etix

Mississippi Studios


Oct
21 Thu
Image for Marty O'Reilly & The Old Soul Orchestra

Marty O'Reilly & The Old Soul Orchestra

Portland, OR
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+ DOS: $22.00

TICKET SALE DATES
GENERAL ADMISSION 21+ DOS Public Onsale: October 21, 2021 12:00 AM to October 21, 2021 10:00 PM

PERFORMANCE DESCRIPTION
*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*



w/ Margo Cilker

Marty O'Reilly & The Old Soul Orchestra


Just when you think American roots music should be relegated to the dusty confines of a purist’s museum it will surprise you with a paradigm shift. Take MartyO’Reilly & the Old Soul Orchestra— passing through tradition, the quartet stumbled upon innovation, proving that old souls can be creatively fresh.


The Santa Cruz, California-based quartet’s latest, Stereoscope, out February 9, 2018, marks an evolutionary leap in a journey of artistic identity, songwriting maturity, band friendship and fiery group synergy. Here, Marty O’Reilly & the Old Soul Orchestra homed in on their signature cosmic roots aesthetic, brimming with cinematic songcraft, impressionistic lyrics, clever arrangements, telepathic ensemble interplay, and soulfully world-weary vocals. Imagine the delta blues reprised by psychedelic indie rockers.



ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY
Oct
22 Fri
Image for SOLD OUT: Frazey Ford

SOLD OUT: Frazey Ford

Portland, OR
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information

PERFORMANCE DESCRIPTION
*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*



Due to the continued impact of the coronavirus, the Frazey Ford show at Mississippi Studio— originally scheduled on 3/19/2020 and postponed to 11/6/2020—has been rescheduled to 10/22/2021. All tickets for the original show will be honored on the new date.


Frazey Ford


On her third album ​U kin B the Sun​, Vancouver-based singer/songwriter Frazey Ford inhabits an entire world of shapeshifting rhythm, elevating every beat and groove with the subtle magnetism of her mesmerizing voice. With its graceful collision of soul and psychedelia and sometimes ’70s funk, it’s a body of work that invites both self-reflection and wildly joyful movement, and ultimately sparks a quiet transcendence.


At turns ecstatic and heavy-hearted, gloriously shambolic and deeply purifying, ​U kin B the Sun ​is the outcome of a certain personal transformation that Ford has experienced in recent years. “I used to speak more in metaphors, but this album came out in a much more raw and direct way,” she says. “I’d say that’s a result of being more in my body and more in touch with the wholeness of anger, with taking up space and having boundaries. On this record I freed myself from the folk-writing format, and it’s been a whole different exploration for me.”


In a departure from the guitar-driven and largely solitary songwriting that’s defined Ford’s previous work, much of ​U kin B the Sun​ took shape from spontaneous collaboration with her ​longtime bassist Darren Parris and drummer Leon Power. Over the course of several late-night sessions in the thick of summer 2018, the three musicians joined producer ​John Raham in dreaming up a brilliantly untethered sound, recording as they improvised and continually tapping into their potent camaraderie.​ “I was excited to let go of control and to see where Darren’s bass lines would take my melodies,” Ford recalls. “There’s this intimacy that exists within the band now, and I wanted to explore how that would feel in the writing process.”


ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY
Sold Out
Oct
23 Sat
Image for CANCELED: Fiddlehead

CANCELED: Fiddlehead

Portland, OR
United States
Doors at 3:00 PM, Show at 3:30 PM
 More Information

PERFORMANCE DESCRIPTION
Fiddlehead wasn’t supposed to make a second record. But, if we’re being totally honest, they weren’t supposed to make their first record either. Formed in what singer Pat Flynn describes as “a deeply, deeply, laughably depressing part of my life,” Fiddlehead was born with modest intentions. Flynn and his then-roommate, guitarist Alex Dow, decided to work on some songs, and with Basement having just broken up, guitarist Alex Henery entered the fold. Drummer Shawn Costa and bassist Adam Gonsalves—who has since been replaced by Casey Nealon—linked up with them and, all together, they wrote what would become the Out Of The Bloom EP. Those five songs established what Fiddlehead would be, a band that merged elements of post-hardcore, post-punk, and classic ‘80s emo into something that felt distinctly theirs.

After the release of their debut album Springtime & Blind, the band did some weekend-long tours, and saw that their music was hitting people harder than they ever expected. “Kids were singing along in a very desperate way and we realized it wasn’t just resonating with us, it was resonating with these people in a really meaningful way,” says Flynn. Springtime & Blind was a hit for many reasons, but chief among them was Flynn’s open-hearted exploration of his father’s passing, which saw him use his lyrics as a means of relating to and understanding his mother’s grief. So when it came time for Fiddlehead to work on a second record, people weren’t just curious what the songs would sound like, they were curious what they’d even be about.

But at the center if it all is Flynn. He’s a different person than he was on Springtime & Blind, because he’s now a father himself. And that experience colors the journey he goes on throughout the album. “We started writing this record two weeks after my son was born, and I think it’s a really great way for him when he’s older—and when I’m gone—to say, ‘My father wrote this in the first year of my life. What does that mean?’ Lyrically, I tried to show that there were a lot of profound moments in my life, and in the last song, I tried to write what was explicitly a letter to him.”

That last song, “Heart To Heart,” is emotionally wrenching, as Flynn explains to his son what it means to experience profound joy and life-altering loss all at once. “The name of the record is called Between The Richness because it’s important to me to explore the weird feeling of happiness and sadness, because that’s just where I am right now,” says Flynn. “My son’s name is Richard and my father’s name is Richard, so it’s literally between the two of them, but it’s the richness of life and the richness of death. It was important for me to capture that perfectly paradoxical feeling; That was the problem I was trying to solve on this record. And I don’t think I solved it, but I definitely feel less stressed out and befuddled by that weird clashing of happiness and sadness.”

ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS ALL AGES
Not On Sale
Oct
23 Sat
Image for Riley Downing w/ Kassi Valazza

Riley Downing w/ Kassi Valazza

Portland, OR
United States
Doors at 8:30 PM, Show at 9:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+: $15.00

TICKET SALE DATES
GENERAL ADMISSION 21+ Public Onsale: July 1, 2021 9:00 AM to October 23, 2021 12:00 AM

PERFORMANCE DESCRIPTION

*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*



Mississippi Studios Presents
Riley Downing
w/ Kassi Valazza,
Tommy Alexander
Saturday, October 23, 2021
Doors - 8:30pm 
Show - 9pm


 


Riley Downing


You may know Riley Downing from his work with acclaimed New Orleans combo the Deslondes, or perhaps from his similarly rootsy and wide-ranging catalog of songs with the Tumbleweeds – indeed, the Missouri-based singer-songwriter’s ability to set gripping, evocative narratives within soundscapes that weave together country, blues, folk, r&b, bluegrass, rock, soul and whatever else catches his ear is something that, once you hear it, is hard to shake free from. Same goes for that voice – deep, dusty and drawling, it’s an instrument that can stop you in your tracks with its character and expressiveness, as well as through Downing’s knack for laying out complex emotions in plainspoken, direct language.


For Downing, it all stems from an organic and intuitive approach to songwriting and playing. “I just try to write and sing about life as I live it,” he says simply. All those little bits of life are on full display on Start It Over, his first-ever solo album. From the protagonist in the opening country-soul jam “I’m Not Ready”  (“Everybody’s rushin’ / I’m movin’ at my own speed”), to the cratedigger in the breezy “Start It Over” who seems as enamored of his old records as he is with his girl (“She was a 45 woman and I’m a 45 man”) to the overworked nine-to-five-er caught in a cycle of long days at work, late nights at home, followed by hungover mornings (“Long line of trouble / Troubles old and new / Once I was happy / But those days are through”) in the psych-folk lament “Crazy,” the 12 tracks collected on Start It Over unravel in a way that feels instantly relatable, as if Downing could be talking about you, me, or any one of us and doing it with the ease and empathy of a man who’s clearly been there, done that, and lived to play another day.



ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY
Oct
26 Tue
Image for MAN ON MAN

MAN ON MAN

Portland, OR
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+: $13.00

TICKET SALE DATES
GENERAL ADMISSION 21+ Public Onsale: September 29, 2021 10:00 AM to October 26, 2021 12:00 AM

PERFORMANCE DESCRIPTION
*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*

w/ Jame Doe


MAN ON MAN


Two bodies dancing hot in the New York City winter before being pushed inside for the rest of 2020. Two hearts that, in the span of 6 months, faced the loss of both of their mothers, the matriarchs that bore them to this planet full of wonder. They held on tight to the beauty of living, together. With this shared language and the confines of quarantine they lost and loved even harder. Battling packed boxes and lost jobs, the two celebrated their tragic journey with broad shoulders forcing power chords and the harmonized chants of utter release. They huddled together for the future while leaking their hearts into pop melodies that collide effortlessly with both a shared melancholy and simultaneous hope.

MAN ON MAN (also M.O.M.) is a new gay lover band made up of Joey Holman (HOLMAN) and Roddy Bottum (Faith No More, Imperial Teen, CRICKETS, Nastie Band). Their upcoming self-titled record, ​MAN ON MAN,​ is infused with indie-rock distortion and soaked in gay pop confidence while still maintaining the acerbic and pure sense of humor they both share. M.O.M.‘s music videos take their magical collaboration to another level with otherworldly cinematographic dimension, and of course, the subversive playfulness of two gay lovers unmistakably flirting with their audience and each other. Upon the release of their debut single, “Daddy”, their video (chock full of the pair dancing seductively in their white briefs) was removed from YouTube for violating their “sex and nudity policy.” At this moment, the band solidified their political visibility as queer artists who are not ok with being silenced or removed from history because of their age or size. Bottum told Rolling Stone, “​There’s enough representation in the gay community of young, hairless pretty men.​” Roddy and Joey’s love for each other and their own bodies, histories, and truths are what make this project so tender and lovable.

It is hard not to be captivated with MAN ON MAN’s story, as they pass through pandemic lockdowns in a rented pickup truck. Through hotels, rest stops, mountaintops, desert mirages, back roads, beaches, and hospital rooms, the layering of space and time allows us to grasp onto each moment individually and together as a whole. When we fall into their world (which was self-produced with mix support by Grammy-award winning producer Carlos de la Garza [M83, Paramore, Jimmy Eat World] and Mike Vernon Davis [Foxing, Great Grandpa]), we witness MAN ON MAN’s deep intensity of falling in love while mourning, and the epic collaboration of two lovers that traverse the map of a COVID road trip.

MAN ON MAN is more than a band, it is a partnership of two beautiful queers who are committed to creating a language that is both musical and visual, and that transcends what we know of gay music at exactly the cultural moment we need them. As individuals, lovers, sons, community pillars, and human beings, M.O.M. are a womb to be reckoned with.


ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY
Oct
27 Wed
Image for Mbrascatu Album Release

Mbrascatu Album Release

Portland, OR
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+: $15.00

TICKET SALE DATES
GENERAL ADMISSION 21+ Public Onsale: September 17, 2021 10:00 AM to October 27, 2021 12:00 AM

PERFORMANCE DESCRIPTION
*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*



w/ Sarah Clarke

Mbrascatu
 a cross-pollination of numerous influences, including spaghetti Westerns, immigrant dance music of Eastern Europe, psych rock, folk, to create a unique blend of sounds. Along with bands like Calexico, Devotchka and Gogol Bordello, they infused modern indie music with a global flavor. Mbrascatu was formed in 2010 in Portland, OR by singer-songwriter and guitar player Andrea Algieri. They recorded their debut album, Mbrascatu (self titled) in 2012, followed by Tempo 2014, Elementi 2016, Tutto Cambia 2021 

Sarah Clarke

Sarah Clarke is a Portland, OR native, best known for fronting high energy funk ensembles (Dirty Revival, Outer Orbit, PDX Funk Revue). She’s performed with numerous acts throughout the years, sharing stages with groups like Ghost-note, Blossom, Moorea Masa and the Mood, Yak Attack, March 4th Marching Band, Con Brio, and many more. With a focus on advocacy and family, Sarah has been making a name for herself as a strong front woman, songwriter and bandleader. 


ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY
Oct
28 Thu
Image for TK & The Holy Know-Nothings Night 1

TK & The Holy Know-Nothings Night 1

Portland, OR
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+: $18.00

TICKET SALE DATES
GENERAL ADMISSION 21+ Public Onsale: September 10, 2021 10:00 AM to October 28, 2021 12:00 AM

PERFORMANCE DESCRIPTION
*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*

For the past several years, there's a good chance you'd find TK & The Holy Know-Nothings songwriter and lead vocalist Taylor Kingman onstage at the LaurelThirst. Portland's oldest independent venue has long been a lifeblood for artists like Kingman. It's a sort of misfit stronghold -- a sanctuary for the same kind of spirit that sustained local punk legends Dead Moon and outsider folk hero Michael Hurley. Rejecting the influence of fleeting scenes, foodies and encroaching developers; it's stayed in tune with its muddy patrons who've carved out lives as blue collar artists for generations. It's here that Kingman earned the respect of his community.

Western country isn't southern country. It's a sound as rough-hewn and alluring as the western landscapes it comes from. Its heroes are outsiders on a path set by a stubborn devotion to the truth of things, no matter how dirty or tender. Its misfit poetry is addled by influence, scarred by hard luck, and haunted by the eternally drifting, lonesome heart of a cowboy. Its sound is accessible and human in its pure honesty, but it's one that's too big to be tamed. Ultimately, it belongs to the great darkness you'll only find in the wild, open expanse of the West.

Following this lineage on their debut album Arguably OK, TK & The Holy Know-Nothings cites Doug Sahm, The Holy Modal Rounders, The Flatlanders, Dan Reeder, and Jeffrey Frederick & the Clamtones as strong influences. For Kingman, though, it's Terry Allen's 1979 art country gem Lubbock (on everything) that's most affected his songwriting. Like Allen, Kingman writes with delicacy about indelicate things. The songs on Arguably OK are about dead ends, addiction, self-sabotaged relationships, drug trips gone bad (or good? or both?), and, above all, holding out for the real thing. His lyrics are tightly crafted and profoundly paradoxical; simultaneously self-deprecating and unapologetic, clever and crass, irreverent and tender; and sometimes riotously funny. Each song takes you somewhere unexpected, every phrase crafted with the same signature combination of dirtbag revelry and haltingly poignant poetry. He brings all of himself to these songs -- the honest, unglorified truth.

Arguably OK came together swiftly on the heels of Kingman's stark 2017 solo debut Wannabe. The morning after Wannabe's release party, the band left Portland and drove across the state to the prairies of northeast Oregon to make a very different album. Arguably OK was recorded in three days in Enterprise, a quiet cowboy town at the foot of the snow-capped Wallowa Mountains. It was made live, with no overdubs, on stage at the historic OK Theatre, where most of their budget was spent on keeping the heat on. Built in 1918, the theater is a striking testament to the old west. After putting their name on the old marquee, TK & The Holy Know-Nothings went to work. Engineered on the fly by Thompson with the help of old buddy and local theater resident Bart Budwig, the band recorded the entire album by way of whole set run-throughs, stopping only at the end of each day to kick back in the theater's seats and listen through its speakers. 


ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY
Oct
29 Fri
Image for SOLD OUT: TK & The Holy Know-Nothings Night 2

SOLD OUT: TK & The Holy Know-Nothings Night 2

Portland, OR
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information

PERFORMANCE DESCRIPTION
*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*

For the past several years, there's a good chance you'd find TK & The Holy Know-Nothings songwriter and lead vocalist Taylor Kingman onstage at the LaurelThirst. Portland's oldest independent venue has long been a lifeblood for artists like Kingman. It's a sort of misfit stronghold -- a sanctuary for the same kind of spirit that sustained local punk legends Dead Moon and outsider folk hero Michael Hurley. Rejecting the influence of fleeting scenes, foodies and encroaching developers; it's stayed in tune with its muddy patrons who've carved out lives as blue collar artists for generations. It's here that Kingman earned the respect of his community.

Western country isn't southern country. It's a sound as rough-hewn and alluring as the western landscapes it comes from. Its heroes are outsiders on a path set by a stubborn devotion to the truth of things, no matter how dirty or tender. Its misfit poetry is addled by influence, scarred by hard luck, and haunted by the eternally drifting, lonesome heart of a cowboy. Its sound is accessible and human in its pure honesty, but it's one that's too big to be tamed. Ultimately, it belongs to the great darkness you'll only find in the wild, open expanse of the West.

Following this lineage on their debut album Arguably OK, TK & The Holy Know-Nothings cites Doug Sahm, The Holy Modal Rounders, The Flatlanders, Dan Reeder, and Jeffrey Frederick & the Clamtones as strong influences. For Kingman, though, it's Terry Allen's 1979 art country gem Lubbock (on everything) that's most affected his songwriting. Like Allen, Kingman writes with delicacy about indelicate things. The songs on Arguably OK are about dead ends, addiction, self-sabotaged relationships, drug trips gone bad (or good? or both?), and, above all, holding out for the real thing. His lyrics are tightly crafted and profoundly paradoxical; simultaneously self-deprecating and unapologetic, clever and crass, irreverent and tender; and sometimes riotously funny. Each song takes you somewhere unexpected, every phrase crafted with the same signature combination of dirtbag revelry and haltingly poignant poetry. He brings all of himself to these songs -- the honest, unglorified truth.

Arguably OK came together swiftly on the heels of Kingman's stark 2017 solo debut Wannabe. The morning after Wannabe's release party, the band left Portland and drove across the state to the prairies of northeast Oregon to make a very different album. Arguably OK was recorded in three days in Enterprise, a quiet cowboy town at the foot of the snow-capped Wallowa Mountains. It was made live, with no overdubs, on stage at the historic OK Theatre, where most of their budget was spent on keeping the heat on. Built in 1918, the theater is a striking testament to the old west. After putting their name on the old marquee, TK & The Holy Know-Nothings went to work. Engineered on the fly by Thompson with the help of old buddy and local theater resident Bart Budwig, the band recorded the entire album by way of whole set run-throughs, stopping only at the end of each day to kick back in the theater's seats and listen through its speakers. 


ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY
Sold Out
Oct
30 Sat
Image for Birdtalker: The Tides Tour

Birdtalker: The Tides Tour

Portland, OR
United States
Doors at 8:00 PM, Show at 9:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+: $15.00

TICKET SALE DATES
GENERAL ADMISSION 21+ Public Onsale: August 6, 2021 10:00 AM to October 30, 2021 12:00 AM

PERFORMANCE DESCRIPTION
*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*



Mississippi Studios Presents

Birdtalker: The Tides Tour
w/ Lonas
Saturday, October 30, 2021
Mississippi Studios
Doors - 8pm
Show - 9pm



ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY
Oct
31 Sun
Image for SOLD OUT: R.I.P. City Halloween Party 2: Soft Kill with Fearing Now, Lesser Care and surprise guests

SOLD OUT: R.I.P. City Halloween Party 2: Soft Kill with Fearing Now, Lesser Care and surprise guests

Portland, OR
United States
Doors at 7:30 PM, Show at 8:00 PM
 More Information

PERFORMANCE DESCRIPTION

*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*



R.I.P. City Halloween Party 2: Soft Kill with Fearing Now, Lesser Care and surprise guests


Sunday October 31, 2021


Mississippi Studios 


7:30pm door, 8pm show






ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY
Sold Out
Nov
1 Mon
Image for CANCELED: Strand of Oaks

CANCELED: Strand of Oaks

Portland, OR
United States
Doors at 7:30 PM, Show at 8:30 PM
 More Information

PERFORMANCE DESCRIPTION
*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing available - Details here*

w/ The Still Tide

Strand of Oaks


To say In Heaven is about conquering grief would be oversimplifying everything Tim Showalter has achieved on the eighth studio album from Strand of Oaks. A stunning, hopeful reflection on love, loss, and enlightenment, In Heaven is a triumph in music making, and a preeminent addition to the Strand of Oaks discography. 


In late 2018, Showalter’s wife, Sue, lost her mother in a car accident. Soon after, Stan, the cat they both adored, was diagnosed with terminal cancer. Showalter quit drinking so he could take better care of his wife and help rebuild the life they shared. And within months, they decided to pack up and move across the country from Philadelphia to Austin, Texas. It was an irrational decision made at the height of a terrible time, but it’s one that shaped so much of what In Heaven is about.


In Heaven was recorded in October 2020 with Kevin Ratterman at Invisible Creature in Los Angeles. Carl Broemel (My Morning Jacket) is featured on guitar throughout the record, while James Iha (The Smashing Pumpkins) contributed vocals and guitar for “Easter.” Bo Koster (MMJ, Roger Waters) provided keyboards, Cedric LeMoyne (Alanis Morrissette, Remy Zero) bass, Scott Moore violin, and Ratterman monstrous drums. Showalter also played a lot of synth on this record, which he hasn’t done since 2014’s HEAL. With clean sounds, Jeff Lynne-esque acoustics, and sophisticated songwriting, he approached In Heaven in a more poised and pop-leaning way than his past releases.



ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY
Not On Sale
Nov
3 Wed
Image for Tokyo Police Club: 10th Anniversary of CHAMP Tour

Tokyo Police Club: 10th Anniversary of CHAMP Tour

Portland, OR
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+: $20.00

TICKET SALE DATES
GENERAL ADMISSION 21+ Public Onsale: June 18, 2021 10:00 AM to November 3, 2021 12:00 AM

PERFORMANCE DESCRIPTION

*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*



w/ Said The Whale


If the universe had tilted the tiniest bit, there would be no TPC—the not-quite self-titled fourth (and best) Tokyo Police Club album.
 


By 2016, singer-bassist and chief songwriter Dave Monks had settled into life in New York City; he made a solo record and did some co-writing. Drummer Greg Alsop was living and working in L.A. Keyboard player Graham Wright and guitarist Josh Hook remained in the band’s native Canada. Tokyo Police Club created songs via e-mail, thinking they had enough natural chemistry and experience to make that setup work. But eventually, the lack of friction meant there was less musical spark, and it dawned on everybody that the end was near. There was resignation, not anger, when Wright, Alsop, and Hook told Monks they were done with the band. They didn’t expect him to disagree. 


But Monks said this: “Fuck no. Definitely not. Hear me out.”


“Let’s make this band feel like a band we would want to be in again,” Monks implored his bandmates. “Let’s make it about being present for the moments that are important more than about being devoted to some rock stardom fantasy. We at least gotta go make Abbey Road first, and go out with a bang. You don’t have to give me five records. Just give me a few more rehearsals and some studio time and then we’ll figure it out.”


To that point, it had been a fun career built on self-imposed high pressure. Right out of the gate, TPC felt energized and unstoppable, with critics and fans on their side. But as the band and the world evolved, they began to feel diminishing returns, though no less pressure. “In the mid-aughts, we were quite the thing there for a second,” quips Wright. “Things started to level out for our career. Knowing that the tenth anniversary Lesson in Crime tour might be our last, I found myself really alert and drinking it all in. From that point forward, without even noticing, I started to enjoy every aspect of it.”



ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

VALID U.S. ID OR PASSPORT REQUIRED FOR ENTRY
Nov
4 Thu
Image for Uniform & Portrayal of Guilt

Uniform & Portrayal of Guilt

Portland, OR
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+: $16.00

TICKET SALE DATES
GENERAL ADMISSION 21+ Public Onsale: July 28, 2021 10:00 AM to November 4, 2021 12:00 AM

PERFORMANCE DESCRIPTION

*Proof of COVID vaccination required for entry. No exceptions*


w/ Body Void

Uniform What if the antihero in your favorite film or book had no chance to repent, reconcile, or redeem himself? There’s no victim to rescue. There’s no evil to thwart. There’s no tyranny to turnover. Instead of saving the day against his better judgment, he just walks a Sisyphean circle of existential malaise doomed to repeat yesterday’s vices without the promise of a better tomorrow. Rather than tell this story on the screen or on the page, Uniform tell it on their fourth full-length album, Shame. The trio – Michael Berdan (vocals), Ben Greenberg (guitar, production), and Mike Sharp (drums) – strain struggle through an industrialized mill of grating guitars, warped electronics, war-torn percussion, and demonically catchy vocalizations.


The lead-up to this moment proved just as intriguing as any of those characters’ exploits. Born in 2013, Uniform bulldozed a path to the forefront of underground music. Following Perfect World (2015) and Wake in Fright (2017), the group’s third offering, The Long Walk (2018), represented a critical high watermark. Pitchfork christened it “their most unified—and most deranged—record to date,” and The Line of Best Fit crowned them “vanguards within the genre.” In addition to touring with the likes of Deafheaven and Boris, they joined forces with The Body for a pair of collaborative albums – Mental Wounds Not Healing (2018) and Everything That Dies Someday Comes Back (2019) – as well as the live release, Live at the End of the World (2020). When it came time to pen Shame, Berdan made a conscious decision to include lyrics, marking a first.


Portrayal of Guilt To say Portrayal of Guilt write grim songs is an understatement. Since forming in 2017, the Austin trio has been a flowing fountain of fatalism, spewing harsh and brutal sentiments across their releases. Now, on their second album, We Are Always Alone, the band turns the nihilism inwards and explores the notion of eternal isolation.


We Are Always Alone was written and recorded ahead of schedule. In March, Portrayal of Guilt was on tour in Atlanta when they realized the looming COVID-19 was about to render the remainder of their dates unsustainable. They packed up and drove home, where they immediately got to work crafting and recording nine new tracks with producer and frequent collaborator Phillip Odom, with mastering by Grammy nominated engineer Will Yip. 


The album sees the band continuing to perfect their gritty style of charred punk that seamlessly fuses together a broad array of styles, from the piercing ferocity of screamo to the thick gnarls of black metal, underlined with chilling and ominous industrial samples. The LP is a climatic listening experience that never really lets the light peek through, instead building up to a cathartic final track that hammers home the bleak desolation that runs through it.


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Nov
5 Fri
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Half Waif

Portland, OR
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+: $15.00

TICKET SALE DATES
GENERAL ADMISSION 21+ Public Onsale: July 19, 2021 3:00 PM to November 5, 2021 12:00 AM

PERFORMANCE DESCRIPTION

*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*



w/ Lisel + Booker Stardrum


Half Waif


Half Waif is the project of singer, songwriter, and producer Nandi Rose. The project--which blends pop, folk, and electronic styles into a layered and transportive sound--has been featured on NPR's Tiny Desk series, The New York Times, The New Yorker, and Pitchfork; toured internationally with bands like Mitski, Iron & Wine and Calexico; and recently announced her fifth full-length album Mythopoetics with ANTI- Records.


For Nandi Rose, writing a song is an act of transformation. As Half Waif, she pieces together the patchworks of our darkest and most vulnerable moments with a golden thread, crafting a majestic evocation of the human experience that permeates with a graceful strength. On new album Mythopoetics, Rose breaks the familial patterns handed down to her, transforming this source of pain into something bearable, beautiful and celebratory. It is an essential reminder that we have the power to shape the stories we tell and the myths we make of our lives.


Half Waif’s previous albums The Caretaker (2020), Lavender (2018) and Probable Depths (2016), garnered acclaim for their compelling journeys through solitude, desire and the search for independence, blanketed under a spectacle of deeply-layered synth-pop. Her fifth full-length sees her stretch her creative muscles, as Rose pushes through the barriers of self-scrutiny and transports us into a world of mythic proportions. Charting territories of addiction, memory and loss, Mythopoetics is animated by the traces of what’s been left behind: the ghost of orange blossoms, the tail of a meteor across the sky, the taste of loneliness in a crust of bread. It is a kind of modern-day storybook where memory is spun into song and the self is explored and acknowledged with tender, nourishing care.



 


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Nov
6 Sat
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SOLD OUT: Nothing

Portland, OR
United States
Doors at 8:00 PM, Show at 9:00 PM
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PERFORMANCE DESCRIPTION
*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*



w/ Frankie Rose, Enumclaw



Nothing


Last year, astronomers revealed the first-ever photograph of a black hole. The image resembled an eye with an ominous dark center surrounded by a lopsided ring of red. The strength of a black hole is so overpowering that nothing—not even light—can escape it.


When the black hole photograph was published on the front page of The New York Times, NOTHING founder Domenic Palermo bought a copy at a newsstand, framed it, and hung it above the desk where he writes. The image of a black hole might be menacing to some, but for Palermo, it fits perfectly in line with the themes he draws from. A swirling void ready to destroy anything in its path seemed like a perfect metaphor for humanity itself. One day, sitting at his desk, Palermo had an idea for a new album, and he wrote down a single line: “Existence hurts existence.”


The Great Dismal, NOTHING’s new full-length album explores existentialist themes of isolation, extinction, and human behavior in the face of 2020’s vast wasteland. Closing in on the band’s ten-year mark, Palermo finds himself stringing together songs of misanthropic tales of Philadelphia with a refined and refreshed take on NOTHING’s classic sound. “The Great Dismal refers to a swamp, a brilliant natural trap where survival is custom fit to its inhabitants,” Palermo states. “The nature of its beautiful, but taxing environment and harsh conditions can’t ever really be shaken or forgotten too easily.”


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Sold Out
Nov
9 Tue
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SHEERS

Portland, OR
United States
Doors at 7:00 PM, Show at 8:00 PM
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TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+: $12.00

TICKET SALE DATES
GENERAL ADMISSION 21+ Public Onsale: October 7, 2021 10:00 AM to November 9, 2021 12:00 AM

PERFORMANCE DESCRIPTION
*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*


w/ Jacob Miller & Kaley Appendix


"Rather than being some experimental collision of pop and classical, ‘high’ and ‘low’, the Sheers  sound is instinctive and heartfelt, the various threads knitted seamlessly.” (Various Small  Flames) 

Sheers’ solo harp sets are as virtuosic as they are sincere and inviting. Poetic, often humorous  lyrics are dynamically delivered over intricate jazz harp lines and chest-rattling synth bass, all performed simultaneously by songwriter Lily Breshears. Breshears tours regularly in the bands  Haley Heynderickx and Alexandra Savior and has collaborated on harp with Jenny Slate, Lonnie  Holley, poets, and performance artists. 

On November 4th, Sheers is releasing their EP In A Crowd, a collection of five songs with  adventurous arrangements and lyric content that pulls listeners through literal and metaphorical  crowds, narrating the happenings therein. 


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Nov
10 Wed
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Snotty Nose Rez Kids

Portland, OR
United States
Doors at 7:00 PM, Show at 8:00 PM
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TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+: $15.00

TICKET SALE DATES
GENERAL ADMISSION 21+ Public Onsale: June 25, 2021 10:00 AM to November 10, 2021 12:00 AM

PERFORMANCE DESCRIPTION
*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*



Mississippi Studios Presents
Snotty Nose Rez Kids
w/ Lex Leosis
November 10, 2021
Mississippi Studios
Doors: 7pm / Show: 8pm


ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

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Nov
11 Thu
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CANCELED: Big Business

Portland, OR
United States
Doors at 7:00 PM, Show at 8:00 PM
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PERFORMANCE DESCRIPTION

MANDATORY COVID-19 MEASURE:


In accordance with the artist we are requiring all persons entering our premises to show proof of completion of a SARS-CoV-2 Vaccination. 



w/ Monsterwatch 


Big Business is a band. They play heavy rock. On that, we can all agree. Things get tricky when you try to classify exactly where on the musical spectrum the dynamic duo’s racket falls. “I guess psychedelic heavy metal punk rock? I don’t know. People always say ‘sludge rock,’ which I always found to be lazy and kind of inaccurate," says drummer Coady Willis. "A lot of our songs are fast, and it’s not like we’re playing a half-assed Black Sabbath riff over and over again. That’s been the struggle of the band. We’re a band that doesn’t really fit into what everyone else is doing."


Willis comes from punk rockers The Murder City Devils. His co-conspirator, bassist/vocalist Jared Warren, spent time in noise rock weirdos Karp. Together, they formed Big Business in 2004. The LA-based outfit’s first three albums didn’t quite mesh with Hydra Head’s post-metal aesthetic, but their idiosyncrasies caught the attention of another iconoclastic outfit: The Melvins. They recorded three albums, an EP, and various songs between 2006 and 2016 with that iconic grunge/doom/experimental act, all while maintaining their own identity as Big Business. Along the way, they picked up guitarists Toshi Kasai and Scott Martin, but on 2016’s Command Your Weather, they returned to their core duo format. They remain in that lineup on their sixth full-length, The Beast You Are.

“It’s just better. We work faster, and we know what we’re both going for. It gives us more room to be weirder in certain aspects and try different things. It makes sense because that’s how we established ourselves in the beginning and how we learned to write songs together, it was just the two of us. Coming back to that lineup felt natural,” continues Willis. The two performed everything on the album, which was recorded between the early November and early December of 2018 at El Studio in San Francisco by Phil Becker (Pins of Light, Terry Gross). Willis, Warren, and Becker handled the mixing, with Carl Saff lending his mastering expertise to the final product. Once more, Warren has hacked up some construction paper for one of his unique cover art pieces.

With a new, dynamic demoing process leading to the creation of the most songs they’ve ever written for an album, The Beast You Are delivers 13 doses of uncategorizably heavy rock music. From the ominous death march of “The Moor You Know” to the soaring “Let Them Grind” to the delicate, ethereal “Under Everest,” Big Business continues to defy listener’s expectations. No matter the context of their music, however, one thing remains true: they are definitely still a band.




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MOSTLY STANDING / LIMITED BALCONY SEATING

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Not On Sale
Nov
12 Fri
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Liz Cooper: The Hot Sass Tour

Portland, OR
United States
Doors at 8:00 PM, Show at 9:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+: $18.00

TICKET SALE DATES
GENERAL ADMISSION 21+ Public Onsale: July 23, 2021 10:00 AM to November 12, 2021 12:00 AM

PERFORMANCE DESCRIPTION
*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*



w/ Pearl Charles

Liz Cooper

On the porch of her one-time Nashville home, Liz Cooper had a multimedia project that combined two of her loves: lips and cigarettes. She painted her own lips with red paint and kissed a canvas two or three hundred times, later dotting them with the detritus left behind in ashtrays by her friends. An overlap of intimacy, indulgence, cheekiness, and sensuality, the piece complements Cooper's roiling second record, Hot Sass. Over jagged, frenetic guitar parts, Cooper sets expectations aflame with the record's title track. Her songs unfurl like smoke spiraling off an incense cone late in the afternoon, with Cooper pushing deeper into psychedelic openness, punk ferocity, and beyond.

Hot Sass marks multiple departures for Liz Cooper: from her nine-year home of Nashville, from her band addendum of the Stampede, from any genre-burdened expectations she'd accumulated over the years. After heavy touring in support of 2018's Window Flowers, where her songs stretched out in live settings, she felt constricted by the Americana-adjacent associations that the Stampede carried. So with her bandmates' blessing, she dropped the moniker, pursuing sounds and songs that let her chase the inspiration lent to her by the likes of Courtney Love, Lou Reed, and David Bowie.


ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

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Nov
13 Sat
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Valley Maker

Portland, OR
United States
Doors at 8:00 PM, Show at 9:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
GENERAL ADMISSION 21+: $13.00

TICKET SALE DATES
GENERAL ADMISSION 21+ Public Onsale: July 19, 2021 3:00 PM to November 13, 2021 12:00 AM

PERFORMANCE DESCRIPTION

*Proof of COVID vaccination or negative COVID test required for entry. FREE onsite testing may be available - Details & testing schedule here*



Valley Maker


We have all become experts in the imbalance of uncertainty these days, newly accustomed to canceling plans and tentatively rescheduling them for some future we can only imagine. For Austin Crane—the ruminative songwriter, riveting guitarist, and singular voice performing and collaborating as Valley Maker—such a sense of uncertainty has emerged as his steadfast companion these last few years, a period of profound transition. This flux is the anchor for Crane’s fourth and best album as Valley Maker, the gorgeous and felicitous When the Day Leaves.


Early in 2019, Crane and his wife, Megan, decided it was time to leave Seattle. South Carolina natives, they’d been in Seattle for nearly a decade while he pursued a doctorate in human geography at the University of Washington, and she worked as a midwife. As Summer 2019 ended, they prepared to head east to Columbia, SC, rejoining a deep community of friends and moving into a century-old home in need of big love. Still, major questions loomed: Would they, just then past 30, like it enough to stay, to start a new life? And what did it mean to go home?


Driven as it is by departure, When the Day Leaves marks the arrival of Valley Maker as a trustworthy narrator for these shaky times. Crane synthesizes these complex feelings into the magnetic first single, “No One Is Missing.” A song about reckoning with self-doubt while searching for community, “No One Is Missing” acknowledges the tension inherent in those ideas, especially during our polarized era. The swaying “Branch I Bend” is a workaday anthem and an ode to whatever goodness you find, to recognizing grace in a world that can seem starved for it.



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MOSTLY STANDING / LIMITED BALCONY SEATING

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3939 North Mississippi Avenue
Portland, OR
United States