Thursday nights at the Blue Horse Gallery on West Holly is always romantic, relaxing and refreshing. Julianne Thoma Quartet plays classical jazz standards with contemporary twists.

The Blue Horse Gallery is a perfect fit for the quartet with a cozy and welcoming ambiance. According to their website, the gallery is “A convergence of art, music and sumptuous dining” making each event personable, a perfect place to take a date. I know I go on one every Thursday with this jazz foursome and I always feel satisfied.

The quartet consists of Julianne Thoma on the piano, Lyman Lipke on upright bass, guitarist Matt Van den Heuvel, and Austin Richey on the drums. This Western student ensemble is very polished for such a young group of aspiring musicians. Their selection of songs is wonderful, their dynamics are on point and the soloists were tasteful and not overbearing.

If you have not made it to this show on a Thursday night make your way down to the Blue Horse for sensational sounds and inspiration. The show starts at 7 p.m. and ends around 10.

Fabulous funk musicians all around… every inch of the stage was filled with funky friends at the Wild Buffalo on Saturday, Dec. 17, as Eldridge Gravy and the Court Supreme performed with opener The Fabulous Party Boys.

Both groups reigned over the dance floor like funk royalty, influencing every member in the crowd to move their feet. With ruffles and stripped shirts the musicians in both bands had character that matched their styles. This show was not the super tight East Coast funk, it was more West Coast party funk, inviting and motivating to any shy dancer or music lover.

Opening the show was the Fabulous Party Boys; these original B’ham boys know how to party and deliver a new initiated style to the crowd. The band sounded well rehearsed and in tune with each other. The band claims they had an “awkward adolescence in Bellingham dedicating themselves to funk” starting in 2001. From there most members furthered their musical education around the U.S. The band now includes six members – Andy Short on guitar, Jon Hansen on tuba, Scott Macpherson on saxophones, Marshall Petryni on drums, Elliot Gray on keys and Ray Larsen on the trumpet.

These boys stay fabulously fresh with a musical feel that is versatile and changes in nearly every song, creating a very distinctive sound. It started with a funky Latin beat until Petryni the drummer changed the feel into smooth reggae. The tuba played the bass lines and the mute he used looked like a trap case used to carry drums, and inside the mute is a microphone that’s attached to an effects pedal. Their name says it all – fabulous party funk is what these musicians brought to the stage.

Eldridge Gravy and the Court Supreme included a stage full of musicians offering a full-orchestrated sound. Starting as an instrumental band covering James Brown and Parliament they found a front man at a crazy house party in 2006. Soon after they smothered the group with some funkier musicians, keys, horns and back-up vocals. The now 13-member soul-funk ensemble puts on one crazy party funk show. The house moved with the band to every song. Dripping in funk gravy, this group keeps the crowd screaming, sweating and swinging.

Based in Seattle, the group has great style and stage performance giving the crowd a well-rounded experience. Bringing back the funk revolution to the 21st century, every of member in EGTCS preformed their butts off at this show. The high-energy group brought a past, present and profound funk experience for show goers on this weekend before Christmas.

The All Nighters rang in the new year at The Shakedown. Photo by Brian Kingsberry

Drums on fire with The All Nighters. Photo by Brian Kingsberry

The All Nighters

Local favorites Yogoman Burning Band and The All Nighters rang in the New Year at the Shakedown Saturday night to a rousing reception. The doors to the sold out event opened at 9 o’clock with the Yogoman Burning Band kicking things off shortly after 10. A slowly building crowd caroused in the warm pools of the Shakedown’s soft amber lighting, with laughter and drinks in equal measure as old friends greeted each other heartily. Anticipation for the music and good times ahead was thick in the air.

Assuming his position behind his drum set perched at the end of the Shakedown’s small stage, Jordan Rain, lead singer and drummer for Yogoman Burning Band, and the rest of his merry troupe set the tone for the evening with a fast paced tune that wouldn’t feel out of place in an old cantina somewhere in Mexico. Snatching up the collected bodies of the New Year’s revelers in the brassy and staccato tones of horns and drum alike all were thrown into sudden, elated, motion. The quick tempo of the music was only matched by the equally speedy dancing of the raucous New Year’s crowd.

Yogoman Burning Band kept the gathering on their feet the whole night, mainly sticking to upbeat fair. While occasionally dipping into some slightly slower songs, YBB alternated between a heady mixture of southwest influenced ska to being a steel drum short of full on reggae. Continuing to play in such a fashion, the YBB rounded out 2011 by enthusiastically pleasing an obviously dedicated and knowledgeable group of fans that often sung right along with Mr. Rain.

At the conclusion of the set nearly everyone in attendance was pleasantly weary from their mirthful exertions. An intermission of about 30 minutes, starting around 11:30, bridged the gap between the new and old year and the beginning of the All Nighters’ portion of the evening.

Roughly 30 or so seconds before the emergence of 2012, the All Nighters, clad in tattoos and black suits, assumed the stage. Accompanied by three members of the Dirty Bird Cabaret, the surf and psychedelic rock group counted down the last 10 seconds of 2011 to the echoing chants of the collected audience. Launching immediately into the electric twangs of their surf rock inspired set, the All Nighters quickly had the sold out crowd right back to where the Yogoman Burning Band left them off – bouncing and jamming around the dance floor.

After the initial burst the group paused for a moment to thank their ardent fans and supporters for coming out and seeing them play. Taking a big swig from a champagne bottle proffered by a member of the audience, lead guitarist Jimmy Kastelic loudly announced what a pleasure it was to be there at the venue. Without any further ado the All Nighters launched right back into their eclectic rhythms to the overwhelming joy of those there that night.

With the final strains of the All Nighters’ wonderful set still ringing in their ears, the merry attendees filed out into the crisp air of the New Year. Some stumbling, some laughing, but all contented and hopeful after a night of mirthful music.

This was a show of sibling rivalry. Jerns against Jerns in a battle of the blood. So when I heard that Leatherhorn and Chambers were playing there I knew it was a show that I couldn’t miss.

Chambers started the night off with a glacial drone. Primal drone made of the melodies of our ancestors breaking bones with rocks. Bleak sounds that sound as if they come from the tundra when the mammoths roamed the earth. This music has teeth and I’m sure that Sarah Jerns and Matt Curtis aren’t afraid to drink the blood from the mammoth’s tusks. It’s like they gutted Mogwai and put Barn Owl inside to keep it warm. This is loin cloth music. Cro-Magnon.

Leatherhorn. The Bones and the Blood. The Blood and the Bones. Twisted roots in an evil forest of the mind. Depression. Jeff creating the sound of a disembodied angel, the sound of Gabriel dying. The bones, oh the bones. A mosh pit occured for a moment. I mean can the people help it? It’s not their fault. The squeals of cats dying coming from Sean’s guitar. Everything twists and times change, morph into something new. There is no beauty anymore. We truly are in this dark forest now. It’s a forest that they made for us to feel for the first time in a long time. Noah Burns takes us there through fourth dimensional drumming that travels time. I’m not sure if he’s ever gonna bring us back. Clapper tries to hold us all to the earth with his paleolithic rumble but it’s not possible. There is a tornado of bones, souls, and blood and it is this. Relentless. The Bones and the Blood. Yes Shani, I will have another whiskey.

Should these Jernses ever join forces I’m sure that the moral fabric of the world will change. I know that I’m different. I can feel it… deep… within my bones.

Beattofuckingdeath. The Germanic Teutonic pulse thundering under Set H’s sticks. Jeff Debock dedicating songs to a murder victim, himself, berating the crowd, reeling into the crowd gathered around their set-up in front of the stage, moving from surreal banter to full throated scream. Short explosive pieces, not songs, more like deconstructions of silence, Zackh’s guitar creating violent feedback laden odes to the joke of the world. Debock dressed in an outlandish Antarctic pimp suit careening around like a skeletal windmill covered with meat, a psychotic pinwheel spinning off sprays of blood/ rage filled vocals into the crowd, all seeming like they would like to take a step or two back. You wonder, maybe worry, that Debock is holding razors in his hand, ready to gut the first row because they aren’t being “rowdy” enough.

The redemption of Leatherhorn. Hooded figures working obscurely on the stage drenched in blood red light, skull lamps glowing in either side. Like a chainsaw through sheet metal, Leatherhorn begins. Jeff’s vocals rise up operatic over the metal, moving through time changes, melodic warps and slides. Driven by Clapper’s relentless bass and Noah’s machine gun artillery drumming, they launch into “Meet the Beast.” This is war music. No quarter. Just beautiful slaughter. A musical analogy to the annihilation of the listener. Sean and Nathan’s guitars spit hot white arc light from the welded metal. Imagine all the lost souls in hell given one last chance to play their pain. Picture a horse ridden to death and then kicked to a bass beat like the thunder of the Gotterdammerung. Lightning burning into the brain, frying out neurons. There is good metal and great metal. Then there is apocalyptic metal. Leatherhorn: cutting the head off of the pale horse, calling down the wrath of the gods, destroying mountains metal.

Black Breath wastes no time. Volcanic rumblings from Elijah’s bass and Jamie’s drums. The sound of flesh screaming across metal strings, pounding like the last heart beats of a dying world. Mark and Eric’s guitars wailing through arpeggios, the ghost of complex classical music buried under the rumbling of enormous machines, Segovia and Bach spinning in their graves until the earth catches fire.

Fresh off a European tour, Black Breath’s sound is tight and professional. Polished. Practiced. Neil launches into one song after another. No waiting for applause. A relentless onslaught of beautiful noise. They have a sound you want to call heavy, but it is heavier than that. A black hole of musical gravity. Dense compaction, music reduced down to a singularity. A still point of a burning universe.

Imagine a theater of anatomy constructed of sound, where a corpse/song is being dissected with sardonic enthusiasm. What is irrelevant is thrown splattering against the walls, what matters is held up like the still beating heart of a recently slaughtered animal. Primal music. Driving towards the necessity of sacrifice, of any sort of intense gesture, authentic act for the times. The music is out to crucify everyone here, nailing the flesh to the walls of the Shakedown. An aural assault, notes piercing through the skull to impale the brain on violent hooks, songs suspended over the crowd like the Cherokee sun dance practitioners, hanging in the dark shadows of the Shakedown, dripping blood, eyes rolled up in the skull, dreams of violent ecstasy. Sort of music Georges Bataille would play while desecrating corpses.

Blue Scholars

On Nov. 19, the Multi-Purpose Room of Western Washington University was filled to the brim with talented hip-hop performers and rowdy youth. Thanks to AS Pop, the lineup for the evening featured Fooligan Crew, Brothers From Another, Dyno Jamz, Scribes, and The Blue Scholars. Such a lengthy list inevitably led to a lengthy four-hour show. If the acts weren’t so engaging, then the night would have been too much to bear. Thankfully, complaints were drowned out by the joyful masses. The show was sold out; an all-ages audience of 800 flaunted their tickets as they anxiously stood outside awaiting the doors. And at 7 p.m., the madness began.

The Fooligan Crew, an excitable group of Western students, got the party started. Proudly representing the Ethnic Students Center, Jibran Al-Arif and Angelo Salgado put hard work and enthusiasm into their set.

Brothers From Another exude fun whenever they perform. Coleman Deleon Jones and Isaiah Sneed are musicians, artists and friends. Their friendship is what places this group apart; it is genuine and contagious. Audience members feel included in the not-so-exclusive BFA club. With crisp vocals, catchy beats and lively stage presence, Brothers From Another were definitely a joy to watch.

Dyno Jamz brought a welcomed element of funky class to the evening. Their unique style was not what the audience was expecting yet with the first triumphant blow of the trumpet, but the crowd was ready to party. A band with a presence as large as their 8-piece group, Dyno Jamz knows how to showcase their roles as musicians and entertainers. Featuring Zac “Turtle T” Millan, Andrew Savoie, Calin Pulkrabek, Brennan Carter, Ray Larsen, Saba Samakar, Mark Hunter, and Ehssam Karimi, Dyno Jamz had a wonderful set to be remembered.

Scribes is a Seattle native with lots of pride in his city. Lyrics with a purpose dominate his tracks. An R&B crooner with hip-hop swag, Scribes pays respect to the musical styles of the past while making his individual mark. The crowd was antsy for The Blue Scholars and a few hecklers were feeling bold. It was an unfortunate position for Scribes to be in, but he graciously carried on and put on a great show.

At around 10 p.m., the moment had finally come. After three hours of great hip-hop, it was time for the headliner to shine. The Blue Scholars came on stage and insanity ensued. The crowd was ready to receive and The Blue Scholars were ready to give. Their set was impeccable. The perfect ratio of music and audience-banter, it was truly a performance worth the wait. Many of those in the crowd had never been to a Blue Scholars show, so the magical experience was one to be shared. You forgot the tiredness in your feet, the barrier of a personal bubble, and instead concentrated on the amazing musical experience provided by MC Geologic and Sabzi. It was a moment never to be forgotten where one could simultaneously zone out and intensely focus. The lyrics were meaningful and enunciated; each syllable kissed your eardrums as more were constantly churned out. The beats were like lightening, constantly electrifying. Oscar Wilde once said, “Who, being loved, is poor?” On the 19th, Bellingham showered The Blue Scholars with well-deserved wealth.

No complaints, only gratitude for this show. If anything, the lineup was too spectacular and inevitably extensive.

(photo by Rachel Cotton)

This was the place to be. I’ve seen a handful of psychedelic rock shows in Bellingham, and this one easily takes the cake.

First, I should mention how great of a draw there was. The place was packed! Most shows in this sort of vein at the Cabin have smaller crowds. I’m excited about this because it means there’s more of an ear for abstract acts in Bellingham’s music and arts scene. Hopefully there will be similar turnouts for future shows of this nature.

PRND. These guys were rad. Imagine spacey drones blended with tasteful guitar lead all backed by a drum machine. That’s just the beginning of it. There is a lot of energy with this group. Long and well structured songs that really take you on a journey. I realize how clich that sounds, but that’s the honest truth. Really loud and powerful breakdowns that are easy to get into. I should also mention that they play really well together. Great psychedelic rock. The only thing I wish is that they had a drummer (easier said than done). I think it would add a whole new level of energy to their performance. They played a smaller set, somewhere between 25-30 minutes I dug it.

Next up was Loose Values from Portland. Four dudes, a flying V: rockin shit. Their set was pretty loud and energetic. At one point I felt a small shift in consciousness from the volume of the band that’s always fun. They were a great follow up to PRND. Members of the band would switch instruments which shows they are all talented musicians (I always appreciate that). Punk-driven psych at its finest. It was a really fun sound and they ended on a really killer song.

Cave was incredible. I was impressed before they even started playing because they use vintage analogue equipment! It seems this day in age many artists take advantage of the convenience of small electronic devices. I had just seen a mediocre noise act all performed on an ipad earlier in the week so seeing the music played out on this equipment was really satisfying. I don’t even know where to begin about their performance (admittedly, I was lost through most of it). Songs would begin funky and make their way into long spacey and droney-prog jams with solo-offs between the keyboardists. Although it’s obvious every member of that band are extremely talented at their instruments, I was most impressed with the drummer. He would hold the loudest repeated beats for 10 minutes and longer. The bass player would follow with catchy hooks which really kept a good groove. I could tell the band had honed down their set by how smoothly they would transition from one jam to another. From time to time they would through in reverbed and delayed vocals which added a lot to it. Very upbeat, psychedelic, and progressive. I can easily say that Cave is the best thing I have ever seen at the Cabin.

Last up was Sunshine. A guy on guitar and another on keys and electronics (beats on a drum machine). They remind me of a lot of the bands out there that sound like m83 (you know, the whole “influenced by My Bloody Valentine” deal). I’ll be honest, I wasn’t too into them. I’m not saying they’re bad or anything, I’m just not that into the shoegaze/dreamy slow beat sort of thing. I think it’s overdone and I lost interest in that type of music in 2009. They had a lot of people watching them though, and it was obvious they have a strong following in Bellingham. I’ll also add that it was well strategized to have them go last. It was definitely a nice way to bring down such a great evening of rocking music. It was slow, mellow, and reverbed out. Did I hear a Don Henley cover at some point?

Before I wrap this up, I just want to say thanks to the folks at the Cabin Tavern. They are always so awesome there and open to many types of acts. I’m really glad this show happened here… The atmosphere for it was absolutely perfect. I really hope to see more turnouts like this at future shows.

The Underground Coffeehouse served as a reminder of how tight-knit the Bellingham music scene can be. This particular show truly was not advertised enough since the line-up consisted of two wonderful bands and a small, scattered crowd. However, the performances were impressive and the crowd grew as the night went on, comprised mostly of friends of the bands. This gave the rest of the show a sense of closeness, as if it wasn’t really meant for a large crowd.

Femme Uke (Ashley Thomas and Laine Kensington) possess a charming quality which appeared throughout their entire set. This began with their giggly soundcheck and continued to show up between songs when the duo would crack jokes to one another. The songs they played were inherently hilarious since they ranged in topics like summertime pubic hair, the strange enticement of Bellingham, and how much they loved one another. With such simple lyrics surrounding lighthearted subjects, they reminded me of Kimya Dawson or Daniel Johnston in the way that their words are impactful.

They mentioned how little they perform together which was surprising considering how well they played. In fact, they seemed totally engrossed playing together again, which materialized when they would break out into laughter out of sheer giddiness. Thomas kept saying how happy she was to be back in Bellingham and cautiously announcing their next song, while Kensington swayed back-and-forth in anticipation.

They were smiling the whole time. Their chemistry on-stage was incredible. At one point, mid-song, they yelled “Whistle solo!” at which point they began to whistle together, much to the delight of the audience. They then yelled “Goat solo!” and started to imitate goat noises which actually sounded pretty spot-on. One crowd member suggested a “Han Solo.” Kensington laughed and said, “Oh, man. I haven’t been playing enough Lego Star Wars on GameCube to get into that right now.” The crowd was enamored by this until Thomas chimed in, saying she doesn’t really like Star Wars. They finished their set with some covers and thanked the crowd.

Cora Glass, a local singer-songwriter, makes up Chestnut Collection. Her performance was well-placed next to Femme Uke since she also played songs with wonderful lyrics. She alternated between her ukulele and guitar, showing proficiency with both instruments. Her voice was extremely clear and professional, often leaning towards folk-based influence without totally committing to that genre. Glass sat on a stool, closing her eyes as she sang, which really allowed the audience to focus on her lyrics. The crowd in the Underground Coffeehouse typically generates a light din but she was able to captivate everyone, keeping the room silent while she sang. Her songs seemed to be mostly reflective and about her friends.

Interestingly, Glass kept referring back to a few years ago when she and Femme Uke performed together more frequently, which was poignantly illustrated by both members of Femme Uke sitting as close to the stage as possible, taking in every word of her songs. About halfway through her set, Glass introduced a song and forgot the words just as she started strumming. She laughed it off and eventually remembered how the song went but she kept her cool the whole time. Her ability to play a relaxed set spoke to her strong experience as a musician.

Both bands were awesome to watch and I highly recommend seeing them perform live.

Soothing saloon sounds with an upbeat, knee slapping, and bass-drum tappin beat came to the Wild Buffalo on Friday, Nov. 4. A wave of multi-instrumental artists with warm theatrical stage presence performed and punctured B’ham minds with their talent.

He’s My Brother She’s My Sister and Buster Blue combined a whirlwind of talent and perfection. Hope you got that Bellingham, cause this show was impressive.

Opening the show was Bellingham local Cara Alboucq playing an acoustic set, pleasing the crowd with covers and her charismatic personality. With a face like a model, Alboucq is a true cover girl; she covers her favorite songs and plans on writing her own music once her cover album is finished.

Following the covergirl was an unfamiliar sound; Buster Blue is a five-piece Reno/Americana Folk, a melting pot of genres, talents, and instruments. From start to finish Buster was emotional, inspiring, and fascinating. The five musicians shared the stage with 12 instruments including the clarinet, trombone and a few sexy saxophones. Every song changed genres and almost every musician switched instruments.

Like a chain gang working on the railroad they started their show with a 5-gallon bucket and chains, holding the audience in suspense with taunting dynamics in every song. Loud to soft, lead vocals to romantic woodwind solos, the emotion and musician participation in every song, glued your eyes to the stage. Every moment of this performance held high anticipation and curiosity. Song after song the audience stayed in a constant state of amazement. Who was playing what now? What kind of music is this? How should I dance, swing, shake or shuffle?

The most impressive part about this talented group is their sincerity. They made you feel noticed in a crowd of many, you felt invited to future shows or conversations.

Buster Blue’s love for performing was very present. The group tours all over the United States, with two tours this year, so the chances of seeing this Nevada born band are possible and worth it. Make sure you bring a feather to stick in your hat or hair, and ladies wear your fluffiest skirts and high heels as you may just want to form a line and kick your half naked legs to the sky.

Feeling open-minded and satisfied after a fulfilling opening set the crowd awaited the headliner. He’s My Brother She’s My Sister confidently strutted onto the stage. Her brother wore suspenders and purple velvet pants, while his sister wore a red dress and an Ushanka (Russian winter hat). His lady stood behind him on top of a bass drum in tap dancing shoes and a fabulous flapper dress.

He is Robert Kolar, he plays guitar, banjo and is a singer/award winning songwriter, and also successful actor. She is Rachel Kolar, lead vocalist and entertainer; she writes most of the group’s music; her voice is well tuned and delivers a folkish edge. The crowd was mesmerized by her presence alone. Together they grew up and with the rest of the band they teach others how performing arts and music come together, and the result is a little bit antique and extremely unique.

Standing behind the siblings were the three other HMBSMS characters.

Wearing an all white half-sleeved flowing blouse, like a character out of a Shakespeare poem; Oliver Newell is a jazz/classical/rock/experimental upright bassist, performer and dancer (and according to their band website, an amateur scientist). He is a stellar bassist, and it shows that he was principle bassist in the Kona Symphony. Newell showed true romance on stage strattling and passionately plucking his upright, it looked as if they were in love.

The unique and breathtaking Lauren Brown, tap-drummer, dancer and performer has been tappin her beat since age 8. Brown towered over the stage on her own little hand-made bass drum riser producing a sound and performance worth watching every movement. Her left foot taping the hi-hat rhythm and her right is the snare. “I’m just saying she was playing triplets with her feet!”

The band’s rhythm section was a dancer on a drum; passionate bassist and Robert using a bass pedal to hit the bass drum behind him with his heal. Brown, Newell and Robert Kolar are a rhythmic revolution the idea behind this section is brilliant and in time… They offer a pulse, pleasure and entertainment to every song.

The lead guitar played by Aaron Robinson offered the structure and solid guitar melody that kept this sound so sweet. Robinson, who began his musical career at age 8 playing classical guitar, is the musical director for folk legend Linda Perhacs. His experience shows and sparkles on stage with sensual playing and an always-smiling stage presence.

The combination of talent and theatrics made this night magical, and most importantly inspirational. It’s truly refreshing watching musicians of this caliber perform and deliver a solid show. The two bands really seemed meant for each other, their style and performance so similar and unique on an individual and group level. Hope to see these two together again.

The crowd at the Macklemore concert. Photo by Matt McDonald

Macklemore. Photo by Matt McDonald

On Wednesday, Nov. 16, Xperience was handed an immense task. He had to hype up an antsy crowd of 1500. XP accepted the challenge gracefully and as soon as he and his crew stepped on stage, the filthy beats were dropped. Enthusiasm radiated from Xperience as XP eagerly interacted with the DJ and crowd. Although many hadn’t heard of Xperience before, it was hard not to be pleased. Xperience is an Olympia native and is surely making the region proud.

When Sol Moravia-Rosenburg performs on stage, he becomes Solzilla. He immediately captures the attention of each individual audience member with his brilliant magnetism. This was definitely the case on Wednesday. Sol brought the hype to an optimum level, after Xperience got the crowd in the mood. Sol achieved the contradictory feat of making the audience feel as if they were attending an intimate concert and a giant dance party of epic proportions. Sol shines as he performs. His joy was so infectious, the crowd immediately starting moving with the beat to share the experience. Sol’s music is unique while still being catchy, two essential ingredients to having an unforgettable sound. And it is a guarantee that the 1500-person crowd will remember him.

The audience’s anticipation was a rollercoaster, inching upwards at an increasing rate until the climax was finally reached; Macklemore was ready to go. If things could be considered crazy before, then the true insanity had begun. The crowd burst with love for Macklemore and he received that love with open arms. Macklemore and Ryan Lewis assembled a fantastic and thorough playlist, with old and new favorites. Macklemore is not only a musician, he is an entertainer. This was particularly apparent with “And We Danced,” when his British alter-ego stole the show thanks to coordinated dance moves and a ridiculously splendid wig. Macklemore’s music is genuinely likeable. There are tracks to ponder upon, tracks to dance to, and tracks that you simply feel good listening to. An Irishman that everyone would gladly kiss, Ben Haggerty is a gracious performer who deserves all the attention he receives.

The Mount Baker Theater was completely sold out and seats were disregarded. The crowd did not come to sit and politely applaud the performers. They came to dance, sing, feel, and absorb the music with every bone in their body. With a talented line-up and wonderful special appearances by Shaprece, Ray Dalton and Grynch, the show was stacked.

The BuildStrong Music Group put on an incredible event that the rowdy all-ages crowd devoured. If the energy of the evening could have been captured, Bellingham could power the city with enough wattage till March. Northwest hip-hop proved how truly electric it can be.