Tag Archives: Brian Foss

Your Live Music Bets for the Weekend of December 19 through December 21

It’s less than a week before Santa does the Down-The-Chimney Shimmy, so the fact that there are some seriously cool holiday-themed live shows going on this weekend should come as no surprise. What may surprise you (and what will surely make your live music choices true agony for the next three days) is how many great non-holiday shows lie in waiting. Consider this heads-up my Christmas gift to you. Happy Holidays, folks.

Friday, December 19 (tonight!)

Dancer and Prancer’s Xmas Extravaganza with Shannon and the Clams, La Luz, The Fe Fi Fo Fums, DJ Brian Foss @ Chop Suey. 21+. $15 at the door. Show at 9 p.m.

In case you didn’t know, Capitol Hill venue Chop Suey becomes the latest local music venue to fall victim to grabby developers come January. That means you’d better get your fix while you can, and this second night of holiday hijinks should be just the ticket. Shannon and the Clams play retro rock that plumbs surf music, rockabilly, and lo-fi pop, La Luz’s swaggering garage-surf remains crucial live, the Fe Fi Fo Fums bash out lovingly sloppy rock that makes the Black Lips sound like Yes, and hosts Dancer and Prancer do the Ventures’ surf-Christmas schtick with irresistible panache. All that, and pictures with Santa, and a DJ set by booking God/former Funhouse Santa Brian Foss? Smells like Christmas-palooza.

Kinski, Spoils, Low Hums @ The Blue Moon Tavern. 21+. $8 at the door. Show at 9 p.m.

Kinski have been kicking around Seattle for long enough (since 1998) to officially be taken for granted, but do so at your own peril. Their most recent full-length, 2013’s Cosy Moments, saw them pounding out some lean and menacing hard rock with vocals, but fans can rest assured that the band’s dreamy/gothy/atmospheric/freaky instrumental soundscapes remain intact–and mesmerizing live. Low Hums most definitely live up to their name, generating a slow-rolling and likewise-atmospheric wall of sound that adds some roots twang to the trip, as if Ennio Morricone’s slide guitar player dropped acid and joined a shoegaze band.

X, The Blasters, Girl Trouble @ El Corazon. 21+. $25 advance/$30 at the door. Show at 8 p.m.

If the words ‘seminal’ and ‘legendary’ didn’t already exist, some rock critic or music nerd would have had to invent them to describe X. The LA punk band influenced a couple of generations of indie musicians by draping a roots-rock canvas over punk rock. They still give it their all onstage and sport an astonishing back catalog. Roots-rock stalwarts The Blasters and Tacoma’s own Mount Rushmore of Garage Rock (Girl Trouble) form a super-powered opening one-two punch.

Funky 2 Death @ Seamonster Lounge. 21+. Free! Show at 10 p.m.

I’m a relatively late convert to Wallingford’s Seamonster Lounge, but it’s a great little scrapper of a venue with decidedly funky leanings. Local ensemble Funky 2 Death have pretty much served as the Seamonster’s informal house band for awhile now, and they’re capable funketeers with a surplus of chops. The grooves don’t come more organic and durable, and when guitarist Jabrille “Jimmy James” Williams begins firing off molten licks you best look out.

Saturday, December 20

Xmas Maximus, Cathy Sorbo, The Candy Cane Dancers @ Darrell’s Tavern. 21+. $10 at the door. Show at 9 p.m.

Last year’s Xmas Maximus Holiday Show provided some seriously good times, serving up plenty of holiday-themed original and cover songs that took plenty of goofball paths (yes, Christmas tunes and prog rock can be combined, if you’re as bent as these guys are). This year’s installment continues the madness, with the best dive bar in North Seattle once more standing in for the North Pole, an all-star cast of local musicians (including singer Barbara Trentanange, who belts out “At the Christmas Ball” below) populating the band, comedian Cathy Sorbo turning the air blue, and the Candy Cane Dancers bringing the burlesque.

My Goodness, Haunted Horses, Chrome Lakes @ Sunset Tavern. 21+. $12 at the door. Show at 8 p.m.

In case you haven’t gotten the news, My Goodness crafted what might be the best epic rock record of 2014 with their full-length Shiver and Shake (further elaboration here). Why they’re not filling giant venues at this point is one of life’s true mysteries, so enjoy seeing them in the cozy confines of Ballard’s Sunset Tavern while you can. The strong, stacked bill also includes the drony and scary Haunted Horses, and some potently forceful post-punk from local boys Chrome Lakes.

X, The Blasters, Boss Martians @ El Corazon. 21+. $25 advance/$30 at the door. Show at 8 p.m.

See Friday, December 19, give or take the very awesome stylings of another local garage rock ensemble, Boss Martians, in lieu of Girl Trouble.

Joe Purdy, OK Sweetheart, Sophia Duccini @ The Neptune. 21+. $29 advance. Show at 7 p.m.

Joe Purdy‘s tremulous folk stylings offer the requisite earthy charm, but for my money, the two opening acts make this bill damn near irresistible. Local girl Sophia Duccini‘s sidelong folk songs with pop tinges would impress even if she wasn’t a tender 18 years old, and former New Yorker/current Seattleite Erin Austin lends some powerhouse pipes to her ongoing project/band OK Sweetheart, combining sixties pop, folk, and Muscle Shoals soul to shimmering effect.

Santa Claus @ Scarecrow Video. 21+. Free. Show at 8 p.m.

Before you go to any of the above music shows tomorrow night, you’re cordially invited to visit the world’s greatest video store, knock back a beer, and watch Santa Claus score wacky dust from Merlin the Magician before going mano-a-mano with a devil. My sworn mission to make this bizarre bon bon an enduring holiday classick continues. First ten people receive a suitably bizarre door prize, courtesy of Santa!

Sunday, December 21

Piano Starts Here: A Charlie Brown Christmas @ The Royal Room. All Ages. $5 advance. Show at 6 p.m.

Gigantor, Lushy @ The Royal Room. 21+. No Cover, Suggested Donation $5 to $15 at the door. Show at 9 p.m.

Vince Guaraldi’s soundtrack to A Charlie Brown Christmas never fails to wrap a warm scarf around one’s heart, so hearing several talented local musicians wending their way through those jazzy chestnuts roasting on an open fire should be a treat. Stick around at Columbia City’s great new-ish venue for what will surely be sterling turns by Gigantor (fab reggae/ska fronted by Lynval Golding of ska legends The Specials) and Seattle’s finest cocktail/bossanova/space-age pop ensemble, Lushy.

Razing the Bar and remembering Seattle’s punk “breeding ground for creativity”

There is something quite remarkable about Razing the Bar, the new documentary about the dive bar/rock club the Funhouse that closed for good on Halloween 2012. Since watching a screener of the film a few months ago, it has never strayed too far from the forefront of my thoughts.

There’s a quote from Bill Cerise-Bullock (who I know casually dating back to when we were both writers for Three Imaginary Girls and who played in a handful of bands, including Glenn or Glennda?, the Misfits tribute band that closed the final Funhouse show) where he said something about Seattle liking to take credit for its rock history (Nirvana, Heart, Jimi Hendrix, etc…) but not wanting to put in the work to let musicians flourish. And that’s true. Being a supporter of music in Seattle means much more than just writing a check to the Vera Project, posing for a photo with Macklemore, and having some Mother Love Bone mp3s on your iPod. Or at least it should if you want it to continue to flourish.

The Funhouse is a prime example because the importance of preserving a dive bar with a creepy clown on top of it, sitting on prime real estate across from Seattle Center, is always a tough sell at City Hall hearings, especially when the alternative is developer dollars to build condos no one we know can afford.

I estimate that about 40% of the bands I’ve seen at the Funhouse could be charitably called “not terrible” and the restrooms looked like they were imported directly from a war zone. But there also wasn’t any other place in Seattle like it. In Razing the Bar, Kurt Bloch (of the Fastbacks fame) called it a “breeding ground for creativity.” Hundreds of bands got their first gig inside the Funhouse, and just about every musician interviewed in Razing the Bar spoke of owner Brian Foss paying them more than they come to expect from other clubs.

Music venues come and go, and even great ones can’t last forever. And people can always find a new place to hang out, but I think Razing the Bar makes a strong case for what made the Funhouse such a unique place, and why it is likely irreplaceable. It’s not a small feat to pull off making a movie that basks in nostalgia for an institution to its insiders (in this case: regulars) without failing to make its point to someone coming to the film anew. Even harder is to make a film about something that is punk rock without getting the opinion of Hank Rollins in there somewhere. Well done, Ryan Worsely.

But at least once the condos that replaced the Funhouse are built, the new residents at 5th and John will only have a short walk to Key Arena for their Macklemore and Pearl Jam shows.

{Razing the Bar plays at the Grand Illusion Friday, July 11-Thursday, July 17.}

So Long Funhouse, and Thanks for the Fish (Photo Gallery)

The Grindylow.
The Holy.
Brokaw.
Brokaw.
Brain Hornet.
Brain Hornet.
No World.
The Funhouse.
CCAA.
The Funhouse.
Tight Lies.
Tight Lies.
Blood Orange Paradise.
Blood Orange Paradise.
The Downstrokes.
The Downstrokes.
Last Gasp.
Poop Attack.
Glenn or Glennda.
Glenn or Glennda.

Brent of The Grindylow gets all rock-star. (photo by Tony Kay)

The Holy raising a holy racket at the Funhouse on October 30. (photo by Tony Kay)

Mike Henderson of Brokaw, shortly before knocking a hole in the Funhouse ceiling with his mic stand. (photo by Tony Kay)

Brokaw bust out the fog machine. (photo by Tony Kay)

Brain Hornet buzz away at The Funhouse's second-to-last night. (photo by Tony Kay)

Nick the Hat of Brain Hornet impersonates Satan. (photo by Tony Kay)

Dan Infecto of No World. (photo by Tony Kay)

Even the condom dispensers at The Funhouse are punk rock. (photo by Tony Kay)

CCAA bring the beats to their opening set at The Funhouse Farewell Party. (photo by Tony Kay)

The Funhouse: Catering to the oft-ignored Masked-Wrestling-Punk-Rock-Fan Demographic since 2003. (photo by Tony Kay)

Tight Lies rock The Funhouse. (photo by Tony Kay)

Tight Lies. (photo by Tony Kay)

Blood Orange Paradise, providing arty noise, or noisy art, or something like that. (photo by Tony Kay)

Blood Orange Paradise. (photo by Tony Kay)

Michelangelo and Raphael (sorry, singer Nick and bassist Ricky) of The Downstrokes. (photo by Tony Kay)

The Downstrokes. (photo by Tony Kay)

Henry Rollins + Mick Jagger x Scary Homicidal Homeless Guy = Ajax of Last Gasp. (photo by Tony Kay)

Sgt. Slaughter hits bottle hard, fronts punk band: Poop Attack help out with The Funhouse's last hurrah. (photo by Tony Kay)

Just another boring old cross-dressing Misfits cover band: Glenn or Glennda at the Funhouse's final farewell. (photo by Tony Kay)

Glenn or Glennda? Guess. (photo by Tony Kay)

The Grindylow. thumbnail
The Holy. thumbnail
Brokaw. thumbnail
Brokaw. thumbnail
Brain Hornet. thumbnail
Brain Hornet. thumbnail
No World. thumbnail
The Funhouse. thumbnail
CCAA. thumbnail
The Funhouse. thumbnail
Tight Lies. thumbnail
Tight Lies. thumbnail
Blood Orange Paradise. thumbnail
Blood Orange Paradise. thumbnail
The Downstrokes. thumbnail
The Downstrokes. thumbnail
Last Gasp. thumbnail
Poop Attack. thumbnail
Glenn or Glennda. thumbnail
Glenn or Glennda. thumbnail

Yeah, it sucks in the most epic, unequivocal way imaginable that The Funhouse is now history. The inevitability of its prime real estate falling into the hands of the usual rich-developer suspects doesn’t make it sting any less.

But glass half-full time, folks: The club served up nine solid years of loud, fun shows, in a rough-hewn-but-loving environment that gave young bands a chance to cut their teeth. And it provided strains of music underrepresented by the current indie-rock scene: Sturm-und-drang heavy metal, loud-fast punk, and dirty-fingernailed garage rock all found a welcome haven within the venue’s venerable walls. Plus, co-owner Brian Foss repeatedly stated his intention to open a new venue somewhere in town that continues to live up to The Funhouse’s credo of loud fun over fickle fashion. Continue reading So Long Funhouse, and Thanks for the Fish (Photo Gallery)