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Saturday 28 October 2023

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158 Bleecker Street 10012 New York (NYC), NY, US 212 796 0741 www.lepoissonrouge.com

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Doors open: 18:00

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• November 3, 2023 Setlist

Mudhoney Setlist at Hi-Tone, Memphis, TN, USA

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Tour: Plastic Eternity Tour statistics Add setlist

• If I Think Play Video
• Move Under Play Video
• Get Into Yours Play Video
• Nerve Attack Play Video
• Who You Drivin' Now? Play Video
• Souvenir of My Trip Play Video
• Let It Slide Play Video
• Good Enough Play Video
• Judgement, Rage, Retribution and Thyme Play Video
• Sweet Young Thing (Ain't Sweet No More) Play Video
• Touch Me I'm Sick Play Video
• Little Dogs Play Video
• Inside Job Play Video
• Suck You Dry Play Video
• Almost Everything Play Video
• Flush the Fascists Play Video
• F.D.K. (Fearless Doctor Killers) Play Video
• Oh Yeah Play Video
• Next Time Play Video
• I'm Now Play Video
• Paranoid Core Play Video
• Human Stock Capital Play Video
• 21st Century Pharisees Play Video
• One Bad Actor Play Video
• Plasticity Play Video
• You Got It Play Video
• Tom Herman's Hermits Play Video
• When Tomorrow Hits Play Video
• In 'n' Out of Grace Play Video
• Here Comes Sickness Play Video

Edits and Comments

4 activities (last edit by allenz , 13 Nov 2023, 06:40 Etc/UTC )

Songs on Albums

• Almost Everything
• Flush the Fascists
• Human Stock Capital
• Little Dogs
• Souvenir of My Trip
• Tom Herman's Hermits
• 21st Century Pharisees
• Nerve Attack
• Paranoid Core
• Get Into Yours
• Here Comes Sickness
• When Tomorrow Hits
• Good Enough
• Let It Slide
• Who You Drivin' Now?
• Sweet Young Thing (Ain't Sweet No More)
• Touch Me I'm Sick
• F.D.K. (Fearless Doctor Killers)
• Judgement, Rage, Retribution and Thyme
• In 'n' Out of Grace
• I'm Now
• One Bad Actor
• Suck You Dry

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Mudhoney Gig Timeline

• Nov 01 2023 The Earl Atlanta, GA, USA Add time Add time
• Nov 02 2023 The Basement East Nashville, TN, USA Add time Add time
• Nov 03 2023 Hi-Tone This Setlist Memphis, TN, USA Add time Add time
• Nov 04 2023 Sundown At Granada Dallas, TX, USA Add time Add time
• Nov 05 2023 Antone's Austin, TX, USA Add time Add time

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With hooveriii.

Sat October 28th, 2023

Minimum Age: 18+

Doors Open: 6:00PM

Show Time: 7:00PM

Event Ticket: $30

Day of Show: $35

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Nirvana may have been the band that put an entire generation in flannel, and Pearl Jam and Soundgarden both sold a lot more records, but Mudhoney were truly the band that made the ’90s grunge rock movement possible. Mudhoney were the first real success story for Sub Pop Records ; their music laid the groundwork for the movement that would (briefly) make Seattle, Washington, the new capital of the rock & roll universe. They took the sweat-soaked and beer-fueled mixture of heavy metal muscle, punk attitude, and garage rock primitivism that would become known as “grunge” to the hipster audience for the first time with early releases like 1988’s Superfuzz Bigmuff and 1989’s Mudhoney, and those fans would in turn sell it to a mass audience ready for something new. Mudhoney never scored the big payday some of their old running buddies did, though they did land a major-label deal that produced several strong albums, especially 1995’s My Brother the Cow and 1998’s Tomorrow Hit Today. Their importance on the Seattle scene cannot be underestimated, and their body of work — big, loud, purposefully sloppy, a little bit menacing, and even more funny — has stood the test of time better than their well-known colleagues. And they continued to produce strong, relevant music into their third decade on 2013’s Vanishing Point and 2018’s Digital Garbage.

Mudhoney’s timeline begins in 1980, when teenaged Mark McLaughlin (who would soon adopt the punk handle Mark Arm ) formed the band Mr. Epp and the Calculations with some high school friends from the Seattle suburb of Bellevue, none of whom actually knew how to play at the time. More interested in goofing off, breaking things, and posting flyers for shows that were never scheduled than actually making music, Mr. Epp didn’t get around to playing a show until late 1981, opening for a band called Student Nurse. Despite their legendary ineptitude (they were described as “the worst band in the world” on more than one occasion), Mr. Epp began to develop a following, and released a 7″ EP in 1982. In 1983, in a bid to sound more like a real band, the group added a second guitarist, Steve Turner , who had previously played in a garage band called the Ducky Boys . That same year they released their Live as All Get Out cassette, but things began to peter out for the group, and they played their final show in February 1984. In 1981, Arm and Turner , who’d become fast friends, also began playing in another joke-punk band, the Limp Richerds, and briefly placed their focus on that group until the Richerds also broke up near the end of 1984.

Eager to start playing again, Arm and Turner teamed up with drummer Alex Vincent, who had played with Turner in a short-lived band called Spluii Numa, and bassist Jeff Ament , who had recently arrived in the Northwest from Montana. When Arm decided he wanted to put down his guitar and concentrate on vocals, Turner asked former Ducky Boys guitarist Stone Gossard to join the group, and Green River was born. Along with fellow Washingtonians the Melvins , Green River were pioneers of a new Northwest rock sound, merging the snot-nosed sneer of punk with the minor-key thud of heavy metal. It didn’t take long for Green River to get noticed on the Seattle rock scene, and in 1985 the band released its first EP, Come on Down. By the time the record hit the streets, Turner had left the band to return to college (he was also growing disenchanted with the harder rock direction the band was following), and with new guitarist Bruce Fairweather, the band set out on a nationwide tour that was little short of disastrous, in large part because a delay in the record’s release had the band supporting an album that hadn’t come out yet. The band survived to make a second EP, Dry as a Bone, for a new Seattle label, Sub Pop Records , in 1987 — but by the time its first full-length album, Rehab Doll, was released in the summer of 1988, tensions between members of the band caused Green River to split up. Ament and Gossard formed a new band called Mother Love Bone ; Fairweather joined Love Battery , and Vincent went to law school.

Arm and Turner , meanwhile, had formed a side project while in Green River called the Thrown Ups , featuring graphic artist Ed Fotheringham on vocals. Essentially a more extreme example of the sort of goofy onslaught Arm and Turner had let loose with Mr. Epp, the Thrown Ups brought the two friends back together again, but Turner expressed a desire to form a new band that actually rehearsed songs before playing them in front of an audience. In his spare time, Turner began working up new material with Arm and drummer Dan Peters, who had played in Bundle of Hiss and Feast. Needing a bassist, the three hooked up with Matt Lukin, who had recently left the Melvins shortly before they left Washington for California. Naming themselves Mudhoney after a Russ Meyer film none of them had actually seen, the new foursome took the punk metal formula of Green River and the Melvins , added a dollop of ’60s garage rock swagger and a large portion of Fun House-era Stooges , and ran it all through the cheap stomp boxes Arm and Turner so cherished. Turner initially expected the band to last about six months.

In 1988, Sub Pop released the band’s first single, “Sweet Young Thing Ain’t Sweet No More” b/w “Touch Me I’m Sick,” with the EP Superfuzz Bigmuff following a few months later. The timing proved fortuitous. The indie circuit success of the Replacements and Big Black had created a demand at college radio and the underground club circuit for harder and heavier bands, and Sub Pop ‘s homegrown but earnest media blitz was helping to make “the Seattle Sound” — soon to be dubbed “grunge” — the next big thing, with Mudhoney the chief beneficiary. While the band’s first American tour was nothing to write home about, the Sub Pop hype machine had already begun to take hold overseas, and the band scored a European tour — mostly dates in Germany — in early 1989. A few months later, Sonic Youth , who’d been big fans of Green River , invited Turner and Arm ‘s new band to join them for a British tour, and soon Mudhoney found themselves the talk of the U.K. rock press. Superfuzz Bigmuff landed on the British indie charts and stayed there for the better part of a year, and the band wasted no time returning for a headlining tour, complete with massive press coverage and riotous shows. Word of the band’s rep in Europe quickly crossed the pond, and Mudhoney were the new heroes of underground rock by the time their first full-length album, simply called Mudhoney, came out in late 1989.

In the wake of Mudhoney’s success, a number of other Sub Pop acts began making big noise on college radio and the indie club circuit, including Soundgarden , Tad , the Fluid , and a trio of Melvins fans from Aberdeen, Washington, called Nirvana . However, while Sub Pop was doing a fine job of creating the Next Big Thing, they weren’t making much money at it just yet, and the label’s financial status was one reason Mudhoney’s second full-length album, Every Good Boy Deserves Fudge — which found them upping the garage punk quotient in their formula — didn’t hit stores until 1991. By the end of the year, Mudhoney were shopping for a new label, and they could have hardly chosen a better time; Nirvana had already taken the major-label bait in 1990, and by December of 1991, Nevermind had made them the biggest and most talked-about rock band in America. Soon, seemingly every band in Seattle was being offered a major-label contract, and Mudhoney signed a deal with Reprise/Warner Bros. Their first major-label album, Piece of Cake, made it clear that Mudhoney’s new corporate sponsorship wasn’t going to change their musical approach — but their presence on a major label seemed to alienate old fans, while the mass audience that had embraced Nirvana , Soundgarden , and Pearl Jam (featuring Arm and Turner ‘s old Green River bandmates Stone Gossard and Jeff Ament ) found Mudhoney’s work too eccentric for comfort. While Mudhoney remained a potent live draw, their record sales during their tenure with Reprise were disappointing, though they recorded two of their finest albums for the label: My Brother the Cow and Tomorrow Hit Today.

In 1999, after an extensive tour supporting Tomorrow Hit Today, Reprise announced that they had dropped Mudhoney from their roster, and shortly after that, the band announced that Matt Lukin had turned in his resignation, citing his dislike of touring. With the release of March to Fuzz, a comprehensive career-retrospective, many observers assumed that Mudhoney had called it a day, but in 2001 the band began playing a few live dates around the Northwest, with Steve Dukich (formerly with Steel Wool ) sitting in on bass. The shows went well enough that Mudhoney decided to take another stab at their career, and Guy Maddison — who’d been a member of Bloodloss , one of Arm ‘s many part-time bands — signed on as Mudhoney’s new official bassist. Arm and Turner also found time to record and tour with a side project, the garage-blues band Monkeywrench . When they came back together, they recorded Since We’ve Become Translucent and released it in the summer of 2002. The angry political and social commentary Under a Billion Suns appeared in 2006, followed by the deliberately raw return to their aggressive roots The Lucky Ones in 2008.

In the years following The Lucky Ones, Mudhoney toured regularly, with one of the highlights being a showcase of the entire Superfuzz Bigmuff album at the 2010 All Tomorrows Parties in New York. All this was preparation for a 25th Anniversary blow-out in 2013, when the band released their ninth studio album, Vanishing Point, and a home video release of the documentary I’m Now, which was screened at various film festivals in 2012. In 2018, Mudhoney celebrated their 30th birthday with the release of their first authorized, unlimited-edition live album, LiE (aka Live in Europe), recorded during a run of shows in 2016. The following year, the band got to work writing and recording their tenth LP. The lean and angry Digital Garbage arrived in September 2018. A year later, an EP compiled from Digital Garbage outtakes, Morning in America, was released as the band set out on a North American tour. In July 2021, Sub Pop and Mudhoney celebrated the 30th anniversary of the release of Every Good Boy Deserves Fudge with an expanded deluxe reissue that added a full disc of session outtakes, single sides, compilation tracks, and several takes from an early attempt at recording the LP the group scrapped because it sounded too clean and professional. ~ Mark Deming, Rovi

Having originally been born as a solo drum machine project by Bert Hoover, Hooveriii (pronounced “Hoover Three”) has now evolved into it’s true final form – a six member band adept at creating their own brand of psychedelic space rock.

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Mudhoney have announced their first Australian tour in almost a decade

Words by Sose Fuamoli

• X (formerly Twitter)

Grunge fans, rejoice! The Seattle legends are making their way back to Australia for the first time in nine years.

Armed with new music and a stacked catalogue of classics, Seattle's  Mudhoney  will be back in Australia next year.

It has been almost a decade since Mudhoney were last in the country, but the group is making up for lost time with this tour - they'll be hitting a whole range of venues and festivals throughout April and May.

Included in Mudhoney's 2023 Australian tour are both The Gum Ball and Cherry Rock festivals. 

Mudhoney's last release came with 2019's  Morning In America  EP. As one of the seminal acts of the US grunge explosion, the band has continued to create music that's kept that original spirit in check.

Their 14th studio record is due out in 2023, so there's going to be plenty for longtime and new Mudhoney fans alike to get around and enjoy when the band makes their long awaited return. 

Check out the full list of tour dates below, tickets and further information can be found here .

Mudhoney Australian Tour 2023

• Friday 14 April - The Cooly, Coolangatta
• Saturday 15 April - The Northern, Byron Bay
• Sunday 16 April - The Zoo, Brisbane [SOLD OUT]
• Thursday 20 April - Factory Theatre, Sydney
• Friday 21 April - The Gum Ball, Bedford
• Saturday 22 April - UOW Uni Bar, Wollongong
• Sunday 23 April - Kambri at ANU, Canberra
• Monday 24 April - Hotel Westwood, Footscray  [SOLD OUT]
• Tuesday 25 April - HABA, Rye  [SOLD OUT]
• Thursday 27 April - Corner Hotel, Melbourne  [SOLD OUT]
• Friday 28 April - Theatre Royal, Castlemaine  [SOLD OUT]
• Saturday 29 April - Torquay Hotel, Torquay  [SOLD OUT]
• Sunday 30 April - Cherry Rock, Melbourne
• Wednesday 3 May - Lion Arts Factory, Adelaide
• Thursday 4 May - The Rosemount, Perth
• Friday 5 May - The River, Margaret River

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Mudhoney announce 14-date Australian tour for 2023

The run will include a headlining set at next year’s edition of The Gum Ball

Mudhoney have announced their long-awaited return to Australia, slating 14 shows for April and May of next year.

The run will include a headlining set at next year’s edition of The Gum Ball, which is set to be held on Wonnarua country across April 21-23. Mudhoney will perform on the first night of the festival, following back-to-back shows in Coolangatta, Byron Bay and Brisbane, as well as a show at Sydney’s Factory Theatre.

Right after their Gum Ball appearance, the band will roll on to Wollongong and Canberra, playing back-to-back shows in the cities (on April 22 and 23, respectively), before heading to Victoria for a stint of four shows. They’ll play two shows in Melbourne – first at the Corner Hotel on April 22, then at Cherry Rock on April 30 – with shows in Castlemaine and Torquay sandwiched between them.

Following a quick trip to Adelaide, the tour will wrap with two shows in Western Australia: one at the Rosemount in Perth on May 4, and one on the Margaret River the following night (May 5). Tickets for all 14 of the shows are on sale now – find them here .

The tour marks Mudhoney’s first Down Under in just shy of a decade: their last trek here came in January of 2014, when they played the last-ever Big Day Out. Since then, the band have released their 10th album, 2018’s ‘Digital Garbage’, as well as a compilation record (2020’s ‘Real Low Vibe’), and a live album (2018’s ‘LiE’).

They’ve also released three EPs: both ‘Morning In America’ and ‘Pedazo De Pastel’ in 2019, and ‘White Lazy Boy’ – a collaborative effort with Melvins – in 2020.

Mudhoney’s 2023 Australian tour dates are:

APRIL Friday 14 – Bundjalung Land/Coolangatta, The Cooly Saturday 15 – Bundjalung Land/Byron Bay, The Northern Sunday 16 – Meanjin/Brisbane, The Zoo Thursday 20 – Warrang/Sydney, Factory Theatre Friday 21 – Wonnarua Country/Belford, The Gum Ball Saturday 22 – Dharawal Land/Wollongong, UOW Uni Bar Sunday 23 – Ngambri/Canberra, Kambri @ ANU Thursday 27 – Naarm/Melbourne, Corner Hotel Friday 28 – Dja Dja Wurrung Land/Castlemaine, Theatre Royal Saturday 29 – Wadawurrung/Torquay, Torquay Hotel Sunday 30 – Naarm/Melbourne, Cherry Rock

Recommended

MAY Wednesday 3 – Kaurna/Adelaide, Lion Arts Factory Thursday 4 – Boorloo/Perth, The Rosemount Friday 5 – Noongar/Margaret River, The River

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Mudhoney announce 2023 australian tour.

Seattle’s Mudhoney are making a return to Australia in 2023.

Seminal Seattle four-piece Mudhoney return to Australia in 2023, marking nine years since their last local shows in 2014. A mammoth odyssey spanning April and May will see them playing headline shows across six states, with a handful of festival dates among them.

Keep up with the latest music news, features, festivals, interviews and reviews  here .

Formed in 1988 following the demise of Mark Arm and Steve Turner’s former band, Green River, Mudhoney have created an enviable career spanning over three decades, thirteen studio albums, five live records, and endless headline shows around the globe. Their provocative debut single ‘Touch Me I’m Sick’ and 1992 hit ‘Suck You Dry’ cemented them as pioneers of the late 80’s early 90’s grunge explosion, with their sound an instrumental foundation of the era.

The band have managed to find time to lay down tracks in the studio this year for their next opus due in 2023, which follows their 2019 EP “Morning in America” (“this is wilder, punkier and even funnier than last time around” – Clash), giving Australian fans the opportunity to hear all of the new and a bunch of the former favourites live.

Year after year, Mudhoney delivers contrarian, politically charged, anti-sentimental musings with their signature skuzz-rock rebellious, underground sound to wake you up, punch you in the gut and put a smile on your face with equal measure.

Mudhoney Tour 2023

• FRI 14 Apr The Cooly Coolangatta QLD
• SAT 15 Apr The Northern Byron Bay NSW
• SUN 16 Apr The Zoo Brisbane QLD
• THURS 20 Apr Factory Theatre Sydney NSW
• FRI 21 Apr Gumball Festival Bedford NSW
• SAT 22 Apr UOW Uni Bar Wollongong NSW
• SUN 23 Apr Kambri at ANU Canberra ACT
• THURS 27 Apr Corner Hotel Melbourne VIC
• FRI 28 Apr Theatre Royal Castlemaine VIC
• SAT 29 Apr Torquay Hotel Torquay VIC
• SUN 30 Apr Cherry Rock Melbourne VIC
• WED 3 May Lion Arts Factory Adelaide SA
• THURS 4 May The Rosemount Perth WA
• FRI 5 May The River Margaret River WA

You can purchase tickets and find out more  here . 

The Vamps are coming to Australia in 2023

• Toon afstand

Mudhoney + Support  SØWT

De wereld vult zich met afval. Ondanks dat de planeet elke minuut warmer wordt, blijft de mensheid verslaafd aan vervuiling. 

Gelukkig zijn de absurditeiten van het moderne leven altijd al een belangrijk onderwerp geweest voor de in Seattle gevestigde band  Mudhoney . Het viertal richt zich met scherpe humor en met modder bedekte riffs op al deze zaken in hun 11e studioalbum Plastic Eternity. 

Support:  SØWT SØWT opereert vanuit het hart van de Nederlandse underground muziekscene. Martijn Claessens, Jesse van Eiken, Koen Verhees en Danielle Warners maken furore als muzikanten, geluidstechnici, concertorganisatoren en kunstenaars. Ze maken deel uit van de jongste generatie bewaarders van kraakpand ’t Stroomhuis; een bijzonder broeinest dat al 20 jaar creatieve geesten een vrijplaats biedt. De band bracht in 2018 onder eigen beheer de tape  Junkie’s Boneyard  uit en slingerde in maart 2023 hun eerste LP  Kids Hurting Kids  de wereld in. 2024 ging van start met de eerste UK tour en in februari releast de band hun nieuwe EP “Things That Rhyme with Pain”.

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10 numbers you should know about McMenamins Elks Temple, celebrating 5 years in Tacoma

From purchase to grand reveal, the McMenamins Elks Temple research, restoration and construction project in downtown Tacoma took 10 years. What would have likely been a triumphant one-year anniversary for the Portland-based company and the City of Destiny was stomped by the worst of the 2020 pandemic.

In honor of Year 5, which officially hit at the end of April, we took a tour of the now-very-much-alive hotel, concert venue and brewery inside the 44,361-square-foot structure, as well as the series of bars and restaurants that serve locals and tourists day and night, seven days a week.

Here are 10 numbers to know about the history and evolution of McMenamins Tacoma.

$160,000: the original construction cost (in the early 1900s)

The Benevolent and Protective Order of the Elks spent $160,000 constructing their “ opulent, grand new ‘temple’ ” in 1916.

A century later, McMenamins, now with 56 properties in Oregon and Washington, spent more than $36 million restoring the fireproof (thanks to its nearly indestructible cast-marble exterior) building at the head of Pacific Avenue in downtown Tacoma.

Company founders Mike and Brian McMenamin officially acquired the building for $1.2 million in 2009.

30: the number of years Elks Temple sat (mostly) empty

An emblem of the second Renaissance Revival style, Lodge #174 and the adjacent Spanish Steps were designed by Édouard Frère Champney, who studied at L’École des Beaux Arts in Paris and worked on several World’s Fair expositions. The Elks occupied it until 1965, when they moved to Central Tacoma.

Over the next two decades, it hosted various community events, from school dances to memorial services, according to local history pages. It went dark in 1986.

The McMenamin brothers, known in the Northwest for their studied restoration of historic properties and their eclectic decor, spent six years following their 2009 purchase digging through archives, securing investments and determining what, exactly, they wanted to do in Tacoma.

The result is pretty darn close to the plans they announced as discovery and abatement began in 2016 , which led to unforeseen issues, such as a rotting ceiling support beam, and heightened costs.

201: the room number where you can remember the graffiti

As the Elks Temple, not alone in its decline, languished in the 1990s, young graffiti artists snuck through a “loosely boarded-up window below the Spanish Steps,” as a March 2019 McMenamins blog post recalls.

One of the company’s artists tracked down some of those who posted their work on the walls and maybe skateboarded in the empty pool on the Commerce Street level (now home to The Old Hangout). They were invited to rekindle their work in Room 201, which can be readily booked by any guest — and it’s not the most expensive room on the property, noted hotel manager Michael Do during a May 22 tour.

There are 45 total guest rooms, each with a king bed and private bathroom. Some only offer an “atrium view,” while rooms with outward-facing windows also have a balcony.

7 (or is it 6?): the number of floors, including the ‘basement’

As a 2004 report about the city’s restoration of the Spanish Steps said, “In a city built on a hill, the Spanish Steps comprise the only formalized, landscaped hill-climb in the downtown and the most formal public exterior stairway in Tacoma.”

Indeed, Elks Temple boasts several entrances on two streets and the Steps’ landing, on which guests of The Spanish Bar can enjoy gin and tonics with tapas al fresco in forgiving weather. That level — technically Floor 2 — also holds The Spanish Ballroom, the concert and event hall.

The Commerce Street entrance leads to Level 1, home to The Bottle Shop, next to which is the brewery that produces much of the beer you can enjoy throughout the property. Head down a few more stairs to The Old Hangout, the tiki-themed bar known for its high-octane cocktails and random gong sounds. This room originally had a pool, honored here by a small pond with a running waterfall.

The Broadway entrance opens into the lobby and The Pub, open daily at 7 a.m., on Floor 4. Floor 5 exists spiritually in this space, but you won’t find a conspicuous fifth floor sign.

Doc’s Bar and The Mezzanine Lounge (tickets sold for most concerts) live on Floor 3.

Floors 6 and 7 hold most of the hotel rooms, although there are also rooms tucked in Floors 2 and 3.

4: the number of stairwells

If you consider the Broadway entrance the “front” of Elks Temple, the “front” stairwell aligns with the only elevator. Here you can access all “seven” floors.

In the corner of the building where the Spanish Steps intersect with Commerce Street, the so-called Wide Stairwell takes you to most floors. Hotel guests beware: It skips the sixth.

There are two smaller stairwells that provide access to the lodging areas and perhaps respite for staff.

6.5 bars: the ‘real’ number of places to get a drink

Bar manager Lacey McKim likes to say that McMenamins Elks Temple actually has six-and-a-half bars, though it’s usually cited as just five.

The Bottle Shop is typically omitted, she said, but you can get a beer, wine or cider there (no liquor or cocktails, hence the half-count) and hang out in a kind of lounge area. The Ballroom also has its own full-service bar.

Of course, the five-count does include The Vault, the clandestine bar that resides in a cement-encased room under the sidewalk on Broadway, through which you can glimpse shadows of passersby through purple-tinged miniature glass blocks (installed by the McMenamins to provide modest natural light).

Like any good sport, we won’t tell you where it is.

Even five years in, said Do, front-desk staff still fields a singular question more than most: “Where’s the secret bar?”

Their answer will always be the same: “IT’S A SECRET.”

2: the number of kitchens

All but The Vault and The Bottle Shop double as restaurants, each with “their own personality,” said Renee Rank, McMenamins’ marketing director.

They are fed by two full kitchens. One is on the first floor, servicing The Old Hangout and The Spanish Bar. The other is on the fourth floor, servicing The Pub and Doc’s.

1,000: the annual number of barrels produced by the on-site brewery

McMenamins has been in the brewery business since 1985. Rank described the decision as one propelled in part by a change in Oregon’s craft brewery laws, which for the first time allowed producers to sell their product on site.

The company now operates two dozen brewing facilities, including one on the first floor of Elks Temple in Tacoma managed by head brewer Nick Webber, who previously worked at the Queen Anne outpost. He and his small team produce about 1,000 barrels a year using six 10-barrel fermenting tanks and a very cool open-air copper mash tun.

“We like to keep it old-school,” he said.

749: the full capacity of The Spanish Ballroom

The venue is permitted for 700 general-admission attendees on the main floor of the ballroom, which boasts original Elks Temple elements including the floor and ornate trim at the top of the quirky paintings along the walls featuring Tacoma-inspired images of Richard Wagner’s opera, “Ring.”

The 21-plus mezzanine offers an additional 49 seats, with general admission access.

Equipped with a Bose sound system, the stage has welcomed the likes of Stephen Marley and Seattle’s own Mudhoney. The space also hosts events like the upcoming Sabertooth Micro Fest, a combo celebration of beer and “psychedelic stoner rock,” Grit City Brewfest and a ‘90s night.

200: the number of employees at McMenamins Elks Temple

The Tacoma McMenamins employs around 200 people, staff said in May.

MCMENAMINS ELKS TEMPLE

▪ 565 Broadway, Tacoma, mcmenamins.com/elks-temple

▪ 5 main bars and restaurants open daily, hours vary

▪ Check Spanish Ballroom for event schedule

▪ Hotel bookings available online

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NEWS : FRI, MAY 24, 2024 at 6:00 AM

Girl and Girl’s Call A Doctor Out Today, May 24th

Today, May 24th, Australian group Girl and Girl are releasing their vibrant debut full-length,  Call A Doctor ,  on CD/LP/DSP via Virgin Australia (AU/NZ) and Sub Pop (ROW.)   Call A Doctor  is an unforgettable first bow from Girl and Girl, an audacious and aggressively tuneful blast of a record from this Australian four-piece garage rock outfit. The band is comprised of frontperson  Kai James  (singer, guitarist) and his  Aunty Liss  (drums), along with longtime friends  Jayden Williams  (guitar) and  Fraser Bell  (bass).  Call A Doctor  was recorded at Sundowner Sound in Melbourne, a two-story industrial complex where the band ate, slept, and made music in marathon sessions for two weeks straight with producer Burke Reid (Courtney Barnett, Julia Jacklin).

  Following the release of “Hello,” “Mother,” and “Oh Boy!” comes a new video Directed by Tayla Lauren for the self-titled track “Call A Doctor.”   Frontman Kai James shares on the track/video: “For me, ‘Call a Doctor’ needed to be as dramatic and silly and over the top as possible. I needed to trick myself into a deep dive of a lot of very confronting thoughts and feelings, it was the only way I could honestly express and move through them. I like the idea of it playing out like that from an audience’s perspective, too, you don’t realize what’s happening till 2 or 3 listens in, and by then, it’s already too late; you’re self-reflecting and growing as a person, haha sucker.”   Click  here  to watch.   The band just concluded a 20-date North American run opening for Royel Otis, which ended yesterday in Seattle, WA. They will perform tonight at 7:00 PM at Easy Street Records in West Seattle, with additional AU, UK & EU performances this Summer and Fall. See below for a complete list of shows.

  Fri. May 26 - Seattle, WA - Easy Street Records  (FREE) Fri. Jul. 05- Belfort, FR - Les Eurokennees Festival Sat. Jul. 06 - Hyeres , FR - Midi Fest Tue. Jul. 09th - Dorset - UK - Academy Bournemouth $ Wed. Jul. 10th - Oxford. UK - Academy 2 $ Thu. Jul. 11th -  Sheffield, UK - Foundry  $ Fri. Jul. 12th - Liverpool, UK - Arts Club $ Fri. Aug. 02 - Gold Coast, AU - Mos Desert Clubhouse Sat. Aug. 03 - Brisbane, AU - Outpost Fri. Aug. 09 - Sydney, AU - Waywards Sat. Aug. 10 - Melbourne, AU - Howler Fri. Aug. 30th - Brighton, UK -  Brighton Psych Fest Sat. Aug. 31- Manchester, UK - Manchester Psych Fest Sun. Sep. 01 - Dorset, UK - End of the Road Tue. Sep. 03 - London, UK - George Tavern Wed. Sep. 04 - Bristol, UK - Louisiana Fri. Sep. 06 - Asten, NL - Misty Fields Festival Mon. Sep. 09 -  Paris, FR - Point Ephemere Fri. Sep. 13th - Haldern, DE - Haldern Pop Bar Sat. Sep. 14th - Munich, DE - Strom Sun. Sep. 15th - Berlin, DE - Lark Mon. Sep. 16th -  Cologne, DE - MTC Wed. Sep. 18 - Copenhagen, DK - Loppen Wed. Sep. 18-Sun Sep. 21 -  Hamburg, DE - Reeperbahn Festival   $ w/ ROYEL OTIS

“Girl and Girl recall the stalwarts of 2010s garage rock, their affinity with jangly guitars and buoyant rhythms undercut by feverishly intense playing and a cloying sense of claustrophobia.” -  DIY   “A fantastic debut from a sparkly and singular new band.” -  NME    “…every member of Girl and Girl is too young to have experienced the garage rock revivalism of Y2K firsthand, save Aunty Liss, the drummer who supports her nervy nephews in this band of Australian post-punk traditionalists. Fronted by the wiry Kai James — handsome and jittery, never reclusive — the group treated sacred post-punk texts as if they were a common language when they played the 13th Floor, giving their barbed hooks and sideways riffs real kick. They’re carrying a torch without succumbing to nostalgia or formalism, all because they’re intoxicated by the noise they make.” - [Best of SXSW 2024]  RollingStone   “Emotional mayhem that’s relatable, and very catchy.”  -  Rolling Stone (AU)    “Brisbane four-piece Girl and Girl are ones to watch in the world of sharp-tongued raucous-riffed garage rock…Girl and Girl’s all too rare multigenerational collaboration brings a fresh angle on the post-Strokes garage rock sound.”  -  KUTX Radio   “There’s something special about this group…Their music has a raw and unfiltered feeling which elevates it far above your run-of-the-mill “indie” and gives it a near-euphoric flavour.” - [“Hello”]   Life Without Andy   “A perfect dose of indie – punk rock at its best.” - [“Hello”]  Happy Mag   “A warped mix of Talking Heads, Rolling Blackouts and bits of post-punk but led by a man with a mullet and one of their aunts plays drums in the band!”  -  [SXSW Review]  BBC 6 Music with Steve Lamacq

Girl and Girl Call A Doctor   Track Listing: 1. INTRO 2. Call A Doctor 3. Hello 4. Maple Jean and the Anthropocene 5. Oh Boy! 6. Suffocate 7. Mother 8. You’ll Be Alright 9. Comfortable Friends 10. Our Love (Ours Only) 11. OUTRO

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Mysterious Aussie Band Glass Beams Conquer Seattle

The band didn’t say a single word during their sold-out show; the music was more than enough to inspire devotion.

Yesterday was one of those May days in Seattle where the miserable weather sabotages your morale and makes you wonder what the hell happened to spring. We needed something to dissolve our persistent-precipitation blues, and Glass Beams got the job done.

Three androgynous figures wearing gold, bejeweled masks, Australia's Glass Beams sauntered to their positions onstage to wild applause from the sold-out Crocodile crowd and got down to business. Their standard rock-trio setup is augmented by two compact, sparingly deployed synthesizers. The latter instruments added crucial secret spices to the group's seductive instrumentals. Glass Beams occasionally sprinkle chants atop the music to intensify the flavors and mystery.

Speaking of mystery, only founding member/bassist Rajan Silva's name has been publicized and their lone interview occurred in Rolling Stone India . Somehow, with no media blitz, they've accrued 791k Instagram followers. The band said nary a word to the audience throughout the hourlong set. They didn't need to; the music was more than enough to inspire devotion. 

Glass Beams' sound at this early stage of their career (they've only released two EPs) has a rather narrow range. But what they do within that range is special. At their core, they are precise minimalists, their songs elegantly bending Eastward via myriad Asian scales and spaghetti Western-echoing riffs. Most of their tracks are effortlessly psychedelic and casually funky, with falsetto "huh"s and "oh"s capping an approach that's more about mesmerizing listeners than overwhelming them. Draping a holy aura over typically libidinous genres, Glass Beams' funky psychedelia never loses its composure, even as it's causing audiences to lose theirs. The golden-honey color scheme of their accouterments, stage backdrops, and record covers filters into their songs. 

During their encore, Glass Beams bust out a version of Charanjit Singh's "Raga Bhairav," from the genius Indian producer's cult classic Synthesizing: Ten Ragas to a Disco Beat . With its swift, metronomic beats and snarling synth accents, the song proved that Glass Beams easily could transition into a techno unit and wow the club circuit, if they set their minds to it. But for now, these mysterious Aussies seem content with conquering psych-rock heads' hearts and minds, and they're on track to becoming festival mainstays. Don't be surprised to see their name in big font atop next year's THING or Bumbershoot flyer. 

Opening act Arushi Jain didn't fare as well with the crowd, from what I could glean from my vantage point near the stage and judging by the loud chatter emanating from the back of the room. She drew heavily from her latest album, Delight , one of the year's best. A few seconds into her first tune, somebody exhaled a huge plume of smoke skyward as Jain manipulated an angelic motif on her modular synth, whose tangle of patch cables gave me a migraine just looking at it. The music was a paragon of exploratory and tranquil ambient, evoking chillout tents at '90s raves. 

It's almost unfair that Jain can sing so beautifully and emotively while also creating music of such sublime radiance. However, her bass frequencies appeared to be too much for the Crocodile's system, distorting into muddiness. Delicate high frequencies got obscured by the murky low end.

Jain's set peaked when her wraith-like vocals rippled in psychedelic recursiveness over artfully disjointed beats. There were a couple of shocking detours into Meat Beat Manifesto-esque industrial chaos, which was appreciated. But Jain's forte remains ambient music of devotional allure and textural nuance. Unfortunately, her set didn't shine as brightly as it did when Jain opened for Suzanne Ciani at Seattle First Baptist Church last year.

After Jain finished her performance, a guy behind me said, "It'll be nice to hear something rhythmic." Don't ever be that guy.

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