Collective Release Fire 

Outside in the trailer court in front of the lodge, we will gather into an expanded moment of presence with the weight of the world, a time of reverence through lively celebration of the complexity of existence in togetherness, where whatever wishes to unfold may do so naturally through the intentional lighting of a fire.  There will be pieces of paper and pens on which to write and reflect and then offer the writings into the fire, instruments with which we can play, and an invitation to donate whatever resources are available, financial or otherwise, to Source Food and Goods, a group offering community aid to the local Palestinian community in Portland, OR .

*No drinks in public. Quiet hours after 10p.

Maria DeHart

Live at The Sou’wester

Presented by Sou’wester Arts

Since her early days of musical performance, Maria DeHart has been on a continuous journey of building her sound. Starting in 2018, the Portland, Oregon-based artist has traveled through a few distinct phases, going from acoustic songwriter to loop-pedal expert to full band frontperson. Her newest release, an EP called “Win Some, Lose Everyone” on the east coast-based indie label Self Aware Records, is a brief yet strong run of filled-out songs that signals a development in DeHart’s self-actualization. While prepping for its release, DeHart came to the realization that this would be the perfect time to adopt an official name for her project, Myriads, which nowadays includes much collaboration and feels significantly bigger than just herself.

Recorded mostly in her bedroom and a backyard practice space belonging to her bandmate and partner Sean Cooper, the four tracks that make up the EP build off of her acoustic beginnings and introduce a heavier and fuller sound to DeHart’s musical repertoire. She enlisted emo legend Peter Helmis, a good friend and musical collaborator, to mix the tracks and Chris Baglivo, a Philly-based audio engineer, musician, and producer, to master them. Her production choices are no coincidence; DeHart’s music has a place in the universe of today’s emo and shoegaze revival. In the sharp, overdriven guitar riffs and verbed-out vocals, you can hear her influences– there are distinct nods to bands like Tigers Jaw, Pity Sex, and Turnover. Above all, in her authentically vulnerable lyrics and thoughtful storytelling, she pays homage to the work of today’s influential femme artists, including Snail Mail, Waxahatchee, Phoebe Bridgers, and Wednesday. 

DeHart is proud to be a part of the world of non-male musicians writing thoughtful and heartfelt music that communicates strength and badassery. At the same time, she writes about the struggle of living with a marginalized identity; in the EP’s concluding track, “Whore,” she explores the reality of navigating relationships as a sex worker. Her lyrics hit like a truck; during the musical and emotional climax of the track, she laments, “Thought that nobody would want me / worn out body, I’m a whore.” DeHart’s intentional emotional transparency, sometimes painfully honest and always woven together with meticulously layered instrumentation, compels listeners to enter a dreamy, introspective space that encourages them to open up, explore, and just rock out.

Tomo Nakayama Live at the Sou’wester

“When music journalists say things like ‘this artist is a fixture in Seattle music,’ there’s probably no one right now who fits that title better than Nakayama.” – KEXP

Born in Japan and raised in Seattle, Washington, Tomo Nakayama is an artist whose melodic, complex and emotionally compelling music has been praised by NPR, New York Times, and The Stranger. Beginning as frontman of the indie rock bands Asahi and Grand Hallway and a successful solo career spanning two decades as a singer, songwriter, composer, producer, actor, and curator, Nakayama has become one of the most active and recognizable figures in Seattle music.

After the critically acclaimed indie-folk albums “Fog on the Lens” and “Pieces of Sky” (named “Best Folk Act” by Seattle Weekly), Nakayama surprised his fans by releasing his latest album “Melonday” (on Porchlight Records), a collection of instantly memorable and undeniably danceable synthpop songs. Co-produced by Yuuki Matthews (The Shins, Sufjan Stevens) and mastered by Dave Cooley (M83, Paramore, Tame Impala), “Melonday” was named one of the Top Albums of the year by Seattle Times, KEXP, and Seattle Met Magazine, and debuted at #1 on KEXP’s NW Charts. The following year he composed the music for Megan Griffith’s feature film “I’ll Show You Mine” and the KUOW podcast “Ten Thousand Things” hosted by Shin Yu Pai, and collaborated on a song with Dave Matthews for SMASH (Seattle Musicians Access to Sustainable Healthcare).

Nakayama has toured across the US and Japan, sharing the stage with Built to Spill, Thao, Cornelius, Daði Freyr, Fleet Foxes, Michael Hurley, Sons of Kemet, Ben Gibbard, Fruit Bats, Damien Jurado, Buffalo Daughter, Wye Oak, and Shugo Tokumaru. He has performed and collaborated with Sera Cahoone, Jherek Bischoff, Jeremy Enigk (of Sunny Day Real Estate), and experimental dance company Malacarne. He also composed music and appeared as an actor in the Lynn Shelton film “Touchy Feely” with Elliot Page and Rosemarie DeWitt. A former Artist in Residence at Seattle’s Town Hall, his sound installations and compositions have also been featured at the Museum of Northwest Art and Wing Luke Museum.

Nevada Sowle Live at the Sou’wester

You’d expect most musicians from Northern Idaho to be immovably rooted in folk, country, and Americana stylings, but Nevada Sowle doesn’t let that landlocked positioning define his sound. Constantly seeking to find new tones both acoustic & electronic, unique yet familiar, Sowle’s catalogue fits most snuggly into the category of Pop – but don’t let that word deter you if you’re a stickler for quality lyrical content and well-thought-out composition. Having spent the past few years recording and touring the west coast with acts like Bart Budwig, Desolation Horse, MAITA, Joseph Hein, and An American Forrest, Sowle has found time in between green rooms and sound booths to develop a style that will help define the sound and style of the Pacific Northwest.

Girlgoyle: Live at the Sou’wester

FREE & OPEN TO THE PUBLIC

Jonah Sissoyev Live at the Sou’wester

FREE AND OPEN TO THE PUBLIC

Jonah Sissoyev finds himself on the road often living between a black T shirt and blue jeans, a Walmart parking lots and gasstations. Since the release of SHADOW OF THE SUN Jonah has spent most of His time touring around the country in cities such as Los Angeles, Nashville, and New York.

Night Brunch Live at The Sou’wester!

FREE AND OPEN TO THE PUBLIC

Night Brunch (Portland) brings their dense vocal harmonies and jangular guitar riffs but leaves a few decibels at home for an intimate “Light Brunch” version of their timeless groovemath. 

Contemplative Rest Retreat

Contemplative Rest: Our Basic Peace Work
A weekend-long retreat with M Freeman
Fri, Feb 9 @ 7:00pm – Sun, Feb11 @ 11am

In-person only at:

Ancient Pools: Presented by Sou’wester Arts

FREE AND OPEN TO THE PUBLIC

Ancient Pools is the home recording project of husband and wife duo Vin Christopher and Anna Jeter. They have a soft approach to pop music. Warm, lush synth chords, watery guitar playing and crystalline vocals aim to usher listeners to a calm and peaceful place. 

Ollella Live at the Sou’wester

Ollella’s (pronounced oh-lel-uh) career as a musician started early, when she sang before she could talk. Trained as a classical cellist since the age of nine, the Seattle indie-folk musician merges her technical string background with authoritative vocals and live-looping. Described as “really outstanding” by NPR Music’s Bob Boilen and “so tastefully done” by Michelle Zauner (AKA Japanese Breakfast), Ollella blends the acoustic with the contemporary, folk with pop, and tenacity with softness, pulling on influences such as Feist, Cat Power, and Sylvan Esso. She was a finalist in the 2022 NPR Tiny Desk Contest, has had music featured in film festivals and on TV, and is a frequent collaborator with others. She finds herself drawn to music because it unlocks a particularly organic flavor of humanity – one that fits the type of world she believes in.