[ Cheers and applause ]
[ Cheers and applause continue ]
-So the babysitter thing didn't really work out.
-No. Yes.
You all are the babysitters tonight.
Thank you.
We'll be passing Hendrix around briefly to everybody.
Thank you for being here, everybody.
It is great to see your silhouettes
and to hear your voices. I can't see anybody.
But it's also great to be with so many good friends here.
And if the greenroom conversation is going to speak
for us, we're going to have a really good time,
all of us together talking about Seattle music and this book
that Eva Walker
and I somehow wrote together during the pandemic, I think --
-How did that happen?
--- and Eva being pregnant and having a baby.
The story of the book actually begins with our relationship,
which began at the Tractor Tavern --
where Eva and I --
-I'm sorry -- the whole night.
--- I know. She's distracting me too.
Yeah, she's too cute.
Eva and I met at the Tractor Tavern when her band,
The Black Tones, was performing an opening set
and I saw this beautiful woman on stage, and I said,
"Who is that person?
I need to write a book with her."
-Is that all that happened?
-And the rest is history.
And then, yeah.
And then, you know, we got together and we started dating
and we got married and in the same year,
we put out a book and put out a child.
But yeah, James read all of our bios, which is very sweet.
I've been writing about music here in Seattle
for 10 to 15 years,
and Eva is everybody's favorite DJ at KEXP right now.
And we're joined here by the most legendary DJ in Seattle,
and maybe in America, Marco Collins.
And then Jimmy, Molly and Evan
are just three of the best musicians here in Seattle.
I mean, I sort of wish that we could put on a show
and not talk about all this stuff.
But we have a book to talk about.
And so we're going to do a little panel discussion
about Seattle, about Seattle music, about the book itself.
Just a little bit of background on the book,
how it came to be.
There really wasn't -- you know,
I guess the question we get most of all about is like,
"How did you start this book? How did it come about?"
And there wasn't one, I guess,
flashbulb moment, it's just that, you know,
between Eva's expertise as a DJ and my history writing,
it just kind of came to us,
you know, one day and day-by-day -- I mean,
if anybody out here is an aspiring writer --
-It was your idea. -Well, it was all of our idea.
If anybody out here is an aspiring writer,
to write a book, just do a little bit every day.
And that's what we did.
And Eva came up with the table of contents of the 101 artists.
And, you know, we have conversations about it,
trying to hone it, and it wasn't very easy to do, but we did it.
And we wrote every single day for, I don't know,
a number of months.
And the book was here.
And for anybody from Sasquatch Books here,
we have a very heartfelt thank you to everybody.
Sasquatch is such an important resource here in Seattle,
and they put out books like these
and that results in all of us getting together
on a Thursday night to talk about it.
So I guess that is the basic intro.
And without further ado, as they say,
we're going to ask our esteemed panelists some questions.
And I think Eva and I are going to trade a microphone
and a baby right now.
Okay. Right, Hendrix? Almost.
-She almost said --
-Almost. --- something. So cool.
-We'll wait. We'll wait. We'll wait.
-He said, "I'm ready." -Hey, everyone.
If anyone wants the rest of this,
then it's going to be right there.
Don't be shy. It expires in like 20 minutes.
So --
--- cookies.
-With cookies? I know, I forgot the cookies.
-I'm sorry.
-We can't take -- you can't take any of us anywhere.
This is us on our best behavior.
Town Hall is like, "Never have them back."
Hi, you guys.
Not only are they amazing people,
they are actually dear friends.
And what they all have in common
to me is that before I knew any of them personally,
I literally said to myself,
"Wow, I wish I was Marco Collins's friend.
I wish I was Jimmy James's friend.
I wish I was Molly Sides' friend.
I wish I was Evan Flory-Barnes's friend."
And I remember Evan being like, "We're friends."
I was like, "Okay."
I remember it was at the Columbia City Theater.
I was like, "Oh, cool. Okay."
And I'm just kind of geeking out on my friendship with them
really quick then we'll start.
And then I remember seeing Thunderpussy perform
and I was like, "Oh my God, this is incredible."
And they performed with Evan's band
at their New Year's Eve party at the Showbox.
And I remember seeing Evan on the stage
and, you know, we went to support Evan.
And I remember being like, "Oh my God.
Like they're so lucky to be playing with each other.
It's so cool."
And then we were at Laddie's and I told Evan, and I was like,
"Man, I really wish that I could do a show with Thunderpussy."
And Evan said, "Next year.
I'm just putting it out in the universe.
You're going to be performing at the Showbox with Thunderpussy."
It happened the next year. Literally.
I couldn't -- and I'm went,
"Evan we're performing with them."
That's how that happened.
And Jimmy James is one of my favorite people on the planet.
We've been through some dark times together for sure.
And we've been through some great times.
I taught him guitar.
-Bless your heart.
-You believe that, right?
Because Hendrix will grow up thinking that's the case.
And Marco --
-They call it -- --- freaking Collins.
-We became friends really quick --
-Yes, we did.
--- at KEXP -Yes. We did.
We have a similar sense of humor.
-We talked so much... -Yeah.
--- in the hallways. -Oh boy.
-Oh my God. -We did.
I'm still there, so I got to be careful.
No one from there is here.
Right? Okay. Cool. No, it's great.
I love it.
So let me shut up and get to these questions.
So I've got some questions for you all.
I'm going to skip around, elaborate as much as you want,
or be like -- are there kids here?
There is a kid there. I can't cuss today.
Okay. Well, she doesn't know a thing.
She don't know what the f-word is yet.
-She's learning. -But you could say, "F off.
I'm not answering that question, Eva."
If you want. Okay.
So let's just start with something easy.
What does the idea of Seattle music mean to you?
And who or what exemplifies it in the most in your mind?
And I can repeat the question too.
Can we start with you, Marco?
-Sure.
I don't even need this thing, but I'll use it anyway.
Repeat -- let me just -- -Yeah.
--- peek at it.
-It's that top one right up there.
I mean, to me, Seattle -- first of all,
congrats on the book, you guys.
I thought -- Thank you. -It was amazingly done.
-Thank you.
-Just such a cool --
if you guys don't have a copy, definitely --
did you get a copy with a ticket?
Is that a part of -- -Some of them did.
--- the deal? Okay. Just fantastic.
Very cool.
To me, Seattle music has always been sort of something
that started very DIY.
So when I think of Seattle, I think raw --
whether it's hip hop, it doesn't matter what it is,
it always has that DIY feeling.
And that's how I've always felt about it.
And I think I also have always felt that it, you know,
despite the fact that, you know,
there might be a lot of hype around the whole grunge thing,
the music scene and the art scene in Seattle
has always been massive.
Like whether or not the rest of the world knew about it,
there's always interesting things going on in this city.
So that's my answer to part one.
Who or what exemplifies it?
I mean, half of the bands
that came out of this scene, you know?
Nirvana obviously is a band that,
you know, came out of nothing,
you know, rose up through an indie label playing gigs
and, you know, making it happen for themselves.
Soundgarden, Macklemore, you know, any of the artists.
-Why do you think Seattle like allows the DIY, you know?
Why is that like a -- why are we so good at that, you know?
What is that? Yeah. -I don't know what that is.
I don't know. That's a really good question.
-Can I answer? -Yeah.
-I think it has something
to do with feeling isolated on the upper left.
I don't know, you know?
Like just being like --
-We got to create our own world up here --
-Yeah.
--- because -- -Yeah.
--- we're so far away from everybody else?
-Yeah. You ever like,
get bored because you're in a room too long by yourself
and then you just start making up and that's like what we did.
I'm sorry, I forgot that kid is right there.
-Eva. Eva. -Yeah.
-You could say the word sugar honey iced tea.
-Instead of the -- -See? See how that works?
I'm sorry. -That's a good idea.
-You can't take me nowhere.
I'm sorry.
-I'm going to go get you some cookies.
-Yes. That's how I got this.
-So does anyone else want to elaborate on that?
What does the idea of Seattle music mean to you?
And who or what exemplifies it the most in your mind?
-I guess I'll say something.
I guess. -Yeah.
I would say -- like you were saying like,
because we are so far left up here, you know,
and way out of the way, you know, and when I think of bands,
I'll even go earlier back like groups like the Sonics,
you know, out of Tacoma, you know?
And your baby's namesake the left-handed genius,
Jimi Hendrix, you know?
And, you know, you had Quincy Jones played here.
Ray Charles played here, you know?
As they started their days down in the Jackson Street
after hours, you know, scene and stuff like that.
And just the stories that I've heard growing up,
it's like -- and I'll say the story.
My late mother's -- her cousin's husband and her cousin,
they went to Garfield High
and they were in the same class with Jimi Hendrix.
And so Jimi Hendrix played in his first band
called The Rocking Kings.
They played in a group also called the Velvet Tones.
And if you ever go and Google it, and you'll see it,
they play at Washington Hall
and there's a picture of like two horn plays.
You'll see Hendrix playing a white Supro guitar.
And the back of the guy's head, who's playing piano,
is my mother's cousin's, late husband, Robert Green,
who played in that band.
And they were telling all the stories of what he was like
and stuff like that.
And her cousin did like an impression of him.
And you can tell if you ever listen to Jimi Hendrix's
interview, you can tell he's from Seattle
because -- this is the one time
I will do this impression of Jimi Hendrix talking.
-It's not the one time you'll do --
-I know.
But I will. --- that impression.
-I'm trying not to crack up here.
-You're lying already? We just started.
-I try not to -- see,
I'm trying not to crack up because see,
you get me to crack up when to do it.
But if you hear him, he be like, "Excuse me.
We're going to do this thing.
This thing called Purple Haze you know with Billy Cox on bass,
Mitchell on drums, and yours truly public saxophone,"
you know, you're right.
And so -- -- you know?
And then, you know, you have the groups like Nirvana
and so many other groups that, you know, Heart, they're from --
-Yeah. --- here, you know?
There's another great group and then, you know,
the other groups like -- groups that were like
[inaudible]
Smokehouse and stuff like that and so many other things.
And so it's like you were saying, you know,
we are very separated off,
but you have to do your own thing.
because we're not like, you know,
LA or Chicago or New York and stuff like that.
But at the same time,
you also being in a place that's isolated it also --
that's the reason why so many sounds were so regional.
-Yeah. -You know, it's like, "Okay.
You know what a sound is like? Okay."
If somebody is from Texas, they sound like a certain way.
New York or Detroit or -- and then you're like,
"Oh, Seattle sound has a edgier, grungier sound," you know?
-And me and you,
we're really big fans of the blues
and you can just hear the different --
you know, there's Chicago blues, there's Texas blues,
you know, there's Mississippi blues.
All of that.
Like, just to your point, on the region,
and I actually want to ask really quick,
who up here went to Garfield High School?
Does anyone up here went to -- okay.
Evan, you did.
One of the things I'm really proud of about this book
is that there's finally a Seattle music book that has a --
just a separate note on Garfield High School,
because so many musicians went there.
What do you think it is about that school
and is there any instructors, music instructors,
that you would want to shout out or just mention in that regard?
-Well, of course,
the two that sort of wellsprings for the program,
I think of the musicians of the last 30 years,
of course, Clarence Acox and Marty Tsutakawa.
And I was in the orchestra with Tsutakawa.
I kind of brought this --
sort of tying in the last question of this question.
So I think Seattle has this natural way
to express an eclecticism and an individuality
that because there's an isolation,
there's both the isolation of the geography,
but also of an individual kind of feeling isolated
depending on what the weather is,
but then developing their own thing.
-Yeah.
-And then it's a bunch of people developing
their own thing together.
And I think Garfield was so cool because, you know,
I brought -- so I didn't read -- so when
I first got into the orchestra, I didn't read any music,
but I like had this desire, like, "I want to play.
I want to be in the orchestra."
I couldn't even play a Twinkle, Twinkle Little Star.
And I got thrown to the deep end on Shostakovich with Symphony 5.
And my teacher was willing to have me go through that trial
by fire experience.
So you had these educators like Tsutakawa,
these educators like Acox.
And then you have this environment,
whether I was aware of Tribal Productions and Vitamin D,
then we are aware of like the history
as far as like Quincy Jones and Ray Charles.
And then you were aware of like people having bands.
So I was going to orchestra rehearsals,
hearing jazz bands, a part of a hip hop band.
And all that just -- all was there.
And so it was just being --
it was interesting to have the history of the school
and who went there kind of as this background.
And even like, you know,
just in this philosophical way like Quincy Jones
and how he brought together all different kinds of music.
And Wade Charles, and how he brought different things;
and Jimi Hendrix, and how he brought different things;
and even Bruce Lee.
And so you have this, like --
-Yeah.
--- you have all this pulling
from these different inspirations
and that was the environment of that school,
and so it was just around. -Yeah.
-That's great. Thank you for that.
I was like, "I hope someone went to Garfield."
But then I was looking at you mostly like,
"I think it was Evan."
Molly, you're originally from Idaho,
and you've taken us to your homeland.
We've been -- I don't know why I said it like that,
but originally from -- -Wow -- homeland.
--- from Ketchum, Sun Valley area in Idaho,
which is beautiful, by the way. We stay at her mom's house.
It's amazing.
What is, if there is,
the biggest difference between being around the music scene
in the part of Idaho
that you were in versus doing it here in Seattle?
Because you started Thunderpussy in Seattle, Yeah?
-Yeah.
Well, I was just thinking about kind of this wide range,
like this wide range of curiosity
and having this space to be curious,
stay curious, and invite curiosity.
Like we're talking about DIY,
I feel like the moment I stepped into Washington State,
actually Port Townsend, weirdly enough,
is the reason I came to Seattle.
I went to my first dance camp my junior year --
-Is that true? --- in high school.
Yeah. Yeah.
And it was like, "I'm going to be a dancer."
And I was like, "This is amazing."
But I felt like no matter where I went,
there's this beautiful isolation,
but there's so much space for invitation, for self,
for community, for like just wild ideas.
And I think that's the most incredible thing
about being here.
And like, Tacoma, Olympia, Seattle, Bellingham,
every space that I've encountered over the many years
I've been here now, I am like, "There's space
to dive in to something different, a new idea."
And Idaho it's very similar in that way,
but I think whenever you grow up --
I can't speak for anybody else who's grown up here
because I didn't.
But in Idaho,
I felt like I was already told a story that I had to fill.
There were pages already written
and I had to kind of fill it in instead of like a new book
I got to write for myself when I stepped into Washington;
when I stepped into Seattle.
But now it's a really beautiful thing to see this bridge.
-Yeah.
-And like there's an echoing
that's happening in the Pacific Northwest.
And I think,
I mean, now we've been able to play more so
in different venues, different avenues around Idaho
and there's just something expanding that when I was there,
there was a seed and now there's like, "Oh."
There's like a well, you know, that it's like,
"Oh, let's bring it.
Like, let's see what else can happen."
There's a new desire for cultivation, I think.
-Yeah.
-But growing up there, not so much.
-Yeah. Nicely put. -Yeah. I chop that --
-One of the things I really -- well,
one of the many things I love about making music in Seattle
is that you can be a Rock and Roll Hall of Famer
and you can be the most indie of the indie
and know exactly who each other are and have worked together.
Molly and I,
one of the things we have in common
is Mike McCready of Pearl Jam discovered Thunderpussy
and The Black Tones.
And speaking of Pearl Jam,
I can talk to any member of Pearl Jam
and they know exactly who Jimmy James is, you know?
I can talk to Macklemore and he's like, "Evan Flory-Barnes.
Of course, I know Evan Flory-Barnes.
He's played music with me," you know?
And we talked about Garfield earlier, that note,
by the way, written about Garfield High School
was written by Ishmael Butler who attend there.
And you've also worked with Ishmael Butler as well.
So it's like these different levels that artists are on,
levels, whatever you want to call it.
When we're here at home in Seattle,
none of that other stuff matters.
We just want to make music together,
and we just want to like take part in each other's art,
and it's this amazing community in Seattle.
And I know the word community is so overused and washed out,
but Seattle really has a very strong community
when it comes to music. And, you know,
maybe you're playing Madison Square Garden one day,
but then you come to Seattle
and you go jam with Jimmy James at The Sea Monster.
Like that's what we do here.
-And the radio is so important for that, right?
-The radio is important for that.
Yeah.
-We have the person who discovered every band
ever to come through Seattle.
-Exactly, exactly.
-And also, KEXP is obviously humongous with that stuff.
-Yeah.
-It's like just galvanizing force.
-Yes, absolutely. Thank you.
And I want to --
if all four of you can answer this next question,
I've got like 10 and I only have been through one so far.
Name three songs that have to be on your Seattle playlist,
and they don't even need to be in the book
or anything like that.
-Ooh.
-Three -- -Three, that's going to be --
-Three songs that have to be on your Seattle playlist.
-And they have to be -- -Present company excluded.
Yes, so we don't all feel crunchy
that we didn't say each other's band.
-But they have to be from Seattle.
-Yeah. Your Seattle playlist -All right.
-Northwest or Seattle?
-Seattle playlist.
-Try to stretch it.
-Columbia City.
-Columbia City, all right. -The few ones I got.
-Do you have an answer to that?
-That's all right.
-I have an answer for it. -I have 101.
-Jimmy.
-I might take one of yours, so --
-Don't, go for it.
-Okay, this is very hard for me, but, okay.
I'm going to say it.
I will say Izabella live at Woodstock, Jimi Hendrix.
-Wow. -Barracuda by Heart.
When it comes to the Nirvana,
that's going to be a hard one.
It's a toss-up between either Smells Like Teen Spirit
or The Man Who Sold the World,
even though it is a David Bowie tune.
-I said three, you can't be choosing two songs.
-That's why I'm saying it's -- can I get a 1/2 at least?
Okay. All right.
All right, this is going to be difficult.
-Think about yours too.
-I'm going to go with Smells Like Teen Spirit.
Let's -- that's all I can say.
-Can we do albums?
-Nope. -Songs.
I'm just going to pick three songs.
Oh, Molly, go ahead. Did you want to --
-No, I was just saying Heart.
-That would have to be -- it's funny you bring up Heart,
I was the hugest Heart fan back in the day.
-Yeah.
-I snuck backstage at a Heart show in San Diego
pretending I was a caterer.
That's what a huge fan I was of Heart.
-I did not know that story.
-Long before I moved here --
-That's great. --- I snuck in with cookies.
God, they threw me out of there so quickly.
-I got one for you though.
-Yeah.
-Speaking of Heart -- -Yeah.
--- my late sister, Chelsea, who was a drummer,
she was actually supposed
to be their touring drummer at one time.
-Oh, man.
-And then, but of course I was so young, I didn't know.
I was just like, "I don't know what's going on.
I'm just a little kid with a big old flat top."
But anyway, you'll not see those pictures.
-Can we bring up the picture, please?
Should have thought about that.
-I'm going to say three songs from sort of my career
at the end throughout the '90s
that sort of changed everything to me and really set that tone.
So "Smells Like Teen Spirit," obviously.
Although it's weird to go back and listen to that record now,
it was so overplayed then, I can't listen to that record.
I can listen to In Utero or Unplugged,
but man, sitting through Nevermind is really difficult.
I'll also say -- what were you guys laughing about over there?
I'll also say Lump from The Presidents.
-That's a good one.
-Yeah, we pulled that out of nowhere.
And then Harvey Danger, Harvey Danger, Flagpole Sitta.
-That's a good one. -Yeah, those are my three.
-Molly and Evan.
-I hope, let's keep drinking.
-Okay, I'll give you three.
-Yeah, what are your three? -I need to think about it.
I'm just kidding. No. -No, you're going.
-Go ahead, Evan. -So one is
because of it's my relationship to what it did for me
as an artist and as a free thinker and free person.
And since Soundgarden's Outshined,
and I remember when I first heard that song,
I was in seventh grade and I was in a --
I had the inkling to play music, but I was like --
-Wait, how old were you?
-Twelve. -You were in seventh grade?
-Yes.
-God.
-I was 12. But it was a breakthrough.
-Wait, what year was it?
-I don't know. -That was '91.
-Hendrix wasn't even born. -Oh, wow, I was two years old.
-I was --
-And so -- no,
but I heard that first opening riff and it hit me,
and it hit me so profoundly.
And back then, as there are today,
there are limited notions about what a so-called
Black American kid can listen to and like, and I was like,
"Hell no, like I love this."
Actually, I remember hanging with Kim Thiel and I was like,
"Man, I got to tell you, man, that song hit me."
And he was like, he's like -- I said, "Thank you."
He's like,
"No, man,
you were ready to hear that song at the exact point
you were supposed to hear it." And I was like, "Whoa."
The other one is, as a young bass player in that era,
an aspiring bass player, the bass line for --
I'm an Alice In Chains fan --
-Same.
--- and that whole album, I love this.
But Would?, when I first heard that baseline,
it was like it was just, it hit me so deeply.
And so it was those albums were my first school.
And then it's in the book "Who's listening?"
Tribal Productions' Vitamin D. -Mm-hmm.
-And it's because that's
how I learned the great electric bass standard
Jaco Pastorius' Portrait of Tracy,
which is the core sample of that.
So I didn't even know about Jaco,
but I knew about Tribal Productions
and I learned that sample on the bass.
And then I got hip to --
so I got introduced to a whole realm of music
through that song.
So those three.
-That's great. -That's a great list.
-Molly Sides.
-My brain is just like reeling over here
because they, yeah, secret is out now.
So I make up the lyrics to every song ever, and their titles.
So I know every album, but no. No.
But for real, Heart was my childhood,
like Dreamboat Annie truly to this day,
I could play it on repeat back to front, never get old.
I mean, my mom would have us --
I mean, my mom is rock mom, so like music, dance is all to her.
But she'd be like -- we'd finish dinner
and then we'd have our chores
and then we'd be in the living room dancing
and she'd put a record on.
And Dreamboat Annie was just a staple and Sides' note,
I'll never forget being able to take my mom,
it was such a beautiful moment, to Tacoma to go see Heart.
And she got to meet Nancy and Ann
and their other beautiful, amazing sister
and some of their family.
And my mom just like -- I just had this moment
where I was like, "Yep, I'm good.
I'm done, we're -- yep. Bye." It was like,
"I don't need to do anything more
than have this moment like stamped in time."
But Magic Man was like our road tripping, Hockey, road-dogging,
tour the world, Magic Man,
but also just Dreamboat Annie.
I would not have said Alice In Chains,
but now I feel like I must,
because when it comes to the three songs,
I think they have to anchor for me and family.
Because it all comes back for me to family,
because like to me, it's all rooted there.
It's all the roots.
My brother Joey got to be our tour manager
when we got to go on the road with Alice In Chains
and I have to be the worst person ever.
But I was like,
"I don't really -- I mean, yeah, I don't really know their music.
Cool, cool, cool."
And then every night I was like, "Oh...
I get it. I get it." Would? was exceptional.
Every single night,
but Rooster, getting to know the story behind it
and the -- so I would say Rooster,
which I wouldn't have until we sat here.
-That was my choice.
-Sorry.
And I'm taking so long.
-You guys can share. -I'm taking so long.
-I wanted to shine with that song.
-I was like, "Not now, not now."
Rooster because I think
that there's really something very palatable
and poignant about that song in the way
in which our world is spinning.
And it can be quite an anchor for many people
and wildly a connector that you're like, "Whoa, whoa."
Also, this moment I'm having a crazy moment
of Pretty Girls Make Graves.
And I was a bit of a hardcore metalhead,
but also female-fronted bands were like Bikini Kill.
Everyone was like, "Oh, that's badass."
But I recently saw that they played
and I was so bummed I wasn't here.
I'm totally spinning out on the song, but I know.
Yeah, I feel like if someone else speaks,
it's going to come to me, but my brain --
-Rebel Girl. -No, it's not Bikini Kill.
-That's not Bikini Kill?
-But yeah.
And yeah, there's so many to choose from, too,
and such a wide range, but I'm word vomiting.
-Those are great.
-It'll come to me and -- -Nice.
-You go. -Any Jimi Hendrix song?
She's named Hendrix
because he was literally the first person in my life --
-Pick one. -Fine.
I'm going to just go with Purple Haze.
I'm just going to throw one out, Purple Haze.
Yeah, buddy.
I named her Hendrix because he was literally
the first person that made me feel
like I could do what I do in rock and roll music.
I was told -- me and Jimmy James,
we've talked about this like people telling us that,
"Oh, you're so White because you like rock,
or you're the Whitest Black person I've ever met,"
just all that stuff.
And hearing that, and then you start to believe it
when you look at MTV in the '90s, and you're like,
"Oh, they are all White; am I trying to be that?
Because I don't want to. I mean, whoa."
And then I saw Jimi Hendrix in high school and I was like,
"Oh, I can do that,"
and that was literally the first person that made me.
I'm where I am because of him.
So I was like, "I guess I owe him my firstborn,
but he's dead, so I'll just name her Hendrix."
Rooster and Posse on Broadway; it would be my other one.
Yeah. Yeah.
We don't have a lot of time left.
I have so many questions and so much stuff I want to talk about,
but I don't want Town Hall to like yell,
"Fire," and kick us all out.
So I'm going to try to run through these really quickly.
Give quick, short answers if you can.
Marco, I'm going to direct this one specifically at you first.
What's the best way, in your opinion,
music admirers and consumers
can help keep the local music economy thriving?
-Go to shows, buy merch.
Go to shows, buy merch.
I realize as you get a little older,
you're not always wanting to be in rock shows,
but you can also support these bands by, you know,
buying their stuff online, buying the T-shirts,
buying a hoodie, even if you buy it as a gift,
that can really sort of thrust -- you know,
that can help a band so immensely.
So that's what I would say,
if you're not feeling going to shows anymore, you did that.
-Yeah.
-That, you know, there's a lot of different ways
to sort of support that.
And I'll even say supporting a station like KEXP
who supports those artists, it's another way to do it,
sort of embrace folks
that are actually elevating these artists.
-That's great.
And quickly, do any of the musicians here
want to quickly say --
-I second whatever Marco was saying.
-Yeah. -That was pretty much.
-I also just have to say something really quickly,
but Marco, you are the reason
that Thunderpussy recorded their first album.
So I truly believe in supporting your station
that people behind the mic, Marco,
like showing up,
tuning in, showing up,
and just really elevating the frequency
because you show up in ways that are more empowering
than we even know. Like you were the one
that actually connected us with Sylvia,
and I'll never forgive you.
I'm like, "Marco, it's happening," and you know,
like taking a chance on somebody likes.
-Yeah.
-So it's like every time you tune in or dial in
or just like pen to paper or anything,
it is absolutely elevating someone's life.
So yeah -- -That's amazing.
--- thank you, Marco, because --
-Yes. --- you were --
-Woo.
-That's you. -Yes.
-Do you mind if I throw in real quick?
I want to just say like,
KEXP is one of the greatest stations ever,
like -- and excuse me. And the reason
why I say that is just because of being around the world
and playing in different places.
I mean, I've seen messages from people from,
like -- one person from Senegal or Russia or Cambodia
or the Philippines, Thailand, places.
I was like,
"How did you hear about -- " "Oh yeah, we heard about the KEXP."
And so KEXP is one of the far -- it reaches like,
around the globe,
even the little parts where, you know,
radio stations have the regional, it stays within it,
you know, certain states and stuff,
but it goes far out, you know, and that, you know,
so I just wanted to throw that out there.
-And when I first started working at the station,
I remember getting advice from Marco.
I'm like,
"I'm nervous, like I don't -- do you have any advice?"
And one of the things that stood out to me that you said was,
"If someone sends you music and they say,
"Hey, can you not play this until then?"
Once you have, it's all yours.
It's free range, like you play it when you want."
And I was like, "Okay." -Did I say that?
-Yes, you did.
I was like, "Yeah, they might be mad at me,
but that's really good advice."
No, I loved it.
Off the top of your head, musicians, present company,
excluded what artists would you want to collaborate,
Seattle artists, would you want to collaborate with --
alive, we'll say.
-Who should -- I don't know.
Okay.
Well, already collaborated with you
and I'm collaborating with you,
and then somebody took my guitar licks over here
and used it for one of their songs.
Song --
-Kenny.
-Mm-hmm. We know what song that is.
Somebody who says she taught me guitar,
but says she -- you know what song we're talking about, Eva.
-I have no idea what he's talking about.
-And I'm just going to throw this out here.
I'm sorry if I have to put you on blast,
but Eva is the type of person who we'll record,
who when I'm playing, I have to turn my back
and she films my fingers
and she's got a whole lot of video of it too.
So now I'm going to have to do kind of like a Buckethead thing.
-You record someone's hands like 20 times
and they keep bringing it up. -Yeah.
Well, I'm going to start putting a towel over my hand
when I'm playing.
And I'll just tell everybody it's AI.
-So who would you collaborate with, James?
-I don't know.
I think it's pretty much --
I think I've played with so many people,
so it's like we've, you know, it's like --
-How about dead? -Ooh.
-Ooh, that's going to be an easy one.
Jimi Hendrix all day.
That would be like the greatest thing ever.
Of course, I would just be playing rhythm behind him,
but that's it.
And I would just be in the back, that's all I would be doing.
-You'd be recording his hands.
-Definitely. -Really?
Because I would like chop his hands off
and sew them onto my hands.
Molly, what about you?
-Wow.
-I guess I shouldn't have said that.
I'm sorry. -Here's the thing --
-That's really dark.
--- now that you said that, Eva, that --
-Rude and just inappropriate. I'm sorry.
Eva, now that you said that, now I'm worried,
and I'm going to have to keep my hands over here.
I was looking at them.
Molly, who would you collaborate with?
-I think --
-This kid is like, "Why did my parents bring me?
What are they talking about?"
Molly, who would you collaborate with, alive or dead?
-Well,
I think I would just have an open-door policy right now.
I feel like another reason
why this place is just so special and really incredible,
is getting to play with all of you, actually.
Just having an open-door policy of being like,
"Hey, whoever wants to show up, show up," and then boom,
crazy, wild things just unfold.
But specific to Seattle or like just --
-Seattle.
-Honestly, Chris Cornell would've been one of those,
yeah, and I should have --
Temple of the Dog would've been on my list.
Sorry, sorry, sorry.
-I know we're -- the kid.
-It's Chris Cornell, I'll put that one aside.
Open-door policy.
Open, whoever shows up, boom; crazy.
And Evan Flory-Barnes.
-I think something I think about as a --
because like my -- musically,
I cover a wide range of different things.
And I would love to, in some kind of capacity,
be -- you know,
there's like the obvious like Quincy Jones
extended orchestral jazz, soul pop thing.
But, you know, I think about casts like --
who I've always loved
and who is a very big inspiration songwriter-wise,
singing-wise, Jerry Cantrell.
But I would like to put him in a very unique situation,
like with strings or with an orchestra or something,
and like something almost stripped down.
I think that would be really cool to create.
-Nice. Well, those are great answers.
As a local musician also,
I have like a little less of a famous answer,
but I would really like to collaborate
with the Moondoggies.
Yeah.
Me and Kevin are both just kind of on this same kind of gothy,
country blues sort of thing
that I -- that would be my choice.
-Oh, that'd be cool.
-Yeah.
Can we give it up for our panel, please?
[ Cheers and applause ]
-Wait, we have to ask Jake. We have to ask Jake.
-Give it up for my fabulous husband over here.
And for --
-The answer to every question
is Dave Matthews when it comes --
-That's his answer. Yes.
Dave Matthews is who he would collaborate with.
Dave Matthews is who he would leave me for, actually.
And give it up for Hendrix for being on her best behavior.
So now there's a mic. It's right there.
We're going to open it up to a Q&A.
You can ask anyone up here any questions, even her.
And, yeah, if you have a question, come line up, I guess.
Come to the mic. Okay. You can't ask her any questions.
Okay. Bye sweetie.
Yeah, we'll answer pretty much anything.
Anything; like how long was your labor, anything.
-I think you already shared that, but.
First of all, I'm Jenny and I've seen all of you all --
actually, I've met -- well, I haven't met you,
so we'll meet you tonight and then I'll have met all of you.
But I just love you and the music, and the Seattle music.
I have a question about the book.
I was thinking about it
as I was stemming through and looking at all the songs.
Within each decade, did you put the songs in a particular order,
like chronologically,
or how did you decide how to order the songs.
-Yeah, that's a good question.
By year, since it's the decades are in order,
we kind of kept the single release in order of
when they were released.
-Okay. So by release date? -Yeah.
-Okay.
-Yeah, exactly. Great question.
-I'll ask a question. Yeah. Eva, how are you?
-Whoa. -First of all,
I grew up with guitar heroes like Eddie Van Halen
and, you know, Jimmy Page, Robert Cray.
First of all, I want to say Jimmy,
the world hasn't seen a rhythm guitar player like you.
Insane.
And I've heard you play solo too, and it's just over the top,
but like how do you keep that rhythm?
That's not the question, but. But, Eva, I want to ask you,
we've talked a little bit about it before, but to you and Jake,
like who are your influences?
Like I was looking through that book,
seeing names from, you know, way in the past,
and I'm a bit older than you. Like, how did --
how was that ingrained into your psyche
to bring you to this point,
and your musical career, obviously, too?
-Yeah, like local influences or just --
-Just in general, yeah.
-In general.
Well, first I'm going to give you a hug
because I haven't seen you in a really long time.
Thank you for coming. -Good to see you.
-Well, James Marshall Hendrix, of course, a big influence.
My first rock hero was actually Alanis Morissette.
Yeah.
Jagged Little Pill was the first tape
I bought with my own money after watching Ironic on MTV.
Yeah. -How old were you?
-I don't even think I was in middle school.
Yeah, I think I was nine, Marco. How old were you?
No, you don't have to answer that.
Yeah.
This is going to sound really cheesy, I know,
but my family is a really big influence especially on
just like work ethic and being able to get to
where I've gotten to.
My grandparents worked so hard, especially my grandpa.
I've heard stories of them.
They're from Louisiana. I'll try to keep this short.
They're from Louisiana and I -- so they're New Orleans.
They're from a very musical city, right?
And so music was also in the house quite a bit.
I learned the Declaration of Independence,
like I memorized it,
from The 5th Dimension record that my mom had.
My sister had an assignment in high school
where she had to memorize it.
My mom was like, "The 5th Dimension does it."
Boom.
And so that's how I learned the Declaration.
So yeah, like music was everywhere.
My grandfather loved Dave Brubeck,
Take Five was his favorite song. He also loved Stevie Wonder.
My grandma used to listen to big band music
on AM Radio on her 8-track player.
And so music was always a part of my life,
having a New Orleans family in Seattle.
And, you know, I've heard stories of them
commuting from New Orleans to Mississippi
and having to freaking piss in a pot because
they weren't allowed to use any of the bathrooms in Mississippi.
And I mean, they've just been through so much
and through it all they had music,
and a smile and good cooking.
And all of that has influenced like just my manners,
my mannerisms, everything.
I make up words like southern people do.
So my family is like my biggest influence.
And then Jimi Hendrix.
Does that answer the question kind of, sort of?
If not, afterward you can be like,
"Yo, I just said yes, because."
-Eva, you told me this story a long time ago,
and this is how we met before I even knew who you were.
-Oh, can I tell it? Please, please, please.
-Okay, you tell it.
I don't know if I can tell it,
because I'm going to mess it up.
-I went to high school, and I was --
we had this thing where guests would come into the classes,
and I was, I think, 14 or 15 years old.
And I was walking down the hallway
and I've heard this beautiful guitar.
And I was like, "Who's playing guitar?"
So I run into the classroom
and Jimmy James is playing guitar
to my language arts class.
And I didn't know him at the time at all.
I didn't know anything about him,
but I saw him playing and I was like,
"Oh my God, this is -- this guy is amazing."
And then after he was done, I went up to him.
I'm like 14, 15 years old. I was a very awkward teenager.
More awkward than I am now.
And I was like,
"Hi, you were really good."
And then I ran away.
And then like 10 years later we're like best friends.
I was like, "You don't remember,
I was the awkward kid that ran away from you."
-I remember that a little bit. See, here's what's funny.
The awkward moments we had, it was with that.
And then Evan, we had, and this also --
and I did the same thing to Evan too.
That's what's even funnier.
Because I was your age;
I'm not going to say my age though, Marco.
I'll just say I'm 23.
But he used to live two --
Evan used to live two blocks away from me.
And he used to catch the 48.
This is how far we go back.
If you remember the 48 bus, then you been in Seattle a long time.
And he had this big upright bass,
and he was the only guy in the neighborhood
who had like an instrument.
I was like, "Whoa, who's this guy?"
And I had this beat up guitar case, right?
You remember it had,
like I was wearing bell bottoms at the time, and all that.
My hair was a little bit blacker then.
And I had this guitar case and stuff,
and I would sit there, we'd look at each other.
I was too shy to say anything.
We look at each other, we're like -- --
and that was it, right?
And every time we see each other at the bus, we're like.
-You guys -- -Never said a word.
And it took us six years at a jam session to finally talk.
And you were like,
"Man, you were the guy with that beat up guitar case."
And I was like. -All the names on it.
Yeah.
-And I still have that guitar case and I'm actually should --
I'm going to bring it out one day with the dust and all.
-You guys,
what Jimmy James is describing is
like the northwest black experience where, you know,
when you see a Black person with something other
than like an instrument, like not a boombox or whatever,
like you're like, "Oh."
It's like the new this, right?
You're just like, "Oh, you got a guitar?"
-But you got to pull the chin up.
So instead like saying hello, you're just like --
-You're like -- I know exactly what you're going through.
Like the northwest Black experience is a thing.
Paul Bunyan, Jamal Bunyan. Any other questions?
There's a microphone right there.
-Hi.
What's your favorite Seattle show with the Seattle Band,
and where was it?
-Seeing Thunderpussy at the Showbox,
I think in 2000 -- the year you guys played,
that was like my favorite.
-Seventeen to '18. -2017 into 2018,
that was like hands down my favorite show
and they're still one of my favorite bands.
What about you guys? Any favorite shows?
Favorite --
-Favorite shows that is now one of this one.
I'm going to see if you remember this one.
There was the night that we, I think it was at Neptune,
I believe, and Cholos.
And you came as our guest to sing, right?
And it was that.
And you did Ray Charles' Hit the Road Jack.
I think there's video of it somewhere.
-That's right.
-And you got the crowd really jumping on that one.
And it was so fun.
And I remember that --
-I told them, I was like,
"Sing to me as if I'm the person that you want to hit the road.
Like, pretend I killed your dog,
pretend I called your mom ugly, and then get real mad."
And that crowd was like, "Hit the Road Jack."
-But there's also the other one, I will say,
not to make everybody sad,
but the last show my mother got to see
before she passed, was with you.
And I got to tell this story because it's pretty funny.
So her and my mom,
my mom was sitting in a wheelchair
and I think you all were laughing about people going in
and out the bathroom
and not washing their hands or something.
And you all were laughing back and forth,
because that's how she was.
And she -- and you were asking me, you were like,
why are you so nervous?
Because my hands were sweating really bad.
And I'm like, "What am I doing?"
You like, "Why are you sweating?"
I said, "My mother is here."
And I usually don't sweat like that, you know,
because my mother is my biggest critic.
True story.
She will tell you, like this first show I ever played,
I played the solo and I really thought it was happening.
And I asked my mother, I said, "Mom, what do you think?"
She said, "Truth; the first three notes were right,
everything else was off.
Go work on that." And that's the person she was.
And I miss her for that.
And then, so there's a picture of my mother
holding a record of yours, Cobain Incorporated.
That was the record.
And after I was done, I said, "Mom, what do you think?"
She's like, "Okay, truth. That was fantastic."
She said, "You know what?
You should play with them guys more often.
You should play with The Black Tones more often.
I really like them."
She's like, "You should just be in their band."
And I'm like,
"But mom, I have a band."
"Yeah, but you should play with them, though."
And I was like, "Okay, thank you."
"I love you, baby." That was, yeah.
-And that was the Mavis Staples show.
Who was one of her favorite artists, right?
-Mm-hmm. Yeah. She was --
-That's the whole reason I asked her to play.
I knew his mother loved Mavis Staples.
-But she loves you guys a lot too.
She held onto that record and she was like,
"I just love the music.
It just, I love that rock and roll that they playing.
It's good." You know? So, yeah.
-Marco, you have a favorite show you've been to?
-I mean, I've got a couple of them.
That Nirvana show at The Paramount in '91.
That was kind of legendary.
God, I had another one that I've already forgotten.
-It's okay. It was the '90s man.
-Yeah, exactly. This starts happening.
What was it? Another fricking show.
I'll think about it. And let's move on.
-How old were you then? -In '91?
I'm not going to talk about that right now.
-Age ain't nothing but a number, baby.
-I was in my 20s.
-Okay. -Twenties in the '90s.
-We've got another question.
-A question and a statement.
I'm here because I saw The Black Tones play
in Reno a few years ago. -Oh wow.
-Mama, there's a spider in my room.
-That was good.
-Got your merch.
But I was thinking,
is like Tacoma not a thing up here in Seattle?
Because I'm from SoCal originally, and I'm old as f.
And like I was totally influenced by, you know,
fender guitar and surf music,
and The Ventures came out of Tacoma.
Are they in your book?
-Do they have The Ventures in the book?
No, but we have The Sonics,
and Bing Crosby was originally from --
-Because they arguably invented surf music.
I mean, their team Walk,
Don't Run was the very first live guitar
I ever heard in SoCal.
And I grew up and run down to beach.
-That's awesome.
-And, you know, that was like,
when I saw that a live person playing that, like blew my mind.
-Yeah.
-Anyway. -Thanks for sharing that.
Yeah, Bing Crosby is one of the people originally from Tacoma.
There's a few other Tacoma people.
But that's a good one.
It was hard to fit or to narrow down 101 songs
to cover 80 years of music.
You can imagine what that took.
But one of the things that I really appreciate
that my husband did was he left the table of contents up to me.
And while I was doing the table of contents,
I wanted it to look like how this stage looked: diverse.
And so there's typically a lot of people
left out of the conversation.
So I had to sacrifice a lot of White guys to get --
-- to get some much-deserved hip hop artists,
Black artists, Japanese jazz pianist,
Deems Tsutakawa, in there, women.
Like there was a lot of sacrifices that'd be made.
But if you listen to me on KEXP,
you know, I do this thing called Walker Wormhole Wednesday,
one of the things with this book -- thank you.
Some Wormhole Walkers over there.
One of the things is that I hope this book influenced you
to go down your own wormhole.
It's a place to start and then you can get to The Ventures,
because there's a, yes, this is a very small portion.
I mean, 80 years of music,
you guys, you can't get that in 101 bands.
But we tried. But yes.
So I hope you do your own searching.
I hope this is a good place to start.
And then you go do your own searching from here.
Yeah. Thank you for that.
Hi. -Hi.
I saw that there's a section on Sub Pop Records
and I was curious if there was another example
of a record label that kind of exemplified like the DIY
or the Seattle spirit?
-Yeah, I would -- I'm going to let Marco pitch in on that.
But K Records comes to mind to me.
And then there's -- -K, Kill Rock Stars.
-Kill Rock Stars. That's right.
-Yeah.
-There's another one too in my research.
It's no longer around.
-Who are we forgetting? There's like a ton --
-Stardom.
-There's a lot. -Small, little indie, CZ.
That's another good one.
-Yeah. There's one more.
-Still around, still putting out music.
-It's going to destroy me if I don't find it,
but, sorry, keep going.
-Who else?
-And there was Sportn' Life Group,
which was really big in the hip hop scene.
Like the guy, one of the founders,
DeVon Manier actually manages my band now,
but in the '90s,
Sportn' Life Group worked with people
like Vitamin D and D Black is what he went by at the time.
But now, Nasim, yeah, is what he goes by.
But so I want to shout them out.
Sportn' Life Records, they're no longer a record label, but.
-There's also Loosegrooves.
-Oh yeah. -Loosegroove.
-HockeyTalkter, Stardog, which is, yeah.
-I can't find the one though
that I'm really thinking of that
I kept running into in this research.
-What was that? -And it's driving me crazy.
I'll find it at 4:00 in the morning and I'll call you.
-Yeah.
Do each of you have a favorite venue to play in in Seattle,
and also play a favorite venue
where you like to listen to music?
-That's a great question.
-I would say, Sea Monster Lounge; easy.
Like, you know, like,
because it's -- the thing I love about the Sea Monster,
and shout out to Mark Mattrey, and to what I love about it,
it's owned and run by musicians, you know.
And it's a musician's hang, you know.
We all can go there, you know, how many times.
I mean, you could be -- everybody come off a show,
somebody is playing -- I mean, who's been there.
There's been not only like we go hang out there,
but it's like Derek Trucks came
and hung out there one Monday night, a few months back.
Roy Hargrove, the late Roy Hargrove, sat in.
Members of Prince's band came through there.
War has come through there.
And everybody has just come in from different parts.
You know, I think Dave Matthews came there once
and had a drink there.
So it's just like musicians come and hang,
because they know like, "My show is done.
Where should I go?
Where the live music and have a drink?"
Come to the Sea Monster.
People come up there, it's always a great hang.
-And then I'm a big fan these days of Sea Monster, of course,
but also Tim's Tavern out in White Center.
They're doing a really good job there.
Great sound, great vibe. Get out there.
It's a really cool spot. -Molly or Marco,
do you guys have any favorite venues
you like performing at or seeing shows at?
-I mean, I love Pneumos.
I like seeing bands in small places.
Showbox is killer.
But I do want to shout out,
there's a little venue on Capitol Hill that I love,
wine bar/art gallery/performance space called Vermillion.
-Yes.
-And they've been around since the old days
and it feels so much like old Seattle to me.
-That's great. -So I love that place.
-That's a great one.
-I want to give those guys a shout out.
-Diana.
-Fun, weird.
I feel like I'm over here being like,
you're like just cheesy family.
I'm like, oh, family. Like, just echoing all.
Vermillion is --
I'm so happy you just said that because, well, one, I was like,
"There isn't just like one space
because again, that's this -- Seattle, I love you."
Like every space and the ways
in which they open the doors and the capacity
in which they grow or, you know, or even like,
kind of create more intimacy is so unique to this city.
Because I mean,
like I could literally list off all of them
from like the old crocodile to the new crocodile,
Pneumos, Tractor Tavern, the Sunset,
you know, like the Showbox.
But like literally every space in Seattle feels like --
I am so grateful for every single space
that keep their doors open because of all of you
and for all of us to the magic
in which is showing up and making noise.
But Vermillion has a very special,
special space in my heart
because dance is a big root of my life.
And I mean, it's the reason I moved to Seattle,
but Vermillion and Diana were the first people
to take a chance on me
when I had this crazy idea to start an event called Trigger.
New Dance Happenings.
And I really wanted to highlight movers and shakers
around the city who were not necessarily highlighted
or given the same opportunities to show their works in progress,
to show, and even to share their voice and their movement
in unexpected spaces around the city.
But Diana was the first person to be like, "Hell yeah."
And we did that for I think a year and a half
every two months.
And she would like have different art, you know,
and be like,
"So they kind of want to --
they're going to be up against that art.
Is that okay?"
And she's like, "Yeah, totally cool. Totally cool."
It's like,
"Someone is going to smash some fake glass over here."
She's like, "Yeah. Just maybe not on the frame."
"Okay, cool. Cool."
You know,
but Vermillion, I'm so glad you just said
that because it's still,
I love that it's still there also like, that's so --
-And it still got the vibe.
-Yeah. -That old like Seattle vibe.
-The DIY like. -The DIY thing.
Real quick, also the killer little venue
at Pike Place Market called The Rabbit Box.
Yeah.
And that's the kind of venue
that needs your help right now too.
They're struggling.
So if you ever get a chance to go down there, it's underground.
That feels like old Seattle too. -Where the old cancan was.
-Yeah. Where the old cancan was.
-Also, The Royal Room.
I was just thinking of the Royal Room the other day
and I was like, room, God, you know,
and also that like corner at Jovino.
Another artist I loved, Jovino.
But just these incredible spaces.
Yeah. Oh yeah. -And to go back to a question
I asked Marco earlier about how music lovers can support,
you know, a thriving music scene,
support your medium to small size venues.
That is like at the root of the ecosystem in music.
That's where a lot of bands start.
That's where you're going to discover a lot
of brand-new stuff.
That's where people are getting their start at.
And I think we have time for one more question.
So you're lucky number -- -Well, first of all,
I have to admit I haven't been keeping up
with the live music scene in a while,
but I remember my uncle telling me in the '50s,
he'd go to see a band.
And after they'd done their performance,
they'd go to another venue and jam with another band.
And they'd end out where they're playing till 5:00 in the morning
and the patrons had to go to work.
That's when they'd end.
-That's what he does like every day.
Yeah. He doesn't sleep. Go ahead.
-I was wondering, do you guys,
after you've done your performance,
do you go to someone -- watch someone else
and get invited to jam with them and keep going?
-Go ahead and talk on that.
Yes, he does. -Really?
You have to put me on blast like that.
Okay. True. This is true.
Because my bedtime does not start until 6:00 AM.
So sometimes even that, but it's true.
Because there's been jam sessions that will happen.
You'll play and then you're like,
"There's one --
I think there's actually one going on later tonight, I think.
And I know I'm supposed to be on a flight tomorrow,
but that's okay."
But, yeah, the jam sessions,
like especially when you hear about back in the day
like you were saying in the '50s and such, it's --
and there's still certain pockets
that are still like that,
you know, around, you know, and stuff like that.
Especially when you go down to Soto and stuff,
and it's like, "Okay, what's going on down here?"
You know.
And we're like, "What's going on?"
"There's a jam session going on in Texas."
"Yeah, well this is going until,
I don't know, 5:00 in the morning."
I'm like, "Okay."
And sometimes you'll be playing so long,
you'll be like playing just like, ding.
You'll be like,
just want to make sure the guitar is still playing,
but it happens, you know?
And so there's like, there's good pockets of that.
You just have to know where to find them and stuff like that.
Or BrodieNation one night, but this is true story;
we had played the show,
was doing Artists at Large and I was like, okay,
yeah, everybody is packing up.
People are going to their tents.
I'm like, "Okay, this is going to be done."
And then ended up, like, my arm was still on stage.
I'm like, "Hmm-hmm." Turn it back on.
I start jamming. People come out of their tents.
By the time it was over,
I think it was 6:00 or 7:00 in the morning,
the sun came up and nobody slept.
I didn't, of course.
But it's always fun to do, you know.
And I love those after hours
because you never know who you might hang with
or who you might jam with and stuff like that.
So that's always fun.
-Can I just say that just made me think
of DobeFest and Sasquatch.
And again, I'm like,
I'm just going to gush on all the Seattle.
But the festivals, as a new artist or, you know,
kind of figuring things out and getting to experience,
or witness, discover new artists,
and then be able to be camping out next to them.
Be like, "Hey, so whoa, I'm not sleeping.
You're not sleeping.
You want to like play some music?"
Or, you know,
and like that just made me think of specifically Dobe
because of however many years and having that space like;
Kevin Sir and Joe Bay.
But like that magic of like the restlessness
and the creative, little like Wackadoos.
But that you're meeting everybody exactly where you're
at and then all of a sudden something comes from it
and you're like,
"Wow, we're actually going back to the same place.
Did you want to -- we like, you want to make some music?"
Or like, that's how Leah,
that's how Thunderpussy actually formed was basically at Dobe,
thanks to Leah playing with Cumulus.
I'm pretty sure. Alex, anyhow.
-That's right. -Yeah.
And I was like, "Leah, I don't know you, but I love you."
She's like, "Whoa." -It's always fun.
-We're not sleeping tonight.
-It's always fun to like have those late night sessions,
because, you know, you get into kind of a delirious state,
which happens.
Or some people take certain recreational activities.
-And with that being said -- -I mean, I was like, --
--- thank you so -- -I don't.
--- much for coming. We've got books for sale.
Give it up for Evan Flory-Barnes, Molly Sides,
Jimmy James, Marco Collins, my husband, Jake Uitti,
with Hendrix somewhere.
I'm Eva Walker.
And thank you, Town Hall. [ Applause ]