SOU’WESTER EVENTS!
Discover what’s happening during your next stay or plan a visit around our free live music, workshops, wellness offerings and more!
Bike Decorating Party
Bring your bicycle or decorate one of ours. We’ll have decor items but all are welcome to bring your own potential bike-bling if you have it too.
Baby Strollers, Skateboards, Unicycles, and Wagons can be decorated too!
Then join us on July 4th to, roll, walk, stride or stroll, in the July 4th Seaview Neighborhood Parade at 10am. For the July 4th parade: meet at the Sou’wester at 9:45am or at the start of the parade in Seaview on 34th and K. FUN! Free and Open to the public. Activity for Adults and Parent Guided-Kids.
Welcome Lonesome Leash opening for Nick Jaina.
Nick Jaina is a musician and writer from Portland, Oregon. His most recent album, Primary Perception, was released in April 2013 on Fluff and Gravy Records. As the Portland Mercury said, “I’d feel embarrassed describing Nick Jaina as a genius outright, and I’m sure he’d hate that too, but it’s so tempting– because he is so clearly the real deal.” He is a co-founder and musical director of the Satellite Ballet and Collective in New York City. He has composed the music for three ballets and three contemporary dances with that group, featuring dancers from the New York City Ballet, Ten Hairy Legs, and Juilliard, performing at the Baryshnikov Center and the Joyce Theater. Their most recent performance was two sold-out shows at Brooklyn Academy of Music in May 2014. Of that show, the New York Times wrote, “[The] pure, pungent, earthy music for strings, piano, and percussion… was the most physically bracing part of the night.” He released his first book, Get It While You Can, a work of non-fiction, through Perfect Day Publishing in January 2015. It is a finalist for the 2016 Oregon Book Awards.
Lonesome Leash is the solo moniker of Los Angeles-based songwriter and multi-instrumentalist Walt McClements. Known for previous involvement in Dark Dark Dark, Hurray for the Riff Raff, and Why Are We Building Such A Big Ship?, McClements, as Lonesome Leash, channels all of his musical experiences into a lean and gorgeously messy solo affair.
Acclaimed songwriter Catherine Feeny met jazz drummer Chris Johnedis after recording her rebellious fourth solo album. She had just come back from the Occupy Wall Street protests in New York, and he was returning from 2 years of working and studying in Thailand. The two hit it off, and Johnedis helped translate the varied rhythms of “America” — which ran the gamut between vintage drum machine sounds and captured field recordings — into a live show setting.
Two years later, working with producers Sebastian Rogers (Floetry) and Sheldon Gomberg (Ben Harper, Ricki Lee Jones), in a live four-day session in Silverlake, CA the two create a universe of sound that is sparse and propulsive, yet playful, for their eponymous debut as a duo.
Catherine’s career as a solo artist began with Joe Purdy recording her first album, a self-titled affair that garnered acclaim for its compelling songwriting and stark, nostalgic feel. The album won Feeny an audience in Belgium where it was championed by French-language radio station Classic 21.
However it is Feeny’s second album, 2005′s “Hurricane Glass,” for which she is best known. The song “Mr. Blue” was picked up by KCRW in LA, and later featured in “Running with Scissors,” “The O.C.,” and “Miss Conception.” The attention won by “Hurricane Glass” resulted in the album being picked up by EMI Records.
Catherine is teaching a songwriting workshop here at the Sou’wester Tuesday July 12th, Wednesday July 13th and Thursday July 14th, so this performance will be a real treat. Songwriting at its best.
Join us in Welcoming Invisible Familiars opening for Jolie Holland.
Over the span of her career, Jolie Holland has knotted together a century of American song—jazz, blues, soul, rock and roll—into some stew that is impossible to categorize with any conventional critical terminology. “Jolie Holland flows back and forth and in and out of genres like water trickling in a stream, from pedal steel cowgirl to smoky jazz diva, from soul and gospel devotee to indie chanteuse, all within the parameters of what we think of as the singer/songwriter tradition. She has a sensuous voice, marbled with a richness that’s utterly satisfying.” ~from Editors’ Notes – iTunes
Wine Dark Sea came out May 20th, 2014 on ANTI- Records.
Jolie Holland photo by Shervin Lainez Invisible Familiars photo by Nathan West
“Invisible Familiars’ debut album, Disturbing Wildlife, is out now! The band signed to Other Music this past spring, releasing the 7” single “Clever Devil” b/w “Digger’s Invitation” in June. Stereogum called it, “T. Rex in a funhouse of horrors,” advising, “Let it cast a spell on you.” Invisible Familiars is led by Jared Samuel, a New York City-based songwriter and multi-instrumentalist who has long made his living playing music and supporting a variety of NYC artists – from Sharon Jones to Martha Wainwright, and most recently, Cibo Matto and the Ghost of a Saber Tooth Tiger.” ~www.othermusicrecordingco.com
Join us in welcoming Espacio Flamenco to The Sou’wester!
BUILDING FLAMENCO HEARTS
Our goal is to create a space where flamenco arts and culture can be experienced, explored, learned and refined. We provide instruction, performance, and special events that encourage individual expression as well as collaboration and exchange among artists. We want to share our love of Flamenco with our community!
Brenna McDonald – Guitar
Randa BenAziz – Vocals
Lillie Last – Dance
Montserrat Andreys – Dance
Christina Lorentz – Dance/percussion
Nick Hutch – Cajon
Performing a special stripped down acoustic set, The Sou’wester Lodge welcomes Lost Lander with Garth Steel Klippert of Old Light playing a short solo piano set!
Before she died, Matt Sheehy’s mother used to tell him about a dream she had about Lost Land Lake—a place she spent part of her mid-western childhood. That dream inspired the name of the Juneau-born, Portland-based songwriter’s band, and her memory is imbued in Medallion, their second album. If DRRT, the group’s first independently released album, was about the confluence of nature and technology, Medallion, its latest, concerns dualities – experiences of love and loss, impermanence and longevity, death and rebirth.
The confrontation of these dualities resulted in a set of songs that explore “more human territory,” according to Sheehy, a professional forester who spend his days in Oregon’s immense wooded expanse – where he collects data while occasionally dodging 1,000-pound bull elks and the stray hunter’s bullet.
The coming-apart of Sheehy’s marriage engagement and nearly concurrent loss of his mother, followed closely by the blooming of a relationship with longtime friend and bandmate Sarah Fennell, heavily influenced the lyrics on Medallion.
“It was almost like a switch flipped,” Fennell says. “It took us a while to figure out what that meant.” The 80s British synth-pop influenced ““Gemini” deals very directly with the danger I felt in getting closer to Sarah,” says Sheehy, while Paul Simon-esque world folk number “Flinch” is a direct response to his mom’s passing.
Yet not all the songs are so directly autobiographical: “Feed the Fever” was based on a TV interview with NSA whistleblower Edward Snowden; the lyrics are direct quotes from the transcript. The swirling world beat psychedelia of “Trailer Tracks” was written whilst secluded in an Airstream during a writers’ retreat. The wide-screen Blue Velvet epic “Alpine Street” is a cinematic dream of suburban domesticity, cut with an undercurrent of sadness and dread. “Nothing lasts forever,” Matt observes. “And the seeds are already planted for the change that’s inevitable.”
Sheehy took the seeds of the songs into “the idea factory/workshop that is Brent Knopf’s brain,” he relates, “where he spits out all the bells and whistles that we hang on those structures.”
The new songs, recorded with producer Knopf (Ramona Falls, Menomena), also owe their current form to Sheehy’s bandmates; keyboardist Fennell, drummer Patrick Hughes and ex-bassist Dave Lowensohn. Medallion also features Beirut trumpet player Kelly Pratt, Akron/Family’s Dana Jenssen, and new bass and guitar player, William Seiji Marsh.
After the 2011 release of DRRT, Lost Lander went on tour for almost two years, playing 140 shows in the US, Canada, Europe, and Russia, where their collective experience resulted in the camaraderie and tightness that went into the making of Medallion. “For me, this band has been a dream come true” says Sheehy. The music business in general may be pessimistic, but not everyone in it is. We’re excited to go towards enthusiasm.”
Medallion is all about wrenching joy from despair, of finding the permanent within the temporary. “This record is an exclamation of love and loss,” Fennell declares. “It’s emotional, dealing with life in an exuberant way, even if it’s sad, hard, wonderful, and crazy. We’re all just lucky to be here to experience it.”
Country music was not always about glitz, glamour and praising the red, white and blue. In its earliest inception, it was a means for communities and families to get together, quaff whiskey from jugs and mason jars, and share stories about the hardships of life. While most mainstream country artists like to ally themselves with “real” country, few of them come within a good squirt of tobacco juice of it.
Leave it to Portland, Ore.’s Lana Rebel to hit the mark. Dusty roadhouses and the front seats of beat-up Chevys are the landscapes for her broken hearted tales, delivered in a sweet alto with just enough instrumentation to keep it interesting. Don’t expect boot-kicking barnstormers here, or sassy odes to “redneck woman” power; these are love songs, and Lana knows that that is one four-letter word that often rides with hurt.
Lana avoids many of the clichés of country music, like annoying vocal inflections and clever turns of phrases that are just too predictable. Her music falls somewhere between The Virginian-era Neko Case and Mary Gauthier records. If sad songs don’t drive you to drinkin’, and if tales of woe don’t bring you down, this record will be your friend.
The Sou’wester is so excited to have these two ladies joining us!
Rebecca Clay Cole is a musician from Great Crossing, KY. She has played a multitude of keyboards, drums, and/or percussion instruments in many bands including The Minders, Wild Flag, Rebecca Gates & the Consortium, and Portland Cello Project. She currently plays keytar in Portland’s own Chanti Darling and keyboards in Seattle’s Telekinesis, in addition to performing and recording her own music as Clay Cole.
Rebecca Gates is a US based musician, curator, artist and audio editor. She has released five albums, three as leader of the critically acclaimed group The Spinanes (Sub Pop), toured internationally and appeared as a vocalist on numerous records by artists as wide ranging as The Decemberists and Willie Nelson. Her record Ruby Series was hailed by Spin Magazine as “warm, thoughtful, and melodically gorgeous.”
A swing group from Portland, OR inspired by 1920s-40s swing, hot jazz, Louis Armstrong, Charlie Christian, Django Reinhardt and Stephane Grapelli, Les Paul and Mary Ford. From Brazilian to Bebop to Bach, to Parisian musette waltzes; this Guitar and Cello fronted ensemble comes in a lot of combinations, additional players, and permutations but always employs the freedom and spirit of improvisation, a good time, and simply enjoying and loving life.
Sharing vocal and songwriting duties, Birger Olsen, Mike Elias and Tom Bevitori are the heart of Denver, while the rest of the line-up has long included several of Portland’s finest players. Currently, the band consists of drummer Sean MacNeil, bassist Billy Slater (Grails) and the legendary Lewi Longmire on lead guitar. Past and future editions include Blitzen Trapper’s Eric Earley and Michael Van Pelt, Ben Nugent (Dolorean), Ryan Spellman (Quiet Life), Ray Raposa (Castanets), Tom Menig and many others.
Paste praised their 2012 self-titled debut’s “perfect tunes,” while KEXP hosted a live session and proclaimed, “sweet harmonies and tight arrangements abound.” Statements like these become all the more relevant with their upcoming release, Rowdy Love, as Denver teamed up with Earley and Adam Selzer (M. Ward, Norfolk & Western) for their first trip to a proper studio. Recorded live in just two days at Selzer’s Type Foundry Studio, Rowdy Love certainly showcases all the endless chops at Denver’s disposal.
The record’s true focus, however, lies in the rare way Olsen, Elias and Bevitori’s distinct voices co-exist. There’s a natural melding of styles that’s evolved from afternoons on Olsen’s back porch, late night’s around Elias’ fire pit, and every last time they’ve nailed “The Weight” harmonies at the old Triple Nickel. Denver’s three songwriters may come to the process with varying style and influences, but Denver’s songwriting is universally honest and bare, whiskey-fueled, sweat-soaked, and steeped in working class life. Some might call it country. Some might call it rock. Some might call it a few drunks on a stage. Either way, bullshit and irony have no home here.