 2017.

Local house DJ, Bizio, opened up for the 22-year old headliner. Fielding a 45 minute set, Bizio loosened up the young crowd with trance and club mixes of “Robot Heart” by Art Department, “Resynthesis” by Max Cooper and other dance tracks. After his set, the stage crew deconstructed Bizio’s DJ table, unveiling a space of drum pads, synth keyboards, mic and a guitar that Mura Masa would stylishly play throughout his hour-long performance.

Arriving on stage to great applause, Mura Masa opened up his set alone on the keys. The ex-Punk rocker began with a rendition of his album’s opener, “Messy Love,” during which he delivered a delicate falsetto. His setlist visited many of his album’s most well-known hits, and also ventured into his older projects, including the tracks “Are U There?,” “Low,” “Lotus Eater,” and “Hell.” His transitions tastefully varied: sometimes seamless, other times abrupt and occasionally connected by droning synth or bass.

Throughout the show, Mura Masa rotated through his instrumental repertoire. He worked the keys for “Second 2 None,” delivered a staccato guitar for “Who Is It Gonna B,” then played his electronic drum kit on “Move Me.” The three instruments functioned like a playground to him as he cycled through the stage. Though likely rehearsed, Mura Masa’s free flowing and natural playstyles made it seem as though he was following any spontaneous instrumental inclination that came over him.

In past shows, Mura Masa has had a small band accompany him. This time, his only performing companion was English vocalist Fliss. She commanded the stage like a veteran show-woman, performing most of the concert’s vocals. Fliss flawlessly transitioned from delivering the pop melodies of “1 Night” to capturing the raw energy of New York rapper Desiigner on “All Around The World.” Her dancing prowess filled the vocal-less sections of the music, as did her ad-libs, fueling the energy in the audience.

Accompanying Mura Masa on stage, English vocalist Fliss sings and rallies the crowd. Electronic music producer Mura Masa performs a set at the WOW Hall in Eugene, Ore. on Aug. 30, 2018. (Sarah Northrop/Emerald)

Projected behind the performers, amateur photos of Mura Masa’s crew illuminated the crowd, as well as excerpts from the song’s music videos and stylish lettering. The visuals closely resembled that of his album’s Grammy-nominated aesthetic, having received a nomination for the album’s packaging earlier in the year. The atmosphere in the audience resembled a dance floor as much as it did a crowd of live music spectators, as Mura Masa’s tantalizing hits intoxicated the crowd.

Through Mura Masa’s instrumentation and Fliss’ outstanding versatility, the performance brought more depth to the tracks than what can be heard on Mura Masa’s studio versions. The music came alive Thursday night, reaching a thunderous climax during the final two songs, “Love$ick” and “Firefly.” Mura Masa maintained a reserved demeanor throughout his performance, giving brief thanks in between songs. But with Mura Masa, there isn’t much more that needs to be said; the youthful themes and energetic beats that resonated throughout his set left the humble Eugene crowd rightfully satisfied.

The post Review: English producer Mura Masa brings his album to life at WOW Hall appeared first on Emerald Media.

English electronic dance producer Alex Crossan, who creates music under the name Mura Masa, unraveled his catalogue of riveting ballads and club hits for a near sold out crowd Thursday night at WOW Hall. Mura Masa is currently in the thick of his North American tour in support of his self-titled debut album released in 2017.

Local house DJ, Bizio, opened up for the 22-year old headliner. Fielding a 45 minute set, Bizio loosened up the young crowd with trance and club mixes of “Robot Heart” by Art Department, “Resynthesis” by Max Cooper and other dance tracks. After his set, the stage crew deconstructed Bizio’s DJ table, unveiling a space of drum pads, synth keyboards, mic and a guitar that Mura Masa would stylishly play throughout his hour-long performance.

Arriving on stage to great applause, Mura Masa opened up his set alone on the keys. The ex-Punk rocker began with a rendition of his album’s opener, “Messy Love,” during which he delivered a delicate falsetto. His setlist visited many of his album’s most well-known hits, and also ventured into his older projects, including the tracks “Are U There?,” “Low,” “Lotus Eater,” and “Hell.” His transitions tastefully varied: sometimes seamless, other times abrupt and occasionally connected by droning synth or bass.

Throughout the show, Mura Masa rotated through his instrumental repertoire. He worked the keys for “Second 2 None,” delivered a staccato guitar for “Who Is It Gonna B,” then played his electronic drum kit on “Move Me.” The three instruments functioned like a playground to him as he cycled through the stage. Though likely rehearsed, Mura Masa’s free flowing and natural playstyles made it seem as though he was following any spontaneous instrumental inclination that came over him.

In past shows, Mura Masa has had a small band accompany him. This time, his only performing companion was English vocalist Fliss. She commanded the stage like a veteran show-woman, performing most of the concert’s vocals. Fliss flawlessly transitioned from delivering the pop melodies of “1 Night” to capturing the raw energy of New York rapper Desiigner on “All Around The World.” Her dancing prowess filled the vocal-less sections of the music, as did her ad-libs, fueling the energy in the audience.

Accompanying Mura Masa on stage, English vocalist Fliss sings and rallies the crowd. Electronic music producer Mura Masa performs a set at the WOW Hall in Eugene, Ore. on Aug. 30, 2018. (Sarah Northrop/Emerald)

Projected behind the performers, amateur photos of Mura Masa’s crew illuminated the crowd, as well as excerpts from the song’s music videos and stylish lettering. The visuals closely resembled that of his album’s Grammy-nominated aesthetic, having received a nomination for the album’s packaging earlier in the year. The atmosphere in the audience resembled a dance floor as much as it did a crowd of live music spectators, as Mura Masa’s tantalizing hits intoxicated the crowd.

Through Mura Masa’s instrumentation and Fliss’ outstanding versatility, the performance brought more depth to the tracks than what can be heard on Mura Masa’s studio versions. The music came alive Thursday night, reaching a thunderous climax during the final two songs, “Love$ick” and “Firefly.” Mura Masa maintained a reserved demeanor throughout his performance, giving brief thanks in between songs. But with Mura Masa, there isn’t much more that needs to be said; the youthful themes and energetic beats that resonated throughout his set left the humble Eugene crowd rightfully satisfied.

The post Review: English producer Mura Masa brings his album to life at WOW Hall appeared first on Emerald Media.

As the summer nears its end, the Emerald looks back at some of the best albums released during the time of the year when car windows stay rolled down and music means everything. Displayed chronologically, these are the albums the Emerald thinks are must-listens for the summer of 2018.

Kanye’s Five Album Run – Various Artists (May 25th – June 23rd)

In the summer’s dawn, Kanye West rolled out a catalogue of five albums he executively produced, week after week, for a variety of associated artists. First, it was Pusha T’s greatly successful “Daytona,” then Kanye’s eighth solo album “Ye,” followed by a collaborative project between Kanye and Kid Cudi titled “Kids See Ghosts,” then Nas’ “Nasir” and finally Teyana Taylor’s “K.T.S.E.” to finish the lineup.

What unifies the Wyoming Sessions (where the recording/creation of these albums took place) is their compressed tracklisting. None of the five records exceed more than eight songs (K.T.S.E. being the only one with eight, the rest only containing seven) and 27 minutes (most of the albums run for about 22). One can listen to an entire album on the way to work, and another album on the way back. Aside from the shorter run-time, Kanye’s forever-exciting musicianship behind the boards is something never to be missed.

“God’s Favorite Customer” – Father John Misty (June 1st)

Father John Misty’s fourth album, following his 2017 commentary “Pure Comedy,” eases back on his pointed beliefs as to why the world is the way that it is; his new album finds its motivation in FJM’s need to look within, instead of projecting. Written in a six week span coinciding with heavy marital dissonance and consequent emotional distress, “God’s Favorite Customer” affords the cynic reflection and understanding, all while maintaining FJM’s position as, almost in jest, just a few steps ahead of the rest of us.

The production is bigger than just a “folk-rock” labeling: The almost viscous piano on “The Palace,” the running melodies on “Mr. Tillman” (maybe his most sarcastically personal work yet), and the heavy pouncing on “Disappointing Diamonds Are the Rarest of Them All” gives the record a gravitational pull. Exploring all the timbres within himself, like the transition from the playful “Date Night” to the sobering “Please Don’t Die,” FJM throws it all to the wall, and what sticks is a vulnerable self-portrait.

“Year of the Snitch” – Death Grips (June 22nd)

With “Year of the Snitch,” the most far-out group that can generously be considered hip-hop takes another big step toward the “far-out.” Yet, they do so by subtly compromising the fiery ball of disorienting, industrial energy that seems to fill every nook of their now six album catalogue.

While still throwing a punch at nearly every measure with erratic drums now familiar on Death Grips tracks, “Year of the Snitch” miraculously shows some yield in between the lines: in the haltering outro of “Hahaha,” the moments of recomposure in “Dilemma” and “The Fear’s” occasional swelling and wavering synth and piano — when you listen carefully, these moments almost comfort. Though most of the time frantic thanks to MC Ride’s roars, “Year of the Snitch” offers a bit of what’s been missing in the majority of previous Death Grips releases: resolve.

“Hive Mind” – The Internet (July 20th)

Like Tyler, The Creator, Earl Sweatshirt and the rest of the Odd Future syndicate, The Internet can’t — and doesn’t want to — shake the ever-existent bravado that can only be described as Odd Future, despite the group’s golden years being a half-decade behind them now. While the aura remains, each functioning entity of the collective fills an intriguing, individual space; like Tyler’s eccentric artistry or Earl’s apathetic humdrum, The Internet puts forward the energy of the easy-going and the forward-thinking, and their latest album, “Hive Mind,” embodies just that.

Brilliantly weaving live instrumentation and tasteful sampling and loops, the album contains funky and fluctuating bass lines, electronically-tinged acoustic guitar and is punctuated by Syd’s floating vocals. After taking some time off to explore their individual music interests in recent years, Syd, Matt Martians, Steve Lacy, Patrick Page II and Christopher Smith reunited to bring The Internet’s most cohesive work yet, a detailing of the Internet’s collective “Hive Mind.”

“ASTROWORLD” – Travis Scott (August 3rd)

To many, Travis Scott’s third album, “ASTROWORLD,” finally meets the potential most are sure Scott can reach: a sprawling manifesto of progressive, dynamic hip-hop bred out of the traditions of early 2010s Cudi and Kanye. On the record, Scott’s visions seem to crystallize, finally translating without falter to those who are gladly carried by the currents of trap — and also those who stubbornly swim against it.

Scott has a way of being almost offensively personal, unscathingly real, and “ASTROWORLD” continues this trend. On the first track, “STARGAZING,” Scott makes his status clear, “Got new money, got new problems, got new enemies / When you make it to the top, it’s the amenities,” making the chip on Scott’s shoulder one of the selling pieces of the album. Featuring personnel such as  Frank Ocean, Kid Cudi, Drake, Pharrell, Mike Dean, Tame Impala and Thundercat, among others, “ASTROWORLD” is as bold as its all-caps lettering.

Other albums released this summer worth listening to:

“Everything Is Love” – The Carters (Beyonce and Jay Z) (June 16th)

“Scorpion” – Drake (June 29th)

“The Now Now” – Gorillaz (June 29th)

“TA13OO” – Denzel Curry (July 27th)

“Family Portrait” – Ross From Friends (July 27th)

“I Don’t Want: The Gold Fire Sessions” – Santigold (July 27th)

“Swimming” – Mac Miller (August 3rd)

The post Review: Best albums released this summer (so far) appeared first on Emerald Media.

At the 1998 Grammy Awards, opera superstar Luciano Pavarotti unexpectedly dropped out of his scheduled performance of the classic aria “Nessun dorma” minutes into the beginning of the awards ceremony. There was one person who Grammy director Ken Ehrlich had confidence in to take Pavarotti’s place with two hours of notice: The Queen of Soul.

Aretha Franklin proceeded to nonchalantly deliver one of her most breathtaking performances ever, but that’s just who she was.

By most accounts, Aretha Franklin was fondly seen as the quintessential diva, a cherished artist whose personality could match her era-defining music. By having over 100 singles bombard the Billboard charts throughout her 60+ years of vocal brilliance, the first woman ever to do so, Franklin’s voice divinely comforted millions of people exploring life’s most profound experiences.

With her bold voice, she became a superstar, being named the number one vocalist of all time twice by Rolling Stones. But it was how she used her voice that made her a generational role model. Her music embodies the spirit of the civil rights movement, having inspired those who fought, and still fight, for equality. She consistently gave dazzling performances at civil rights events without payment.

With Franklin’s unfortunate passing, we lose a performer who translated the feelings of the American public, not only into music, but into award-winning, soulful art. Barack Obama put it best in his tribute to Franklin over Twitter, saying “Aretha helped define the American experience. In her voice, we could feel our history, all of it and in every shade…” She leaves a giant, irreplaceable handprint on the whole of the human experience. May she rest in peace.

The post Tribute to the ‘Queen of Soul’ Aretha Franklin appeared first on Emerald Media.

Three years ago, in the halls of Clackamas Community College in Oregon City, then 19-year-old music student and Onion The Man lead singer and keyboardist Ian Harris hatched an idea that would take advantage of his parents going out of town in the coming weeks. 

Ian Harris is the keyboardist/singer for Onion the Man and is the founder of Onion Music Fest. The Onion Music Festival brings colorful tunes to five acres in Washougal, Wash. July 28-29, 2018. (Sarah Northrop/Emerald)

“Dude, we can totally do some live music in my parents’ backyard and call it Onion Fest,” Harris remembers telling fellow Onion The Man band member Logan Adam. Weeks later, the band hosted its first Onion Music Fest in Harris’ parents’ backyard, what he called “a huge outdoor house show.”

Around 150 people attended to watch the six bands. “The intention of the festival was kinda created naturally that day because everyone was so happy,” Harris remembers. This “super blissful” weekend marked the first iteration of a festival founded on love and community.

Onion The Man, a fusion groove band that incorporates jazz, rock and soul, consisting of Harris, Adam, Keenan Hansen and Miles Spurgeon, are coming off their third annual Onion Music Fest,  which took place July 28-29. This year was their biggest yet, with a turnout of a few hundred.

The 2018 lineup produced mostly alt-rock variants: The band Wave Action performed poppy surf-rock that would enliven the crowds; The band Kulululu gave a theatrical performance, leaving the stage and acting out the “journey” of their performance; and a motif of live brass instruments persisted through most of the festival’s lineup. The closer of the first night, Roselit Bone, performed an array of music from subdued, moody songs to mariachi-style sounds.

Over the last few years, Onion Music Fest has grown into something that the band takes pride in. They’re happy to have expanded the festival every year and want to continue the trend, but not so much as to compromise its community aspect.

In between sets, one can find groups of people, including the performing bands, jamming out at campsites and sharing stories and laughs among each other. “It all pays off when we get to share the event with so many people,” Harris says. “I like to call it a big family reunion.”

Fueled by passion and a relentless work ethic, Onion The Man has managed to grow Onion Music Fest into one of the most rapidly growing D.I.Y. festivals in the Pacific Northwest. As the festival grows in size, now being held at Sunnyside Outdoor Events, a 5-acre venue in Washougal, Washington to accommodate the growing crowds, Onion Music Fest maintains the same values that filled the air in Harris’ backyard three years prior.

In addition to the 18 bands that took the venue’s amphitheater stage during the weekend, this year’s Onion Music Fest had yoga and meditation workshops to promote mindfulness. The festival also featured an art gallery containing pieces that Onion The Man curated themselves, a creative space complete with an “outrageous” amount of canvas for patrons to create their own art, an herbal elixir bar where festival-goers can explore a variety of herbal concoctions and a side-stage that will be used for acoustic performances and open-mic sessions.

Onion Music Fest is entirely coordinated by the band and Harris’ organizing partner Sunbeam, who he met at the first Onion Music Fest, making it a team of five. Even though it’s a small organizing crew, the festival manages to offer an array of activities that near stack-up against bigger music festivals.

Despite loving the work, over the last six months Onion The Man’s respective lives have been “completely dictated” by putting on this year’s Onion Music Fest, according to Harris.

“[Organizing Onion Music Fest] changed my life for sure, and it’s changed how I view work ethic and community and communicating,” Harris says, having sent out around 2,000 emails over the last few months trying to put the event together.

Between finding, reserving and insuring the venue, hashing out the logistics with the performing bands, renting all the necessary commodities, finding vendors and building a team of volunteers, Harris found himself in a role other than keyboard/vocalist: He’s now an entrepreneur.

And dealing with the logistics of it all forces Harris and the band to maintain their keenest economical eye.

“[The cost of putting on the event] adds up pretty quickly,” Harris says. In order to ensure the funds were met, Onion The Man embarked on a few fundraising endeavors. They played at John’s Marketplace in SW Portland, which donated a few kegs whose proceeds went directly toward funding the festival. At a fundraiser held at Mississippi Pizza, all door sales and a percentage of the bar sales were donated to Onion Music Fest. The band also had a few garage sales, further implementing the D.I.Y. ethos.

Onion Music Fest carries a D.I.Y. quality that reflects its transition from a backyard party to a mini music festival. (Sarah Northrop/Emerald)

While the logistics of securing bands, vendors and volunteers teeter, throughout it all, Onion The Man must consider legal matters as they continue to grow, which is why they enlisted the help of Rational Unicorn Legal Services based in NW Portland, one of their biggest sponsors.

Michael Jonas, attorney and owner of Rational Unicorn, helps community-minded clients navigate the at-times challenging legal matters when chasing their dreams. Jonas cites the uncompromising inclusivity of Onion The Man as one of the main reasons he feels inclined to participate in the band’s pursuits.

“The common thread is they’re about peace and love,” Jonas says of the band. While all the logistical matters remain in the hands of Onion The Man, Jonas helps ensure that the band stays protected in the eyes of the law.

Beyond the many contracts Jonas drew up for the band — liability waivers, band performance contracts, vending contracts, etc. — Jonas helped Onion Music Fest obtain an LLC. The LLC business model allows for the festival to be its own entity, protecting the band’s individual assets in case, for example, the band gets sued for an injury that occurred over the weekend.

Although the work done at Rational Unicorn allows for Onion The Man to rest easy regarding legal considerations, a worry about progressing the band starts to rise.

“Honestly, because there was so much to organize this year… Onion Fest kind of took a priority a little bit over songwriting,” Harris says.

In order to combat this, Onion The Man is looking toward having a dedicated organizing team that can handle facilitating the event in future years. There’s no hard feelings, though, as Harris shows much appreciation for his band’s annual event and the community it builds.

“Music brings people together through community no matter what,” Harris says. “The world needs more community and more love.”

Onion Music Fest is the product of the core concepts integral to Onion The Man: love, inclusivity and community. But Harris recognizes that the band isn’t unique in being able to make their dreams a reality when passion meets hard work.

“To me, [Onion Music Fest] is a testament to what happens when you follow your dreams and follow your passions. Like, if you have an idea, just go for it, because dreams really do come true.”

MORE: Photos: Onion Music Fest connects PNW style and sound

The post Onion Music Fest: Transforming backyard performances into a premier D.I.Y. festival appeared first on Emerald Media.