Contact: monsterwatch@gmail.com 

Web: monsterwatchnoise.com 

Players: John Spinney, guitars, vocals; Ben Parker, bassist; David Cubine, drums 

Material: Monsterwatch is a frenetically heavy psych-punk band based in the Emerald City. The trio embraces the dissonant sludgy guitar sounds made popular during Seattle’s gilded grunge days (Nirvana, Mudhoney) but blasts them into modernity by blending brutal 

post-hardcore beats (Metz, Turnstile), fuzzy hallucinogenics (The Black Angels, Thee Oh Sees /Osees), and sardonic art-edged tonalities (IDLES, Fontaines D.C.). Monsterwatch’s lyrics explore the concept of psychological thrills and existential crises, finding purpose and meaning in lives filled with despair. 

Musicianship: The trio’s overall visceral musical technique is striking. Frontman John Spinney’s vocals easily flow from haunting lows to lofty screams throughout. As a guitarist, Spinney’s playing is blistering, fretting power chords as well as guitar solos with precision even while playing upside down (which is often). Bassist Ben Parker creates deep counter melodies with influences that include Matt Freeman’s (Rancid) arpeggiation stylings as well as Peter Hook’s (Joy Division) “hooky” bass lines. Drummer David Cubine’s hard-powered hitting and his skill in keeping varied time signatures is impressive, especially when working in clean, expressive supersonic fills. 

Performance: Monsterwatch stepped onto the Tractor Tavern’s stage awash in swirling, screeching sound effects. The band casually took their places and after a quick “Hey Seattle, what’s up!,” plummeted into a pure punk fiasco starting with “Let Go.” Monsterwatch immediately moved into “Lick the Wall,” with lead singer Spinney bending over backward while sticking his tongue in the air. The band continued the chaotic vibe as John climbed a speaker cabinet, motioning the crowd to move closer. Their raised arms prompted John to jump in, crowd surfing on his knees. The show ended with the darkly harsh “Big Sin” and maniacal “Brain Twist.” Monsterwatch signed off with Spinney handing his guitar to the crowd before the trio disappeared backstage. 

Summary: Monsterwtach is an extremely talented, vicious psych-punk trio. Their live show highlights the band’s ability to effortlessly blend a wide range of musical influences from grunge to metal core with polished finesse and fierce rawness. 

Contact: Shore Fire Media 

Web: devongilfillian.com 

Players: Devon Gilfillian, Vocals, uitar; Jonathan Smalt, drums, backing vocals; Matthew Chancey, bass; Josh Blaylock, keys, backing vocals; Ray Mason, trombone; Nate Felty, percussion; Parker Knight, crew 

Material: Devon Gilfillian is a gifted singer-songwriter and multi-instrumentalist who creates neo-rocked-out soul. Gilfillian's provocative lyrics delve into life’s complex manifolds—from finding and experiencing love to observing and contending with socio-political injustices. 

Musicianship: Gilfillian’s vocals are superb. He effortlessly moves his rapturous voice, which embodies Curtis Mayfield’s silky-smooth timbre, from dark lows to seductive highs in ”Imma Let My Body Move.” As a guitarist, his work also pays homage to Mayfield’s innovative guitar technique, but also points toward Prince’s electrified virtuosity in the supercharged, post-chorus breakdowns “Unchained” and the extraordinary experimental “Follow the Leader.” 

Keyboardist Blaylock provided exquisite additional melodics which included his unaccompanied “Piano Interlude.” The rhythm section—Smalt on drums, Felty on percussion, and Chancey on bass—read each other’s beats, fills, and low lines to perfection. As an ensemble, they provided amazing accompaniment for Gilfillian’s gorgeous grooves. 

Performance: Devon Gilfillian walked onto a Tractor Tavern stage decorated with woven carpets, warmly lit lamps, and several well-placed floral arrangements. He shined a bright smile to the excited, sold-out crowd and surged into the delectable “Brown Sugar Queen.” His seductive voice and alluring personality brought the already tight audience closer, squeezing them together for the Afrobeat-driven “Get Out and Get It” and the neo-funk “Right Kind of Crazy.” Gilfillian and company moved further into the night with the sultry “The Recipe” before belting out an emotionally stirring rendition of Marvin Gaye’s “What Going On.” The show ended with soaring atmospherics in the poignant “Love you Anyway.” 

Summary: Magical best describes Devon Gilfillian’s live show. The joyous contemplative beauty of his music combined with his effervescent, authentic personality instantly draws people toward him. His effortless skill in blending a wide variety of musical genres and lyrical content in his compositions is impressive while his soul-based musicianship is on par with the best in the business. Make sure to check out Devon Gilfillian on tour as well as his most recent album Love You Anway. 

After returning to solid ground, the gracious multi-platinum artist paused momentarily to thank his fans for their support over the years before bounding into the megahit “Thrift Shop” from 2012’s The Heist. The all-out full-of-fun dance party performance was made whole by Macklemore donning a faux fur leopard print coat that sent the evening’s already festive vibes into maximum overdrive. The feel-good celebration extended into “NO BAD DAYS” (BEN) which included Macklemore’s backing crew grooving in sync with his smoothed-out moves.

While real time worldwide problems and raw internal struggles were addressed throughout the show, Macklemore kept a door open for fans to escape from reality and explore a musical realm where happiness and joy reign supreme. The rapper’s sly humor and engaging personality made the escape easy, propelled by an in-the-air, over-the-arena motorcycle ride rendition of “Downtown” (from 2016’s This Unruly Mess I’ve Made) and his hilarious performance as British rap royalty alter ego Raven Bowie, in “And We Danced” (from 2009’s The Unplanned Mixtape). An infamous Macklemore “dance off” followed, with two audience members partaking in a battle royale - one of many moments where the world’s woes were washed and replaced by the sheer delight of Ben’s showtime extravaganza.

A few brief interludes, like Zombie Nation’s “Kernkraft 400” and The Champ’s “Tequila” blasting as upbeat backdrops and Capri Sun refreshments tossed to the crowd, hinted that the show would run a bit long, which it did. The 11:15 pm encore was one well worth waiting for, as Macklemore pulled up fan favorites “The Town” (The Unplanned Mixtape) and “My Oh My” (The Heist) before exploding into the finale, global chart-topper “Can’t Hold Us” (The Heist). Macklemore made his super octane set one to remember, bringing the Garfield High School marching band (his Alma mater) to join in and rock out for the iconic tune’s final beats. As the clock neared midnight, Macklemore jumped over a barricade into the throes of fervent concertgoers, an endnote to the glorious night showing the darkest of days can bring forth the brightest of light.

Setlist:

CHANT

Thrift Shop

NO BAD DAYS

White Walls

Same Love

Downtown

HEROES

Wings

Otherside

Starting Over

Sorry

1984

And We Danced (followed by the Dance Off)

Glorious

Encore:

TAIL LIGHTS

The Town

My Oh My

Good Old Days

Can't Hold Us

Seattle, WA   

Contact: andi@terrorbird.com

Web: enumclaw.online

Players: Aramis Johnson, lead vocals, guitar; Nathan Cornell, lead guitar; Ladaniel Gipson, drums; Eli Edwards, bass 

Material: Enumclaw is a talented alt-rock band from Tacoma, WA. The foursome readily blends the fast-and-loud melodic inklings of Hüsker Dü with the laidback vocals and dissonant guitars of Pavement (Stephen Malkmus) and Dinosaur Jr. (J. Mascis), adding a smattering of sounds from '90s indie-icons Sonic Youth (“Teen Age Riot”) and the Pixies (“Where is My Mind?”).  While Enumclaw leans into alternative music’s halcyon days (they cleverly proclaim they are “the best band since Oasis”), their songwriting has a raw intangible authenticity that brings a natural modernity to their sound. Lyrically the foursome explores a wide range of themes—the dark domains of coping with the death of a loved one, the bright spheres of fostering newfound friendships, pursuing quixotic quests to fulfill desired dreams—and brings them into focus through an inspirational lens.  

Musicianship: The four-piece band’s musical technique is carefully crafted into their style of sugary grunge meets full-out indie rock. Frontman Aramis Johnson embraces his deep chilled-out vocals and skillfully slips them over his distorted, lo-fi guitar tones while lead guitarist Nathan Cornell creates mellow melodic timbres with just enough screech to make the songs stand out. The rhythm section, bassist Eli Edwards (Johnson’s younger brother) and drummer Ladaniel Gipson have a strong connection and their ability to mix slick overdrive grooves with steadfast beats makes a perfect undercurrent for Enumclaw’s relaxed but earnest sonic ethos.

Performance: Enumclaw leaped onto Neumos’ intimate stage and immediately surged into the hazy sweet “Save the Baby.” The spirited indie-music makers continued with the jangly fun “Cowboy Bebop” where several fans slipped by security, ran on stage, and dove into the all-hands-up, sing-along crowd. Enumclaw moved through their vibrant set with the dreamy shoegaze-driven “Jimmy Neutron” and ended with a round of new material - the moving alt-rockers “This Light of Mine” and “Change.” The evening culminated with a gracious Johnson inviting fans 21+ years old to meet them at the bar down the road—an invite that was greatly appreciated by fans of that ilk. 

Summary: Enumclaw is a brilliant ’90s indie rock-meets-dissonant shoegaze band. Their live set highlights the band’s ability to bring in an audience with their bold, yet charming presence.  Most impressive is the band’s intangible musicality that can only truly be heard and felt within the throes of their heartfelt, rock-out shows. Look for Enumclaw playing across the United States with new music in 2024! 

Contact: rubsounds@gmail.com

Web: rubsounds.com

Players: Princella Ray, lead vocals; Malia Seavey, keyboards/synth, backing vocals; Taryn Dorsey, percussion, backing vocals; Robbie Luna, guitar; Shaun Crawford, bass; Bob Husak, drums. 

Material: Rub is a mega-band comprised of Pacific Northwest-based artists who have been fixtures on the Seattle music scene for several years (Acid Tongue, Trick Candles, Salt Lick, NighTrain, Killer Workout, Cute Lepers, and Panama Gold). The group’s live set tilts toward disco-tinged sensibilities (Nile Rodgers & Chic) complete with similar guitar sounds and basslines made famous by Nile Rodgers' slick production (Sister Sledge's “We Are Family,” Daft Punk and Pharrell Williams’, “Get Lucky,” Duran Duran with Janelle Monae’s, “Pressure Off”).  

Musicianship: Lead singer Princella Ray’s vocal timbre is smooth and warm. Her high range evokes hints of Shelia E., which she projects with ease in the band’s live arrangement of “Contentment.” Guitarist Robbie Luna’s flanged-out guitar techniques slide in well with the band’s ‘80s style material, while elements of The Minneapolis Sound (Prince’s “Delirious”) are brought to light by keyboardist Malia Seavey’s super-poppy synths and percussionist Taryn Dorsey’s plethora of rhythmic instruments - tambourines, egg shakers, and cabasas. 

Performance: Huge boxes with bright colored letters spelling out R.U.B. served as perfect props for the Seattle-based sextuplet. Needing no introduction, Rub immediately walked across the Tractor Tavern’s stage and burst into their electro-pop show. The group’s prismatic selection started with “Rob’s Song” and “Leave it Behind” before they moved into the measured “Keep Up with The Vibes,” a reflective song describing dogged perseverance in a personal world gone awry. The band shifted into high gear for the sparkling “Hands Up” and KEXP song of the day “Contentment” before ending the show with a slight curveball, a cover of Phantogram’s “When I'm Small.”  

Summary: Rub is a band that draws inspiration from a wide range of old-school and new-wave genres. The band has great potential and could easily further explore their darker musical tendencies—therein lies the Rub. Look for Rub making rounds throughout the Pacific Northwest!

After the Season’s Greetings-themed intro, Jenny shifted gears and pushed her viscous voice into a pair of effervescent honey-sounding songs with a smidge of gravitas: the chart-topping “Psychos” from her recent 2023 release Joy ‘All, and “Do Si Do” from 2021’s On the Line. Lewis’ fierce performance remained front and center as she stepped onto a glitzed-out riser for the mellifluous “She’s Not Me,” from 2014’s The Voyager, and the ultra-smooth eponymously titled “Joy’All.”

The distinctive songstress continued her excursion through her vast catalog of material with an emotional collection of songs -- the gorgeous “I Never,” written as frontwoman for the indie rock band Rilo Kiley (one of the many celebrated artists she has collaborated with over the years, Beck, The Postal Service, Ringo Starr, Elvis Costello, to name a few more), and the voracious “Little White Dove” (On the Line). Jenny moved further into the set with songs that included the beautiful “Late Bloomer” (The Voyager) as well as the sugary, wry “Apples and Oranges,” and the charming “Puppy and a Truck” from Joy’All. The evening wound down with the dreamy warmth of “Red Bull and Hennessy” (On the Line) enveloping the venue. Large red and white balloons above the concertgoers added to the magical scene. The spheres curved and danced with the rhythm of Lewis’ beats and remained afloat as the last chords drifted into the air and the curtains closed.

A huge buzz of energy remained in the aftermath, calling Jenny (in a Holiday-styled robe) and company back to the front of the house to serenade the crowd with another round of skillfully crafted tunes - the country leaning “Love Feel” (Joy ’All) and the beguilingly complex “Just One of the Guys” (On the Line). A glorious acoustic rendition of “Acid Tongue” served as the endpiece to the uplifting show, with its salty sweet harmonics sending concertgoers out into the streets to set out and find their journey toward joy.

Setlist:

Christmas Time's a-Coming (Tex Logan)

Psychos

Do Si Do

She's Not Me

Joy'All

Heads Gonna Roll

Wasted Youth

Cherry Baby

I Never (Rilo Kiley)

Dogwood

Little White Dove

Apples and Oranges

Late Bloomer

Lust for Life (Girls cover)

Puppy and a Truck

Essence of Life

See Fernando

Red Bull & Hennessy

Encore:

Love Feel

Just One of the Guys

Acid Tongue

Kerr’s knack for shaping bass tonalities into one-of-a-kind scuzzed-out guitar sounds and Thatcher’s mad-hitting drum skills served as a cornerstone for the rest of the evening. The duo, with help from Darren James on keyboards for the live set, blasted further into the show with “Come on Over” off the band’s 2014 self-titled release Royal Blood, followed by the heavy weighted, toe-tapping Josh Homme produced hit “Boilermaker,” off 2021’s Typhoons. The band’s massive maximalist sound remained prominent in the brooding but highly danceable tracks “Trouble's Coming” and “Typhoons,” also off 2021’s Typhoons. 

Royal Blood added a huge dose of full-on flair as Mike performed several finger-flailing bass breakdowns and Ben pounded out ultra-precise drum solos throughout the show. The duo continued to pump up their fans with the stunningly sturdy “Little Monster” (Royal Blood).  Afterward, Ben jumped off his riser into the crowd to move through a whirling mosh pit of devoted fans.  Kerr followed and reached into the audience to hand-deliver a few picks. The pair rounded out the show with two additional songs from their first release Royal Blood, the ruthlessly hard “Loose Change” and “Out of the Black,” before they disappeared into the haze.

After a few minutes of concertgoers chanting “Royal Blood!,” Kerr and Thatcher returned to the lights and locked in for the stunning “Waves” (Back to the Water Below) with opening act Hot Wax’s lead singer and guitarist Tallulah Sim-Savage adding background vocals. The serene song was a perfect release from the heaviness, but born to blast, Royal Blood ultimately ended the show with the harsh, supermassive hits “Ten Tonne Skeleton” and “Figure It Out” (Royal Blood).  Pure rock fury at its best. 

Setlist:

Mountains at Midnight

Come on Over

Boilermaker

Lights Out

Shiner in the Dark

One Trick Pony

Triggers

Trouble's Coming

Typhoons

Pull Me Through

Little Monster

How Did We Get So Dark?

Tell Me When It's Too Late

Loose Change

Out of the Black

Encore:

Waves

Ten Tonne Skeleton

Figure It Out

Rateliff moved further into his set with two additional tracks off And It’s Still Alright, the dreamy strings meet guitar “All or Nothing” and the steel pedal Americana-driven “Expecting to Lose.” The coupling of songs made it apparent that while the musical spirit of the Night Sweats would be in the atmosphere, Nathaniel’s persona as a soul-bearing balladeer would remain front and center for the duration of the show.

With the help of his brilliant backing band and string quartet, Rateliff continued to draw an audience filled with enthusiastic fans around his woodside ring of fire. He pulled out a selection of works from his large collection of solo material, the wistful “Something Beautiful,” off the 2015 EP Closer, and the raw “Shroud” from 2017’s EP In Memory of Loss. He circled back to 2020’s And It’s Still Alright with the eerily delightful “What a Drag” before he thrummed out the lone Night Sweats’ song of the show, the low-key “Still Out There Running” off their 2018 release Tearing at The Seams.

Concertgoers listened in earnest as Rateliff pored deeper into a series of heartfelt stories that swung along a full spectrum - from newer to older and stripped down to complex - with ease. The beautiful bare bones balled, “Early Spring Till” (In Memory of Loss) and the genteel countrified “And It's Still Alright” were two standouts amongst many before Nathaniel and company closed with the gorgeous “Time Stands” (And It’s Still Alright).

A rally of whistles lured Nathaniel back to his woodland space for an encore. Like a true balladeer, he pulled up a few more poetic tales of internal struggles and love and loss, “Redemption” from the Apple +soundtrack Palmer and “Mavis” (And It’s Still Alright). The evening ended with the courteous Nathaniel giving a wave, and as he returned backstage the last flickers of the lanterns’ flames dimmed.  Rateliff’s evening of storytelling was complete, but there is hope he will return with another round of torch-bearing tales soon.

Setlist:

Tonight No.2

All or Nothing

Expecting to Lose

Shroud

Something Beautiful

You Need Me

What a Drag

Still Out There Running (Nathaniel Rateliff & The Night Sweats song)

I Am

Boil & Fight

You Should've Seen the Other Guy

Early Spring Till

Kissing Our Friends

Oil & Lavender

And It's Still Alright

This

There Is a War (Leonard Cohen cover with Kevin Morby)

Still Trying

Time Stands

Encore:

Redemption

Mavis

Fully electrified, the quintet moved onward into a set filled with fun-loving rock, pomp, and circumstance. During “Main Offender” (2001’s Veni Vidi Vicious and 2002’s Your New Favourite Band) and “Walk Idiot Walk” (2004 Tyrannosaurs Hives), the jampacked throng of mostly hardcore Hives fans pushed forward, making the already impenetrable front of the house even tighter. Despite the close quarters, they raised their hands in sheer delight, clapping along with Howlin’ Pelle’s lead for “Rigor Mortis Radio” (The Death of Randy Fitzsimmons). Guitarist Arson took advantage of the scene and propped himself against the unbarricaded crowd’s arms while sporting his signature hypnotic stare. The fans, in the know of what to do next, lifted him into crowd-surfing mayhem. After Arson’s safe return, the loquacious, lovable rogue Almqvist stood on a floor monitor, projected his microphone toward the audience, and asked if the “Ladies” and the “Gentleman” were enjoying their time with the “best band in the world.” Their response: an emphatic “Yeah!!!” Satisfied, the emissaries of enjoyment railed into the 7” single “Good Samaritan,” complete with all band members partaking in a frozen tableau for a dramatic pause prior to its end.

The Hives continued their crazy kinetics and strummed out fan favorites “Go Right Ahead” (2012’s Lex Hives) and “Hate to Say I Told You So,” (Veni Vidi Vicious) accompanied by another onslaught of crowd-surfers. Continuing the momentum, the band barreled into their 2019 limited edition 7” single “I’m Alive,” enhanced by a full scale shadow-play-like performance made possible by blasts of strobe lights highlighting The Hives as they crisscrossed the stage. The frenetic “The Bomb,” and prophetic “Countdown to Shutdown” (both off The Death of Randy Fitzsimmons) somewhat wound down the affable quintet’s super live set, albeit with a wink and nod from Pelle signaling they would be back soon, in “a minute or two.”

As promised, The Hives returned to the completely packed house for a well-deserved encore and belted out the short but sweetly satiating “Come on!” (Lex Hives).  Being ultimate music pros, they chose their powerful hit “Tick, Tick, Boom!” from 2007’s The Black and White Album to end the show. The “best band in the world” took a bow and left the stage with just as much energy as they started. There is no doubt, The Hives have returned, and they’re alive!  Look for The Hives touring with the Foo Fighters in 2024 and go if you need an excuse to feel good and smile.

SETLIST  

Intro - Chopin’s Sonata No. 2

Bogus Operandi

Main Offender

Walk Idiot Walk

Rigor Mortis Radio

Good Samaritan

Go Right Ahead

Stick Up

Hate to Say I Told You So

Trapdoor Solution

I'm Alive

Smoke & Mirrors

The Bomb

Countdown to Shutdown

Encore:

Come On!

Tick Tick Boom!

Contact: ever@tinyhumanpr.com

Web: kingyoungblood.com/ 

Players: Cameron Miles Lavi-Jones, vocals, guitar; Samy Garcia, bass; Chet Peterson, cello; Paul “Sticks” Stoot, drums.  

Material: Seattle-based King Youngblood is a hard-edged rock band that blends fierce guitar riffs and in-your-face vocals (Living Colour, “Cult of Personality”) with robust melodic choruses (System of a Down, “Aerials”). Their set at the Black & Loud Fest featuring black-led bands, co-founded by King Youngblood’s Lavi-Jones and Down North’s Anthony Briscoe, showcased Youngblood’s skill in bringing music-based activism to Seattle. The band’s lyrics serve as a platform to examine socially conscious topics—violence and discrimination toward marginalized communities—but also explore more prosaic themes, navigating personal growth in an ever-evolving world.

Musicianship: King Youngblood’s musical technique is impressive. Lead singer and guitarist Lavi-Jones pushed his vocals from guttural grit to alt-crooning in “Big Thank,” while his emotive guitar sounds embodied early John Frusciante tonalities. Drummer Paul Stoot’s complex fills and bassist Samy Garcia’s sleek harmonics meshed well together and added creative character to the rhythm section. Amped-up cellist Chet Peterson’s brilliant melodic and harmonic string accompaniment paired well with Lavi-Jones’ guitars alongside Stoot and Garcia’s thrumming beats and basslines. Together, the four performed an energetically synchronized set. 

Performance: King Youngblood opened their show at The Crocodile with a statement of gratitude, thanking the audience for supporting the Black & Loud Fest before pounding into the punk-leaning “Yakubian Antics.” The intensity remained high for “THREAD,” the crowd pushing against the stage absorbing the energy resonating through the venue. Youngblood continued their set with the poignant “too late, too soon” and anthemic “Big Thank.” The band completed their set with the alt-rock-driven eponymic “King Youngblood” and “Heavy Handed.” Not done, the foursome added a surprise finale when Lavi-Jones brought the musicians participating in the event on stage for a freestyle rock-out. The evening culminated with the crowd diving into an impromptu mosh pit, an ending the audience won’t forget. 

Summary: King Youngblood are skillful, socially conscious musicians with a ruthless stage presence. The band’s energetic alt-rock live shows and savvy DIY multi-media marketing have helped them build a strong following in Seattle. If stars align, they’re primed to break through nationwide. Look for King Youngblood playing shows throughout the Pacific Northwest and new music soon! – Megan Perry