Welcome to the Elysian Brewing Main Stage
Great beer calls great music! Join us at Trucktoberfest this October for more than just street food and beer in the Marymoor Park. We are offering some of the Northwest's best local indie Rock N' Roll all weekend long to enjoy with your favorite beers and food as part of your admission on the grassy meadow. Eat, drink and dance the weekend all weekend long!
Elysian Brewing Main Stage Headliners
SATURDAY, OCTOBER 3RD THUNDERPUSSY | 8PM
SUNDAY, OCTOBER 4TH
SISTERS | 5PM
SATURDAY, OCTOBER 3RD MUSICAL LINE-UP
DJ JEFF HAWK 1:00 - 3:00PM
SWERVEWON | 3:00 - 6:00PM
TANGO ALPHA TANGO | 6PM
MY GOODNESS | 7PM
THUNDERPUSSY | 8PM
SUNDAY, OCTOBER 4TH MUSICAL LINE-UP
DJ JEFF HAWK 1:00 - 2PM
THE HOME TEAM 2PM
COURTNEY MARIE ANDREWS | 3PM
CATALDO | 4PM
SISTERS | 5PM
DJ JEFF HAWK 6 - 7PM
Saturday, October 3rd
Tango Alpha Tango | 6pm
Portland’s Tango Alpha Tango is best experienced amid a crowded room of sweaty guitar junkies. Logically, then, a well-mixed live album is the next greatest thing. Captured last year at local recording space Banana Stand, the performance delivered by the quartet tackles a sprawling beast in 12 songs. From the first bluesy electric-guitar riff in “Kill & Haight” to the gritty energy of “Black Cloud,” the record not only translates frontman Nathan Trueb’s ability to write a good tune and dominate a guitar neck, but also the band’s flawless fusion of blues and rock with funky bass lines and psychedelic keys. Trueb explores his folkier singer-songwriter side on “Desert Snow,” a song composed simply of his scratchy, worn-in voice and supplementary fingerpicking. But with nearly half the songs on the set list running eight minutes or longer, many of the album’s gems surface when Trueb cracks them open with his guitar. In lengthy tracks like the trippy “In My Time of Dying” and the driving rock jam “Mona Lisa’s Death,” the frontman disassembles ideas, draws out phrases and slowly builds them up again. Although the album doesn’t quite hit with the impact of experiencing the band in the flesh, it comes pretty damn close. EMILY BOOHER, WILLAMETTE WEEK
My Goodness | 7pm
Sometimes it really does feel like things happen for a reason. Call it fate or destiny, chance or luck, sometimes things just click and fall solidly into place. That’s something My Goodness knows all about, because it’s exactly what happened when guitarist/vocalist Joel Schneider and drummer Andy Lum first started playing together in 2012. Both hailing from Seattle, they’d known about each other for years, but it took crossing paths in Texas for the two to finally connect.
The result is thirteen songs that are as powerful as they are vulnerable, delivering a full on blast of defiance while wrestling with demons and insecurities. Recorded live in the studio and produced by the late Rick Parashar (Pearl Jam, Alice In Chains, Blind Melon), there are elements of blues and garage rock coursing through the veins of this album – just listen to the soaring title track or the bombastic energy of “Pay No Mind,” the catchy rambunctiousness of “Sweet Tooth” or the rollicking desperation of “Letter To The Sun” – but there are also moments of quiet, tender contemplation. “Bottle,” for example, is a mellow, lilting tune full of trembling, heartbroken resignation, while “Lost In The Soul” is a song of beautiful, melancholy grace. And then there’s epic album closer “Hot Sweat,” which ebbs and flows between the two extremes until, in a clattering crescendo of guitars, drums and Hammond organ, it brings the record to a devastating close. Loud or quiet, boisterous or soothing, one thing is clear – these are songs from the heart, songs that truly mean something. Although the music was born from that natural spark and creative bond between Schneider and Lum, the subject matter is much less triumphant.
As My Goodness continues to evolve, so do the endless possibilities of their music. Not long ago, Seattle was the hub of a legendary rock scene that changed the landscape of music, as we know it today. My Goodness is here to reignite that Northwest fire and carry the torch of rock for a new generation of fans.
THUNDERPUSSY | 8pm
Not only will Thunderpussy make you question your life choices, they will teach you life lessons like, "A hard man is good to find," and "Booty is in the eye of the beholder." Comprised of Molly Sides (This Bitch Don't Fall off), Whitney Petty (Deerhunter, The Grizzled Mighty), Leah Julius (Cumulus, Sundries), and Lena Simon (La Luz, Kairos), this new Seattle sex bomb will blow up in your face like a handful of napalm. Get ready for rock n roll's new diamond in the muff.
This peach is getting ripe...
Sunday, October 4th
Courtney Marie Andrews | 3pm
Courtney Marie Andrews is an American singer/songwriter originally from Phoenix, Arizona. For almost 8 years, she has been touring all over the world, by Greyhound Bus, train, and her station wagon. Between her beautiful lyrics, unique guitar playing, and classic angelic voice, she has created a sound all her own. After several releases and tours she made her way up to Seattle, Washington, where she currently lives.
Her latest album, “On My Page” was released on April 23rd, 2013, and produced by Ryan Hadlock (The Lumineers, Ra Ra Riot, Blonde Redhead) at Bear Creek Studios in Woodinville, Washington.
Here are her releases:
(You can find them on CD Baby, iTunes, and Bandcamp. OR, you can email her and she'll send you a copy: courtneymarieandrewsmusic@gmail.com)
Cataldo | 4pm
It happens to all good musicians eventually. After spending most of his 20s working to establish himself in the indie music culture of his adoptive hometown of Seattle, Eric Anderson looked up to discover that he felt more dislocated than ever. Despite having earned a loyal following for his band Cataldo—whose three albums have burnished his reputation as a serious and distinctive songwriter—Anderson found that each step along the path of building a career and body of work, no matter how successful, had led to a larger restlessness. Drifting non-committally through preparations for the fourth Cataldo record, Anderson bounced some production ideas off his sound designer housemate, whose response proved both ridiculously simple and profoundly liberating. “That all sounds very sensible, Eric,” his housemate said, “but what do you want to do?”
It’s funny, but the question had never really occurred to him. And like all important questions, it spawned others. Soon Anderson was exploring his identity as a brainy-feelings writer and his growing fascination with radio pop music (as well as his deep contempt for the disconcerting trend of honky folk artists copping the least elemental but most demonstrative affect of being “soulful.”) Finding no common cause with the currently fashionable gaggle of ebullient faux-folk acts with which Cataldo was invariably lumped, he felt increasingly stirred by a desire to shake off the writing, recording, and performance reflexes he had developed. Bored of his own sonic palette, he began imagining stark drum beats and sensual horn arrangements, but in the service of his voice, not of a character’s. He continued writing songs that sought to reconcile his direct connection to the songwriting tradition of artists like the Mountain Goats, Bill Callahan/Smog, and Magnetic Fields with his unshakeable affinity for the melodic breadth of “Put it Down” by The Dream and the cross stick throughout D’Angelo’s “Voodoo.”
His roommate had asked him what he wanted to do, and Anderson had found an answer: “Whatever the fuck I want.”
The result is Gilded Oldies, the most ambitious, assured, and accessible Cataldo album to date. Which isn’t to say dumbed down. The record is full of unyielding introspection and coruscating insights into often dark and emotional subject matter. The process that led Anderson to his triumphant album—put simply: acknowledging the yawning gulf between the life you expected and the life you got—is reflected all through the songs. The news isn’t always pretty: “all god’s creatures have their bridge to burn/this is mine smoldering” from the title track. Sometimes it’s plaintive: “what a cowardly thing/to know the notes but not sing,” from “Black Lamb.” Sometimes it’s obscure: “Noli me tangere, motherfucker,” from “The Beast.” And sometimes it’s just a heart-nicking dialogue between hope and despair: “But someday in a moment unacknowledged by the sprawl/ my heart will beat so hard that it can break the terra cotta shell the beast has made/ that keeps me lonesome and acting smart.”
But however contemplative Anderson’s lyric writing gets, the music is spry, the melodies delectable, the sounds organically irresistible. The contrast is a difficult trick to pull off, but it’s also a sign of necessary and enchanting growth in a songwriter whose emphasis has, until now, rested unmistakably on “writer.” Not that anyone is likely to mistake these songs for being taciturn—Anderson remains a committed verbalist. But the groove and feel of the arrangements frequently step up to take their rightful precedence, which of course affects the meaning of the words in surprising, even thrilling ways. As Anderson himself admits, with characteristic bashful optimism, “Gilded Oldies is the first Cataldo record you could occasionally, maybe, sort of dance to.”
SISTERS | 5pm
SISTERS is an orchestra of two, and their togetherness is infectious. Within their first four shows, the Seattle duo opened for Allen Stone at Chateau Ste Michelle and played the inaugural Fisherman's Village Music Festival; within three months, their lead singles, Back 2 U and Buzzard, were licensed by Starbucks, and within their first year, they were bookeed at Sasquatch! Music Festival, Bumbershoot Music and Arts Festival and Capitol Hill Block Party. Their genre-gender-bending brand of indie pop isas endearing as it is virtuosic, as pointed out by Gelatinous Blog's Jared Brannan, who proclaimed, “It's honestly hard to fathom that the compositions these two generate can be performed with a sum total of 8 appendages and two voices. The quality of that astonishment [is] not lost upon the crowd, as each rawkus round of shouts and applause between songs [feels] like a celebration of profound technical musicianship.” This is the togetherness of SISTERS, and everywhere they go, audiences, musicians, and critics alike are cheering their praise.