The Stagger and Sway keep it shining in Seattle at U District Street Fair Sunday, May 22

By ANDREW FICKES

About two years following my introduction to Eugene's the Stagger and Sway, this quintessential alternative country/Americana band finally made it to Seattle, much to my satisfaction.

For the longest time, I had to resort only listening to them on my iPod. Now, no more.

My feeling after watching these guys perform a near 1 hour set is that the only thing better than listening to them on my iPod is listening to them live.

The quartet led by songwriter/guitarist Mike Last hit the the 42nd and Brooklyn stage at noon on a surprisingly bright, sunny day at the U District Street Fair.

Rumor had it that it could rain Sunday but the weatherman, fortunately, was wrong.

Last and company opened with it's most rockin' song to date, "Sam Bond's Garage," a homage to the band's regular haunt in Eugene.

The Stagger and Sway also gave equal attention to its EP, "Time Changes," playing such memorable tunes as "Rubber to the Road" (my favorite), "Stagger and Sway" and "Nobody Loses All the Time."

Other highlights included the road tested "Wyoming," "Shit Advice," "Loudmouth Ideas," and the closing song off the sophomore album, "Break Til You Bend," "Eyes Like David Bowie."

Of course, Jerry "Groove" Abelin on stand-up bass was in pitch-perfect performance. He attracted star-struck attention from kids as young as three who looked on with fresh eyes under the scope of their parents.

Brian Patrick on lead guitar added a lot of country rock flare and zest to the songs, recalling Wilco. And the cool tempered drumming by Ken Howe was rock solid.

Mike Last's line up of performers that support him all appear very comfortable on stage, all are seasoned musicians.

The best part of the show was listening to the music while watching the hundreds of people from all walks of life flocking the streets, converging on the annual and well-attended street fair.

There were young children, college-age students, all breeds of dogs, and couples embracing and dancing, partaking in the festivities and enjoying that rare ray of sunshine.

Last's compelling, every day, folksy songwriting style and warm vocal tone matched the action well, making for a very organic, lucid music video.

I'm hoping these guys don't stay gone from Seattle for too long. There is always wiggle room for more alt/country music in the Emerald City.

FOR MORE INFO ON THE STAGGER AND SWAY, CHECK OUT http://www.workingstiffrecords.com/.

The Tractor Tavern welcomes To The Sea Wednesday, May 18

By ANDREW FICKES

If you've circulated the many clubs in Seattle and paid attention to the sign posts littered with band posters, then you're likely to have noticed an up and coming band To The Sea.

The act have played such bills as Neumo's and the Columbia City Theater. Now, they'll hit another milestone with an 8:30 p.m. performance at The Tractor Tavern Wednesday, May 18.

On indie pop/rock To The Sea's debut release "Circles, Patterns and Wires," the quintet blasts the doors open with the opening track "Conquer the North," marching forward like Vikings with guns blazing, taking no prisoners.

The band shouts in unison several times throughout the song that they'll conquer the north, clearly a message that they plan to conquer the Emerald City.

On this album, you'll find this band being very creative in song titles. Take "United Nation," a song that gets under your skin like an awesome Hives or Strokes' song. Jon Fickes' melodic lick really adds a catchy vibe that propels you to get out of your chair and rock out.

In some respects this album falls in sort of a nerd indie rock category. It's very intelligent and thought out. Each note and vocal track carefully placed and crafted like a visionary architect would build a high rise tower.

This is all due to songwriter/lead vocalist Danny Payne's expert songcraft. But at the same time, you also have to give props to the other musicians in the band: guitar wizard Brandon Smith, Jon Fickes on lead who gives voice and body to many of Payne's songs, the reliable beat provided by Kyle Kamrath and the solid foundation executed by George Samaras.

And while Payne is the lead songwriter of the band, Fickes (full disclosure: Fickes is my younger brother) is also a very accomplished songwriter and performer in his own write.

And he proves that in spades with the closing track, "A View of Earth from the Moon." Fickes' epic anthem in a way catches the listener off guard. In some respects, the track is a clear departure from Payne's solid rock tracks. The lyrics are different, the melody different. But different in a good way.

In one song, Fickes creates a new dimension to the band and takes the listener to another setting.

Fickes and Payne in one band is a hard act to follow.

Keep this band on your hot list and check them out at The Tractor.

Conor Byrne sound system ruins an otherwise great performance by The Warm Hardies, the Horde and the Harem

By ANDREW FICKES

With all due respect to The Warm Hardies, Exohxo and the Horde and the Harem, these three seasoned acts were fighting a fight they couldn't win Friday night at the Conor Byrne in Ballard.

Conor Byrne has a notorius reputation for a sub-par sound system. Despite my best intentions to feel the contrary, I left the music club after it was all said done feeling slightly underwhelmed.

Before coming to what was The Warm Hardies' first of two scheduled CD release parties, I had the folk/pop duo's EP "Songs for Grownups" on heavy rotation.

On the EP, Tamara Power-Drutis and Matt Batey's harmonius vocals cut through the arrangements with a crispness and clarity. The individual instrument tracks of drum, guitar, bass and horns came together well-balanced.

Unfortunately, in The Warm Hardies' live performance Friday night some of that energy I experienced in listening to their EP fell a little flat. And I would have to credit that largely to the fact that the people in attendance in the cramped confines of the Irish pub were boisterous and, most of the night, not giving their undivided attention to the gorgeous music on stage.

Secondly, I would have to credit it all to the overall mix. The highs were too highs and there were no bottom. At times, Power-Drutis's vocals cut through but then were quickly squandered and covered by the crowd banter, and instrumentation like a wet blanket. Even Batey's vocals -- with it's indie rock sentimitality -- didn't always carry the same punch as was evident on the EP.

That said, I give the duo's props for their artful grasp of the Everly Brothers' tune "All I Want To Do is Dream," which they opened their 40-minute set with. They followed that with "I Don't Love You," the third and the last track on the EP, minus the French horn hook.

Other highlights included the alt-country number "Only Someday," "Fast and Heavy," and a stunning, flawless delivery of the Cheap Trick classic, "I Want You To Want Me."

What Batey and Power-Drutis have is magic in a bottle. It's rare to find these days a perfect female/duo group. These two could be the next Carpenters or James Taylor and Carly Simon. However, the duo's chemistry and charisma was not quite apparent Friday night, so it'll be exciting to see how these two grow together and connect with one another as songwriting collaborators.

The Warm Hardies' was followed by Exohxo, which proved to be the weakest link Friday night in the three-band set. I understand what this band is trying to deliver: intelligent, well-crafted chamber pop/art rock music (a.k.a. The Decemberists) but they need to learn really quickly that less is more. The stage was very small and this group attempted to answer the question: how many instruments can you throw on the stage before everything falls apart.

Saddled with the fact that the sound system was already in dire straights, Exohxo's wish to do much compromised their sound and their message got lost to audience, falling on deaf ears. It was just white noise to me. That, added to the fact that the two frontmen put on a real bad stand up comedy act. If that's what they call stage presence, then they're in trouble.

Finally, the evening closed out with headliner the Horde and the Harem.

Again, the sound system didn't do justice for this otherwise awesome art rock/Americana outfit. The quintet included their latest single, "Gold Rush," which the group recently produced a video for in Auburn at the Mary Olson Farm. The group closed with, which was my favorite song, "Cat Got Your Tongue." The closing guitar coda is reminiscent of Okkervil River's "Lost Coastlines."

Overall, not a flawless evening by any stretch of the imagination, but it carried enough promise that I would want to see The Warm Hardies and the Horde and Harem in action again.

The Warm Hardies perform at Conor Byrne Friday, May 6 to support EP "Songs for Grownups"

By ANDREW FICKES

Tamara Power-Drutis is warm and fuzzy and Matt Batey is a little rough around the edges, but together, the duo make for an impressive, enduring force as The Warm Hardies.

Power-Drutis and Batey like to call their music "dignified melancholic folk/pop," and the description couldn't be more true.

On the group's EP "Songs for Grownups" listeners are treated to a beautiful array of acoustic guitars mixed with robust and rich vocal harmonies.

And the themes the pair touch upon are contemplative "adult" issues.

Some are a little blunt like Matt Batey's song "I Don't Love You," which plainly tells someone that "I don't, don't love you, honey/no matter how bad you want me."

"I Don't Love You," is an uptempo piece that races to the finish line, all the while exhibiting toe-tapping, head bobbing elation with throbbing bass, electric guitar explosion, loud drums and a signature French Horn hook by Corrie Strandjord. The kind of song you can play loudly in your convertible with the top down during summer. It even ends with overdubs of party-like chatter from Batey, Power-Drutis and other members of the band, which consist of musicians from Seattle-band Hey Marseilles. When I first heard the track, I thought of the 1968 pop/rock track "Everyday People" by Sly and the Family Stone.

Power-Drutis and Batey's vocals really come together on this track, which utilize a sing and repeat phrasing.

The opening track on the three-song EP is "Fast and Heavy."

"'Fast and Heavy' is the first song we wrote together," Power-Drutis said. "We wrote and recorded the song in a two-hour period. We wanted to write a song about trains and nothing but trains, but after listening to it, we realized it had broader meaning."

"Only Someday," a moving song with a sole vocal by Power-Drutis, is about facing struggles in life and depression and how friendships can pull you out of those hardships.

The Warm Hardies will release their EP at 8 p.m. Friday, May 6 at the Conor Byrne in Ballard, supported by folk/rock acts Horde and the Harem and chamber pop/folk group Exohxo.

"(Horde and the Harem) have real heartfelt music," Power-Drutis said. "People are dancing at the shows. You're physically involved with the music. They have a richness to their tunes."

"Exohxo have very good song arrangments," she added.

Power-Drutis said how Seattle has had a lot of new indie/folk/pop acts. She certainly thinks The Warm Hardies complement the scene.

"Our focus is on thick, vocal harmonies and rich lyrics," she said. "Hopefully it comes through on the EP and in our live shows."

For more information on The Warm Hardies, visit http://www.warmhardies.com/. Cover charge at the door Friday night is $7. Come out and support this hot new act.