By the time they take the stage, a wonderfully golden orange summer sunset is well under way. And The Little Lies are once again conjuring equal measures of nostalgia, fun, and one great rock show.

Headlining Saturday's Taste of Edmonds at Frances Anderson Playfield, the band treated a capacity crowd to Fleetwood Mac's catalogue of classics, a set list in which each song, each impeccable performance, was eclipsed by the one after it and the one after that... and so on. The band immersing the City of Edmonds in its own brand of high-octane Mac.

Standing in for Lindsey Buckingham, Andrew Vait brings not only his own smokin' guitar work and lead vocals to the stage, he also graces the audience with an infectious charm and offbeat wit that thoroughly engages. Standing in for Christine McVie on vocals, keys, and acoustic guitar, Linzy Collins graces the audience with both a genuine willingness to abandon herself to the music and a vocal range that effortlessly moves from smoky to heavenly.

The band's monster beating heart, its not-so-secret weapon, is its rhythm section. On bass, Harry Wirth III, whose presence is impossible to ignore whether he's simply towering over the stage or actively stalking about like a rock 'n roll T-Rex. On the drumkit (occasionally electric guitar as well), Cyra Wirth absolutely embodies the rhythm and soul of a badass rock drummer whose "Tusk” solo always stokes the adrenalin.

Together, the Wirth clan locks crowds of thousands to the beat they lay down.

The Taste of Edmonds performance also featured a substitute for Stevie Nicks regular Miranda Zickler. This time it was Alicia Amiri taking on Stevie Nicks vocal duties, bringing to the performance a deeper tone and a wicked intensity that perfectly captures the bitterness in some of Nicks's lyrics.

In the end, The Little Lies were again a revelation of fun, energy, and high-octane rock 'n roll. They are, of course, a faithful tribute band that delivers. But they're also experts of the highest level at re-energizing that music with a passion that left Saturday night's audience definitely...

Wanting more.

SAMEDI 13 JUIN

TOUT CE QU’IL FAUT POUR VIVRE

« LE SEIGNEUR NOUS A DONNÉ TOUT CE QUI NOUS EST NÉCESSAIRE » 2 PIERRE 1.3, BFC

Pierre écrit : « Sa divine puis­sance nous a don­né tout ce qui con­tribue à la vie et à la piété » (v.3). Il faut trois élé­ments pour vivre pleine­ment sa vie. 1) Un petit plus. C’est le mille sup­plé­men­taire dont par­le Jésus (voir Mt 5.41), pour lequel il faut : a) plus d’effort. Un coach de vie dit : « Vous avez bat­tu 50 % des gens grâce au sérieux de votre tra­vail, 40 % grâce à votre hon­nêteté et votre intégrité et à la défense d’une cause, les 10% restants font l’objet d’un com­bat acharné. » Alors décidez de faire tou­jours le « petit plus ». b) plus de temps. La Bible dit à pro­pos de la vision : « Si elle tarde, attends-la, car elle s’ac­com­pli­ra cer­taine­ment » (Ha 2.3). On a demandé au sculp­teur du Mont Rush­more s’il trou­vait son œuvre par­faite. Il a répliqué : « Aujourd’hui non. Le nez de Wash­ing­ton est trop long de trois cen­timètres. Mais avec l’érosion, il aura la bonne taille dans exacte­ment dix mille ans. » 2) Le meilleur de vous-même. Andrew Carnegie a dit : « Il ne sert à rien d’aider les gens qui ne veu­lent pas s’aider eux-mêmes. On ne peut pas les faire mon­ter au som­met d’une échelle s’ils déci­dent de ne pas grimper. » 3) Le bon men­tor. Paul écrit : « Soyez mes imi­ta­teurs » (Ph 3.17). Un bon men­tor donne l’exemple. Pour être suivi, il doit d’abord être respec­té. Il sait si vous êtes plutôt visuel ou plutôt audi­tif, si vous avez besoin d’une petite tape dans le dos ou d’un bon coup de pied. Avec un tel men­tor, vous êtes béni(e). Dans le cas con­traire, deman­dez à Dieu de vous en envoy­er un dès aujourd’hui.

B365 — Plan de lecture

1 Chroniques 10-12, Actes 16.1-21

Prière du jour

Je te prie mon Dieu de me montrer la personne apte à me conseiller.

The Word for Today écrit par Bob et Debby Gass © UCB UK 2020

Publication

Parole du jour

© PHARE MEDIA 2020

I have been vaiting patiently for many years but I finally got to see Daenerys flying into battle viz her dragon.  Erin immediately called Andrew to talk about how “cool” zat vas.  However, “cool” ist not die vord I vould use to describe die current state of die Lannister army ;)

OMG WEDNESDAY! Andrew Vait’s JOURNEY OF NOT KNOWING project 8pm + KATHY MOORE’s project PIMP and SMACK TALK at 10pm 🔥💜 FREE and AMAZING @seamonsterlounge (at Sea Monster Lounge) https://www.instagram.com/p/B2As4k4nd2G/?igshid=yqjatqcswfcm

Sisters explore contemporary pop on Wait Don't Wait

Read the article in full on DrunkenWerewolf:

Wait Don’t Wait is the second full-length release by pop duo Sisters, comprising Emily Westman and Andrew Vait. It’s an experimental, quietly defiant work of quite sweeping depth that highlights the band’s interest in a range of music and instruments rarely heard in contemporary...

Full article here.

Some sweet retro pop from duo Sisters (Emily Westman and Andrew Vait). Scene Here has well crafted melodies to grab you and make you get down on the dance-floor paired with smooth vibrant vocals. This gem of a tune is part of their upcoming Wait Don’t Wait that will be issued on the 13th of October. Listen above!

Andrew Vait of Sisters, 2015

Neumos, Seattle

I love this shot. Sisters has this really amazing 80′s sound reminiscent at time of Phil Collins or Peter Gabriel. That was a time if big neon filled stadiums with sound just as big, if not bigger. Sisters embodies all of that and yet its just the pair Andrew Vait and Emily Westman, but the sound explodes out of whatever room is trying to contain it. This shot just looks like those images I remember of those stadium shows in the 80′s.

Andrew Vait (from SISTERS) - Living Room Show - Night Life Walla Walla

New on Night Life Walla Walla: Andrew Vait (from SISTERS) - Living Room Show - http://www.nightlifewallawalla.com/event/andrew-vait-from-sisters-living-room-show/

Andrew Vait (from SISTERS) - Living Room Show

Andrew Vait (from SISTERS)  – Living Room Show

Sunday, September 13th

Doors at 7:30. Music at 8:00

$12 at the door

Amongst the artistic wealth of singer-songwriters in the Pacific Northwest, Alaska-born multi-instrumentalist Andrew Vait has been making his mark with heartfelt, far-reaching compositions that set him apart from his peers. Influenced by the likes of My Morning Jacket, Warren Zevon, Rufus Wainwright, and The Zombies, Andrew’s compositions seamlessly weave vintage soul with modern funk, psychedelic rock with lyrical pop, the sophistication of jazz and the nostalgia of folk. His voice calls to mind some of rock’s finest vocalists: Cat Stevens or Jeff Buckley as he’s warming up, and Jim James or Peter Gabriel when he’s driving it home. Beyond his solo career, Andrew’s popular Seattle-based band, SISTERS, has received equal critical acclaim, having risen to meteoric notoriety by securing slots supporting Allen Stone and playing Sasquatch! Music Festival, Capitol Hill Block Party and Bumbershoot Music Festival.

Produced by Luke Moellman and featuring Andrew Vait of the Seattle Indie Rock outfit Eternal Fair,  "Gravity" is the first in a four track series of new songs. 

The band: Andrew Vait - lead vocals and guitar solo; Max Bronstein, Ben Kogan - guitars; Rob Morse - bass; Dan Ryan - drums; Bryson Barnes - composition and background vocals

The rhythm section was recorded at Tank Studios in Burlington, VT (Ben Collette, engineer), and Andrew's vocals and guitar solo were recorded at Metaphonic Studios in New York City.

It was a pretty wild evening at the Apex Art and Cultural Center last night, right there, front of stage for The Little Lies St. Patrick's Day performance.

It was a night that started off slowly with a less than capacity audience for the opening band... that swelled as the night grew later and The Little Lies dove into their set of Fleetwood Mac fan favorites.

A year into their formation and debut at Tony V's only a few blocks away, I'm still struck by the sheer energy of the band. The fun and joy and high octane experience they bring to the stage.

Of course there's a lot to enjoy about Little Lies performances. "Fun", "Joy", "High Octane" is just for starters. Cyra Wirth on drums and the occasional acoustic guitar, always manages to blow me away on "Tusk". This time around, Michelle Nuño, no stranger to the Seattle music scene, subbed in masterfully on the drum kit.

And then there's Harry Wirth III on electric bass.

In the midst of three lead vocalists, famous melodies, instantly recognizable guitar riffs, and Mick Fleetwood beats, it's easy to lose track of the bass but for the fact that Harry is his own show in the back, not only essential to the band's rhythm, but in the wild abandon with which he performs. He is absolutely one of the highlights of every show when he stalks the stage like Godzilla for the iconic bass solo on "The Chain".

As for The Little Lies lead vocalists, the three part vocal harmonies are powerful. You feel it when they lock in. Even more, the unison of all three highlights a perfect blend of energy and craft.

Of course each on their own, Miranda Zickler, Linzy Collins, and Andrew Vait is more than willing to let loose on their respective solo performances. You quickly get the sense that everyone in the band's not only into the music... they take every opportunity to take that music to the next level. And the next. And the next. Which they do relentlessly with each show.

This isn't, you see, about creating a musical impersonation of Fleetwood Mac. It's about igniting the same passion they feel for this music... in their fans, allowing them to lose themselves in the experience they're creating together. Over and over and over again. It's a familiar cycle between musicians and audience that makes for wicked exciting concerts.

Which brings me to another strength of this band: they can jam. They can rock. They can blow the roof.

They take swift advantage of these famous songs where lyrics give way to guitars, bass, drums, and percussion. Where poetry and catchy phrases give way to raw, pulse pounding feels.

This spectacular strength of the band finds its full expression in the classic, "Rhiannon", the end of which is transformed into a wildly dynamic whirling dervish of music reaching ever higher and sustaining an intensity of performance, vocalization, and enthusiasm that goes well beyond its classic rock inspiration. What would otherwise be a straightforward classic rock cover is transformed into something greater. Something unique. Unexpected. Breathtaking. And absolutely transfixing.

Absolutely.

Transfixing.

It was a pretty wild evening at the Apex Art and Cultural Center last night, right there, front of stage for The Little Lies St. Patrick's Day performance.

Oh man.

We had a great time.

😁😁😁

Eternal Fair "Dead Dog Hero" from the full length LP "The Horse That Carries The Wheel".

Produced, engineered, and mixed by Chris Mathews, Jr. and Kyle Davis at Big Sound Studios, Seattle WA and Noise Cellar Studios, Bothell, WA. Mastered by Rick Fischer at RFI Mastering, Seattle, WA.

When last we checked in on The Little Lies, summer was coming to a close as the band members embarked on their own individual projects and gigs for the remainder of the year. 

Suffice it to say, the fall and winter months of 2022 were that much colder in the band's absence. And sadly, on November 30, Christine McVie passed away. A major creative force within Fleetwood Mac, she was and is an inspiration within The Little Lies and, for their first performance of 2023, the band's giving a proper Little Lies send-off to this famed musician, wonderful singer/songwriter, classic rock icon... this Friday night, January 27, 9pm at The Nectar Lounge in Fremont.

The band's traditional set will be expanded to include even more songs by Christine McVie that'll be covered by a local Who's Who of guest vocalists including Shaina Shepherd, Molly Sides, Kate Dinsmore, Kim West, and Kathy Moore & Jen Ayers of The Wild Rumours.

Less another Little Lies gig and definitely more an event... we're stoked to see the band again. It's been much, much too long since they dazzled on-stage last: 

Miranda Zickler (lead vocals), Andrew Vait (lead vocals,.guitar), Linzy Collins (lead vocals, keys), Harry Wirth III (bass), and Cyra Wirth (drums).

Beyond friday, looks like we’re gonna see the band once again putting on their fun, high octane shows at the Fisherman’s Village Music Festival, Taste of Edmonds, and Everett’s Music at the Marina.

First things first, though. If you wanna experience the band’s upcoming show A Tribue to Christine McVie, just click right here.

Hope to see you there!

😁 😁 😁

The Little Lies took the stage last night at the Everett Fisherman's Music Festival with a revamped setlist, an audience that couldn't get enough, and a performance filled with wild energy, passion, and a sheer delight of music into which they breathed amazing life.

Sounds like a typical Little Lies show?

Sure. But somehow the band managed to find a groove beyond high energy, beyond high octane for which attempting to find words to describe them at this level of performance would simply be an embarrassing pursuit.

Even their soundcheck hinted at a somehow larger experience, hinted at more. Drummer Cyra Wirth, coming off a show with another band that likes to test the limits of what the human ear can endure, came to the show leveled up, infusing more power, more moxie, more Cyra... into the Little Lies set.

Harry Wirth III similarly came leveled up with more bounce in his entire body, literally leaping up from the stage and, yes. Bouncing all. night. long. And when he wasn't bouncing, he had plenty of T-Rex in him as he stalked about the stage, prowling his way out front, perched right above the audience on a couple occasions during which all eyes were on him.

Miranda Zickler brought a continued and unbelievably sustained passion to her performance, embodying the music she was singing, channeling it, feeling it, dancing it, physically manifesting the joy and the pain crafted into these songs more than four decades ago and somehow conjuring a new magic for fans.

Andrew Vait brought an abundance of fun, creativity and wild energy to the show, treating the crowd to relentlessly masterful and classic moments of lead guitar solos right out in front of the stage, culminating in his best live guitar work on "Tusk", a song that's a thoroughly unique and thunderous experience.

And then Linzy Collins who, well... I have to be careful here because Christine McVie's vocals are, of course, classic. But as with all The Little Lies, Linzy infuses her corner of these classic rock staples with her own passion, her own instrumental and lead vocal gifts, exquisitely rising to unexpected yet inspired harmonies blending wonderfully with Miranda Zickler's fierce lead vocals on "Gold Dust Woman".

Now...

This Little Lies performance, the first this year of a number of upcoming festivals, featured a revamped set list. It crafted a new fan experience from largely the same classic songs. There were all the songs dear in the hearts of fans, of course, but with more musical connectivity between certain songs, and then this: a particular rarity in the set that not only surprised the crowd but delighted, lighted up, and drew them even further into the performance, especially those who grew up with this music, singing along with this welcome surprise (and no, I'm not gonna tell you what it was... there'll be plenty of opportunities to find out for yourself this summer).

In a way, the new set is a spectacular challenge of how long fans can surf the sometimes relentless pace of this iconic music and how much they can match the boundless energy of this band that effortlessly conjures the magic of Fleetwood Mac without the drama. It's a pure experience filled with an abundance of fun and joy and wild energy from all five band members.

One hundred percent The Little Lies leveled up last night.

Just in time for summer.

There's a lot to process about last night's Little Lies concert and the tribute to Christine McVie at the Nectar Lounge. It was a straight up event. 

We arrived just before doors opened only to find a line of ticket-holders snaking from those doors to the sidewalk and then up the block. By the time everyone's inside, the floor is packed. We're standing at a table toward the back wall facing the stage. It's a spot I assume'll be a chill place... but the floor quickly fills in in front of us, to both sides, and behind us.

We're surrounded.

We're in the crowd.

By and by, stage smoke begins to fill the air.

By and by, conversation dulls to a murmur.

By and by, the lights go down, cloaking us in darkness.

The Little Lies take the stage around 920, launching right into their first song, “Say You Love Me”. The stage lights embrace them, dance around them, and create shapes and patterns in the misty stage smoke hovering above them. The crowd’s fully engaged in iconic hit after iconic hit after iconic hit in a performance approaching gale force winds of energy, of humor, and of sheer musicianship.

And then...

Somehow I'm taken by a tiny moment in the midst of this concert event. Something that's as much a commentary on the space music occupies in our lives as it is about the experience of concerts themselves.

The song is "Landslide", featuring Miranda Zickler on lead vocals while the rest of the band goes acoustic, also providing the kind of vocal harmonies that are merely one of the band's strengths.

A huge one, though.

It's a quiet moment in a room that's been supercharged with wild energy. And as the song moves through the room, it does its thing. It unites everyone through words and melody. Soon I'm aware of the room joining its voices to this tender moment, this heart-felt performance. 

Now, we've all been there. That moment an audience jumps into the midst of a live show, voicing memorable lyrics, singing anthemic melodies. It's an addictive and unique experience to concerts such as this whether it's a few hundred people, a few thousand, or tens of thousands joining their voices to the musicians performing on-stage.

This is "Landslide", though.

This is the Nectar Lounge in Fremont.

And the voices around me are caught up in the meaning of these words. In this place.

Somewhere behind me and to the right, I can hear the voice of a man who's caught up in this collective moment. I can hear each word lifting from his lips. And I also hear that he really can't sing.

But that only makes this moment more meaningful. Because it's meaningful to him. He's in this moment, sharing it with everyone else in the only way he can. And somehow... his sincerity allows him to rise above his limitations. He does not lessen the experience at all.

He elevates it.

And in the midst of that realization, I'm struck once again by the power of song in our lives. By the power of music. By how we can be so moved by an experience that we have no choice but to join in. By how a crowd of strangers is so surely and instantaneously transformed into a community. Without conscious intent. Without even thinking about it. Just carried by the currents of their emotions and the music that's embracing them.

It really is a breathtaking, helluva thing.

Last night, The Little Lies—Miranda Zickler, Linzy Collins, Andrew Vait, Harry With III, and Cyra Wirth—seemingly conjured an event out of thin air at the Nectar Lounge.

And they, along with their audience, reminded me of a long-ago lesson. A long-ago lesson about one of the most profound things music and musicians...

Can do.

😊