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Land of the Sweets: The Burlesque Nutcracker

Genre: Burlesque , Cabaret , Comedy

Lily Verlaine and Jasper McCann snowstorm into Seattle’s illustrious Triple Door this December for their ninth annual installment of Land of the Sweets: The Burlesque Nutcracker.  An award-winning wintertime spectacle and “the best thing about Christmas in Seattle” (CultureMob), Land Of The Sweets has delighted thousands of holiday revelers since 2006.

This year’s production will delight the newcomer and surprise return visitors to the Land of the Sweets.  The show's signature act, The Countess of Coffee, returns in high style with exquisite new costuming by Louise DeLenge of Teatro Zinzanni.  Other favorites will be back in all their glory, including Waxie Moon’s nefarious Rat King, the light-juggling magic of Babette La Fave, and Laurel Bordeaux's Clockwork Doll.  

You'll also meet some fresh faces in this year's world of winter magic. Mimi Mi (Shadou Mintrone of Spectrum Dance Theater) joins the beloved Snowflakes, Poppy Daze (founding member of Circus Contraption) returns to the cast as our high-flying Angel, and Tory Tiara will be stepping into the spotlight as the Sugar Plum Fairy!

Jasper McCann hosts this “rollicking, frolicking, unabashed and uninhibited celebration of the season” (Seattle P.I) that features an all-star cast from Seattle’s Burlesque A-list.

Come and experience why “audiences for these sold-out shows…go wild” (Seattle Times).  With a theatrical run of 33 performances there’s no excuse to miss it this year!  Join us!


http://www.landofthesweets.com

Land of the Sweets: The Burlesque Nutcracker

Genre: Burlesque , Cabaret , Comedy

Lily Verlaine and Jasper McCann snowstorm into Seattle’s illustrious Triple Door this December for their ninth annual installment of Land of the Sweets: The Burlesque Nutcracker.  An award-winning wintertime spectacle and “the best thing about Christmas in Seattle” (CultureMob), Land Of The Sweets has delighted thousands of holiday revelers since 2006.

This year’s production will delight the newcomer and surprise return visitors to the Land of the Sweets.  The show's signature act, The Countess of Coffee, returns in high style with exquisite new costuming by Louise DeLenge of Teatro Zinzanni.  Other favorites will be back in all their glory, including Waxie Moon’s nefarious Rat King, the light-juggling magic of Babette La Fave, and Laurel Bordeaux's Clockwork Doll.  

You'll also meet some fresh faces in this year's world of winter magic. Mimi Mi (Shadou Mintrone of Spectrum Dance Theater) joins the beloved Snowflakes, Poppy Daze (founding member of Circus Contraption) returns to the cast as our high-flying Angel, and Tory Tiara will be stepping into the spotlight as the Sugar Plum Fairy!

Jasper McCann hosts this “rollicking, frolicking, unabashed and uninhibited celebration of the season” (Seattle P.I) that features an all-star cast from Seattle’s Burlesque A-list.

Come and experience why “audiences for these sold-out shows…go wild” (Seattle Times).  With a theatrical run of 33 performances there’s no excuse to miss it this year!  Join us!


http://www.landofthesweets.com

LeRoy Bell & His Only Friends

Genre: R&B , Rock , Singer-songwriter , Soul

  1. Wednesday, December 31 7:00 PM (All ages)
  2. Wednesday, December 31 10:30 PM (21+)

7pm is $100 package: includes concert, glass of bubbly, and a $50 credit towards food/drink/tax/gratuity

10:30pm is $70 package: includes concert, glass of bubbly, and a $30 credit towards food/drink/tax/gratuity


**Any amount spent over credits will be responsibility of guest as well as extra gratuity**

Since expanding his global presence as a finalist on the first season of TV’s X Factor, LeRoy Bell has received global acclaim. His latest CD, Rock ‘N Soul, aptly captures the wide musical varieties that LeRoy so readily can hop between. He's a passionate Soul/R&B singer, a powerful blues/rocker and equally at home as an acoustic folk/soul singer - capable of captivating the audience with intimate performances. His band, His Only Friends, is bassist Terry Morgan, drummer Davis Martin and his newest "Only Friend", keyboardist, Daniel Walker.  They’ve headlined US tours and in Seattle, as well as opening for Etta James, Al Green, BB King, India.Arie, Sheryl Crow.

Come party with LeRoy Bell and His Only Friends on New Year’s Eve with us. You’ll make even more friends!

http://leroybell.com/

Lily & Madeleine

Genre: Singer-songwriter

  1. Tuesday, February 17 7:30 PM (All ages)

Lily & Madeleine’s goal is to release an album-a-year for three years — a rare feat when the trend among singer-songwriters is to space albums by half-decades. So far, they’re on track: Fumes, the duo’s second LP, was released October 28, 2014, 366 days after last year’s Lily & Madeleine. The sophomore album is a leap forward for the duo, a mature sentiment of two gifted young artists who have launched from their hometown onto the world stage with speed and grace.

When Indianapolis sisters Lily and Madeleine Jurkiewicz first started making music together, it didn’t cross their minds that they could make a living at it. Although they now find themselves in an acclaimed full-fledged career, what got them here has nothing to do with money, and everything to do with the spirit.

“The music will always be first,” says Lily. Indeed, Lily & Madeleine’s artistic souls are obvious to anyone who has heard their recordings. From the beginning, the sisters’ calling card has been the breathtaking and intuitive union of their voices.

“Their voices can pierce through the chaos of everyday life and actually make you stop what you’re doing.” American Songwriter

When the two come together in ecstatic and seamless “blood harmony,” it’s a sound that continues to haunt long after the songs are sung, leaving an electrical charge behind like a sparkling tracer in the air. Lily & Madeleine however, are equally distinctive as soloists as they are as harmony singers. When they step out individually as vocalists, Lily’s warm, smoky alto is the counterpoint to Madeleine’s crystalline, bell-like soprano.

That calling card is just as clear on their new material as it is on the cover songs the duo uploaded to YouTube for fun in late 2012. It was through these first videos that producer Paul Mahern, a staple of the Midwest music scene and frontman for punk band Zero Boys, recognized something special in the sister’s sound and enlisted the help of songwriter Kenny Childers (Gentleman Caller). Mahern challenged the girls to write a song a day, with Childers as mentor.

It’s that experiment that would become Lily & Madeleine’s first EP, The Weight of the Globe. In early 2013, they released a sparse, simple version of first single, “In The Middle,” to YouTube. When a neighbor of Lily & Madeleine shared the video on Reddit, the song hit the site’s front page. Within hours the video received over a quarter of a million views. It also attracted the attention of Asthmatic Kitty Records. They quickly signed Lily & Madeleine and issued the EP on 10-inch.

Just a month after Globe dropped on vinyl, the duo re-entered the studio and recorded their self-titled debut, which was released in October of 2013 to both critical and fan acclaim. Of the music, Jon Pareles of the The New York Times writes, “the thing that flags them as extraordinary is their sibling vocal blend, deep and seamless and relaxed,” while American Songwriter describes, “Their voices can pierce through the chaos of everyday life and actually make you stop what you’re doing.”

Since that release, the sisters have toured worldwide, including a sold-out U.K. tour and a very special capacity performance at the historic 1,200-seat Circle Theater with their hometown Indianapolis Symphony Orchestra. They’ve played on live national TV (a slot on CBS “This Morning”) and were crowd favorites at 2014’s Lotus Festival. Yet, the girls have remained modest, sticking to hard work as their imperative.

As young as they are, Lily, 17, and Madeleine, 19, are their own women. The songs on Fumes acknowledge childhood’s end and announce the entrance into adulthood—a place where the road ahead is unknown and sometimes dark. Facing the darkness head on, Lily & Madeleine at times hark back to the female-driven post-punk band The Raincoats, delivering a distaff perspective that is equal parts beauty and toughness, sugar and salt.

“The thing that flags them as extraordinary is their sibling vocal blend, deep and seamless and relaxed.” New York Times

Many of the songs on Fumes also touch upon movement and transition, from leaving a situation to “find out who you are” (“Lips and Hips”), or to escape (“Cabin Fever,” “Ride Away”). The album is very much a travelogue that speaks to the essence of a restless creative spirit, and the sisters’ desire to break new ground.

“Fumes,” says Madeleine, “shows our transformation as musicians and as women, and was inspired by our experience on the road as well as the life experiences of people close to us. It’s a perfect reflection of this stage of our lives.”

Fumes arrived October 28th, 2014 on Asthmatic Kitty Records.

http://lilandmad.com/


Lisa Koch (And Friends) Birthday Bash

Genre: Comedy , Singer-songwriter

  1. Wednesday, February 04 7:30 PM (All ages)

(singer-songwriter-comedian-actor-raconteur...)

Picture Tina Fey meets Bette Midler with Joan Jett guitar chops... and you’ve got Lisa Koch.  An irreverent Seattle singer/comedian, Koch (“Coke”) is a deliciously twisted mix of comedy, theater, and demented songs.  She has 4 solo recordings, is one-half of hilarious sketch-comedy duo, Dos Fallopia ("My Breasts Are Out of Control"), and is an alumnus of cult quartet Venus Envy ("I'll Be A Homo for Xmas").  She has shared the stage with a diverse group of artists, including Steve Martin, Dave Brubeck, Janis Ian, The Indigo Girls, Holly Near, and Kate Clinton.  She's proud to report that one of her songs has actually been sampled by Jay-Z.

Koch has been a featured act at the National and Michigan Women's Music Festivals, Bumbershoot, and the Vancouver Comedy Festival.  Lisa has co-written such warped shows as "The Carpeters: Uncomfortably Close To You," “Two’s Company, I’m a Crowd,” "Deja Poo," and “Ham for the Holidays: Lard Potion No. 9.”  She also finds time to work as an actor, appearing "The Vagina Monologues,” "Dirty Blonde,” and as the Wicked Witch of the West in “The Wizard of Oz” (5th Ave Theatre, Seattle).

She is the composer of Off-Broadway musical “27, Rue de Fleurus”, is the recipient of a Just Plain Folks Award, and she and her music appear in documentary, “Two in a Million”.  She performs regularly on Olivia Cruises, and has been seen on LOGO.  Koch’s CD, “Tall Cool Drink” contains the viral hit, “I’m a Middle-Aged Woman.”

“Hearing Seattle’s Lisa Koch is one of life’s wickedest pleasures… her brand of absurd confessional comedy is clearly resonating with millions of fans.”  --Curve Magazine

"...Lisa Koch picks up where Bette Midler left off..." --Music Connection

www.heylisa.com

Lloyd Cole

Genre: Singer-songwriter

  1. Tuesday, February 03 7:30 PM (All ages)

Lloyd Cole, though he’d never be so gauche as to suggest it himself, has enjoyed something of a renaissance in 2013. He released his new ‘career best’ album ‘Standards’ in the summer. He also found himself with star billing on the UK’s finest music TV show ‘Later With Jools Holland’(http://www.youtube.com/watch?v=HcDUDm4nNm8). He has been playing to sell-out houses across Europe ever since.

Cole played his first electric shows in a decade in January 2014 and the ‘never ending’ solo acoustic tour resumed in March, crossing Europe, New Zealand and Australia.

But still the album was not released in North America. At last this has been put right and ‘Standards’ will be released on Omnivore Recordings on September 30th. Cole expects to play a few select US shows in the fall with a fuller schedule in early 2015.

Recorded in late 2012 to early 2013 in Los Angeles, New York and at his home in Easthampton, Massachusetts, ‘Standards’ is produced by Lloyd and mixed by maverick German producer Olaf Opal. All songs are by Lloyd Cole apart from ‘California Earthquake’, which was written by American folk artist John Hartford.

Inspired in part by the vitality he found in septuagenarian Dylan’s acclaimed 2012 album ‘Tempest’ – says Cole, 52: “I took it as a kick up the backside…” – ‘Standards’ is a gloriously electric rock’n’roll record and arguably the best thing he has made since his groundbreaking debut with the Commotions, 1984’s ‘Rattlesnakes’.

The band Lloyd assembled for ‘Standards’ comprises Fred Maher (Material, Scritti Politti, Lou Reed) on drums and Matthew Sweet on bass reforming the rhythm section from Lloyd’s debut solo album 1990’s ‘Lloyd Cole’ and its follow up ‘Don’t Get Weird On Me Babe’. With Joan (As Police Woman) Wasser on piano/backing vocals, and Lloyd not only singing but playing synths amidst some of the crispest, stormiest, most stinging electric guitar, it’s a tight ship with a tight sound which tautens and relaxes according to the temper of the song. Augmenting the basic band are Lloyd’s son Will, Mark Schwaber and Matt Cullen on guitars, Commotions keyboardist Blair Cowan, percussionist Michael Wyzik and backing vocalist and Negative Dave Derby.

Says Lloyd: “I wanted to make an album with a small fixed palette of sounds, like a Van Gogh, like ‘Highway 61’. The album format is supposedly dead, but I still want to make them. Not bunches of songs – albums. For the last 10 years I’ve been primarily an acoustic musician but this is an album for electric guitars, electric bass and loud drums, with piano and a synthesizer for measure. Not quite monochrome, then, but not ever-changing either: it has a unique identity – a sound.”

http://www.lloydcole.com/weblog/


Los Lobos

Genre: Rock , Roots Rock

  1. Thursday, March 19 8:00 PM (All ages)
  2. Friday, March 20 8:00 PM (All ages)
  3. Saturday, March 21 8:00 PM (All ages)

More than three decades have passed since Los Lobos released their debut album, Just Another Band from East L.A. Since then they’ve repeatedly disproven that title—Los Lobos isn’t “just another” anything, but rather a band that has consistently evolved artistically while never losing sight of their humble roots.

Los Lobos are:

Louie Perez- Drums, Guitars, Percussion, Vocals

Steve Berlin- Saxophone, Percussion, Flute, Midsax, Harmonica, Melodica

Cesar Rosas- Vocals, Guitar, Mandolin

Conrad Lozano- Bass, Guitarron, Vocals

David Hidalgo- Vocals, Guitar, Accordion, Percussion, Bass, Keyboards, Melodica, Drums, Violin, Banjo

Enrique "Bugs" Gonzalez - Drums/Percussion

Los Lobos were already East L.A. neighborhood legends, Sunset Strip regulars and a Grammy Award winning band (Best Mexican-American/Tejano Music Performance) by the time they recorded their major label debut How Will The Wolf Survive? in 1984.

Although the album’s name and title song were inspired by a National Geographic article about real life wolves in the wild, the band—David Hidalgo, Louie Perez, Cesar Rosas, Conrad Lozano and Steve Berlin—saw parallels with their struggle to gain mainstream rock success while maintaining their Mexican roots. Perez, the band’s drummer, once called their powerhouse mix of rock, Tex-Mex, country, folk, R&B, blues and traditional Spanish and Mexican music “the soundtrack of the barrio.” Three decades, two more Grammys, a worldwide smash single (“La Bamba”) and thousands of rollicking performances across the globe later, Los Lobos is surviving quite well -- and still jamming with the same raw intensity as they had when they began in that garage in 1973. The band chronicles a key moment of their expansive journey on Disconnected In New York City, a dynamic live album that marks the band’s 40th anniversary and launches their new association with 429 Records.

Recorded over two nights in December 2012 at The City Winery in NYC, the engaging 12-song set celebrates Los Lobos’ great legacy as a freewheeling and unpredictable live band, which most recently includes touring in Europe with Neil Young and Crazy Horse in June 2013. Disconnected in New York City features fresh interpretations of songs from throughout their three decade recording career, including their first ever live recording of “La Bamba,” their worldwide pop crossover hit from the 1987 film which reached #1 on the U.S. and UK singles chart and whose video won a 1988 MTV Music Video Award. The collection covers the band’s 25 year studio discography, from “Gotta Let You Know” (a bouncy zydeco rocker driven by Hidalgo’s accordion from How Will The Wolf Survive?) through “Tin Can Trust,” a bluesy rock ballad that was the title cut from their last studio release in 2010.

By design, Disconnected in New York City has songs that have been longtime staples of Los Lobos’ tours mixed with other gems that had somehow fallen by the wayside over the years. The mix includes the mid-tempo shuffling rocker title track from The Neighborhood (1990); the easy flowing and whimsical (thanks to Berlin’s jazzy sax solo) “Oh Yeah” (from This Time, 1999); the spirited, traditional flavored, Rosas penned Spanish language “Chuco’s Cumbia” (from The Town and the City, 2006); the graceful and spiritual “Tears of God” (from By The Light of the Moon, 1987); “La Venganza de Los Pelados,” a fiery burst of Latin rock fusion with mariachi textures (from The Ride, 2004); the soulful, simmering blues of “Little Things” (from The Town and The City, 2006); the Latin blues funk classic “Set Me Free Rosa Lee” (from By The Light of the Moon); and two mid tempo funk pop/rock tunes from 2002’s Good Morning Aztlan, “Maria Christina” and “Malaque.” 

As per the literal meaning of its title, Disconnected In New York City sets itself apart from Los Lobos’ other acclaimed live recordings (most notably, 2005’s Live At the Fillmore) by stripping down the instrumentation for a mostly acoustic affair. Lozano, who drives the grooves with his bass and also plays the deep-bodied Mexican 6-string acoustic bass called the guitarron, says, “It’s funny because when the venue hired us, they specifically requested that we do something acoustic to fit its smaller dinner house vibe. The idea popped into our heads to ask them if we could record it and they were cool with that.

“We’re well known for our electric, high energy performances but we’ve done acoustic stuff for certain smaller auditorium tours,” he says. “Playing these songs acoustically makes them feel more intimate. We notice that when you play softer and quieter, the audience tends to pay attention to everything we’re doing. When you play rock, they’re thinking more about rhythm than melodies and lyrics, but playing them this way allows for more subtle elements of the songs to stand out.”

Perez laughs when he calls the Los Lobos Unplugged experience “folk music for the hearing impaired - it’s still loud because the acoustic instruments are amplified! The idea of making a record like this came from never having the opportunity to work some of our favorite songs from over the years into our usual sets. Because most tours are done in support of new albums, the fresh material we play means that some favorite older tunes fall away over time. When we thought about making another live album and what would make it different, the logical concept was to revisit songs we haven’t played in a while but had been requested by a lot of fans. We had already documented our rock show with Fillmore, so we felt kind of liberated to take another approach with this one.

“There are two challenges releasing a live album, though,” Perez continues. “One is choosing certain songs over other ones. It’s like having kids. We love Tommy as much as Johnny but one day Johnny gets to go the park today and Johnny stays home. In spite of this, we do cover a lot of ground. The biggest problem is the way people sometimes perceive live albums, like they’re an afterthought put out to fill some kind of gap. Bands love doing them but fans don’t always pay attention. But historically, it can be a license for great creativity. Jimi Hendrix did Band of Gypsies to fulfill his last recording commitment, but it was one of the most incredible recordings he ever made. Because Disconnected in New York City marks a key anniversary and the start of us working with a new label, we put a lot of thought into the project, from its design and structure and how we performed the songs.”

Steve Berlin is Los Lobos’ saxophonist, flutist and harmonica player who met the band while still with seminal L.A. rockers The Blasters. He joined the group after performing on and co-producing (with T-Bone Burnett) their breakthrough 1983 EP …And A Time To Dance. Though he wasn’t jamming with the others way back in the “Krypton days” (as Perez calls it) in the barrio garage, Berlin felt it was important to find a special way to mark his cohorts’ 40th year--just as they had done on their 30th by inviting special guests (Dave Alvin, Bobby Womack, Elvis Costello, Mavis Staples) to be part of their 2004 date The Ride.

“Trying to figure out a way to acknowledge 40 years as a band is harder than you might think,” he says. “We got to play with all of our heroes on our 30th so what was something we had not done? So, like Louie said, we thought the best thing was to bring back songs we rarely if ever play and put them into a fresh context. We wanted to create something of value for our fans that would reflect the mutual appreciation we share with them – starting, of course, with ‘La Bamba,’ which we had never documented live before. I think it was important also that once we knew the set lists for the shows that we would eventually choose the final tracking from, we didn’t over-think the arrangements. We only rehearsed these shows for a single day. The coolest part of how Disconnected worked out is that we hadn’t been doing some of these songs long enough to worry about how to pull them off. And because we performed them acoustically, we couldn’t just blast everyone with power and skate through them. We had to be present and make the choices that occurred to us in each moment.”

Around the time of their last big anniversary Rolling Stone magazine summed up that distinctive, diverse and spontaneous Los Lobos aesthetic perfectly: “This is what happens when five guys create a magical sound, then stick together for 30 years to see how far it can take them.” Most fans know that the group came together from three separate units. Hidalgo, the band’s lead vocalist/guitarist (whose arsenal includes accordion, percussion, bass, keyboards, melodic, drums, violin and banjo) met Perez at Garfield High in East LA and started a garage band. Rosas, who plays guitar and mandolin, had his own group, and Lozano launched a power trio. “But we all hung out because we were friends and making music was just the natural progression of things,” says Perez. “Like if you hang around a barbershop long enough, you’re going to get a haircut.”

Looking back at the historical and cultural sweep of the band, Lozano sees the release of Disconnected In New York City as Los Lobos coming full circle. “A lot of people forget that though we were rock musicians when we got out of high school, the band started off as an acoustic outfit,” he says. “We wanted to play Mexican folk music because those were our roots and there was this whole Chicano awareness thing happening back in the early 70s. We started to pay attention to our traditions and culture, and focused on those styles of music for years. We studied music from every region of Mexico, learned how to play all these authentic instruments. So that’s what we did for ten years until we decided to play rock again by bringing in drum and electric bass. 

“We were playing this restaurant gig for two years, and some small local clubs, playing the same songs, when people in the crowd started shouting out, ‘Do you know any Beatles or Grateful Dead tunes?’” Lozano adds. “Soon we got fired from the restaurant and headed back to the garage to write our first original songs that were rock with some accordion on them: ‘Let’s Say Goodnight’ and ‘How Much Can I Do?’ We made a little tape and gave it to the guys in The Blasters, which included Steve Berlin, when we went to see them live on Sunset Strip. They loved our tunes and invited us to open their show at the Whiskey-A-Go-Go, which was the first time Los Lobos performed on the other side of the Los Angeles River. We played some originals and old favorites by Hendrix, Cream, The Yardbirds and Beatles – all the stuff we loved as kids. The icing on the cake is that the audience loved it, too.”



http://www.loslobos.org/site/

Lushy

Genre: Jazz , Pop , Surf Music

Progressive cocktail pop – Think the Jetsons with fuzzy guitars – danceable and lounge-y !!!

Drink up people–it’s LUSHY! Bossa beat flavored alterna-pop that goes down nice and easy. Lounge-y and danceable with hints of exotica and a touch of electronica…nutty and hip…intriguing and soothing–must see live!

Lushy concocts a refreshing pop style that blends original samples and Bossa beats with elements of vintage-Latin jazz, exotica, surf, new wave and sixties pop  to create their own distinctive intercontinental sound. Most importantly, they have established a solid reputation for originality far beyond their roots in the lounge and exotica scene. What started as a lighthearted recording session among friends has now turned into a lasting and successful project. In the basement tiki den, with fully stocked cocktail bar, that is their studio, Lushy was formed and began compiling an extensive catalog of original songs. With scores of successful gigs from Vancouver BC to Los Angeles to Berlin, Lushy has steadily risen through the ranks of Seattle’s musical landscape. Led by dynamic vocalist Annabella Kirby, musical mastermind Andy Sodt, guitars wizard Matt Nims, Patrick Napper on trumpet/guitar and Shane Peck on drums. Lushy holds sway over every stage they inhabit.  It’s Cal Tjader meets Stereolab meets Brazil 66 in a bar in Berlin. If you like the Brazilian Girls, B-52’s, Portishead, Os Mutantes, Astrud Gilberto or Martin Denny you’ll love Lushy! No matter what the comparison, Lushy is simply extraordinary.



lushy.com/

Maracuj√°

Genre: Brazilian , Latin Jazz

Maracuj√° is a group of musicians dedicated to playing the spectrum of Latin music in a way true to its roots and forms. From Brasil and its Street Sambas and gentle Bossa Novas to Cuba and its African rhythms of Son, Guajira, Mambo, and Bolero.  ….and all places in between.  Music for a mood or music to move to.

Maracuj√° is:

Caitlin Romtvedt - vocals, sax, guitar, percussion, berimbau

Terrence Rosnagle - guitar

Dhara Goradia - upright bass

Sam Esecson - percussion


maracujamusic.wordpress.com/

Martha Davis & The Motels

Genre: New Wave , Rock

  1. Saturday, January 24 8:00 PM (All ages)



Whether you were there when The Motels first burst onto the music scene, or are just discovering them now, 2014 became a year of rediscovery for this iconic artist, which saw more Motels shows than in any year since 1985. Martha began writing songs at the age of 15 and has always known that the songs she writes are her mark. Born and raised in Berkeley, California, she moved to Los Angeles in the early ‘70s, along with the first incarnation of The Motels. The band reformed in 1978 and was immediately signed to Capitol Records.

In 1982, the Motels released “All Four One.” The smash single “Only The Lonely” rocketed into the Top 10, immediately propelling the album to gold status and breaking The Motels wide open in the United States. The group dominated the music scene and was voted Best Performance for “Only The Lonely” at the 1982 American Music Awards.

Her voice is unique, unmistakable and timeless – The Los Angeles Times’ Robert Hilburn called her “arguably the most charismatic female performer in rock.” And about the Hollywood Bowl concert just a few months ago, The Hollywood Reporter wrote, "Martha Davis, of the Motels, was still strong in voice and admirably delivered hits like 'Only The Lonely' and 'Suddenly Last Summer.'”

http://themotels.com/




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Triple Door

216 Union Street
Seattle, WA 98101
Tickets 206.838.4333